Arts Fuse Editor
In their recent films two disparate documentarians – Abigail Disney, the scion of the legendary Hollywood mogul, and Patricio Guzmán, exiled Chilean socialist – investigate the past, present, and future of their nations’ essential illusions.
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Sometimes Pharoah Sanders came back and played like a primordial saxophone deity, cutting into the rhythm section like an act of penetration.
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Jessie Montgomery’s Rounds is a testament to her impressive compositional chops. Let’s have more from her here, and often.
Robert S. Neuman used modernism’s interest in abstraction and material accident to shape lively compositions that riffed on urbanization, biblical themes, war, the space race, indigenous rights, mental illness, and other topics.
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This American remake does not have the power, the confidence of tone, or the aesthetic artistry to measure up to the horrifying original.
This American remake does not have the power, the confidence of tone, or the aesthetic artistry to measure up to the horrifying original.
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The Whale is a bracing two hour battle against destiny.
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This coffee table book scan of women’s history is visually striking and consistently informative.
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There are cringe-worthy moments as well as scenes of mesmerizing beauty in Disney’s live-action Pinocchio. But I’ll go against the critical grain and argue, for several small reasons, and for one big one, that it was necessary to make it.
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As a satire on the power of male-dominated corporations to manufacture consent and conformity, Don’t Worry Darling is devilishly amusing. Though credibility is not its strong suit.
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Longtime GBH host Eric Jackson passed away earlier this morning.
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