Cocaine’s bleak and brilliant satire, lush and intoxicating prose, and sadistic playfulness remain as fresh and caustic as they were nine decades ago.
The audience, mostly gray-haired seniors and aging baby boomers, walked out with smiles on their faces, as did I.
Other than the teams that put together Rent and Wicked, film-makers have taken ‘creative’ control, turning Broadway into the land of retreads.
Mexico’s Alfonso Cuarón is among the world’s finest, most versatile filmmakers, and someone who—knock on wood!– hasn’t yet directed a dud. GRAVITY is quite OK too, but in the second tier of his work.
Mother of George has garnered a rarer-than-rare 100% Rotten Tomatoes rating from critics. Sorry to be the cynical spoiler.
With this LP, Daniel Lopatin has crafted an immaculate aural landscape that one can (and will want to) lose oneself in for hours.
Between the heroin, booze, and all else that Mexico had to offer, there was little to no time for William S. Burroughs to appreciate the culture of his adopted home.
It’s heartening to see a major Catholic institution like Boston College get behind a documentary that, without mercy, attacks the Boston Diocese for its sinful coverup of priest abuse of children.
One of the remarkable aspects of these duets is that almost nowhere is either player — Fred Hersch or Julian Lage — reduced to mere comping.
If Thursday’s performance of Mahler’s Second Symphony by the Boston Symphony Orchestra and the Tanglewood Festival Chorus was marked by some untidiness, the broad picture to emerge was one of often thrilling, Apollonian grandeur.