These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
This year’s edition of the premiere festival presents a slate as deep and diverse as any in recent memory.
You haven’t truly lived until you’ve seen Vampire Weekend via telecast in the anodyne confines of a conference room.
The Milk Carton Kids bring a measure of dark comedy to their music that complicates the comparisons they invite to Simon & Garfunkel.
Devendra Banhart’s frequent non sequiturs landed with such winsome glee that they somehow never felt contrived.
Before he even takes a seat, Korine makes note of the faint “unce-unce” pumping out of the house speakers.
The Pandora Stage at Antone’s showcased a slate of solid rock acts, from the ever-protean Akron/Family to the vintage pop-rock act Guards.
From the animated to the animalistic, the perfect to the perverse, this list is one royally diverse bunch.
The most impacting thing True/False does every year is its True Life Fund.
Several films at this year’s festival address the need for family.
Zachary Heinzerling’s debut film has been one of the films more prominent on everyone’s lips this weekend.
It’s funny how people use mundane tasks to mark time.
Melody is the connective tissue between Tame Impala and their audience.
This living, breathing, low-budget seal of approval has kept busy bringing dramedic street cred to numerous projects.
Beautiful Creatures got us thinking about beautiful creatures of movies past—characters not quite human, but quite easy on the eyes.
Don Jon’s Addiction is a film whose underlying themes are reminiscent of the more dramatic Shame.
Raskin honed his craft working as an assistant editor for Tarantino’s late editor Sally Menke.
Yesterday’s Oscar nominations came with major snubs, but it certainly wasn’t the first time the Academy stuck it to likely contenders.
The entries on this list offer a glimpse of the staggeringly dissimilar outcomes of music video’s democratization.
We spoke with Lonergan about the formal and structural qualities that make Margaret an uncommon cinematic experience.
Two thousand and twelve was, if nothing else, a banner year for uncommonly productive provocation.