Arts Fuse Editor
Aaron Swartz is indeed a martyr, but there’s more here. The film identifies an ongoing battle over control of information as much as it explores a troubled life that ended far too soon.
There is more than one way to tell the truth, “The Good Lord Bird” reminds us again and again, and many reasons to cloak it in humor.
Each of Susan Metrican’s pieces is coy and playful. Moving through the gallery is an adventure, visually and spatially.
In his performances, Philip Seymour Hoffman was able to give enormous depth to the loners, the scoundrels, the lost, the villainous, and the heartbroken.
Claire 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.
Arts Fuse critics select the best in music, dance, film, and theater that’s coming up this week.
“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.
As 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.
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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