Notable about Lil Wayne and Rich the Kid’s collab on Trust Fund Babies is just how much fun they’re having here in a natural, impromptu kind of…
C’mon C’mon is a distinctly inauthentic, contrived viewing experience more likely to have viewers chanting “go away, go away.” Next only to dead wives, doomed love…
Accidental Luxuriance is a poorly-paced, rancid mixture of conflicting aesthetic elements. Far more than its rather nonsensical title and unconventional mix of animation styles, the general…
Despite venturing into LP-length territory for the first time, Doma sees Rikhter as forceful and focused as ever. The R Label Group — a boutique music distribution…
Certified Lover Boy finds Drake is simply going through the motions, an album that sounds just like his last couple, but with even less of…
A Man Named Scott is a vanity project doc that pushes a hip hop-savior narrative at the expense of any meaningful substance or study. If you…
Sincerely, Kentrell is a senselessly assembled product, not without artistry, but lacking in a coherent vision. “YB better.” This simple phrase has become a rallying cry…
The Two Sights can get a bit bogged down in esoteric gobbledygook, but Bonnetta’s image-making and aural noodling make for a mostly compelling ethnographic work. Filmed…
Deafheaven’s latest is an arduous and placid take on their sound, subverting much of the appeal the group’s abrasive brio holds. Deafheaven, either by elaborate…
Trip at Knight is the best album Trippie’s put out in a minute, a record of creative production and genuine feeling that only occasionally stumbles. Ohio…
While better than the first King’s Disease album, Nas’s follow-up isn’t much more than an exercise in oldhead legacy maintenance. Is Nas in “rare form,” as he…
How does one condense over five decades of history into the limited duration of two hours? By making a hacky, talking-head documentary, obviously. But before…
Dear Chantal After something of a breakout with last year’s delightful meta feature Fauna, Nicolás Pereda returns with Dear Chantal, a short created as part…
Cry Macho is yet another late-career effort from Eastwood deconstructing his own legacy, neither his greatest such effort nor a throwaway piece. Just why does Clint…
Shinya Tsukamoto: unapologetic termite artist, jack of all cinematic trades — besides merely directing all of his feature-length freak shows, he also writes, produces, shoots,…
Purple Sea is an arthouse trifle that merely effects the posture of serious cinema. In his 1975 book Notes on the Cinematographer, austere French director Robert…
Soulja Boy seems content to perform with general indifference, as long as he’s still in the spotlight. OK, hear me out: Soulja Boy’s Big Draco…
Happier Than Ever proves there’s plenty Eilish and her brother still have yet to reveal. “Do you know me?” Billie Eilish asks listeners at about the…
25 swerves hard into newfound mature and vulnerable terrain for G Herbo, an organically-implemented pivot that only witnesses occasional missteps. On his latest album 25, G…
For many depressing reasons, it’s not surprising to see a film like The River in competition at Locarno in 2021: it’s helmed by an artist…