Derek Yee’s Sword Master Is an Underwhelming CGI Spectacle (Review)
This CGI-filled remake of 1977’s Death Duel never quite reaches the martial arts heights to which it so clearly aspires.
In Rotation: The Clientele, Landing, The Daysleepers, Psychic Temple (Review)
Dreamy autumnal pop, spaced-out slowcore, The Smiths get a shoegaze makeover, and some gorgeous psychedelic pop.
Homecoming by Sorrow Plagues (Review)
Sorrow Plagues’s blend of black metal and shoegaze contains a few sonic surprises along the way.
Gunfighter Ballads and Trail Songs by Marty Robbins (Review)
Marty Robbins’ music presents an idealized, but never schmaltzy vision of the American West. Plus, he has a voice for the ages.
Netflix’s Blame! Adequately Captures the Spirit of Tsutomu Nihei’s Cyberpunk Manga (Review)
But those hoping to see lots of the manga’s vast, dystopian weirdness may be slightly disappointed.
Sincerely, Future Pollution by Timber Timbre (Review)
Timber Timbre’s music is dark and disquieting, and intoxicating precisely because of that.
Take a Minute by Unwed Sailor (Review)
Unwed Sailor’s latest EP is particularly ambitious in scope and sonic diversity.
Slowdive’s First Album in 20 Years Is Exactly What I’d Hoped For (Review)
More than just a simple nostalgia trip, the new full-length finds Slowdive building on their celebrated sound.
In Rotation: Steve Hauschildt, Lorn, Software (Review)
Highly evocative electronic music, unused synthesizer movie scores, and vaporwave composed before vaporwave was a thing.
In a Silent Way by Nico Niquo (Review)
The gently unsettling aspects of Nico Niquo’s ambience makes it all the more beautiful and intriguing.
Still Walking by Hirokazu Koreeda (Review)
Still Walking explores family drama with grace, and never once slips into Hollywood melodrama.
The Good, The Bad, The Weird by Kim Ji-Woon (Review)
Kim Ji-woon’s “kimchi western” is all about style as substance.