The film hits its plot milestones as fast as humanly possible, cohesion or depth be damned.
With scalpel-like precision, the film exposes the agonies of fathers, sons, and brothers.
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Andrew Haigh’s film always feels perched on the precipice of unlocking a deeper register.
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The film never dares to court our revulsion at what the survivors must do to live.
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The film reveals itself as a prototypical yet surprisingly tender love story.
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Noname’s second studio album synthesizes everything that the firebrand rapper excels at.
Unlike its predecessor, the album doesn’t leave much of an impression.
The best music videos of the year emphasized meticulous technique over virality.
Durkin discusses his approach to genre and the film’s thematic overlap with his prior work.
When the going gets tough, the tough double down on the audience least likely to abandon ship.
There are few dramatic moments that justify the music that stems from the songs.
It’s surprising how much of Spamalot’s humor now feels rooted in an earlier time.
I Need That is a vehicle built for two that mostly just spins its wheels.