Emma Murphree

“The Outfit” is at its best when it interrogates moral ambiguities or, at the very least, provides a cheap thrill in the form of an undulating plot that induces bated breath. Regrettably, it is wont to lose sight of both.

From film beat reporters Emma Murphree and Joy Diamond, here are picks for what will win — but more importantly — what should win March 27.

While aesthetics may not be her forte, Banks is an artist in every sense of the word.

Among the tumult, Giannascoli remained nonplussed, perhaps owing to his skill and dedication as a performer.

Duffy lets their lyrics bask in the light, conferring something ineffable and brilliant, especially when they mingle with the buoyant, thrumming accompanying arrangements they sculpt. 

February is not short of hidden gems, and film beat reporters Joy Diamond and Emma Murphree are here to give input on which new releases shouldn’t — or maybe should — go under your radar.

The band’s set at Bottom of the Hill on Feb. 23 harkened back to those simpler times, back to when people just kicked and put Vampire Weekend on shuffle.

Frontman Joseph Mount crafts some of his most personal lyrics on the record, a clear divergence from the abstract tenor of previous projects.

It's no secret that we’re living in a surveillance state, and Soderbergh navigates this disarming feature of late capitalism with varying ease and acerbity. Like the film’s Alexa stand-in, “Kimi” can’t quite figure out how to get rid of its bugs.

On Dragon New Warm Mountain I Believe in You, Big Thief offers a glimmer of redemption, constructing eccentric beauty in its form and execution.