Arts Fuse Editor
Each of Susan Metrican’s pieces is coy and playful. Moving through the gallery is an adventure, visually and spatially.
Read MoreIn his performances, Philip Seymour Hoffman was able to give enormous depth to the loners, the scoundrels, the lost, the villainous, and the heartbroken.
Read MoreClaire Kilroy’s dark and fantastical comedy “The Devil I Know” nails the greed and rampaging ambition of the corrupt avatars of “the new Ireland” — developers, bankers, and government pooh-bahs.
Read MoreArts Fuse critics select the best in music, dance, film, and theater that’s coming up this week.
Read More“Dallas Buyers Club,” though it does get decidedly sunnier once Ron is introduced to natural self-medication, which extends his life well beyond the projected thirty days, is not an open-and-shut case.
Read MoreAs with any Richard Powers novel, when you finish “Orfeo” you will have no doubt you are alive, awake, and likely ready to start over at page one.
Read MoreArts Fuse critics select the best in music, dance, film, and theater that’s coming up this week.
Read MoreIn Donna Tartt’s much-lauded third novel, Fabritius’ painting “The Goldfinch” and the fleeting nature of, well, everything comes together for a brief and shining moment.
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Fuse Film Commentary: The Decimation of the Independents — Some Solutions
The major film companies must divest themselves of their independent arms (which are anything but independent) and allow a return to the system that was in place for decades until greed and cinematic carpet bagging crushed it.
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