Review
Ruben Östlund is a richly talented filmmaker who puts the world of outrageous privilege in his cross hairs.
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Unlike the slow, spacy stonerism of the 1973-77 era, early Pink Floyd is a much more rocking experience, and those foundational tunes of English psychedelia take on the excitement of punk to modern ears when heard live.
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At House of Blues, Fontaines D.C.’s brooding, bristling music was offset by shifting swatches of amber and purple lighting amid the shadows, casting the musicians in mysterious terms.
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Religion is false, unscientific, and morally dubious, and any discussion that doesn’t take that as its starting point will end up going astray.
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Tar is about a major artist with an outsize ego who ignores at her peril the seismic shifts in the culture.
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An author with a deep affinity for and knowledge of movies and how they’re honored tells us all about Oscar.
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The nine-part film series focuses on the artist in his studio in Johannesburg. We see William Kentridge as he draws, paints, designs, paces the floor, and thinks out loud — among other things.
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An experimental drama, no matter how tantalizing, has to come up with a payoff that makes its bewildering journey worth it. Lucas Hnath’s doesn’t.
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Augustin Hadelich has the feeling of this music – its bittersweet melodic phrases, dancing riffs, and restrained passion – well in hand.
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The dignified design and subtle lighting of the Wadsworth installation manages to keep the diversity, frenetic variety, and colorist’s dream of this exhibition from being overwhelming.
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Arts Feature: Best Movies (With Some Disappointments) of 2025