Review
The Boy in the Field is the latest novel from Margot Livesey, a prolific writer with a keen eye for the interiority of her characters, a skill that enriches her novels with a rare intimacy and immediacy.
While there’s plenty of wistful romance and character-driven conflict to keep Summerland rolling along, the narrative isn’t exactly plausible.
Filmmaker Oliver Stone’s memoir is an exhilarating primer for anyone who wants to understand his reputation as a writer and director.
Grétry’s Raoul Barbe-Bleue — the story of the original lady-killer, Bluebeard — receives its world premiere recording and it’s splendid.
In no way a ‘tale told by an idiot, signifying nothing’, Pew is instead a kind of reverie, a wide-eyed spin on the Southern novel.
Reading Sumiteru Taniguchi’s book brought back my memories of meeting a man who had witnessed the unimaginable.
The documentary is about “the power of the community and how rock and roll, and music in general, is worth fighting for: sometimes that means doing it yourself.”
She Dies Tomorrow marries the avant-garde with slice of life, jumping from death throes to conversations about dolphin sex over full glasses of red wine.
Is it any wonder? An opera that angered Louis XIV in 1677 brings enormous pleasure in 2020.
This debut film from Romola Garai is to be commended on all levels: its technical proficiency, its aesthetic beauty, its affecting and unusual story, and its stand out performances.
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