In an effort to reboot our music coverage, In Review Online has launched monthly features devoted to reviewing new album releases. One such feature is What Would Meek…
The Suicideboys’ mythos — and the group’s amassed discography of 42 EPs/mixtapes all since 2013 — is daunting, to say the least. The duo of…
Brockhampton is a self-described “boyband” of Texan misfit-musicians — lead and founded by the openly gay Kevin Abstract — who made waves in the independent hip-hop scene…
Even for a career with no discernable lack of winter pictures (cf. The Day He Arrives, The Day After), Hotel by the River stands out…
Hong Sang-soo packs a surprising amount of variety, complexity, and beguiling mystery into the 66-minute runtime of Grass. The film provides a brief but dense…
Hong Sang-soo‘s first black-and-white film since 2011’s The Day He Arrives (which is indeed quite a while, considering the rate at which he works), The…
Of the three films Hong Sang-soo made in 2017, with actress and romantic partner Kim Min-hee, two were released in the U.S. in the spring…
On the Beach at Night Alone is Hong Sang-soo’s most sensitive character study since Nobody’s Daughter Haewon, and in the context of his relationship with…
In Yourself and Yours, we find Hong Sang-soo amusing himself by writing scenes that are completely ambivalent in nature, mainly due to having lead actress…
Distilled down to a one-sentence summary, the calmly melancholic Right Now, Wrong Then is the very essence of a Hong Sang-soo film: A bibulous director…
Do we really need another portrait of a frustrated sad-sack young man, even if it comes in the form of one of Lee Chang-dong’s typically…
While bigscreen superheroes may stoke our fantasies of being something greater than we are, seeing more empathetic characters in that same space allows for an…
Let the Sunshine In is an exquisite romantic comedy in part because its laughs are sad and its sadness is funny. Claire Denis isn’t a…
Whatever its flaws (and they are myriad), director David Gordon Green’s Halloween is certainly a good looking film: Cinematographer Michael Simmonds mimics John Carpenter’s 1978 original…
You know what? Maybe Chief Keef shouldn’t take that “stuntin’ break” after all — or, to put it more appropriately, in light of how great The Cozart is,…
For Hong Sang-soo, a filmmaker who usually favors fairly taut narrative structures, Hill of Freedom is something of a departure. The film operates in a…
Our Sunhi is the culmination of a cycle of Hong Sang-soo films, each starring actress Jung Yoomi, about aspiring women filmmaker with a weakness for strong…
Nobody’s Daughter Haewon is an exemplary minor film, shaped more by its incidental pleasures than any grand design. It owes much of its charm to…
In Another Country signals something of a shift in the approach of Hong Sang-soo’s films, one in which the director’s generally economically modest production methods…
Hong Sang-soo’s monochromatic, soju-soaked, metaphysical odyssey, The Day He Arrives, explores the question of whether or not one can ever really escape the past, but…
“Things repeat themselves with differences I can’t understand,” proclaims Oki (Jung Yu-mi), the director of the fourth, and final, film-within-the-film that comprises Hong Sang-soo’s 2012…