In a sea of similar UK art-punk outfits, Squid’s debut makes its impact via cohesive unpredictability and greater hooks than its contemporaries.
Brian Fogel’s latest documentary is a fantastic and vital piece of journalism, albeit one whose potency is dulled slightly by questionable presentation decisions.
Charlène Favier’s debut feature is a perpetually unsettling and solidly-crafted abuse drama with a great central performance.
Sia’s appalling vanity project is ableist, racist, inept garbage.
Chris Baio’s third solo album is just fine even though it seems like the individual ingredients should add up to a more interesting record.
The original Park Chan-wook breakthrough, whilst a touch ropier than the masterworks he would later create, gets a deserving remaster courtesy of Arrow Video.
The soulful, powerful Away is more than just an undeniable artistic achievement. It’s also an excellent film.
Toys for Bob’s hyper-faithful revival is simultaneously the best and worst Crash Bandicoot game in two decades. Which of those two is entirely dependent on how you play it.
Mogul Mowgli is a hypnotic, complicated, and often bold film only held back from true greatness by an abrupt resolution.
Fake It Flowers is a promising debut LP that nonetheless sees beabadoobee remain frustratingly on the cusp of greatness.