Review
The first three episodes of the second season of The Legend of Vox Machina exceeded expectations.
My second crop of Sundance screenings features three films that are all about women who, on some level, retreat from certain aspects of their lives: their pasts, their trauma, their public persona.
Kim’s Video is quixotic in a nutty way — in an old Indie style — that is more refreshing than it is nostalgic.
The last time Kenny Barron recorded solo was in 1981. That, besides the quality of the music, is a reason to treasure this album.
The domestic demolition in Kate Snodgrass’s script is served au flambé.
In Infinity Pool, people who are dead inside essentially play with their own corpses as shiny, new toys. The savagery of that idea is, simply, delicious.
The three films I selected to start my 2023 Sundance journey were very different from one another, but they shared one common theme: girlhood.
Even if this isn’t the most interpretively satisfying of Daniel Barenboim’s traversals through this repertoire, it is a deeply revealing one that draws on a lifetime of experience with this music.
The smallish Friend Recital Hall was an ideal setting for pianist Laszlo Gardony to impose his engaging personality, as well as his musical versatility and power.
Under the baton of Andris Nelsons, a listless Boston Symphony Orchestra delivered flat renditions of works by Shostakovich and Brahms.
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