Arts Fuse Editor
We learn that Navalny — if we didn’t know it already from reporters who cling to Putin’s charismatic nemesis — is a persuasive man who has gotten a long way on his wits and courage.
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From the pandemic’s beginning, Charles Finch uses the crisis as a nearly daily backdrop for musings on all sorts. The results are at once cathartic, frightening, exasperating, and often hilarious.
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An upstart young rider confronts an aging jockey. Yet there’s nary a cliché.
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When given a choice, tend to choose films that are fairly harrowing to watch. The next three Sundance Fest films on my slate were often disturbing, but also powerful and inspiring on many levels.
Read MoreOpera Review: Arabs on the Operatic Stage — Meyerbeer’s 1814 Comic Opera about the Mysterious ‘East’
Long before the often-prejudicial portrayals of Middle Easterners in Hollywood films, opera composers crafted insightful works from 1001 Nights.
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Tamas Dobozy is an anarchist in the best sense of the word: it’s not chaos he’s enamored of but a way of life untrammeled by political oppression, bureaucratic horrors, legal absurdities.
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I’ve seen a really interesting assortment of films so far. I can’t recite them all from memory, but they’re not blurring into each other, either. Not yet, anyway.
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What is evident throughout these superb tales of turn-of-century shtetl life is their authenticity.
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Unlike a lot of modern jazz releases, this isn’t so much about displaying virtuosity (though all the musicians are virtuosos) as it is about setting a mood and a groove and dancing on top of it.
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David Rooney’s thesis in About Time is provocatively ironic: clocks, through their ever-increasing precision and regularity, are the instruments of constant change.
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Arts Feature: Best Movies (With Some Disappointments) of 2025