Arts Fuse Editor
Though it’s inconsistent, Oliver Tree ‘s debut album offers an ample display of songwriting acumen along with his determined eccentricities.
It’s hard to critique a novel that flies under such a resplendent banner, a wholesale rejection of the dead and decaying world of trends and war and meaninglessness.
“Ornette was looking for those notes, the ones that feel no pain.”
The album’s set of pieces not only revels in the spirited formal experimentation of the great musician’s music, but its expressive urgency as well.
The play’s swift running give-and-take is chillingly beguiling, its myriad allusions arousing your curiosity as you consider the characters’ positions and conclusions yourself.
The Rental chugs along predictable genre rails, its characters settling into the expected “types” as screws are gradually turned on them by whoever’s surveilling from a distance.
For an hour and a half, Blu examines himself on Miles, trying to understand who he is and where he comes from.
Filmgoers hankering for some excellent and exciting new documentary features and shorts should check out the Salem Film Festival, which has gone online.
The parallel plot — maybe the real plot — percolates just below the surface: the meta-textual challenge of figuring out how the HBO Perry Mason will morph into something resembling its CBS progenitor.
What makes this somewhat derivative movie soar is its music.
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