Review
Rebecca Novack’s debut blends murder mystery and social satire in a sly, shape-shifting narrative driven by a sex worker who may be telling us exactly what we want to hear.
Allison Janney and Andrew Rannells star in a bittersweet new drama about grief, love, and second chances.
“The Maids” uses video and fantasy with purpose, while “Kenrex” turns a grim murder story into empty showmanship.
In Boston, the Boss fused crowd-pleasing anthems with a forceful anti-Trump jeremiad—raising questions even as he roused the faithful
Radu Jude’s latest begins in Ken Loach–like realism before veering into a savage, cine-literate black comedy about complicity and conscience.
A powerful new book exposes how the fear of Black liberation shaped the American legal order—and how the legacy of the slave patrol endures today.
A decade after “Fever Daydream,” the band’s return transforms moody electronics into a surging, physical spectacle.
Boots Riley fuses anti-capitalist critique with surrealist comedy, imagining revolt as both necessity and joy.
Anne-Sophie Mutter’s latest album sidesteps easy binaries, pairing Widmann’s mercurial Beethoven study with works by Chin, Darvishi, and Adès in performances of striking authority.
Anthony Kaldellis recasts the fall of Constantinople as a long process of attrition, shaped by strategy, fear, and the limits of Western indifference.
The Annual Francis Davis Jazz Critics Poll at Mid-Year: Warming Up a Riff — How It Happened, and Why It Matters