CODA The title of Siân Heder’s sophomore feature is twofold: an acronym for the “child of deaf adults,” and the concluding passage or movement of…
Beginning emerges from the influence of obvious formal antecedents to become a stirring, singular work from a new cinematic worth following. On its surface, Dea Kulumbegashvili’s…
Penguin Bloom tries to expand itself a bit from template filmmaking, but mostly still trades in familiar disability narrative tropes and obvious metaphors. Regrettably, there…
Saint Maud is another A24 exercise in elevated, modulated horror but is fairly absent of anything beyond empty, artful pretense. It’s been a long journey to…
Zhu Shengze’s Present.Perfect. is preceded by information about the state of live-streaming in China, making clear its overwhelming popularity in the country — there were…
The Night hints at building nuance into its familiar template, but ultimately jumbles familiar genre tropes to no discernible end. It’s never a good look to…
Liborio’s initial enigmas ultimately give way to something tidier and less pleasantly challenging. Olivorio Mateo, a farmer-turned-prophet whose providential oversight and teachings later influenced the…
True Mothers bears Kawase’s familiar textures and ambiance but is hampered by a few too many banal plot beats. Adapted from a 2015 bestseller by Mizuki…
The Little Things is a stylistically bankrupt, psychologically facile yawn of a movie. Largely forgotten in all the talk these days about how modest studio films…
Palmer has noble intentions and a winning performance from Timberlake, but it’s thematically undercooked and tonally jarring. Apple TV+’s Palmer, the latest film from actor/director Fisher…
Just Don’t Think I’ll Scream isn’t the exercise in solipsism or self-serving appropriative art its premise threatens, but its overall effect is one of cautious distance.…
In his 1978 book Orientalism, historian and cultural critic Edward Said writes: “Every single empire in its official discourse has said that it is not…
“Fuck Soulja Boy. Soulja Boy, I know you’re young enough to be my kid but you single-handedly killed hip-hop, man. That shit is such garbage.…
Nightmare Vacation is a focused (re-)introduction for the Rico familiar and newcomers alike. Rico Nasty has made quite a name for herself, utilizing an abrasive…
The BrOs’ attempt to move the needle back in the direction of commerciality isn’t their sharpest effort but does reposition them at the fore of…
Without any rhyme or reason for its sequencing, the latest from Jack White’s vault is a low effort shrug. After nearly a decade of being…
Margo’s latest strikes the perfect balance of intimacy and spectacle. Perfectly Imperfect at the Ryman captures Margo Price at an inflection point. The album was…
McCartney III finds the artist in a familiar playful mood, experimenting across various forms, genres, and lyrical modes. Considering the lukewarm (even arguably harsh) response with…
Paul McCartney Considering the lukewarm (even arguably harsh) response with which Paul McCartney’s two previous one-man home-recorded solo albums, McCartney (1970) and McCartney II (1980),…
You Will Die at Twenty contains plenty of allegorical power, but its ineffectual plotting ultimately teases out more stimulating questions than it does answers. As a…
Run Hide Fight can go fuck itself. Any film critic worth their salt can speak to the near-impossible task of reviewing films in a true vacuum,…