Review
Europa Galante is small enough to make touring financially viable, yet large enough to successfully undertake “larger” works in a variety of venues.
Ruben Östlund is a richly talented filmmaker who puts the world of outrageous privilege in his cross hairs.
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.
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.
Religion is false, unscientific, and morally dubious, and any discussion that doesn’t take that as its starting point will end up going astray.
Tar is about a major artist with an outsize ego who ignores at her peril the seismic shifts in the culture.
An author with a deep affinity for and knowledge of movies and how they’re honored tells us all about Oscar.
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.
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.
Augustin Hadelich has the feeling of this music – its bittersweet melodic phrases, dancing riffs, and restrained passion – well in hand.
Arts Commentary: What Historical Fiction Can Teach Us About America