‘The Easy Kind’ Review: Country Renegade Elizabeth Cook Plays a Fictionalized Take on Herself in Slice of Life Drama

https://fed.brid.gy/r/https://www.indiewire.com/criticism/movies/the-easy-kind-review-elizabeth-cook-1235041487/

‘Masters of the Universe’ Review: He-Man Gets the ‘Barbie’ Treatment in a Derivative Fantasy Epic

https://fed.brid.gy/r/https://www.indiewire.com/criticism/movies/masters-of-the-universe-movie-review-2026-he-man-1235197748/

‘Masters of the Universe’ Review: He-Man Gets the ‘Barbie’ Treatment in a Derivative Fantasy Epic
#IndieWire #Criticism #Movies #Film #MastersoftheUniverse #NicholasGalitzine #Reviews

https://www.indiewire.com/criticism/movies/masters-of-the-universe-movie-review-2026-he-man-1235197748/

‘A. Rimbaud’ Review: Patrick Wang Returns With the Best Three-Hour, One-Man Biopic You’ll See This Year
#Variety #News #Reviews #ARimbaud #PatrickWang

https://variety.com/2026/film/news/a-rimbaud-review-1236762595/

‘Ulya’ Review: A Striking but One-Dimensional Portrait of Basketball Legend Ulyana Semjonova

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‘Ulya’ Review: A Striking but One-Dimensional Portrait of Basketball Legend Ulyana Semjonova
#Variety #Reviews #CannesFilmFestival #Ulya #ViestursKairišs

https://variety.com/2026/film/reviews/ulya-review-1236763045/

Cards on the table—this review is late. Really late. We got the promo, but it went unclaimed, and it wasn’t until I picked up Lynx’s Trinity of Suns for personal enjoyment that I listened. Before I finished my first spin, I knew I had to Filter it. And that’s exactly what I did. I sat down to write my 200ish words about Lynx’s sophomore album, and the words spilled out. Too many, actually. I described how every subsequent journey through Trinity of Suns deepens my appreciation for Lynx’s retro rock, and soon I realized I had more to say than a limited word count would allow. Over the last month, Lynx has enraptured me with their sultry siren song, entrenching Trinity of Suns as a mainstay for commutes and chores. Rather than saving it as a Thing You Might Have Missed, though, I dared to write the counter-breaking missive I hoped my betters would permit. I begged. I cajoled. I cashed in the scant favors and political capital I’ve accrued since joining the staff to get this thing published. Was it worth it? If you’re reading these words, you’re damn right it was.

Between releasing 2021’s Watcher of Skies and follow-up Trinity of Suns, Lynx underwent a transformation I can only describe as transcendent. Huck N Roll offered some pointed criticism for their debut, a slab of 70s hard rock worship in the vein of Thin Lizzy and Blue Öyster Cult. Specifically, Huck noted that the songwriting was as unrefined as guitarist Marvin Keifer’s vocal performance, and the wanton surfeit of cymbals debilitated the listening experience. Five years later, Lynx obliterates whatever expectations listeners set based on Watcher of Skies. Most notably, Trinity of Suns introduces Amy Zine as full-time lead vocalist1—a decision that catapults Lynx’s potential into the Skies. Just as importantly, though, Lynx displays more restraint and maturity in their arrangements to wonderful effect.

Though the core of Lynx’s identity remains the same, the band deftly incorporates inspirations to elevate their sound. Rather than relegating the best moments to snappy intros, Trinity of Suns steeps its compositions in throwback, classic rock drama. “Stranger Sign in the Sky” boasts a Rushified break that harkens to “By-Tor and the Snow Dog,” while “Oppressive Season” starts with an intro that could pass for a lost Jimmy Buffet cut before tumbling into a Thin Lizzy tizzy. “Seven Days of Darkness,” meanwhile, melds the majesty of Pink Floyd psychedelia with the soulful intimacy of Tanith’s starkest emotional moments, eliciting a warm, heartfelt fuzz that pairs perfectly with the desert-ready palette Lynx paints with. The resulting thirty-nine minutes simmer with subtle heat, proving how the songwriting has evolved over the last half-decade.

\In addition to more fluid song structures, Lynx unchains stunning performances across Trinity of Suns. Amy Zine’s smoky vocals cut to my core, whether she’s belting out head-bopping choruses (“Island Universe”) or caressing with a tender croon (“Seven Days of Darkness”), and I simply cannot get enough. Still, as fabulous as her contributions are,2 they don’t carry Trinity of Suns alone. Everyone else in Lynx pitches in with guitars, though they’re primarily supplied by Tim Künz and Janni Athanasiadis. In addition to his gorgeous acoustic twangs on “Seven Days of Darkness,” Franz Fesel ably commands drums from the pocket while Phil Helm rumbles with luxurious yet understated bass. Honestly, Lynx’s low-end locks into such powerful grooves that Trinity of Suns would be undermined and underserved with a lesser performance, and if you need any convincing, go listen to the back-to-back tandem of “Oppressive Season” and “Trinity of Suns.”

Lynx is a band that understands the assignment, and Trinity of Suns should be enough to convince anyone that this kitty has claws. My only unfulfilled desire from Trinity of Suns is a three-minute banger nestled after “Voyager” or “Oppressive Season” where the entire band goes hog-fucking-wild. “Oppressive Season” comes closest, though holds back enough to avert the pandemonium I crave. With the talent Lynx brandishes, I’d love to hear them cut completely loose. Otherwise, Trinity of Suns accomplishes everything I want from a band of Lynx’s ilk, and each time “Island Universe” concludes, I’m left even more smitten. Whatever these cats do next, I’ll be there.

Rating: Great!
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: April 24th, 2026

Glaswork Blends Ambient Electronics, EBM, and Contemporary Classical Elements on Debut Release “Anthology”

https://fed.brid.gy/r/https://post-punk.com/glaswork-blends-ambient-electronics-ebm-and-contemporary-classical-elements-on-debut-release-anthology/