Featured
Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
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Our expert critics supply a guide to film, dance, visual art, theater, author readings, and music. More offerings will be added as they come in.
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Some solidly impressive Mozart — aside from the filler, fifteen minutes of mono-dynamic, schlocky medleys.
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It really bums me out to tell you that “MaXXXine,” the much awaited final film in the “X” trilogy, is an underwhelming ending to an otherwise interesting nu-slasher series.
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Two discs: Jamaican-American musician Jordan Bak celebrates music for the viola and a reconstruction of Charles Martin Loeffler’s abandoned Octet.
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The music on David Murray’s” “Francesca” is both antic and intense; it’s played by a responsive and inventive quartet who sound like they are having considerable fun entertaining themselves.
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On closer inspection, Dan Sinykin’s notion of a “conglomerate author” is largely a fiction.
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The latest film from Yorgos Lanthimos is a confusing mishmash of forced weirdness.
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It was not just networking that propelled William Parker into the front rank of bassists. He could generate such a huge and complex cascade of sound that he energized leaders from Cecil Taylor and Ivo Perelman to Zoh Amba.
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Arts Commentary: Record Companies Suing AI — Who Owns Input?
The real action, rest assured, will take place in the counting house, not the courthouse.
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