Sorrow Plagues’s blend of black metal and shoegaze contains a few sonic surprises along the way.
Marty Robbins’ music presents an idealized, but never schmaltzy vision of the American West. Plus, he has a voice for the ages.
But those hoping to see lots of the manga’s vast, dystopian weirdness may be slightly disappointed.
Timber Timbre’s music is dark and disquieting, and intoxicating precisely because of that.
Unwed Sailor’s latest EP is particularly ambitious in scope and sonic diversity.
More than just a simple nostalgia trip, the new full-length finds Slowdive building on their celebrated sound.
Highly evocative electronic music, unused synthesizer movie scores, and vaporwave composed before vaporwave was a thing.
The gently unsettling aspects of Nico Niquo’s ambience makes it all the more beautiful and intriguing.
Still Walking explores family drama with grace, and never once slips into Hollywood melodrama.
Kim Ji-woon’s “kimchi western” is all about style as substance.
Summer Wars adroitly balances sci-fi geekiness, technology-focused social commentary, and family melodrama.
I love the idea of a Takashi Miike samurai film, but 13 Assassins just doesn’t live up to its promise.
Yes, there’s lots of ping pong, but also a surprisingly nuanced exploration of the thin line between friendship and rivalry.
I’ve yet to see a Wong film that didn’t impress me on some level, but I’ll admit it was difficult to make it through Ashes of Time.
Mamoru Oshii’s films are usually more satisfying and challenging than this.
The first Evangelion walks a tricky line between appealing to otaku without feeling like a shameless cash-grab.
A simply brilliant adaptation of one of the most classic horror stories of all time.
Vexille’s CGI strives for powerful sci-fi storytelling but frequently lands in the uncanny valley.
Part semi-autobiography, part self-exorcism, part post-modern narrative, and a career rejuvenation for Van Damme.
Deeply heartfelt, with captivating visuals and indelible images, Ink handily sidesteps its flaws.