The film’s views on sexuality aren’t always as progressive as they might seem.
The film is really about the funhouse world of modern-day capitalism, where every bit of human interaction can seem like a transaction.
Beware and Be Grateful is music that resists easy classification.
Philippe Falardeau’s Monsieur Lazhar is a film about healing, the gradual thaw that develops in the wake of a tragedy.
Folila speaks both to the increasing currency of African pop and the shrinking size of the world.
As it progresses, the film grows from a simple tale of man versus beast to a complicated parable with multiple implications.
As the music portion of the festival, and SXSW itself, draws to a close, there’s a lot to consider.
Loose, shaggy, and more than a little rough, Gimme the Loot hearkens back to NYC indies like Kids.
Music is chaos, in the sense that it’s usually ruled by random chance rather than any distinct system.
Kirsten Sheridan’s Dollhouse feels unstable but also achingly real.
There’s a thudding pulse that seems to reverberate out of the city itself.
The Comedy is continuously in danger of feeling either too cute or too abrasive.
Less angry and strident than recent issues documentaries like Food Inc., Eating Alabama operates on a personal ground level.
In determining exactly what went wrong here, it’s useful to compare Wrecking Ball with Neil Young’s Living with War.
Sound of Noise is ultimately winning because of its devilish anarchic streak.
The focus of the album is once again electronics, but with the cynicism at a higher pitch than usual.
Sleepwalk is a story of inter-textual synchronicity, of ideas and gestures bleeding from one medium to another.
The album is full of lovingly made knockoffs that point to the purer and smarter bluegrass that it’s imitating.
Wanderlust wags a limp dick at a host of up-to-the-minute issues.
The prevailing aesthetic here adapts the breezy piano compositions of OH (Ohio) into a sound that hints at the style of big-band crooners.