Although rather shallow in its characterizations, “Bad Words” makes up for this deficiency in its rollicking, R-rated demolition of a familiar character-building institution: the spelling bee.
The first few episodes of HBO’s “Doll & Em” operate as a fairly funny show-biz satire, but then the series takes a nosedive into turgid melodrama.
What makes Lars von Trier one of cinema’s most fascinating directors? It is his willingness to pull out the stops in a riotous search to understand his own mind and ask questions about human nature. His films are a quest to find himself.
Unlike much of what comes through the new play development pipeline, “The Whale” proffers a coherent narrative structure — the result is a well-crafted, somewhat edgy, domestic tragedy.
In the superb “But where is the lamb?,” James Goodman takes up the numerous ramifications, moral and otherwise, of God’s chilling command to sacrifice Isaac and Abraham’s — perhaps more chilling — acquiescence.
Boston Ballet is showcasing a number of its ballerinas in the title role of Cinderella.
The teamwork and chemistry of soprano Natalie Dessay and pianist Philippe Cassard were terrific, each performer delivering the music with great expressiveness and intelligence.
Everyone is a bit more stupid than they need to be in this movie, both the Germans and the Jews.
“The Haunted Life” is little more than an example of the staggering amount of work it takes for a writer to find his voice, a testament to the years of toil Kerouac put in before forging a style all his own.
The five compositions and one de facto suite played at the NEC Winds and Winds Ensemble performance spoke with six different voices and carried six different messages.