Reviews
SPIN at SXSW: The Lemonheads Reignite Austin With It’s a Shame About Ray Performance
Not gonna lie: we kinda missed SXSW, traffic, lines, free-flowing human chaos and all. SPIN hosted a number of raging day shows throughout the years, but for SXSW’s return, we had to come back with a real-deal official showcase at Stubb’s. And who could be more official than The Lemonheads? Evan Dando and company ripped through their classic 1992 album, It’s a Shame About Ray, as the party’s marquee feature, and even if at least half of the audience hadn’t been born by the time they initially broke up, Dando’s youthful warble still filled Stubb’s vast gravely lawn. One could probably hear Dando and the rest of us “Raaaaaay” from the Capitol less than a mile from the venue. Nearly three decades later, the one-two punch of “Bit Part” and “Allison’s Starting to Happen” still goes for the punk...
Bridgerton Tries to Add Some Substance to Its Decadent Style in Season 2: Review
The Pitch: When it premiered in December 2020, Netflix’s Bridgerton provided plenty of steamy romance and escapism, both of which were in short supply as the world prepared to enter the second year of the COVID-19 pandemic. Season 1 of the lush period drama, adapted from Julia Quinn’s Bridgerton book series, followed Daphne Bridgerton (Phoebe Dynevor) and Simon Basset (Regé-Jean Page), the reluctant Duke of Hastings, as they went from co-conspirators to marrieds, setting Regency-era London ablaze. Their exploits, and those of the rest of the ton, were chronicled by the acerbic (and anonymous) Lady Whistledown, whose influence at times rivaled that of the Queen (Golda Rosheuvel). The second season follows the tradition of Quinn’s books and shifts the focus to a different Bridgerton: this ti...
Atlanta Season 3 Is the Best Sort of Television — Something Truly Unique: Review
One downside of the modern age of television is that it’s now not uncommon for some shows to take more than a year to return with new episodes. In the case of Atlanta, which debuted its second season in 2018, that wait was longer than most, but those four years were truly worth it. The Donald Glover-created series, returning for Season 3, remains as ethereal and shocking and fascinating as ever; having screened the first two installments, it’s a thrill to know that eight more are coming to engage and confound us. This will be a short review, because revealing too much about the first two episodes of the season feels like it would do a disservice to everyone involved, including the audience. But if the first two seasons of Atlanta did anything — hell, if the first few minutes of the Atlanta...
Windfall Review: Netflix Thriller is a Thin Exercise in Hitchcockian Style
The Pitch: A man (Jason Segel) breaks into a well-furnished California vacation home; he rifles through the drawers for cash and valuables, eats fruit from their lush orange grove, and pisses in their shower. But just as he’s about to leave, the couple to whom the house belongs — a snotty tech CEO (Jesse Plemons) and his wallflower wife (Lily Collins) — return home early and catch him in the act. Rather than break out into violence, though, a curious game of negotiation begins: What does the man want? Why did he pick this particular guy’s home to rob? And just what will it take to make him go away? This One Goes Out To…: We’re two full years into the COVID-19 pandemic now, which means we’re still dealing with the surfeit of small-scale, isolated thrillers facilitated by the restr...
Rosalía’s MOTOMAMI Is a Hell of a Bilingual, Multi-Genre Ride
In late 2018, Rosalía captivated audiences with El Mal Querer, her breakthrough album where she gave flamenco music a modern pop twist. Since then, the Spanish singer-songwriter has performed around the world and expanded her sonic palette. In her follow-up, MOTOMAMI, she changes lanes and subverts her pop and flamenco roots with global sounds like reggaeton and bolero, all while reflecting on her newfound fame. Those who wanted another full flamenco affair like El Mal Querer might be disappointed, but MOTOMAMI is an exciting detour where Rosalía flexes her seemingly limitless artistry across 16 tracks. MOTAMAMI is split between an aggressive MOTO side and a vulnerable MAMI side. Rosalía rips into the album with the scorching “Saoko” — in which she interpolates “Saoco” by Puerto Rican regg...
SXSW Review: Richard Linklater Goes to the Moon, But Keeps Things Grounded in Apollo 10 1/2
This review is part of our coverage of the 2022 SXSW Film Festival. The Pitch: Anyone and everyone who was alive in the summer of 1969 likely knows where they were when they saw the first men landing on the moon on their television screens. But for young Stan (Milo Coy), his experience was a li’l different. Turns out, months before the iconic trip, the suburban Houstonite was approached by a couple of NASA suits for a once-in-a-lifetime mission. You see, due to an engineering blunder, they’d built the lunar module juuust a bit too small for an adult astronaut. So they needed a kid. And Stan, of course, is the perfect candidate. Related Video This didn’t happen, of course; it’s the stuff of childhood reverie, and adult Stan (Jack Black), who narrates, establishes early that he was a “fabuli...
