Posts
Maybe The Zombies are not quite as elaborately visionary as they used to be, but after all this time that is no great sin. And Colin Blunstone and Ron Argent’s breathy but soulful voices have held up magnificently.
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The point of the revelatory exercises in Second Star is to mentally invigorate, to sharpen how we look at the things in plain sight that we take for granted.
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Netflix’s dumb series Sanctuary serves up a cartoon view of sumo wrestling.
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Kerry Howley’s expose is a vibrant report on the chaotic and often disquieting world of surveillance and national security.
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Children’s picture books about dogs and cats are plentiful, but a few new entries in the genre stand out.
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This not-quite-full retrospective contains three masterpieces of Iranian cinema: Close-Up, Taste of Cherry and The Wind Will Carry Us.
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Chasing Rembrandt is a small show, probably quickly assembled to complement the TheaterWorks production. For curious viewers, though, it raises a number of provocative questions.
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The saxman and his usual band (including vocalist Patrice Quinn instead of the billed Ami Taf Ra) easily adapted to the 200-seat venue, barely modulating their visceral delivery while also highlighting their softer dynamics and a personal rapport.
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All of the characters in Back to the Dirt are, in a sense, survivalists, people clinging onto what’s long gone, stockpiling karma for an apocalypse that is already upon them.
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Singer Marc Jordan has earned his voice the hard way, trekking through the music business for 50 years, and there’s a weathered honesty in his music now.
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Arts Feature: Best Movies (With Some Disappointments) of 2025