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“Before Midnight” doesn’t go where you think it will, nor does it end quite the way you might imagine, but the highs and lows of this one memorable night evoke the disquiet and soberness that comes with becoming an adult.
This exhibit dedicated to Diaghilev and The Ballets Russes is well worth a trip to Washington D.C. because of the amazing objects on display.
Though its central events are in the past, conveyed by characters by means of often ambiguous shreds of memory and musing, “In Times of Fading Light” is a work of quiet power and beauty, dense with sorrow, telling detail, and suspense.
With “The Redeemer,” Dean Blunt has yet again managed to mystify his listeners – this time with gorgeous compositions, a vague yet compelling narrative, and unprecedented honesty.
It turns out that budding arts writers are anxious to learn how to master the demanding nuts and bolts of reviewing, especially given how few examples of first-rate criticism can be found in the increasingly all-thumbs mainstream media.
In the end, William Kamkwamba’s story in “William and the Windmill” is deeply inspirational. As the saying goes, talent is universal, opportunity is not.
“Fifty Shades of Grey”‘s infamous “red room of pain,” where Christian Grey keeps his S&M tools neat and clean, is never displayed, while none of the novel’s dominant-submissive sexual fetishes are exploited for sly laughs.
Rachel Hadas’ poems present deceptively calm surfaces, like a lake that hides its rich inner life beneath bright reflections of clouds and blue sky.
Dramatizing the essence of punk was Bradford Cox’s chief goal while composing “Monomania,” which he describes as a “very avant-garde rock & roll record.”
It may be only a movie, but in his book “Film after Film,” former Village Voice writer J. Hoberman proves he isn’t just a movie critic.
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