Followers of twentieth century spy fiction ought to be delighted by the news of a miniseries adaptation of a John le Carré novel. Originally aired in February on BBC in England, “The Night Manager,” one such adaptation, premiered on AMC in America this week.
Mac DeMarco’s last full-length release, “Another One”, debuted in August of 2015, but fans are beginning to get a bit antsy for the Canadian artist to put out another one of his eight-track recorded masterpieces.
Kid Cudi dropped the hot new track “All In” on his Soundcloud with little warning April 15.
Few shows have ever boasted a jokes-per-minute ratio as high as “Unbreakable.”
Though the girls, and guys, have had their fair share of ups and downs this season, this satisfying conclusion sets them on the path to becoming self-actualized adults and gives them wide open storylines for the final season.
Disney’s trend of remaking their animated films continues with “The Jungle Book,” the classic tale of the man-cub Mowgli.
The existence of the Shortys speaks to the ever-increasing influence of short-form, digital content on the entertainment world as a whole.
Director Pamela Romanowsky makes a valiant effort but ultimately misses the mark in her adaptation of Stephen Elliott’s memoir “The Adderall Diaries."
After skipping out on two of the last three albums to work on his own solo material, Animal Collective member Deakin (Josh Dibb) released his long-gestating debut, “Sleep Cycle.”
Writing an un-effusive review of “Hamlet” is a little bit of a nightmare. Though writers are discouraged from superlatives, self-important purple prose and vague tangents about how a work of art addresses the human condition, shouldn’t a review of “Hamlet” be just a little tinged with purple, or at least a soft violet? How is one supposed to not call “Hamlet” phenomenal when it is, objectively, such a phenomenon?
If the name Open Mike Eagle rings a bell, it’s most likely due to his performance on Hannibal Buress’s Comedy Central show “Why? With Hannibal Buress.”
“Colonia,” a historical romance film directed by Florian Gallenberger, fails to deliver the poignant insight and carefully-crafted drama necessary for the genre to be successful.
Last week, hit folk rock group The Lumineers dropped “Cleopatra,” the band’s first major release since its self-titled debut album in 2012.
“Homeward Bound,” the newest installment of “Girls,” was a disappointment. Though there was substantial plot development as well as pleasant pacing and aesthetic quality, the episode felt unbelievable and untrue to its characters. Shoshanna (Zosia Mamet) returns to America in this episode feeling out of place and at a loss.
It may be the television equivalent of “National Lampoon’s Vacation” but “The Detour” highlights the creative husband-wife duo’s ability to blend silly gags with clever writing.
“The Legend of Zelda: Symphony of the Goddesses” made a stop at John Paul Jones Arena last week. The show was spectacular, featuring a fully-fledged symphony and choir performing some of the greatest pieces from the iconic video game series.
The 76-year-old artist has more pep in her step, enthusiasm for music and passion for change than most young people.
Entering a practice session of the Charlottesville Sacred Harp ensemble feels a little like time travel.
Usually, Andrew Savage, Austin Brown, Sean Yeaton and Max Savage look like their music — or rather their music looks like them. Parquet Courts’s latest album however, should not be judged based on the band’s appearance.
Directed by Ilya Naishuller and starring Sharlto Copley and Haley Bennett, “Hardcore Henry” combines its innovative technical framework with a story that, while bizarre and sometimes discombobulated, holds surprising thematic resonance.
