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Zach Cregger’s comedic instincts have overtaken his skill as a horror director. Resident Evil is more like a gory stoner comedy than an all-gas-no-brakes horror ride.
At the New Museum, “I Am Tony” turns film, music, violence, memory, and Black creativity into a searing visual reckoning.
In Central Square Theater’s production of the solo drama “Eleanor,” the acclaimed actor channels a historic first lady’s activism, marital complexities, and enduring call to civic action.
David Kittredge’s lively, illuminating documentary revisits John Boorman’s troubled 1977 “Exorcist II: The Heretic”—a studio-era fiasco whose ambition, artistry, and afterlife now demand a second look.
His threatened destruction of the nation’s living memorial to John F. Kennedy exposes not merely an assault on a building, but the petty authoritarianism, civic vandalism, and cultural contempt driving his presidency.
With Matthew Hagle at the piano and a storied 1742 Guarneri in hand, violinist Pine found both familial warmth and dramatic urgency in three Brahms sonatas.
The former Heartbreaker brings a deepening songbook, a crack band, and new material from “Mission of Mercy” to Beverly’s Cabot.
At TD Garden, Geddy Lee and Alex Lifeson honored Neil Peart’s legacy without trying to replace him, as Anika Nilles powered a revitalized, emotionally resonant version of Rush through two distinct marathon sets.
Film Music Commentary: Why “The Odyssey” Should Have Been a Silent Film
Christopher Nolan’s high-tech Homer struggles to achieve epic grandeur; Fritz Lang’s “Die Nibelungen,” with its stylized images and Gottfried Huppertz’s symphonic score, shows what modern spectacle leaves behind.
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