All the incidents that dot Peter’s trip down memory lane point toward each other in ways spectacularly banal and expected.
Moselle’s slapdash, borderline indifferent aesthetic shortchanges the more fascinating elements of her subject.
Perhaps the most compelling aspect of Cozarinsky’s story, both within the film and beyond it, is how circuitous his and his parents’ geographical trajectories have been.
The big change in GH Live is that the classic colorful five-fret layout has been replace by a two-by-three block of buttons, meant to function like switching chords.
Fundamentally, Jenni Olson’s The Royal Road is a paean to the Bay Area landscape.
Eduardo Williams’s I Forgot at first appears to be a fairly observational documentary about youth.
Today Madonna trickled out three more tracks from her forthcoming album, Rebel Heart, bringing the (official) count up to nine.
Throughout, the dancer turned singer busts out some "Papa Don’t Preach" footwork, "Vogue"-style shoulder rolls, and gravity-defying moves reminiscent of Michael Jackson.
Belting has never been Rihanna’s forte, and it’s as painful as it’s ever been here.
For Ruben Östlund, a movie camera is an instrument of provocation and exploration.
Some songs deserve a second chance. And sometimes they get it.
Among the new songs are “Bitch I’m Madonna,” a garish EDM track that’s perhaps the most divisive of the songs that have leaked.