Arts Fuse Editor
Artful films like Just Mercy remain necessary — these are the kind of stories our troubled nation needs to hear if we are to move forward.
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The rarely staged Oberon is easy to love and will fascinate admirers of early nineteenth-century music.
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The oft-neglected “other” great opera by Carl Maria von Weber, splendidly performed in 1955 and in remarkably clear and vivid sound. I hope this opera’s day will yet come.
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The film’s modulated softness, its moments of quiet heartfelt sorrow, are testaments to a feminism that rejects political anger in order to embrace sisterly compassion.
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The Report reminds us that elections can have consequences — after the Republicans take control of the Senate during the Obama era, the Senators who are asking the tough questions are either out of office or in the minority.
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George MacKay’s astonishing turn lifts 1917 from pyrotechnical marvel to a shattering emotional experience.
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We are seeing some very fine horror these days. You can’t throw a (fire) stick without having it land in some rotting corpse, a spooky cave, or in a serial killer’s cup of coffee.
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If this collection has one failing, it is its attempt to make Flannery O’Connor into something she was not: “woke.”
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Following the stories of these unique, gifted, and sadly overlooked individuals can be as gripping as the music they made together.
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Milo Miles tests a long-held theory: that critic comments on why entries made it onto lists have little or nothing to do with whether readers track down and listen to the selected music.
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