News

Jamie xx kicked off his five-night The Floor residency in New York last week, playing closing sets in Bushwick in support of his upcoming album, In Waves, set to release Sept. 20. The residency, which draws inspiration from his recent single “Baddy on the Floor,” debuted in May with 10 nights in London. Ahead of the album’s release, the 35-year-old producer, born Jamie Smith, says that In Waves captures the ebbs and flows of the last few years, from the Covid-19 lockdown to the reopening of nightclubs and venues that followed.

Twice a month Joe Lipsett will dissect a new Amityville Horror film to explore how the “franchise” has evolved in increasingly ludicrous directions. This is “The Amityville IP.”

This editorial series has spilled a lot of digital ink analyzing how IP is the driving factor in the vast majority of Amityville films. This is hardly surprising considering Hollywood’s predilection for repurposing /capitalizing on successful titles and the legal freedom that the Amityville name provides as both a selling feature and an easy cash grab.

Throughout the history of the ~45 films we’ve looked at to date, there have been no shortage of individuals who have picked up a camera (or phone), shot some footage over a weekend, and then waited for the money to roll in.

Artistically this hasn’t produced the most creative or interesting selection of films, however. Folks who have been reading along for the last...

Jason Ravnsborg just won’t quit.

In the 647 days since he fatally struck a man with his car, Ravnsborg, South Dakota’s attorney general, has faced near-endless calls to go away –– from county sheriffs and police groups, Republicans and Democrats, in letters to the editor and on billboards. A poll last month found that 70 percent of voters want him out, and in April, Ravnsborg became the first official in state history to ever be impeached.

And yet, Ravnsborg has only dug in his heels, refusing to retreat to the comfort of obscurity.

Stanley Kubrick was an upstart kid from The Bronx when, in 1955, he borrowed $40,000 from an uncle and directed, wrote, edited and photographed a movie thriller called "Killer's Kiss."

Kubrick would not make a name for himself until his next movie, "The Killing" (1956), a yarn about a racetrack heist featuring Sterling Hayden. But more than half a century later, "Killer's Kiss" remains a watchable work of raw energy.

Rarely shown on the big screen, the black-and-white noir will unreel tomorrow and Saturday at midnight at...