Review
Opalescent’s overriding aspect is celebratory – but from a variety of angles.
Three looks at love that may help generate some interesting conversations about what love means in the lives of children.
Kirsten Greenidge’s epic comic drama is a spot-on examination of the challenges changing times pose to evolving families.
The Survivor examines what happens to someone who made the decision to survive in Auschwitz — no matter how.
The Northman is grounded in a manically precise capture of the Nordic world of the 9th century AD, but refracted through the lens of a whacked-out visionary in a spew of eye-popping images.
The emphasis isn’t on gratuitous sensuality: Gentleman Jack’s throes of passion are designed to reveal more about the psychological makeup of its characters.
Considering his loopy career and also his bumpy off-screen life, Nicolas Cage seems neither ashamed nor apologetic about how it’s all gone down.
It is invaluable for the world to have an in-depth account from someone who passed through the Xinjiang re-education system and was brave enough to tell the tale.
Live in Paris: The Radio France Recordings 1983-1984 is an example of solid, appealing late Chet Baker, doing what he did best with standards and the occasional original.
Russian Doll’s script still crackles with dark, cynical hilarity, and New York is still the gritty, gorgeous backdrop, the city where, clearly, anything can happen.
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