Charli XCX’s debut, True Romance, only dropped five months ago, but she’s already prepping her follow-up.
Maciej Cuske creates in Old Bookstore a peripheral microcosm, cherishing oddities and withdrawing judgment.
In keeping with its subject, the movie has a rough-hewn quality.
As Breaking Bad nears its final episode, viewers have become preoccupied with who will live and who will die.
There’s homage, and then there’s the new poster for Alexander Payne’s Nebraska.
The latest offering from Ejecta builds from Enya-esque meditation to ‘80s synth-pop splendor in under two minutes.
Vince Gilligan and company subversively manipulate the familiar narrative contours of the crime melodrama.
The relative quality of generational family abuse, a prominent motif in the play, comes through loud and clear.
New Zealand pop singer Lorde has dropped a new single from her debut LP, out September 30th on Republic.
Steve McQueen doesn’t seem to know the difference between the unflinching and the gratuitous.
Pat Grossi, a.k.a. Active Child, has announced a new six-track EP, The Rapor.
It’s adept at showing how the slavers’ hateful descriptions of their victims are more than simply demeaning.
The Machine, in short, is an anti-capitalist tragedy that spends half its time looking like a sci-fi melodrama and the other half like a biopic.
Arcade Fire has been more than a little bit coy about their new album, Reflektor.
A becoming narrative cleanness is settling into Breaking Bad as it nears its conclusion.
Jason Reitman’s film excels in giving the delicate family balance a kind of rewarding poignancy.
The Police Officer’s Wife had easily the most walkouts of any film I saw at the festival.
Even amid the troubling trend of remaking films that have barely collected a speck of dust, there are still movies that can surprise you.
The Telluride Film Festival is the home away from home for cinephiles the world over.
“Bitter Rivals” is appropriately playful and in-your-face—basically everything we’ve come to expect from the band.