1. Beyoncé Is the most overrated recording artist this century, an average two bit hack put together in a laboratory and the blandest mass produced corporate product since the Big Mac 2. The only reason she recorded a modern pop country album, is her fragile, Princess Diana style ego, cannot handle Taylor Swift getting far more attention than she does

The underappreciated Shoe-gave titans third comeback album is by far the best. The most urgent, dynamic, cohesive, melodically memorable and impactful of their trio of post come-back releases and their best album since Going Blank Again.

Arguably the most important cultural artifact since the Rosetta Stone.

One of this years major Oscar contenders is, I'm sorry, a massive let down. Two very different parallel films, that don't work together, shoved into one. A handsomely produced and acted rich people family drama occupies 80% of the film and is ordinary and boring, whereas the far more more interesting satire side of the movie is totally undeveloped.

The only 100% true review of this movie online today.

The return of Schoolboy Q heralds back to an era of rap, that saw long form projects that were high art and not just gaming streaming charts, and his best work yet, one of the albums of the year.

The near excellent second album from the UK post-punk alumni is self aware to a fault.

One of the early contenders for album of the year, outstanding lyrics and voice - perhaps a little more variety in the instrumentation and arrangements would've pushed it over the edge, but still fabulous.

Yorgos Lanthimos  is well established as at the very top of directors internationally and one of the best cross-overs from foreign art-hours to English language "big pictures", with artistry and acclaim only increasing, a rare feat. Poor Things, probably the second most successful film at this years Oscars is worthy of the acclaim and one of the most imaginative films of the era. If I want to nit pick, the middle act is far too long and repetitive and the characters a little superficial.

Well it's back-to-back BIG FAT ZEROS out of ten for the last two MCU films. It's even worse than The Marvels but sadly never so bad it's good, it's far too boring to ever be entertaining. But it is interesting to watch the actors actually become totally disinterested in even being there. No one cared at all about any aspect of this film, which supplants its predecessor as the worst post Iron Man comic book super hero film yet

Having watched David Fincher's finest film (bar none) for the umpteenth time recently, my appreciation for it has only grown. The across the board class in direction, score, cinematography, casting, acting and writing and the fact there's not one wasted scene or moment that drags. It's also become far less about Mark Zuckerbeg and Facebook and far more about the terrifying years since.

A stellar review for Jonathan Glazer's latest art piece, a full decade after the equally impressive, Under the Skin, though this is his undoubted masterpiece - and a slightly better 2023 film than Oppenheimer. This hugely unusual and very disquieting take on the Holocaust, has arguably the best use of sound in cinema history.

Exactly what it says on the tin.

The Britpop/Madchester legends come together for arguably the finest album in the history of Liam Gallagher and John Squire albums, warning contains frequent swearing and quotation of John Squires lyrics.

The most stunning of the recent four live album releases by Krautrock titans, Can, features two caveats not present on the previous releases. Actually featuring previously recorded songs, and major ones, and also vocals, by the recently deceased Damo Sazuki. It's immediately their most essential and thrilling live release and perfectly timed.

This Rambo 2-esque actioner may have one of the worst titles in modern history, and very little story, but director William Eubank is proving to be so competent technically, fans of high tech, Delta Force shoot-outs in the jungle will have plenty salivate over.

With the recent passing of legendary singer, Damo Suzuki (16 January 1950 – 9 February 2024), from Krautrock legends, Can, a walk through one of the finest runs in music, a discography I would keep over the peak album periods of The Beatles, Led Zeppelin or Pink Floyd and possibly my favorite band in history.

Turning an Agatha Christie story in a broad, comedic, European farce, sounds fatal on paper. But with its acidic, modernist Noel Coward script, a cast from heaven to deliver it (Maggie Smith, Diana Rigg, Peter Ustinov, James Mason, Jane Birkin...) all sound-tracked by Cole Porter, as a film, it maybe the finest Christie adaption of all.

Hollywood's relentless imagination and originality never fails to amaze. After last weeks review of The Beekeeper, where an ex hot shot intelligence agent, enjoying anonymity in retirement as a humble beekeeper, is dragged back into action, now The Bricklayer, where an ex hot shot intelligence agent, enjoying anonymity in retirement as a humble bricklayer, is dragged back into action.

A welcome throwback to the days Jason Statham action films weren't The Fast and the Furious related, though director David Ayer misses an opportunity to lean fully into what's great about it and create a classic of the genre.

After Van Morrison's Astral Weeks, my second favorite album of all time, regards drug addiction and obsessive love as the same thing as religion, in a 1997 album actually superior to OK Computer.