Review
Some solidly impressive Mozart — aside from the filler, fifteen minutes of mono-dynamic, schlocky medleys.
It really bums me out to tell you that “MaXXXine,” the much awaited final film in the “X” trilogy, is an underwhelming ending to an otherwise interesting nu-slasher series.
Two discs: Jamaican-American musician Jordan Bak celebrates music for the viola and a reconstruction of Charles Martin Loeffler’s abandoned Octet.
The music on David Murray’s” “Francesca” is both antic and intense; it’s played by a responsive and inventive quartet who sound like they are having considerable fun entertaining themselves.
The latest film from Yorgos Lanthimos is a confusing mishmash of forced weirdness.
Considering that none of Guillaume Guillon-Lethière’s history is familiar, absorbing this scholarly exhibition, which is accompanied by extensive labels and wall texts, is demanding.
Much praised by Berlioz and others, this Italian opera (composed for the great mezzo María Malibran) brings a notable female composer out of the shadows.
A profound piece of director Chris Wilcha’s life was being disrespected and threatened with extinction. He had to do something. He had to make a documentary about it.
At this year’s festival: the Best Film of 2024, “We Strangers,” and a slew of gossipy docs on show business celebrities.
Book Review: “Big Fiction” — Is the Author Hive-Mind or Queen Bee?
On closer inspection, Dan Sinykin’s notion of a “conglomerate author” is largely a fiction.
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