Or a few impolite thoughts on The Young Karl Marx, by the director of that film and I Am Not Your Negro.
Katherine Dieckmann explains how Strange Weather's simple truths feel radical in the current disturbing political climate.
Stephen Winter channels Jonathan Swift as he responds to controversy surrounding [name redacted]'s painting of Emmett Till.
For Xenia Rubinos, the record is all about finding power and grace amid oppression and pain.
Meredith Graves waxes poetic on why the mall beats the Oscars’ red carpet.
On his previous album, Kendrick Lamar was a filmmaker. On his new one, he’s a writer — and maybe one of the best of his generation.
In which the author fulfills his responsibility to respond to the film by combining well-reasoned observations with an extended ice cream metaphor.
This miraculous continuation and reimagining of one of the great cinematic sagas marks a significant moment in American filmmaking.
A filmmaker writes about Emmerich's much-derided historical drama both before and after watching it.
Zachary Cale's album might sound timeless, yet it's rooted in a very specific time: sunset. But the sunset of what? A day, an empire, an era?