Review
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.”
Thanks to Octave and Mack Avenue Records, a significant section of pianist Erroll Garner’s storied career is back, sounding better than ever before.
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.
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.
As a potentially thoughtful drama (hey, this is PBS) set during a revolutionary and colonialist era, Beecham House falls as flat as papadum.
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.
Working Man does an excellent job dramatizing the poverty and desperation of people who live paycheck to paycheck.
The delicious cheekiness of the film is to present a story about two gay immigrants as a swooning romantic epic spanning years.
Hinds’ shortcomings are readily apparent, but their infectious energy is undeniable.
There is a gemlike quality to this film: an emotional, earthbound portrayal of the lived experience of a black woman — fighting to make ends meet, retaining her integrity despite repeated indignities.
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