Blue Bayou’s story deserves to be told and heard. But rather than focus slowly and intently on its central crisis, the script kneads in a dizzying array of additional threads and sidelines.
Martyrs Lane doesn’t unfold like a typical ghost story; it’s more of a mystery seen through a child’s eyes.
The film catches the rhythms and vulnerabilities of real life when two worlds collide.
Afterlife of the Party backs away from serious issues, but it’s a sweet reminder of the power of female friendship.
The Card Counter collapses under the weight of director Paul Schrader’s guilt complex.
Each month, our arts critics — music, book, theater, dance, and visual arts — fire off a few brief reviews.
Why bother giving big-budget Hollywood projects to up-and-coming Black filmmakers if they’re just going to be neutered and cut to shit before release?
Is Gen Z this nihilistic? If so, a much darker, even zanier version of She’s All That would have been more fitting and far more entertaining.
A mismatched couple, trapped at home by government decree, try to maneuver and bicker their way through a COVID lockdown.
If the theater really mirrors life, then you can bet we’re in for some drastic changes and adjustments, even on Broadway.