SXSW Review: Under the Influence Interrogates the Addictive Escalation of David Dobrik
This review is part of our coverage of the 2022 SXSW Film Festival. The Pitch: Out of the great, grand entertainment experiment that is YouTube, David Dobrik is easily one of the platform’s greatest successes. Leveraging his devil-may-care attitude and penchant for increasingly ambitious or invasive stunts, Dobrik quickly became a multi-millionaire on a level most non-movie stars would never enjoy, with six-figure sponsorship deals, 18 million subscribers, and a cadre of fellow sex-and-booze-loving daredevils (colloquially known as the Vlog Squad) whose boats his rising tide would also lift. But the same sensationalism that fueled Dobrik’s success would also be his downfall (inasmuch as one of the richest kids on YouTube, with a cultish zoomer following, can fall). In 2021, he suffere...
SXSW Review: Tony Hawk Keeps His Distance in Skate Doc Until the Wheels Fall Off
The Pitch: The secret to Tony Hawk’s success is his willingness to fail. When we first see him in the opening minutes of Sam Jones’ doc Until the Wheels Fall Off, we see exactly why: The skateboarding titan, still the face of the sport even in his fifties, tries and tries again to pull a 900 — the borderline-impossible skate trick he miraculously pulled off at the 1999 X Games — only to eat shit on each attempt. His body slams into the wood with concussive force every time, occasionally hurting enough to make him scream in pain. And yet, he gets up and tries again. What fuels someone like Hawk to keep sacrificing his body for the chance at a twice-in-a-lifetime flip? Over the course of two hours, Jones interrogates this question, charting Hawk’s youth as a child skating prodigy, his d...
SXSW Review: Halo Feels Like A Reskinned Version of Sci-Fi Shows Past
This review is part of our coverage of the 2022 SXSW Film Festival. The Pitch: In the mid-26th century, a sprawling human empire comes under attack from the mysterious Covenant, an alliance of alien races dedicated to a fanatical religion surrounding a race of ancient extraterrestrials and the artifacts they leave behind. To combat them (and, not coincidentally, the rough-and-tumble insurrectionists who resist humanity’s militaristic government, the UNSC), Dr. Catherine Halsey (Natascha McElhone) has created the Spartans — armored supersoldiers trained and tortured from birth to be the ultimate, emotionless killing machine. The biggest and most badass of them all is John-117, aka the Master Chief (Orange Is the New Black‘s Pablo Schreiber), who can dispatch a Covenant Elite and a colo...
Fly Anakin Carves His Own Lane on Frank
Emerging as one of 11 members of a hip-hop collective in his native Richmond, Virginia, collaboration has always been central to rapper-producer Fly Anakin’s work. Now, with the release of his solo debut album, he showcases the talents that brought the spotlight on him and his local scene. Like Danny Brown’s Bruiser Brigade, Mutant Academy is a scrappy, underground outfit that takes its name from an X-Men video game. Both groups are also intensely local, and committed to nurturing a unique sound for their city. The collective battles for success in a state that, despite claiming legendary hitmakers like Timbaland, Pusha T, Missy Elliot, and Pharrell Williams, has remained generally overlooked as a bed of talent between Washington, D.C. and Atlanta. A producer-heavy unit, Mutant Academy has...
SXSW Review: X Is Ti West’s Raucous TeXXXas Chain Saw Massacre By Way of Shyamalan’s Old
This review is part of our coverage of the 2022 SXSW Film Festival. The Pitch: X has a lot on its mind, and the line between exploitation and empowerment is just one of many rich themes mined by Ti West in his first feature film since the 2016 John Travolta and Ethan Hawke-starring Western In A Valley of Violence. “So the camera changes things,” Lorraine (Jenna Ortega) says midway through the film, just before RJ, Lorraine’s boyfriend and the young starry-eyed director of the porno at the center of the film, storms out of the shoot, furious and uncomfortable with her sudden interest in appearing on-screen in their dirty picture. Lorraine, quiet as a church mouse, is the innocent boom mic operator, not like these other girls willing to debase themselves on-camera, or at least that’s how RJ ...
SXSW Review: Dolly Parton Doc Still Working 9 to 5 Chokes on Its Own Ambition
This review is part of our coverage of the 2022 SXSW Film Festival. The Pitch: More than 40 years ago, 9 to 5 burst onto movie screens with a deceptively winning formula for 1980: Take three women at the top of their game — actress/producer/activist Jane Fonda, top-tier comedienne Lily Tomlin, and country music superstar Dolly Parton — and throw them together in the dreary workplaces of Carter-era America with a chauvinistic boss (Dabney Coleman) you’d just love to see tied up and tortured. It may have played like a lark, thanks in no small part to a whip-smart script from Patricia Resnick (3 Women) and fanciful direction from Colin Higgins (Harold and Maude), but it had feminist teeth underneath the laughs, which led it to box-office success and decades of appreciation. Decades ...
