You can always rely on Numero Group to unearth incredible, forgotten music. You know that music: the kind of stuff you pick up in a flea market because it costs a quarter and has a cover with a lady sporting huge hair and a necklace made of spoons. The kind of albums that were perhaps self-released or on the tiniest label. Hidden gems, for sure.
Numero’s newest compilation, Wayfaring Strangers: Cosmic American Music is a trip through the cut-out bins. Here are tracks that, despite not being breakthroughs for the artists, still have merit. It’s Americana, and it’s indie as anything. Maybe the artists weren’t signed to a big label. Maybe they made the record in one of those booths at a fair. Maybe they had a song that they really needed to record for serious reasons.
The new Turkish movie by Can Evrenol, Baskin, is one of the best horror movies of the decade so far. It intrigues, it horrifies, it disgusts, but it is never anything but an excellent example of how to make nightmares come to life on screen.
Despite watching this show every week, there are some things about the Lucha Underground product that I’ve glossed over a bit since I started writing these reviews. Lucha Underground features stories and matches that I think we can all agree give reality a pretty wide berth; all of their storylines have an outlandish quality to them. Their potentially problematic (to say the least) choice to feature intergender matches even in this unbelievable universe has earned them some flack, however. Lucha’s handling of matches and angles like this hasn’t been perfect, but it’s mostly been OK because the matches between women and men are presented in a fast-paced, more athletic style that’s not as violent as “hardcore” wrestling can be.
Tonight’s episode is different. We all have our lines, and seeing a woman–in this case, Taya Valkyrie–suplexed off the ring apron and through a table, and then again taking Cage’s Weapon X finisher onto broken glass (it is very clearly prop glass, made of sugar, but the visual is disturbing) steps way over that line for me.
Calling 10 Cloverfield Lane a sequel to 2008’s found footage monster movie, Cloverfield, is kind of like calling Easter the sequel to Christmas. It is, but it isn’t. That’s what makes the second installment, in what can only be referred to as the Cloverfield Anthology, different and brave.
“The Rat Pack! With Fred Sinatra! And they’d sing acapella and watch each other fuck!”–Ilana
A rat infestation in your apartment is certainly both a common and disgusting problem to have, but Broad City treats this as a catastrophic event that upends Ilana’s entire life and serves as the catalyst for a medium-sized and hilariously low-rent party. Though we see our titular rodent stealing weed, ruining Lincoln’s masterpiece of a sandwich, and chewing through Jaime’s clothes, ultimately Ilana learns that she has more in common with her unwanted visitor than she realizes.
In the aftermath of the sheriff’s untimely demise, Haylie takes it upon herself to go work her verbal voodoo on the new sheriff, Wade. Taking him a basket of goodies with some alcohol and oxycodone tucked in the bottom could grease a few wheels, so why not? He’s not entirely stupid, though; he blames her for the former sheriff’s death, and calls her out on the fact that she just wants him to do what she says. He finds the alcohol of course, and tucks the pills away in his pocket. It’s pretty obvious that he suspects an ulterior motive.
This week’s installment of The Walking Dead is what I like to think of as “the moment when everything changes.” Sure, the show is always evolving, always changing, but I can’t help having the overwhelming sense that there’s a major shift lurking just around the corner. Carol’s back to her baking, this time with acorn and beet cookies that she hand delivers to everyone. Recall in Season 5, she explained to Sam that cooking distracted her and made her forget when she was sad? I’m thinking she’s dealing with much more than she’s letting on. That much is evident by her leaving a cookie on Sam’s grave.
By Tim Murr
What better album to crank up and get lost in on a cold, snowy day than the new three-song EP, Cold Migration, from the Milwaukee, Wisconsin band, Northless? It clocks in at less than 25 minutes, but feels as meaty, strong, and satisfying as a full-length LP. Northless evokes the desolation and loneliness of an endless winter’s journey.
By Tim Murr
When you delve into the glut of independent American cinema from the 1970s, you’ll be amazed at how many films were actually produced in that decade by penniless mavericks far from the infrastructure of Hollywood or New York City. Remember, too, that film- making was a massive undertaking, not just in the pre-digital world, but also pre-video. (For some insight into the trials and tribulations into the hardships of the indie horror director in the ’70s, please check out the book Shock Value by Jason Zinoman.)
The fact that we have small indie efforts like Texas Chainsaw Massacre, Deranged, Night Of The Living Dead, Last House On The Left, Driller Killer, or Phantasm that have risen to the status of bonafide American classics or, at least, cult classics, is something we should all be thankful for. So many films from the grindhouse circuit have been lost to history. That’s where Arrow Video comes in with the start of an amazing new series, American Horror Project.
By Tyler Hodg
The final episode of Fuller House’s first season comes to an end in a predictable, yet endearing way. D.J. chooses herself over Matt and Steve, Kimmy calls off her wedding with Fernando, and the two families realize they are better off together.