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The sonic thumbprint of MF DOOM will live eternally in the forensics of hip-hop DNA and underground culture as a whole.
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Music fans who miss, or missed, the long party that was mainstream music in the mid-’80s will be skillfully taken back to fast times in Can’t Slow Down.
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So Miguel Zenón, who on saxophone has the facility of a bebopper, which he uses discreetly, is here a singer as well as an instrumentalist.
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I Died a Million Times is an enjoyable and informative read for film noir aficionados and casual movie fans alike, offering a cogent analysis of ’50s gangster noir as a cinema of social commentary.
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Desert Oracle is an omnibus, a kind of hand drawn map, as well as a bit of a crackup — something you will peruse and possibly find the route leading to a deeper dive.
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Maybe the greatest value of Saviano’s narratives is that they rebuke the complicity of silence; they are acts of dissent that refuse to kowtow to the oppressive omertà.
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Amir Nizar Zuabi’s engaging drama is a hopeful testament to communication and forgiveness.
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2020 offered another rich year for the documentary form, well beyond the tabloid entertainment of the likes of Tiger King
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Two from Dave Brubeck: Time Outtakes, the alternate tracks for the Dave Brubeck Quartet’s classic 1959 album Time Out is very good to have; Lullabies is filled with the intimate sound of the pianist’s old age, tender affection, and distilled musical wisdom.
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The filmmakers use their story to point towards a way to help us navigate through our own polarization; it has something to do with each of us widening our perspective to take in more than just our immediate experience.
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