Review

Jazz Album Review: “Chick Corea Akoustic Band Live” — A High-Spirited Reunion

September 15, 2021
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A judicious mix of jazz classics, standards, and Corea compositions, Live is a blast.

Television Review: “Sex Education,” Season 3 — Growing Up Grand

September 14, 2021
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Amid the political point-scoring, Netflix’s Sex Education remains effervescently charming.

Classical Album Review: An Opera by the “Croatian Verdi” — Sung Right

September 14, 2021
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The performance shows generally high competence and comfort, no surprise given that the work is a longtime staple in Croatia: indeed, it is the single most-performed opera in the entire repertory of the Croatian National Theater.

Concert Review: King Crimson and The Zappa Band — Carrying On the Legacy

September 13, 2021
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Both King Crimson and The Zappa Band made the best of treating old catalogs as historical repertory.

Film Review: “Martyrs Lane” — Haunts of Childhood

September 13, 2021
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Martyrs Lane doesn’t unfold like a typical ghost story; it’s more of a mystery seen through a child’s eyes.

Film Review: “Language Lessons” — Gained in Translation

September 12, 2021
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The film catches the rhythms and vulnerabilities of real life when two worlds collide.

Film Review: “Afterlife of the Party” — Making Amends

September 10, 2021
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Afterlife of the Party backs away from serious issues, but it’s a sweet reminder of the power of female friendship.

Classical CD Reviews: Listening During COVID, Part 6 — Fresh Music-Making from Three Splendid Singers and One Amazing Pianist-Who-Also-Sings

September 10, 2021
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Chopin masterpieces, Rossini duets, and songs, spirituals, and arias — all performed in ways that make the music dazzle.

Book Review: “The Communicating Vessels” — Incommunicado

September 10, 2021
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The late Friederike Mayröcker’s über-recognizable style has become a brand, logoed by certain objects: violets, lilacs, birds

Film Review: Interrogating Guilt — Paul Schrader’s “The Card Counter”

September 9, 2021
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The Card Counter collapses under the weight of director Paul Schrader’s guilt complex.

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