Review
Both films are intermittently entertaining and display a high level of craft. They’re also blithely mediocre: mainly flash and filigree, vacuous at their center.
Mario Vargas Llosa’s final novel is a sweet, light story about art and idealism—and its ever-present opposite, cynicism.
For a piercing reflection of the times, turn to the Oscars’ Best Documentary categories, in particular, the Best Documentary Shorts.
In its first commercial recording, Frano Parać’s “Judita” wrings compelling drama out of the biblical tale.
What you’ll think of this book will likely rest on what you make of the writer’s definition of Black digital Art.
Joshua Harmon’s play offers numerous instances of familial turbulence, moments of rhapsodic relief and — to avoid spoilers — revelations of how guilt and hostility fuse to create irreparable fissures in the family dynamic.
Director Hlynur Pálmason’s latest is an ambitious, artful, but half-baked bagatelle.
Along with its slew of images — photos, sketches, and ephemera as well as album covers — WAIL offers what amounts to a compelling oral history of the mid-century explosion, not only of recorded jazz but of graphic design and, by extension, a burgeoning New York cultural scene.
Lauded in histories of Broadway but rarely performed, “Love Life” proves to be an insightful and effective work of social criticism, nearly eight decades after its premiere.
The poems in :World on a String” set an example for us all of how to live, to love, to release, and to remember.
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