Review
Jason Moran, as virtuoso pianist and bandleader, enacted all of jazz history at the keyboard, from ragtime to no time, as the saying goes.
You don’t see this often on commercial TV: a nihilistic expose of consumerism.
Polish director Krzysztof Kieślowski’s marvel universe explored in Three Colors.
A new recording of Benjamin Britten’s remarkable 1954 opera packs considerable ghostly punch.
If historian Thomas Crow’s goal is to explain how these rebels of the counterculture reshaped American art, he is at least partly successful.
The shorts categories of the Academy Awards aren’t just filler for your scorecard anymore.
This is a Marlowe movie trying too hard to be a Marlowe movie. But it doesn’t have the heart to succeed.
Ant-Man can no longer call out comic book movies for their bullshit because, as purveyor of prologue for the Marvel movies that will follow, the character is now too irredeemably full of bullshit himself.
As cultural critique, Curtis White’s Transcendent comes across as a modest if chilly yip of Zen resignation.
There’s still room for Brandon Cronenberg to grow as a horror director, but Infinity Pool should make his father proud. It’s a sensory nightmare of bodily dissociation and high class decadence that signals a promising start to 2023.
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