Review
What holds this wildly ambitious book together and drives the narrative is Rebecca Donner’s unwavering, partisan voice.
Think Ray Harryhausen by way of the Quay brothers or Jan Švankmajer and you’ll have a vague sense of the sort of magnificent black magic that animatesMad God.
What is evident throughout these superb tales of turn-of-century shtetl life is their authenticity.
Unlike a lot of modern jazz releases, this isn’t so much about displaying virtuosity (though all the musicians are virtuosos) as it is about setting a mood and a groove and dancing on top of it.
David Rooney’s thesis in About Time is provocatively ironic: clocks, through their ever-increasing precision and regularity, are the instruments of constant change.
With Tantura, brimming with evidence that will now be hard to suppress, director Alon Schwarz may have won an important battle in the war of conflicting narratives about Israel’s war of independence.
My second Sundance dispatch deals with abortion, torture and cannibalism: what a scintillating combination for a bitterly cold weekend!
CD recordings keep bringing us unexpected treasures, including chamber works by Samuel Coleridge-Taylor and Samuel Adler, and the (by turns) exquisite and powerful opera Armida by Mozart’s contemporary — who was not his murderer — Antonio Salieri.
Can somebody tell me, tell me please, why there’s suddenly such a profusion, a torrent… almost a glut, of significant art history books entering the marketplace right about now?
The first three films I saw at the Sundance Film Festival were very high-profile premieres.
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