BY JACOB RICH
I walked out of “Home” about an hour in, so I couldn’t tell you how the story ends. I was not the first person to get up and leave this particular showing at the Ann Arbor Quality 16, nor do I surmise I was the last.
BY REGAN DETWILER
Death Cab for Cutie’s latest release and eighth studio album, Kintsugi, is quite simply a solid album
BY GIBSON JOHNS
Boy bands aren’t supposed to last forever. We all know that. At a certain point in their unrelenting reigns over pop music, the hysteria dies down, the boys become men, the fans’ interest wanes, their sound evolves and, eventually, a band member decides that they’re over it.
BY VANESSA WONG
The film constructs an intricate dialogue about innocence and intimacy. Sex sparked the monster, and the loss of innocence brings an underlying sense of anxiety.
BY KARL WILLIAMS
Dufour-Laperriere’s film is a documentary in the most minimalist sense of the word. It documents the lives of the voyagers as lived without adornment, reveling in the banality of life at sea isolated from larger social interactions.
BY ALEX BERNARD
Seeing that child trip over a tree root and distantly wondering if she’ll fall in the shower when she’s 82, and will she break her hip? And who will help her?
BY GRACE HAMILTON
“It’s fun and different and shocking,” Franklin said. “There’s so much I wouldn’t have thought to talk to people about until seeing this play.
BY ANDREW MCCLURE
Calves are, in the main, on dudes, gross to look at ... so are legs.
BY COSMO PAPPAS
If literature is written in the confluence of historical, political and social forces, then “Iphigenia” is no exception
BY MATTHEW BARNAUSKAS
“Big Time in Hollywood, FL” finds itself within the well-known territory of Comedy Central slacker comedies with the likes of “Broad City” and “Workaholics,” but it has yet to reach the comedic heights its predecessors have displayed over the years.
BY AKSHAY SETH
It’s fucking terrifying in that “I feel bad for this filthy rich celebrity” kind of way, true, though more so when one considers the bottleneck glaring down any person of color looking for an in, no matter how small.
BY LAUREN WOOD
Although it’s not always clear where the line is between offensive jokes and funny, boundary-pushing ones, “Get Hard” falls definitively into the former category, relying on overdone acting and a questionable plot structure to confront issues much larger than it can handle.
BY MELINA GLUSAC
Simplistic folk takes the front seat — there’s no tinkering with genres, electronics, tempos or keys here. It’s just a man and his guitar — against the world, like Elliott Smith or Bob Dylan? Not quite, though the album has hints of both of these gents.
BY ERIKA HARWOOD
Would I wear a bubble shirt, the itchy, one-size-fits-all top that reached its peak around the same time “Lizzie McGuire” did, in 2015? No, because I’m not an insane person.
BY KARL WILLIAMS
McCarthy’s newest novel, “Satin Island,” bears testament to his ability and place as a writer of the avant-garde.
BY RACHEL KERR
It began with Beyoncé and her 2013 self-titled project; since then, fellow artists, too, have abandoned the traditional album rollout.
BY ANDREW MCCLURE
There was a time before Spotify and playlists of playlists, when people driving to work or ensconced in a sofa listened to the radio, which meant they had to shut up and listen.
BY BAILEY KADIAN
We have digital everything now — how would visiting a printing press serve me any benefit in my writing or education?