The album is at once a reckoning and a self-conscious pivot.
Kurosawa’s first historical film offers a master class in framing and blocking.
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The film doesn’t push far beyond the talking points of Araki’s philosophy of sex.
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There’s something pleasingly unpretentious about how little room the film leaves for subtext.
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Motor City channels the spirit of the vigilante films and other exploitation genres of the 1970s.
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The songs rarely cohere into anything greater than the sum of their individual parts.
The album corrects course with warm, rootsy arrangements that suit Twain’s voice.
The singer has yet to discover a sound or sensibility that truly distinguishes her.
McElwee discusses, among other things, his new film and staring down the loss of his son.
There’s an enigmatic quality to the role of Nolan in the current filmmaking landscape.
The show has trouble leaning into kick-ass naughtiness for more than a few minutes at a time.
The show is at its best when it examines the questions that Susanna Kaysen did in her memoir.
The common refrain this season has been one of despair, of theatrical death by dearth.