Posts
“I’m really dark. Everything I write is dark. Most people don’t know what dark fiction is, but agents ask for it.”
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This is an indelibly zany concoction: part homage, part esprit de corps, part meditation on screwball comedy as a form of modest but invigorating cheer.
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I wrote last week that the best films at the Tribeca Film Festival tended to be documentaries. Then I saw a scripted German film that turned out to be an exception.
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The Black Phone is not just about kids fighting to live. It’s about kids fighting to be seen, and in the case of the film’s literal ghosts, heard.
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What elevates An Iliad beyond the routine is MaConnia Chesser’s dazzling performance as The Poet.
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Common Ground Revisited infuses new life into J. Anthony Lukas’s book, but it doesn’t offer any easy answers. The play fills in the fine details, deepening our understanding of how we got here and how far we have to go.
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Cha Cha Real Smooth is sappy but welcome: it is an unconventional comedy that offers a rare dose of empathy for the family in these anxious times.
All the Colors of the Dark and The Case of the Bloody Iris are underrated giallo gems worth seeking out, representing not only the best of the genre, but sex symbol Edwige Fenech’s onscreen magnetism at its strongest.
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Rather than a triumphant return to form from one of horror’s greatest visionaries, Dark Glasses plays like a faded Xerox copy of director Dario Argento’s past hits.
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Visual Arts Commentary: Dishing It Out — Boston’s Arts and Crafts Movement Ceramic Leadership
Believe it or not, Boston — the home of stick in the mud, architectural and decorative conservatism — was the initial epicenter of the Arts and Crafts Movement in America.
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