Broadcasting its ambitious scope with its borrowed title, Rita Hui Nga Shu’s Decameron sets out to encapsulate the tenor of current day Hong Kong following…
A favorite on the international festival circuit with a robust filmography of at least 40 films made over 50 or so years, Júlio Bressane looms…
In the Heights isn’t going to save the theatrical experience, but at 143 minutes, will help kill some time. In development since the musical made…
There’s plenty in Pretty Summer Playlist to interest listeners, but it still feels like a casual stop-off on the way to a future, career-defining project.…
Second Line continues Dawn Richard’s transitional phase, bridging a streamlined sound with her avant-garde style. Though well-received upon release, Diddy – Dirty Money’s Last Train to…
Sweep It Into Space is more self-aware tinkering than substantial reinvention, but it affirms that the rockers suitably understand their own strengths. At this point,…
Georgetown isn’t the worst actor-turned-director debut feature, but it is a drab, superficial affair with little to distinguish it. Since coming to the attention of American…
Lei Line Eon reflects a satusfying compromise between the demands of dance-pop and the new worlds Iglooghost has imagined beyond. Since the release of Neō Wax…
Profile’s subject matter is more than a little silly, but its thrilling Screenlife tinkering speaks to the form’s malleability and still-untapped potential. 2021 really might…
The Crime of the Century frustrates by leaving too much of its incisive subject matter dangling, but is still one of the most clear-eyed studies…
Coming from the world of short fiction, Juja Dobrachkous made her debut as a feature film director with Bebia, à mon seul désir at the…
Monster is a messy, crude, and politically flaccid throwaway flick that probably should have just stayed on the shelf. Premiering at Sundance in 2018 to no…
sketchy. is a generous, insightful record and a welcome return to the grand balancing act of Tune-Yards’ finest work. The music that Merrill Garbus and…
Having had its world premiere at last year’s Berlinale, Marco Dutra and Caetano Gotardo’s All the Dead Ones (in Portuguese, Todos os Mortos) has now…
BbyMutha’s surprise EP once again proves that she is a crucial influence in hip hop’s present and (hopefully) future. This past August, BbyMutha released her…
Is 4 Lovers both reminds of DFA’s appeal and evinces the diminishing results when they stray from their template. Death From Above 1979 seem to…
Scary Hours 2 isn’t the full album Drake promised, but inspires listeners to keep the faith that whatever he is planning is worth the wait. Last…
It’s not the best album to come out under the Griselda Records banner, but The Plugs I Met 2 shows Benny the Butcher still can…
Funny Face works as genre deconstruction and cinema of a certain geography, but its attempts at explicit commentary are less successful. Tim Sutton is a…