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Marriage Story - Movie Reveiw

The “marriage” part of Marriage Story begins to dissolve early into the movie, as actress Nicole Barber (Scarlett Johansson) and her stage director husband, Charlie (Adam Driver), decide to split up.
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Creepshow Season One - TV Show Review

Every channel and streaming service seems to have its own semi- recognizable anthology these days, so the revival of Creepshow should come as no surprise.
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1917- Movie Review

With its one-shot sequences designed to approximate a single take, World War I movie 1917 ispractically designed to call attention to itself. At times, there’s refreshingly little pretension about thatfact: this story of two young British soldi
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Cats - Movie Review

Bad CGI tends not to be funny in the way an awkward puppet or goofy makeup is.
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Primal - Movie Review

Primal is the 35th Nicolas Cage movie from the last decade alone, excluding voice roles. Quality control goes out the window once any actor hits a number that high, but Cage himself tends to be reliably committed. He elevates even the worst material with equally bizarre and enthralling performance choices like weird tics and unexpected line readings; he shouts, he pauses, he stutters, he giggles.
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Fast Color - Movie Review

Ruth (Gugu Mbatha-Raw) is on the run in a drought-ravaged future America, only there’s nowhere left to run—her uncontrollable powers make it hard to stay incognito, triggering seizures that cause minor earthquakes. The government is looking for her. They want to run tests, and the only respite she has left is the place she originally ran away from: home, where her mother, Bo (Lorraine Toussaint), takes care of Lila (Saniyya Sidney), the daughter Ruth abandoned for the girl’s own safety after a particularly bad episode. 
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Booksmart - Movie Review

Watching Booksmart means having to deal with the fact that it might as well take place in a parallel universe. On the eve of their graduation, high schoolers Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) realize that their reason for keeping noses to the grindstone and having precisely no fun in school—the need to get into A Good College—hasn’t paid off. They’ve gotten into the hard-to-get-into schools, sure, but so have the partying peers they’d previously written off as slackers. Determined to loosen up, the two embark on a one-night-only odyssey in hopes of making up for lost time.
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Judgement - Video Game Review

Though it’s not titled as such, Judgment is a spin-off of the Yakuza series of Japanese mobster action games. It takes place in the same fictional red-light district of Kamurocho, and it’s still packed full of minigames, side stories, and ludicrously over-the-top martial arts.
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To Live and Die in L.A. (1985) - Movie Review

This is our first copy of To Live and Die in L.A., but between the blaring synthpop score from new wave band Wang Chung and the eye-searing neon green credits, there’s little doubt it was made in the 80s.
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Suspiria (1977) - Movie Review

Though we have the forty-years-later remake from the director of Call Me By Your Name, we’ve also recently acquired the shorter, brighter, stranger original from famous horror director Dario Argento.
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Madeline's Madeline

As a semi-experimental film about a definitely-experimental theater troupe, Madeline’s Madeline sounds impenetrable and intimidating—pretty much the definition of eating your cinematic vegetables—but instead, it’s a deeply affecting story about a girl grappling with mental illness.
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The Endless

Don't be fooled by the rather ominous title/cover combo--The Endless is less of a horror movie than it is a sci-fi drama, and a pretty middling one at that.
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Ye feels like the end.
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Detroit: Become Human

The question of whether advanced artificial intelligence can constitute life is a crowded conversation in fiction--aside from numerous science fiction books, it includes recent pop culture like last year's Blade Runner sequel, the video game Nier Automata, Westworld, and now Detroit: Become Human, which has nothing to contribute except a crass insistence on leeching off real-life struggle to prop up its own creative bankruptcy.
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Florida Project

Six-year-old Moonee (Brooklynn Prince) lives just outside Walt Disney World in Kissimmee, Florida, at the fringes of commodified happiness.
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Three Billboards Outside Ebbing, Missouri

Three Billboards Outside Ebbing, Missouri is supposed to be about righteous anger -- in response to the killing of her daughter and the subsequent lack of progress on the murder case, Mildred Hayes (Frances McDormand) buys space on the eponymous billboards to take the local police to task.
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Twin Peaks

A return, in the sense that the new season of Twin Peaks is often subtitled with “The Return,” implies a sense of comfort and familiarity, and in the context of a TV show, it implies the continuation of a story as well answers to lingering questions; Twin Peaks: The Return has some of these things.
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Humanz by Gorillaz

It's been seven years since the last Gorillaz album, and you can tell.
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Shin Godzilla

Shin Godzilla is a satire of Japanese bureaucracy and a vaguely nationalistic underdog story about politicians uniting in the face of disaster, which all sounds like a terrible idea. It sounds very people-centric, and people are never the point of Godzilla. People exist only to string together the real meat of the thing, the guys in monster suits stomping on miniatures, so that the final product can pass for a halfway coherent story instead of just some chaotic scenes of rampaging monsters strung end to end. But people are also what make Shin Godzilla so fascinating. Though the film has its share of traditional Godzilla destruction, it zeroes in on the government response, which is unprepared and largely inept and also fascinating with touches of subtle comedy. Through quick cuts, dynamic camera angles, breathless dialogue, and tons of characters, the film gives the politicians their own engrossing brand of chaos. And as a commentary on the Japanese response to the 2011 earthquake/tsunami, Shin Godzilla is aspirational in a way few movies in the franchise have been since the original. It loses some steam toward the end and it’s certainly not what people expect from a monster movie, but it can easily count itself as one of the best. Overall Rating: A
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T2 Trainspotting

