Review
Nicolas Winding Refn’s baffling, vibe‑driven film trades narrative for fetish—and asks whether you still care what the critics think.
Mike Patton’s supergroup navigated pandemic-era anxieties with surgical precision while Melvins provided savage support.
Dennis Cooper’s “transgressive” reputation obscures his deeper project: language as moral instrument, and the victim rather than the predator as the true subject.
Soprano-conductor Barbara Hannigan’s semiquincentennial album reframes familiar American classics through a lens of wistfulness, insight, and quiet defiance.
A turn-of-the-century schoolteacher’s idealism collides with alpine tradition—and the land itself—in a beguiling, sensorially rich debut.
Documentarian Ross McElwee’s most profound film folds four decades of self-portraiture into a threnody for his son—and a meditation on memory, guilt, and cinema’s solace.
The webslinger’s new outing has the cameos, the conspiracy, and the corporate logic. What it doesn’t have is heart.
Kelly McWilliams’s “No One Leaves the Manor” turns a haunted-house setup into a sharp, lyrical reckoning with race, class, disability, and trauma.
From Tom Morello’s searing set to CMAT’s breakout turn and Dave Matthews’ final-set detour, the festival kept its focus on music that opened outward rather than looking back.
The punk auteur’s late-career swan song is ragged, witty, and politically sharpened, though not always as cohesive as its ambitions.
Book Appreciation: “Gulliver’s Travels” at 300 — Small Men, Tech Bro Delusions