In coming-of-age, “menstruosity” body horror films, the Final Girl is the sexual transgressor. As her sexual freedom grows, so does her monstrosity.
Conceived under fraught circumstances and rife with youthful passion, Foo Fighters’ most cherished album, The Colour and the Shape, is also a relic, never to be replicated.
Chicago-based post-rock icons Tortoise get nostalgic with a remix re-release, with Doug McCombs telling tales of missing tapes and giving us new updates.
Lyrically and sonically, psych-rock band Abronia’s Map of Dawn explores an ever-shifting landscape of creases, caves, and unreliable ground.
Even four decades later, the druggy Rain Parade still sound out of time – like an immunocompromised violation of the New Wave space/music continuum.
Over 22 years of performances, Philip Seymour Hoffman rarely disappointed. Even when he stepped outside his comfort zone to make commercial fodder, he remained riveting.
One has to go along with the flow of existence, no matter what suffering it brings. These country music artists give form to sadness and beauty to despair.
Maroon 5’s sophomore album, It Won’t Be Soon Before Long, pivoted away from their pop-punk beginnings and set them up for a decade of pop culture omnipresence.
Director John Patton Ford discusses his debut feature Emily the Criminal, a critique of American society borne within the death of the American Dream.