Arts Fuse Editor
While calling this Ben Wheatley’s most violent film may be debatable, Free Fire is absolutely the one most riddled with gunshots.
What could easily have become a dense, jargon-filled work of cultural psychology instead reads like a thoughtful conversation.
Martín Espada’s lyricism sings deeply in the key of loss, turning the anguish of social and personal histories into hope.
Paradise‘s central conflict and the performances in the Underground Railway Theater production are damn good.
Klaus Merz’s cunning, compressed prose invites us to listen for the sounds of the inexpressible, the other side of life.
Seeing the rugged minimalism of golf in its infancy was very appealing.
Get Out owes much to the small but precious film genre that dares to cultivate bizarre and hip satire.
Olivia Kate Cerrone tells this story in raw, blunt terms, in a naturalistic mode worthy of Zola.
The Boston Conservatory production of Mass was mostly frustrating, but Leonard Bernstein’s score came across very strongly.
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