Reviews
Nova Twins Fight the Good Fight with the Genre-Bending Supernova: Review
Sometimes, the best art is born out of adversity, struggle and strife. Look at some of the greatest creative movements in history, for example. The protest songs of the ‘60s, the Harlem Renaissance — they come from times when pain, oppression and destruction were to no longer be tolerated by the masses. For UK’s Nova Twins, that adversity, struggle and strife was large scale — an intersectional pile on of racism, sexism, environmental decline, and the loss of rights. Their sophomore album, Supernova, tackles some of these issues from the opposite perspective, focusing on the reclamation of what’s been taken rather than the agonizing over what’s been lost. Instead of forlorn lyrics directly reflecting our many tragedies, the duo, Amy Love and Georgia South to be specific, create agency in t...
Elvis Review: Baz Luhrmann’s First Biopic Is Not As Absurd and Ahistorical As You Might Expect
The Pitch: Baz Luhrmann, the Australian maximalist behind such audaciously stylized films as Moulin Rouge! and The Great Gatsby, has taken on his first biopic, and it’s a monster. Although a few attempts have been made at dramatizing the life story of Elvis Presley, most notably Kurt Russell in John Carpenter’s 1979 film also titled Elvis, Luhrmann’s movie is by far the biggest and boldest yet, with an $85 million budget dwarfing every other Presley biopic combined. Austin Butler, a 30-year-old actor who made his name with several teen and tween-friendly TV roles on the Disney Channel and The CW, is the unlikely star of this massive biography of the King of Rock’n’Roll. An Anaheim native whose most prestigious previous project was a small role as a member of the Manson Family in Once Upon ...
The Umbrella Academy Season 3 Treats Elliot Page’s Transition With Respect: Review
The Pitch: The Umbrella Academy is not a subtle show. Characters outwardly express both what’s happening on screen and their feelings about it. The cinematography calls constant attention to itself with aerial shots and CGI camera maneuvers to glide us around stately mansions and old-fashioned hotels. In one episode of the show’s third season, “Cat’s in the Cradle” plays as an ironic musical accompaniment for a spoof on a father-and-son bonding montage. There are somehow needle drops more obvious than that. That The Umbrella Academy is a show that, in a way, serves as its own audio description, might be more of a liability were it not for its characters, both the core of ne’er-do-well estranged adopted Hargreeves super-siblings as well as the many beings they get to know. Watching this sho...
Lightyear Review: A Sweet, But Relatively Safe Buzz Lightyear Origin Story
The Pitch: It’s fitting that after four editions of Toy Story over the last 25 years, numerous spin-off shows and games, and a still-undisputed legacy status, Pixar simply wasn’t done telling stories in this universe. But this one is a bit of a curveball: In the year 1995, a young boy named Andy is given an action figure of Buzz Lightyear, a space ranger who served as the protagonist in Andy’s favorite film. Lightyear is that film. Lightyear promises to be the definitive origin story of one of the film’s most iconic characters, complete with a sci-fi backdrop, his signature attitude and catchphrase, and a major appearance from Buzz’s primary antagonist, Zurg. Though they’ve traded Tim Allen for Chris Evans in the recording booth, there’s undoubtedly a classic Pixar feel to Lightyear. The f...
Players Uses League of Legends to Satirize Sports Docs, and It’s Hilarious: Review
The Pitch: What Walk Hard: The Dewey Cox Story did for music biopics, Netflix’s American Vandal did for the true-crime docuseries. For two glorious seasons of adolescent dick and poop jokes painted with all the forensic seriousness of Making a Murderer, Tony Yacenda (who also directed episodes of Dave and real-life true crime doc Trial by Media) and Dan Perrault perfectly threaded the needle between the melodramatic trivia of teenhood and the over-the-top mechanics of true crime. After that show’s unceremonious cancellation, Yacenda and Perrault are back with another pointed critique of the documentary format and the juvenile antics of manchildren. This time, the question is: What would The Last Dance look like if it were actually about mouthbreathing esp...
Chicago Chefs Cook Through the Pain in FX’s Bittersweet Dramedy The Bear: Review
The Pitch: Carmen “Carmy” Berzatto (Shameless‘s Jeremy Allen White) is a young, ambitious chef who fled his working-class Chicago roots to spend a few years as one of the hottest chefs at a prestigious New York restaurant. Now, he’s returned home, feeling the joint stings of professional burnout, alcoholism, and (most importantly) the tragic death of his older brother by suicide. What’s more, Carmy’s brother left him the family business, a down-on-its-luck Italian beef joint called The Original Beef of Chicagoland. Now, he’s tasked with not just keeping the place afloat, but bringing his haute cuisine training to the restaurant and the gaggle of misfits that work there, from his hotheaded cousin Richie (Ebon Moss-Bachrach), who manages the place with its tenuous link to coke dealers a...
