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Film Review: “Border” — Memorable Swedish Gothicism

October 28, 2018
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Border memorably skims the border between reality and the supernatural, examining the irreconcilable division between the civilized and the perverse.

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Concert Review: Mahler’s “Resurrection” Symphony at Symphony Hall

October 27, 2018
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Andris Nelsons presided over an interpretation of Mahler’s Symphony #2 that was both tightly controlled and emotionally cathartic.

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WATCH CLOSELY: “Chilling Adventures of Sabrina” is Deliciously Dark and Witchy

October 26, 2018
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Chilling Adventures of Sabrina is not as artful as a lot of what’s on offer now, but this pleasing series kicks off the Hallowe’en season with a bang.

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Cultural Commentary: “The New Yorker” and The Fat Cats — Teaming Up

October 26, 2018
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Yes, The New Yorker cover pillories the superrich as they ignore the pixie proletariat at their feet. But so what?

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Jazz CD Review: “Random Dances and (A)tonalities” — Ambitious Logic

October 26, 2018
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Don Byron’s repertoire doesn’t just focus on the bebop era — nor is it self-consciously hip.

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Film Review: Stop and Smell (and Watch) the Corn — Fred Wiseman Slows Down in “Monrovia, Indiana”

October 25, 2018
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While nothing happens, there’s an understated splendor in all that’s uneventful here, so much so that I didn’t want to miss any of it.

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Jazz CD Review: Dexter Gordon and Woody Shaw — From Out of the Past

October 24, 2018
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These albums, featuring Woody Shaw and Dexter Gordon, are illuminating to listen to side by side.

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Film Review: “The Price of Everything” — At What Cost?

October 23, 2018
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There are words of wisdom for artists here: they offer a simultaneously nauseating and heartening view of the trade for those actively practicing.

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Theater Review: “The Peculiar Patriot” — All Heart

October 22, 2018
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The Peculiar Patriot may say it is about making us feel the human price of mass incarceration in America, but there is more than a little True Romance in the mix.

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Rock CD Review: “Joe Strummer 001” — He Never Rested on His Laurels

October 22, 2018
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What the box set makes adamantly, abundantly clear is how egalitarian Joe Strummer’s musical vision truly was. If you don’t already know his solo work, you should.

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