The live music festival is dying for a number of reasons, including the acts that are headlining, the now failing Coachella is both an embodiment of why and far far worse.

A retrospective of Tarantino's very different third film.

Amazingly, despite being a massive Shawshank fan, I had never seen The Green Mile  before.

Arguably the most faultless three album opening run since Arcade Fire, hit a speed bump with the loss of Rostam, a core member and producer, resulting in the least well received album of their career, Father of the Bride and wonders whether the golden era was over. Only God is a dramatic return to form and will be an obvious contender for album of the year.

Two of the most prominent definers of modern commercial rap combine again, though this time for an album length project (already succeeded by a follow up) that is both a weak album and a crappy review as I was tormented by a wasp.

The venerable Uk indie-rock titans second comeback album, is sadly not as interesting as their first Anthems for Doomed Youth, but despite flirting perilously close with land-fill indie, has its more vital moments and it's still good to have them back.

Finally getting a wider release, debut director Andrew Cumming (who insanely uses a made up language on his first film) excels with a post cave-man horror, with an outstanding score and cinematography.

Director Matthew Vaughn seems to inhabit this middle ground between Guy Ritchie and Zack Snyder, for better or worse. As much of a fan of Bryce Dallas Howard and Sam Rockwell as I am (both excellent casting choices here) this post-Kingsmen spy caper, has all the hallmarks of Synder's over delivery and poor execution.

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.