Review
Featuring a transcendent performance by Bill Nighy, Living inspires viewers to look inward, and then outward, gently begging us to muster whatever power we have to seize the day.
Projects such as Birthright: A Black Roots Music Compendium extricate the resilient voice of the people from the cacophony of current ideological intervention.
Missy Mazzoli’s scoring is generally airy and virtuosic, yet Dark with Excessive Bright doesn’t seem to add up to more than the sum of its parts.
Elvis Costello loves to visit various regions of the past but wouldn’t dare move to any of them permanently.
While balancing the scales of justice can be difficult work, the effort is an important act of generosity, even love.
Hulu’s History of the World, Part II — the damn thing isn’t funny.
Dave Brubeck and the Performance of Whiteness has scholarly value but, given its diminution of human agency, it will not significantly impact real life public conversations about ending white privilege and dealing with the complexities of cultural appropriation.
Arnold Trachtman, Isabelle Higgins, and Barbara Ishikura are all “Boston Modern” artists who never stray far from communicating all-too-human joys and worries.
Surely the selfless subject of Anne Weber’s Epic Annette qualifies beyond doubt as a true heroine of the twentieth century?
Technology-driven horror narratives are ubiquitous these days: Red Rose has an authentic look that makes its creepiness distressingly plausible.
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