The Barry Season 3 Finale Captures Keenly Why Connection Matters
[Editor’s note: The following contains spoilers through the Season 3 finale of Barry, “starting now.”] It has always been a tricky thing, calling Barry a comedy, but the show may have left that word behind for good. The third season of the Emmy-winning HBO series has been awfully focused on consequences — or, more importantly, the ripple effects of a person’s actions in life, especially when those actions involve the death of another. And while we’ve been seeing those ripple effects all season long, primarily in the form of people trying to kill Barry (Bill Hader) as revenge for his past crimes, things really do come full circle in the season finale. Breaking it down, the narrative’s a relatively simple one, wrapping up key storylines across the season. Gene’s (Henry Winkler) career prospe...
Maluma Masterfully Navigates the Romantic and Risqué on Love & Sex Tape
Maluma is spicing things up on his seventh album. The Colombian heartthrob channels the playful sex appeal in his new collection of romantic and risqué tunes. After teasing fans with a few steamy posts on Instagram, Maluma surprise-released his new LP The Love & Sex Tape. Across the eight-song album, he returns to his reggaeton roots while adding an alluring electronic touch. Maluma seamlessly weaves his charming flow into his love songs and bedroom bangers. The Love & Sex Tape arrives during one of the biggest years in Maluma’s career. He starred in his first major movie role alongside Jennifer Lopez in Marry Me and later grinded with Madonna during his sold-out Medellín concert. Now a decade into his career, Maluma wants the world to know that fame hasn’t taken away his Medellín ...
Dirty Daddy: The Bob Saget Tribute Is a Messy But Loving Remembrance — Review
Bob Saget pulled off a remarkable trick over his long and busy career in comedy: He spent the late ’80s and much of the ’90s as one of America’s favorite professional genial dorks, playing a square dad on the cornball and often unbearably saccharine ABC sitcom Full House and ringmaster to America’s less professionally genial dorks — those suffering home-recorded mishaps on the same network’s America’s Funniest Home Videos. After those gigs ended, though, he directed one very funny and decidedly less clean comedy, Dirty Work, and word about his non-ABC comedy career spread: That Bob Saget fellow really works pretty blue! This was probably always true outside of his time on ABC — how many comedians can’t hit a blue streak sometimes? — but Saget seemed to particularly delight in puncturing hi...
Jurassic World Dominion Has Us Rooting for the Dinosaurs, and That’s Probably a Bad Thing — Review
The Pitch: In a twist no one could have possibly seen coming, it turns out that releasing a wide variety of extinct species into a global ecosystem might have some negative repercussions on said global ecosystem. That’s where Jurassic World Dominion begins, four years following the events of Jurassic World: Fallen Kingdom, which is almost enough time for most of the world to get used to the spread of dinosaurs across the planet. But funnily enough, the most dangerous creatures in this brave new world aren’t dinosaurs — they’re bugs. Specifically, the prehistoric-sized locusts that have begun tearing through the world’s crops, which if left unchecked could have extinction-level repercussions for literally every living creature. Fortunately, Dr. Ellie Sattler (Laura Dern) is doing her best t...
The Janes Is a Timely, Tight-Knit Oral History of Underground Abortions: Review
The Pitch: On May 3, 2022, a draft opinion from the Supreme Court leaked to Politico detailed the Court’s majority decision to reverse Roe v. Wade. The Roe v. Wade decision, which was declared in 1973, guaranteed the constitutional right for a pregnant woman or person to receive an abortion if they choose. In the years that followed, the ruling had allowed more Americans to have greater access to birth control and other forms of pregnancy-prevention measures without the risk of them losing their lives in the process. Given how integral Roe v. Wade has been to people across the country, the fact that it could be struck down is terrifying, to say the least. This landscape makes the release of The Janes, HBO’s latest documentary directed by Tia Lessin and Emma Pildes, so much more critical. B...
Irma Vep is a Refreshingly Meta Take on the Lines Between Art and Life: Review
The Pitch: Mira Harberg (Alicia Vikander) is an A-list Hollywood action star, hot off a Marvel-like superhero film called Doomsday whose smash success is colored by losing her assistant and lover, Laurie (Adria Arjona), to the film’s director during the shoot. Licking her wounds, she takes a break from blockbusters to fly to France to shoot a limited-series remake of the 1910s French serial Les vampires, in which she’ll play the iconic cat-suited criminal Irma Vep. But the shoot is suitably manic and unpredictable, from its director, René Vidal (Vincent Macaigne), being such a volatile, insecure mess that the financiers won’t insure him to her prima donna castmate, to Vincent Lacoste’s Edmond, who keeps trying to change his dorky detective character to better flatter his machismo, and...