T2 Trainspotting was probably never going to live up to its predecessor. The first Trainspotting is an undisputed classic gifted with a perfect soundtrack/sense of humor/style blend that would be just about impossible to replicate 21 years later. The fact that director Danny Boyle and screenwriter John Hodge, both returning, seem to know this is not a point in their favor. Their film uses self-awareness as a shield, with overt references to the original’s iconic scenes and speeches to disguise a thin concept where Mark Renton (Ewan McGregor) returns to Edinburgh, Scotland two decades after running off with the cash his dysfunctional friends made from a drug deal. They haven’t changed much – Begbie (Robert Carlyle) is in jail, Sick Boy (Jonny Lee Miller) runs both a bar and a blackmail scheme, Spud (Ewen Bremner) is still addicted to heroin. Outside some vague gestures toward what they’ve all done in the intervening years, T2 mostly relies on our memories of these characters as they were. As a commentary on aging and nostalgia, it has little to say, and as a character piece, it’s more concerned with the group’s legally dubious antics (some of which are, admittedly, great fun) than with who they’ve grown to be. It’s more footnote than sequel. The original Trainspotting worked because it was about learning who these people were, about how their actions affected their own lives and the lives of others. In the absence of that, T2 Trainspotting isn’t about much of anything. Overall Rating: C
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Hot Thoughts by Spoon

The word that best characterizes Spoon’s music is “solid,” both in their ever-present backing layer of thick, punchy drums + keyboard and their general sense of reliability. Hot Thoughts is their ninth album in just over 20 years, and that workmanlike quality can sometimes overshadow what is otherwise pretty good songwriting. Though it’d be a disservice to the quality of their work to label them another Adequate Indie Rock Band, they can provoke about the same level of investment – often, their music is to be admired rather than engrossed by. Barring a handful of electronic touches and semi-experimental tangents (“Pink Up,” “Us”), Hot Thoughts finds Spoon in their comfort zone: brief, catchy, vague, and artsy without being inaccessible. It’s not a bad place to be when it produces songs like “Shotgun” or “Can I Sit Next to You,” even if it isn’t particularly exciting. It’s not much of a jumping-in point, either – for that, see Ga Ga Ga Ga Ga or Kill the Moonlight. Overall Rating: B-
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Lone Wolf and Cub

Lone Wolf and Cub is a series of six samurai films following Ittō Ogami, a wandering assassin-for-hire who pushes his young son, Daigorō, along the road in a baby cart. Ogami relies on his considerable fighting skill and resourcefulness to overcome opponents, and though all the films feature simple plots, they’re notable for their stylized, increasingly cartoonish fights. Characters leap to impossible heights. They signify their deaths with absurd red fountains. Ogami constantly reveals that he’s booby-trapped the baby cart with bladed wheels and machine guns and other weapons. Tomisaburo Wakayama portrays the character with a constant scowl and a piercing glare alongside a credible fighting ability, and in fitting with the character, the actor looks more like a villain's most powerful henchman than a traditional hero. The series does, however, fall pretty constantly into scenes of troubling sexism; you start to expect something horrible any time a woman appears onscreen, and it feels exploitive even when you consider the time period portrayed. And though the movies are filmed with style (all sweaty close-ups and striking colors and harsh shadows), they do peak early – the first looks the best, and the second is the most engaging with near-constant action. While the others (except maybe the fourth) remain quite entertaining, inventive, and admirably consistent, they don’t recapture the quality of the series when it was fresh. All the films are available in subtitled Japanese, though this release also includes Shogun Assassin, an English language version that edits together parts of the first and second films. Overall Rating: B+
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Blank Face LP by ScHoolboy Q

At just over 72 minutes in length, the fourth album from ScHoolboy Q features the Top Dawg Entertainment rapper at his most ambitious. Across 17 tracks, production influences range from trap to jazz rap to West Coast gangster rap, all of it forming this thick, aggressive, foreboding atmosphere. But even on the heaviest tracks, Q, with guest spots from Kanye West, Vince Staples, Anderson Paak, and others, never sacrifices a good pop hook. His raspy, often choppy delivery sets him apart from his peers, even as he tackles familiar subjects like newfound fame and gang life, some of it celebratory but much of it steeped in regret and anxiety. Although some songs highlight Q’s clever metaphors and wordplay, Blank Face LP often finds him coasting on attitude rather than lyricism; he squanders his most vivid, personal lines in vague bars that paint him as an enigma, faceless in the way the album’s title implies without the same sense of purpose. And despite a few great songs (“Groovy Tony,” “JoHn Muir”), Q just doesn’t have the content or the insight to fill out an excessive 72 minutes. There are few truly weak tracks, but the album is sprawling and formless and overall a bit of a chore to get through in its entirety without a truly gripping artist at its forefront. Overall Rating: C+
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