South of Midnight is beautiful even at its ugliest.
For all of its spiritedness, the film wants for a more unique sense of invention.
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The film maintains a unity of thought despite its expansive, kaleidoscopic approach.
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Gazer sidles up to its story cautiously, mirroring its main character’s questioning nature.
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There’s a sense here that Shannon has a dark comedy on his hands that he can’t commit to.
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The song finds the singer pining for her lover in a pre-apocalyptic landscape.
Despite being marketed as a penetrating self-reflection, the album offers few pearls of wisdom.
The film serves as a continuation of the video for “We Can’t Be Friends (Wait for Your Love).”
Unicorns: the glittery, magical, and at times terrifying creatures that the movies just can’t resist.
Gomes discusses the film’s “ping-ponging” dialectic, interpretations of the film, and more.
The only variety here is in the velocity and volume of the men’s anger.
The silliness sticks more than the pathos in The Picture of Dorian Gray.
Is this the underwhelming Kit Kat Club all over again? Well, yes and no.