Eminem’s grip on the zeitgeist is less firm on the over-long Revival than it was on the freestyle cut “The Storm.”
In the end, the way the film transforms characters into mouthpieces for misguided hot takes is a bizarre miscalculation.
Ware has long possessed the ability to wrap powerful emotions in pleasant melodies.
Of Montreal mastermind Kevin Barnes is some kind of unhinged, tragically little-known genius.
Love is a dazzling, expansive experience that ranks among the year’s best.
Richard Linklater does an admirable job of shoehorning in as much of the sprawling nonfiction narrative as he can.