BY CONRAD FOREMAN
There is no originality. There is no creativity. Nothing about “Son of God” offers any value except for someone seeking to mix and match Jesus’s greatest hits.
BY DREW MARON
Overall, “The Red Road” promises to be a tense, gripping addition to an already impressive line-up of great TV currently out there.
BY ADAM THEISEN
On G I R L, Pharrell is that main artist, so after setting the stage, he’s still left to fill in everything else.
BY CHLOE GILKE
The real thrill of “Hannibal” is that there is no comfort in context. The show brings viewers straight into the heart of the darkness and madness that is Will and Hannibal, and nothing is ever as it seems.
BY ERIKA HARWOOD
Officially four albums deep into an eclectic oeuvre, Annie Clark further cements herself as the brand St. Vincent on her new self-titled album; a guitar-playing, lavender afro-sporting art rocker.
BY MAYANK MATHUR
The thrills take too long to come and are eventually too dull to inspire any genuine suspense. The film does provide some laughs — most of which are intentional — but laughs aren’t what keep an action thriller buoyant.
BY EMILY BODDEN
The CW’s newest show, “Star-Crossed,” provides everything that audiences have come to expect from the network — an attractive cast, a surprisingly good soundtrack and sassy dialogue.
BY YARDAIN AMRON
In three words, Morning Phase is soft, slow and somber. Instrumentation is bare bones: acoustic guitar and Beck’s voice acting as foundation, and strings, light pianos and harmonies providing the character.
BY GREGORY HICKS
The 2013 Oscars cast a mighty gloom on awards night with Adele and Paul Epworth’s award-winning “Skyfall,” but no such song compares to 2014’s cheery round of nominees for Best Original Song. Here’s the musical breakdown, in all of its peace, pleasure and passionate liberation.
BY GRACE PROSNIEWSKI
So whether you’re interested in caustic wit akin to that of the “Algonquin Round Table,” or perhaps something more in a satiric comedy of manners, “Hay Fever” has it all and can maybe even teach you a little something about humor.
BY ANNA SADOVSKAYA
You can’t hold a painting the same way you can a book. You can’t sing along to Chopin’s piano concertos. You can’t dance with Diana Vishneva. It’s the lack of ownership — what’s the point of appreciating something you can’t touch, you can’t own.
BY ZACHARY WITUS
The apparent sexiness of cigarettes confuses me. On the one hand, cigarettes aren’t cool anymore. But there are still many films, old and new, that depict, celebrate and/or sexualize smoking. Cinema seems to be a pre-carcinogen.
BY BRIAN BURLAGE
Is a film about 300 men defending their country in the face of imminent death interesting? Absolutely. Is a film about the simultaneous naval effort of undaunted, politically driven Greeks necessary? Not really. But is it entertaining? You betcha.
BY SEAN CZARNECKI
"The Wind Rises" is a celebration fitting to tie off Miyazaki’s body of work — bittersweet as a farewell, comforting as an ode to the future. A monument to the innovation of Japan, and the minds the world over.
BY JOE REINHARD
“Mind Games” is imperfect, with some very notable flaws, but entertaining — “entertaining” might not be enough especially given the track record of the show’s creator, Kyle Killen.
BY ERIKA HARWOOD
“I’m someone who loves and cares about fashion, you just can’t tell by the way I dress,” one of my friends told me the other day.
This hit close to home. Too close to home.