Red Moon Tide offers impressive sonic and visual craft, but is somewhat undermined by its weaker narrative and character elements. An elegiac stillness envelops the…
1994’s Serial Mom marked something of a turning point for writer-director John Waters. A filmmaker who built his name and reputation on such outre, low-budget…
Ride or Die is overlong, fails to believably sell its central relationship, and ill-advisedly resolves with a bit male gaze exploitation. Whatever the many other…
Monday is a derivative, dull, and altogether flat effort that captures none of the carefree spirit it partially peddles. With an overly familiar and intentionally simple…
1975 was a pivotal year for actress Delphine Seyrig. In addition to work with the radical feminist collective Les Insoumises, alongside director Carole Roussopoulos, she…
Facile, mawkish songwriting, bland production, and an overly-affected show of “authenticity” do major injustice to Justice. Justin Beiber wants to sell you a narrative: that…
sketchy. is a generous, insightful record and a welcome return to the grand balancing act of Tune-Yards’ finest work. The music that Merrill Garbus and…
Promises is a masterwork of collaboration, a suite that both teaches and bestows patience, tranquility, and openness. Promises — a ravishing collaboration between Floating Points,…
Poster Girl once again demonstrates Larsson’s potential, but not nearly as much as it illuminates her lack of depth as a pop performer. Ever since…
Our Country is a remarkable statement of Marks’ rightful place at the fore of modern country music. In the mid-2000s, Miko Marks recorded a couple…
Even ignoring the hilarity of a premise that supposes Tokyo Jetz has enough relevancy to be even be cancelled, Cancel Culture is nothing more than…
Justin Bieber Justin Beiber wants to sell you a narrative: that the once-dumb adolescent from Ontario has grown up, found God (ok, he’s always had…
For the Sake of Vicious doesn’t reinvent anything, but is a lean, nasty thriller that doubles as a remarkable calling card for the directing duo.…
Vanquish is bad, bizarrely so, but it’s at least not boring in its own dumpster fire way. After a few hits as a writer, including…
The Banishing is a welcome-back for director Christopher Smith, rendering fresh what could have been boilerplate, and keeping its human horrors palpably textual. It’s curious that…
IWOW is a work of pure hubris and self-aggrandizement, entirely devoid of the humanity that has informed Allah’s previous works. Over the course of his career,…
Voyagers is a shallow, bland, and empty-headed space-set riff of Lord of the Flies that fails to choose either heady futurism or sci-fi eroticism. It’s…
Wheatley’s latest both builds and holds tension effectively, harnessing the director’s penchant for psychedelia and bruising horror to brutal effect. When Martin remarks at the…
Gunda is an empty, exploitative aesthetic exercise that that has no ideas to speak of. If nothing else — and it truly offers little else —…
Night in Paradise scans like any number of slow-burn gangster flicks, but suffers for lack of originality in both its action and drama. Park Hoon-jung’s…
After releasing notorious flop/secret success Exorcist II: The Heretic in 1977, director John Boorman turned to an attempt at producing a Lord of the Rings…