With 232 pages and an expanded 12″ by 12″ format, our biggest print issue yet celebrates the people, places, music, and art of our hometown, including cover features on David Lynch, Nipsey Hussle, Syd, and Phoebe Bridgers’ Saddest Factory Records, plus Brian Wilson, Cuco, Ty Segall, Lord Huron, Remi Wolf, The Doors, the art of RISK, Taz, Estevan Oriol, Kii Arens, and Edward Colver, and so much more.
Black Star, No Fear of Time
Over 20 years since their sole album together, the latest from Yasiin Bey and Talib Kweli never reaches the skies of their debut, or the full flower of the talents of anyone involved.
Florence + the Machine, Dance Fever
The beats on Florence Welch’s fifth album are more physical than ever, and the lyrics are darkly comic—all in service to that thrilling feeling of dancing on the edge of a knife.
Cliffdiver, Exercise Your Demons
The first proper album from the punk seven-piece thrives with a sense of wild abandon and sheer joy at being alive.
But don’t expect it to abandon the Marvel formula.
The “Stoker” director returns with a complex, compelling (and carnal) genre tour.
Netflix’s latest foray into the Marvel Cinematic Universe is a high point for both the streaming service and the MCU as a whole.
Simon Barrett and Adam Wingard’s sequel does right by the 1999 original, but doesn’t go much farther.
“Suicide Squad”‘s casting and budget can’t make up for a lack of story and emotional depth.
The issue of treading on hallowed ground aside, Paul Feig’s latest delivers exactly what it promises.
It’s not a Cap vs. Iron Man world after all.
The first film offering from one of the best comedic duos of the past decade is a victim of its own format.
Richard Linklater comes home again.
Robert Budreau’s biopic is a love story of a different kind.
Director Tim Miller grounds dated violence and lowbrow humor in a thoroughly modern world.
Adam McKay lightens dense subject matter with his comedic sensibilities.
The screenwriter biopic continues the grand tradition of Tinseltown tooting its own horn but ditches the self-importance.
Mendes and Craig phone in the “Skyfall” follow-up.
Guillermo del Toro’s gothic haunted house flick is more dead than alive.
Denis Villeneuve’s attempt to stay neutral hurts an otherwise great film.
“The Visit” is M. Night Shyamalan’s best film in fifteen years.
Guy Ritchie’s adaptation of 1960s television show “The Man from U.N.C.L.E.” falls flat.
“The End of the Tour” honors David Foster Wallace by making him feel like a real person.
Low on action and high on exposition, Marvel’s Ant-Man is pretty much the antithesis of Avengers: Age of Ultron; tone-wise,…
Rick Famuyiwa’s music-fueled indie drug comedy hits all the right notes.
Season three finds the Netflix original ditching the daytime TV melodrama and finally hitting its stride.
Marvel’s “Avengers: Age of Ultron” entertains, but stays the familiar course set by the unstoppable MCU.
Netflix’s “Daredevil” series takes from the best of the character’s comic book canon, featuring fantastic performances by Charlie Cox and Vincent D’Onofrio, for Marvel’s darkest offering yet.
Nick Cave, Lucinda Williams, Van Dyke Parks, and others came together to celebrate Ginsberg’s legacy and raise funds for the David Lynch Foundation.
The Zellner brothers’ darkly funny Coen “tribute” plays with truth and fiction and strikes gold.