Review

Jazz Review and Perspective: Sheila Jordan’s “Comes Love”

October 8, 2021
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Comes Love was Sheila Jordan’s first full recording session as a leader, and it automatically becomes a collector’s item for those who love the legendary jazz singer’s work.

Book Review: Man Ray — He Could Have Been a Contender

October 7, 2021
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The biography raises the subject of Man Ray’s Jewish roots, but the matter is dropped pretty quickly.

Television Review: “Maid” — Exploring Domestic Abuse in America

October 6, 2021
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Series creator Molly Smith Metzler clearly cares about the subject matter and is determined to tell a nuanced story about the hellish plight of the victims of domestic abuse.

Film Review: “Prayers for the Stolen,” A Microcosm of Mexico, Makes US Premiere at the NY Film Festival

October 6, 2021
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Let’s see if Prayers for the Stolen is selected as Mexico’s Academy Award nominee. It’s a long shot, given that this is a film that tells so much of the truth.

Theater Review: “The Sound Inside” — A Hollow Thud

October 5, 2021
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A hatred of self and others sits, relatively neglected, at the center of Adam Rapp’s script.

Theater Review: GSC’s “Think of Me Tuesday’ — Local Heroes

October 5, 2021
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Unfortunately, it’s becoming increasingly rare for Boston area theater companies to produce shows that are as deeply rooted in our local culture as this one.

Film Review: “Titane” — Born in Flames

October 5, 2021
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For all its skin-tearing brutality, Titane is uncharacteristically tender underneath its heavy metal shell.

Classical Album Review: The British Project

October 5, 2021
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This is an all-English album whose strongest moments are mighty and who’s most intriguing piece is a revelation.

Film Review: “Five Years North” — A Heart-Wrenching Look at Our Nation’s Twisted Immigration System

October 4, 2021
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Told with just the right amount of empathy, Five Years North offers an illuminating, and much needed, look at immigration in America.

Theater Review: “The Merchant of Venice” — Rebooted Marvelously

October 3, 2021
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Audiences who are open to a show that provides both riotous comedy and bracing truths will find plenty to think about in this deconstruction of one of the Bard’s most problematic problem plays.

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