Arts Fuse Editor
New Fries’ latest effort never fails to stimulate: the band has crafted a record that challenges the idea of what a pop song is and can be — in two very different ways.
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The Boy in the Field is the latest novel from Margot Livesey, a prolific writer with a keen eye for the interiority of her characters, a skill that enriches her novels with a rare intimacy and immediacy.
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While there’s plenty of wistful romance and character-driven conflict to keep Summerland rolling along, the narrative isn’t exactly plausible.
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Filmmaker Oliver Stone’s memoir is an exhilarating primer for anyone who wants to understand his reputation as a writer and director.
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Grétry’s Raoul Barbe-Bleue — the story of the original lady-killer, Bluebeard — receives its world premiere recording and it’s splendid.
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In no way a ‘tale told by an idiot, signifying nothing’, Pew is instead a kind of reverie, a wide-eyed spin on the Southern novel.
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The documentary is about “the power of the community and how rock and roll, and music in general, is worth fighting for: sometimes that means doing it yourself.”
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It gradually became clear to me by the mid-’80s that Alan Parker films were, more than those of any other filmmaker, an integral part of my identity as a film lover.
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She Dies Tomorrow marries the avant-garde with slice of life, jumping from death throes to conversations about dolphin sex over full glasses of red wine.
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Visual Arts Commentary: The Bridge of Flowers, Shelburne Falls, Massachusetts
An appreciation of a footbridge that intertwines nature with our humanity.
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