In ‘Armageddon Time,’ James Gray’s past mirrors the present
The director’s personal childhood story examines America’s ever-relevant issues of racism and classism.
“Poster Girl”: An incomplete allegory
Veronica Roth turns dystopia on its head and spins out.
‘Aftersun:’ A subdued story with devastating consequences
Charlotte Wells’ directorial debut ‘Aftersun’ emotionally stuns and stings.
Prepare for the Dance of the Dragons
Rhaenyra will always be that girl.
Arctic Monkeys’ most heartfelt album yet,“The Car”, has arrived
The album begins where their last LP, the misunderstood masterpiece “Tranquility Base Hotel and Casino,” left off. Will the change of scenery condemn history to repeat itself?
“Welcome to Wrexham:” A look inside the revitalization of a town and football club
Ryan Reynolds and Rob McElhenney changed the fortunes of Wrexham.
Review: Is Taylor Swift’s ‘Midnights’ a sleeper hit or lullaby?
This celebration of insomnia seems to be the cure for sleeplessness.
‘The School for Good and Evil’ is half-taught
Film critic Valerie Wu reviews “The School for Good and Evil,” Netflix’s latest venture into young adult fantasy and literary adaptation. While the film is grand, Wu writes, it unfortunately does not match the quality of its visuals with the depth of its story.
‘It’s Only Me’ is rap’s biggest letdown
Lil Baby’s most anticipated album fails to meet expectations set forth by prior releases.
The 1975 returns with ‘Being Funny in a Foreign Language’
With producer extraordinaire Jack Antonoff in the fold, the band’s newest album finds The 1975 evolving their indie-pop stylings without the artistic vision to fully stick the landing.