Freedom. is a platitude-heavy onslaught of alternately generic and sympathy-seeking songwriting that makes for a wholly embarrassing EP. Offering a second helping of solipsistic…
Rhiannon Giddens & Francesco Turrisi Rhiannon Giddens may not be the only musician who recorded an album during lockdown, but she may be one…
“Here is my music. It is all I have to tell you how I feel. Know that your love keeps my love strong.” This…
Spiral fundamentally misunderstands the appeal of the Saw franchise, deviating from the series formula to remarkably diminished results. Spiral: From the Book of Saw is but the…
Pablo Escoto’s All the Light We Can See comes with a bibliography in its end credits, a kind of road map to its poetically…
Dark Red Forest Spiritual faith, by virtue of its abstract and elusive qualities, rarely translates well to the visual medium, if indeed it can…
Although The Flowers of St. Francis sits comfortably within one Roberto Rossellini’s most lauded creative stretches , it’s a work that still doesn’t exactly…
Here Today is a baffling, schmaltzy oddball of a film that finds Billy Crystal profoundly out of touch. There’s been something of a recent resurgence…
A chandelier swings in the gloom, tremulous strings kick in and tension mounts as the camera pulls in. The glinting fixture rocks back and…
Once seen as a tragic fall from grace, today it shouldn’t come as much of a surprise to hear someone sing the praises of…
Here Are the Young Men fixates on its most histrionic narrative beats and hypermasculine conflicts at the expense of its greater strengths. Set in…
Together Together is a chemistry-rich, mature, and restrained effort of non-rom comedy. It’s never a promising sign when a film’s opening credits mimic a…
DEACON doesn’t match the memorable, eerie energy of soil, but is still mostly successful as an articulation of serpentwithfeet’s new, breezy era (interlude?) of…
Green to Gold represents a mostly successful sonic and lyrical calming of the storm for The Antlers. Seven years after their last album, The…
Lost Themes III is a true comfort listen, and the most cohesive collection of Carpenter’s original music to be released. Since The Ward flopped…
serpentwithfeet There’s a certain irony to the all-caps stylization of serpentwithfeet’s (née Josiah Wise) latest album, DEACON, as it’s a distinctly mellowed, less assuming…
Red Moon Tide offers impressive sonic and visual craft, but is somewhat undermined by its weaker narrative and character elements. An elegiac stillness envelops…
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,…
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…