The album’s idiosyncratic nature only makes it that much more appealing.
The album serves as a refinement of Young’s late-period output.
This radical advancement of the concert documentary receives a superlative transfer from the Criterion Collection.
We look back at some of the music inspired by the crisis that (eventually) galvanized a generation into action.
The album offers a homey, bittersweet charm largely unique to the troubadour’s legendary catalog.
These songs comprise a guide for the singer-songwriter’s signature brand of rock and mastery of poetic memoir.
The album’s direst moments are still refreshing because they find Young doing whatever the hell he wants to.
The Visitor finds Neil Young tilting again at the political windmills of the present day.
While Young’s anger and focus are admirable, The Monsanto Years doesn’t come anywhere close to matching his passion.
Storytone introduces the world to Neil Young the crooner, which is probably not a side of him anyone thought they ever needed to hear.
This joyous doc leaves us wanting to immediately seek out the incredible, sometimes unfamiliar music we’ve just heard.
Films about the not-so-great outdoors pervade this year’s festival.
Psychedelic Pill, the first album of original material from Neil Young and Crazy Horse in nearly a decade, comes on like a flashback.
The visuals (including a split-screen) feel appropriately exploratory given the experimental sounds coming from Young’s specially designed instrument.
In attempting to honor the sounds of the past, Young ends up turning them into toxic sludge.
This is a loving, gracefully crafted retrospective that mostly, and shrewdly, eschews Behind the Music conventions.
Neil Young has made a brilliant-66%-of-the-time career by not really retracing any of his previous steps.
The middle entry in Jonathan Demme’s proposed trilogy of Neil Young concert films, Neil Young Trunk Show finds the grizzled singer in robust, high-decibel form.
As in publishing, the alarmist polemic has become its own documentary subgenre, and Fuel is merely its latest entrant.
It’s not the music, it’s the refrains that got me.