Review
Uri Caine’s score about the life and murder of a 19th-century civil rights icon is direct and potent; touching documentation of Richard Pittman’s advocacy for the inventive composer Bernard Hoffer and a demonstration of the sheer musical excellence of Boston Musica Viva; Igor Levit’s keyboard playing is dynamic, precisely articulated, vividly felt, and beautifully voiced.
Ma Rainey’s Black Bottom is a stellar artistic accomplishment, a blazingly powerful dramatic experience.
This innovative “documentary” is a major accomplishment: it merits a much broader viewing than it is likely to attract (this one has “sleeper” and “cult classic” written all over it).
Jean Dawson’s Pixel Bath is one of the most exciting releases I’ve heard this year.
Poet Paul Celan has come to embody in person and in print the agonies of a half century of European culture.
The excellent cast and realistic tone make Another Round oddly accessible, despite its rather outrageous, anti-social premise.
Writer András Koerner has dedicated himself, lovingly and brilliantly, to assiduously reconstruct the lives of ordinary Jews in Hungary before the Shoah.
This biography of Lucy S. Dawidowicz performs the invaluable function of gathering relevant documents and drafting a narrative that rescues a fascinating historian from oblivion. But it does not add much to the history of the New York intellectuals.
A delightful translation of AntonTon (Antuntun in the original Croatian), a story about a “unique guy who does everything his own way“; whether you’re a classical music aficionado or novice, Carnival of the Animals would make a good introduction to the genre to share with children and grandchildren.
The series’ inspirational message comes at a good time in our crisis-ridden country, but its focus on reassurance isn’t very dramatically compelling.
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