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No documentary can perfectly represent its subjects, but “Tiger King” seems to play with some questionable ethics.
What defines “Memory Game” is the pronounced inhalation and exhalation of all kinds: high and tight, low and relaxed and slow, quick and hurried.
When I think of “comforting” albums, my mind shoots in several directions. Comfort can mean a lot of things.
What else should you do with the luxury of being stuck at home (maybe even out of work — more free time!) but ignore the need to process your situation and instead set extremely transformative goals for yourself?
Over the last few days, “Future Nostalgia” is one of the few things that has made me smile, one of the few things that has made me dance.
My eyes are blurry, and I can’t really tell where my phone screen ends and the darkness begins.
“3.15.2020,” the fourth album by Childish Gambino, addresses the same fears that “Awaken, My Love!” did, but the approach couldn’t be more different.
On Tuesday, a few days ahead of its slated release date, Sufjan Stevens released “Aporia,” his latest collaborative effort with his stepfather Lowell Brams.
Conan Gray is lonely. A global pandemic has him isolated at home, surrounded by the comforts of musical instruments and Taylor Swift and Lorde posters.
As counter-cultural and independent as rap claims to be, it is still a hierarchical institution.
Over the course of the last week, day-to-day life around the world has come to a grinding halt in response to the rapid spread of COVID-19.
Meg Remy always seems to return at exactly the right time.
After announcing and promptly disregarding multiple release dates, Lil Uzi Vert finally released his sophomore album “Eternal Atake.”
In all its glamorous artificiality and melodrama, “Love Island” occupied a strangely comforting place in my life, wherein its faults were fodder for my ironic consumption.
Whether he’s experimenting with psychedelic rock, folktronica or house, Caribou makes music that is, above all else, fun.
In many ways, Wong Kar-wai’s “In the Mood for Love” is the first real movie I’ve ever watched.
What I have only recently come to realize is how much “The Mary Tyler Moore Show” shaped my conception of womanhood.
In brief glances and lovelorn sobs, “Portrait of a Lady on Fire” finds a passion that transcends time and burns brighter with each day.
Ekwa Msangi’s feature film, “Farewell Amor,” premiered at Sundance Film Festival Jan. 25.
Duke alumni made a splash at Sundance this year — many of the films in competition were acted, directed and produced by Duke graduates now working in the industry.
