Review
Tom Cruise delivers a virtuoso turn, but Iñárritu buries a potentially potent climate-change comedy beneath exposition, self-congratulation, and stunts.
The real-life friends play fictionalized versions of themselves in a genial but thin comedy built around a long-running family rumor.
Three Toronto premieres — John Trengove’s “The Smell of Apples,” Avi Nesher’s “Our Loves,” and Pedro Almodóvar’s “Bitter Christmas” — locate private lives within political violence, historical memory, and the seductive artifices of storytelling.
Kelly Anderson’s “The Wild Beneath” finds beauty in the eerie aftermath of disaster, where grief settles everywhere and the sea reshapes what its survivors believe is real.
Director Kiyoshi Kurosawa transforms a revenge thriller into a chilling examination of guilt, conspiracy, and the violence that permeates modern life.
Colin Kidd’s lively history follows universities in Oxford and Cambridge from postwar confidence through rebellion, Thatcherite assault, and a troubling loss of institutional nerve.
On its Cantaloupe Music debut, Phaedra Ensemble enters Monk’s strange, haunting sound world—where strings, reeds, voices, and silence dissolve familiar ideas of classical music.
Rossini’s epic arrives at the Emerson Colonial Theatre in a visually audacious, musically potent production that turns a familiar liberation story into a contemporary warning.
Lili Reinhart charms as a cancer-curing Stanford Ph.D. candidate, but Amazon’s uneven adaptation works best when it follows Olive’s friendship with Anh—not her contrived fake-dating romance.
In this rich collection of essays and introductions, translator and writer Peter Wortsman considers language as an intimate, imperfect act of resurrection—and guides readers toward a varied company of German- and French-language authors.
Arts Commentary: Superman, Spider-Man, and the American Art of Slugging Nazis