OK, so things don’t really vanish anymore: even the most limited film release will (most likely, eventually) find its way onto some streaming service or into some…
Dee White, an Alabama native with a preternatural gift for hardcore trad-country, happened to catch the ear of Dan Auerbach, who stepped up to produce…
Speed has always been central to the Della Mae value proposition. When the group formed in 2009, they turned heads not just for being an…
Timing always seemed inscrutable and capricious in the life of Leo “Bud” Welch, the Mississippi bluesman who began his recording career when he was 81,…
There’s historic precedent for No Saint, the debut album from Texas-born singer/songwriter Lauren Jenkins — but it may not be what you’d expect. The album was…
Sometimes the determination between an actor’s successful and unsuccessful work comes down to context, like the ensemble of actors surrounding them, and sometimes it’s about the…
Our new monthly music feature, Rooted & Restless, finds country music aficionados Josh Hurst and Jonathan Keefe wading into all things Americana, expanding the definition…
Musicians who rely on either humor or political rage as the foundations of their songwriting typically run out of ways to keep their edge, or…
Emmylou Harris’ first four studio albums all stuck to an eclectic formula that allowed her to establish her bona fides as the premier interpretive vocalist…
One baffling segment in BNK48: Girls Don’t Cry sees the Thai version of Japanese girl group AKB48’s “Koisuru Fortune Cookie” — one of the most popular J-pop singles…
Stephen King adaptations are as popular and generic as ever, despite claims of some kind of renaissance, and this latest iteration of Pet Sematary is hardly an exception.…
Perhaps setting itself up as a corrective to the rest of the DC comics films, which are apparently perceived to be overly dark and serious,…
The Dirt is a terrible movie. Adapted from Mötley Crüe’s group-authored autobiography of the same name, Jeff Tremaine’s film is This Is Spinal Tap without the self-aware irony,…
Released in 1967, Arthur Penn’s Bonnie & Clyde was the New Hollywood urtext: young, sexy, fast, and violent. It’s impossible to view The Highwaymen as anything but a…
Suburban Birds opens with an iris shot, a formal gesture that likens it to Feng Xiaogang’s recent I Am Not Madame Bovary. Quickly, Qiu Sheng’s film…
The titular ‘land’ that’s ‘imagined’ in Yeo Siew Hua’s Golden Leopard-winning debut film manifests in two different ways, one explicitly physical (the ever-expanding continent of Singapore,…
The 48th edition of New Directors/New Films runs March 27th – April 7th. Here’s our first dispatch. Included — very much intentionally — in our second and…
Richard D. James’s debut altered the electronic music landscape, and remains a singular experience within the enigmatic musician’s oeuvre. Whereas the album’s follow-up, Selected Ambient Works…
It seems natural to react with bewildered laughter when watching Scanners. The sight of actors contorting themselves with pained screams and Dick Smith’s visceral special effects…
Frequently inscrutable and often enveloped in literal darkness, Andrea Bussmann’s Fausto offers the latest (cinematic) rumination on the foundational myth of man’s dealings with the…
Director Mark Jenkin’s Bait is a fascinating curiosity. As a drama, it’s fairly basic, but also mostly effective: Martin & Steven Ward (Edward Rowe &…