Review
For a generation of Russians, Joseph Brodsky was the poet, almost a code-word in the discourse of the intelligentsia, like Nabokov.
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Peggy Lee’s career took her far from the bifurcated sexual image expected of a canary — 40% coy seductiveness and 60% “I just want to settle down but will entertain you until the right guy comes along.”
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Thanks to Octave and Mack Avenue Records, a significant section of pianist Erroll Garner’s storied career is back, sounding better than ever before.
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Jonas Hassen Khemiri does little in The Family Clause to put his own spin on the usual domestic showdown of repression versus dreams of liberation.
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Director Agnieszka Holland deftly presents a vision of genocide that is hard-hitting but never manipulative: the horror pervades the monochrome beauty of snow, skeletal trees, and pale, sunken faces.
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As a potentially thoughtful drama (hey, this is PBS) set during a revolutionary and colonialist era, Beecham House falls as flat as papadum.
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Adventurous jazz is not always as much fun to listen to as it is on Hero Trio, a stellar meeting of compositions, arrangements, and astute performances propelled by real passion.
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Working Man does an excellent job dramatizing the poverty and desperation of people who live paycheck to paycheck.
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The delicious cheekiness of the film is to present a story about two gay immigrants as a swooning romantic epic spanning years.
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Hinds’ shortcomings are readily apparent, but their infectious energy is undeniable.
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Arts Feature: Best Movies (With Some Disappointments) of 2025