Tuesday, March 4 2014
These songs are dull, forgettable, and mostly interchangeable.
Monday, March 3 2014
For the most part, Those Who Kill lets you feel cynical and all-knowing. But with the camera on Chloë Sevigny's pale, ghastly face, you also feel you can never know enough.
Come eat from the trashcan of ideology with Slavoj Zizek.
Timothy Schaffert draws upon L. Frank Baum's Oz mythology for his gorgeous fifth novel, The Swan Gondola.
The Juvenile Justice System remains wrong in its conception of zero tolerance. Lives are being destroyed.
More meaningless death and more meaningless destruction still rings hollow.
Drive-By Truckers have lost a songwriter and a guitarist since their last album, but English Oceans finds them adjusting with aplomb and turning out another strong record.
Part Shakespearean analysis, part cultural anthropology, part literary criticism and part psychoanalysis, Missing Out is a compendium of insights and musings about our desire to be more than we are.
Without a doubt, this is another Real Estate album.
Ava Luna's second full-length release is inconsistent, but when it's on, it does the band's influences proud.
Cantrell expertly blends a host of influences, instruments, and styles into a brilliant country record. Her lovely voice is just the icing.
On Trance Hypothesis, the mystical and the manic intertwine for one of the most rewarding global fusion releases in recent memory.
It may be unfair to hold being merely very good against Dexter Gordon, but if he has better records, this 1955 one is still a crucial document to understanding Gordon's career and, thus, a vital piece of the history of jazz.
A lone-wolf pathologist finds himself tackling three murder mysteries whilst trying to resolve issues damaging his personal life.
Friday, February 28 2014
The best idea in Non-Stop is the plane. The space is tight and the camera is close -- especially close on Bill's (Liam Neeson) face.
"Over and over" is a good way to sum up The Bag Man, a movie that runs perilously close to two hours, and uses most of its bad ideas at least twice.
Gardiner approaches Bach with a great deal of consideration beforehand, leavened with the knowledge that music is about the transmission of emotion rather than logic.
This deadpan gem betrays a surprising warmth beneath its wry exterior. Simply put, it's one of cinema's richest and most compassionate tragicomedies.
Winter took his axe to newly discovered worlds of feedback and kept on whacking.
A couple of hipsters write and record music to some old, unpublished folk lyrics. Sound familiar? Well, you ain't heard nothing yet.