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“Dallas Buyers Club,” though it does get decidedly sunnier once Ron is introduced to natural self-medication, which extends his life well beyond the projected thirty days, is not an open-and-shut case.
Director Asghar Farhadi is a master storyteller. He is particularly adept at painting characters in deep shades of gray.
No amount of postmodern theory can paper over the fact that a half-baked cake, even one made with tasty ingredients, fails to satisfy.
As with any Richard Powers novel, when you finish “Orfeo” you will have no doubt you are alive, awake, and likely ready to start over at page one.
Saturday’s reading of Lutoslawski’s Piano Concerto greatly benefited from pianist Garrick Ohlsson’s steely yet sensitive account of the solo part.
Those willing to accept that powerful political theater can be as much about depicting pain as providing hope will find much to admire in this visually striking, dramatically compelling piece.
I don’t share Rebecca Mead’s awe for “Middlemarch,” but I share her enthusiasm for stretching the envelope of memoir.
Arts Fuse critics select the best in music, dance, film, and theater that’s coming up this week.
In Donna Tartt’s much-lauded third novel, Fabritius’ painting “The Goldfinch” and the fleeting nature of, well, everything comes together for a brief and shining moment.
Without being preachy, HBO’s “Looking” offers a fine lesson that being totally out of the closet, as are all the many characters, can lead to a cool cool (and also hot hot) existence.
Classical Music Commentary: What’s Next for the Boston Symphony? — Lessons from the Past