My intermittent feature on (usually) albums that were either denied classic status on release or have been forgotten about since. I'm not sure the long delayed, much maligned second and final album by The Stone Roses quite qualifies but it's far, far better than the car crash disaster it's remembered as.

Where the industry led push for Timothy "Baby-cham" Chamalet to win continues and a good but not great film breaks the record for most nominations ever in a pretty average year for movies.

There's no doubt Pitchfork is the most important music criticism magazine this century, once the epicenter of the music world. The last decade or more has seen them slide further away from both their implied mission statement and success. Now a pay wall has gone up and that will likely be the end of many ends. But Vale Pitchfork.

In the worst year of movies I've actually watched since I started doing these reviews. The year in which mediocrity reigned supreme. Featuring Superman, One Battle After Another, Warcraft, Sinners, Weapons and many more.

Exactly what it says it is, in a terrific year for album length releases.

Director Zach Cregger, follows his (overrated) "IT" horror, Barbarian, with a film that is better in near every way than its messy predecessor. Though good rather than great and far more cohesive film-making, its still guilty of throwing ideas up in the air without delving any deeper.

This old school sports movie - a near remake of the classic Robert Redford baseball movie, The Natural - is built entirely out of cliches and hokum, and I kinda love it. Brad is ace, they don't rely on a wall of CGI and everything radiates good looking, exciting fun. They don't make em like this (much) anymore.

I felt bad for the last film in this venerable (near 30 year!) franchise. It not only got Barbenheimered at the box office but it was also the first real step backwards in quality. Sadly I would say that's the case once again, as pretty much everything was better even in Dead Reckoning. It's still ultra high quality in most film making areas but the story, people and screenplay are lesser. 

The esteemed Mr William Bevin's latest isn't quite his ambient side nor his beat-heavy side, though it does feel like listening to a club way in the distance. Classy stuff but I would've liked a bit more.

Following on from the outstanding debut album, Madres, a lesser EP from the Berlin based Peruvian DJ. Two fantastic tracks but also a bit of filler.