As is the case for nearly every other aspect of “Mute,” an utterly mindless sense of style is the number one priority—at the expense of virtually everything else that might be found in a potentially good movie.
For a culture so obsessed with shortening everything into a 280-character social media soundbite, public discourse has centralized around feature-length films and largely ignored the art form of the animated short. The Animation Show of Shows aims to change that.
“Black Panther” is a fantastic superhero film, one that is not just of Africa but explicitly about Africans, as the film is heavily thematically invested in real-world racial dynamics.
Lockn’ has announced its initial lineup, and it is huge. Dead and Company, the continuation of the Grateful Dead, will be playing four sets while headlining both Saturday and Sunday at the festival.
Texting is such a central part of modern communication that on-screen text messaging has become just as important as spoken dialogue.
Directors Peter and Michael Spierig put forth a script so corny not even Helen Mirren’s expertise could save it.
From the outset, a potentially dangerous cult leader is drawn as a reasonable, religious, caring family man.
Ty Segall has never been one to be pigeonholed into a certain sound.
Pouya Shahbazian, a U.Va. alumnus and producer of "Love, Simon," shares a little about his processes and passions.
Shame's first release, “Songs of Praise,” immediately sets 2018 off on a good start as an album consisting of 38 minutes filled with ranging emotions and innovation.
Long viewed as a promising up-and-coming beatmaker, the relentless Metro continued Boomin and during 2017 finally established himself as one of the premier producers not only in the world of hip-hop, but across the music industry.
"Black Mirror" returned to Netflix for a fourth season, bringing along six new episodes.
Chris Stapleton recently released his third record, “From a Room: Volume 2,” and it serves as another reminder as to why he is — and very well should be — the new face of country music.
Unfortunately, Sia's rushed writing process and lack of originality shine through on "Everyday is Christmas."
As the year comes to an end, it is time to reflect on some of the most engaging TV of 2017.
G-Eazy's work in showing emotional depth and authenticity for such a wide commercial audience remains largely untested.
“Justice League” is simply an insubstantial film, and what it does have still isn’t very good.
“Wild Honey” instead becomes a romantic comedy which should not work but does. The incongruity of the characters — not only within their own lives but with each other — is a fun and light spin on the boy-meets-girl drama.
Unfortunately, “Murder On the Orient Express” sounds more fun than it is.
Hippo Campus put on an unsatisfyingly static and half-hearted performance, and for much of this the crowd is to blame.
