Review
Robert the Bruce is a chronicle of war that contains moments of bucolic beauty and poetry that will surely appeal to lovers of historical films.
Here is a splendid biography from which you will learn things you never suspected, a book that will renew your faith in passion and what Louis Bromfield called those peculiarly American traits: integrity and idealism.
It’s a simple and formulaic premise: a boy with a single mom and an old widower become soulmates. But Driveways transcends cliché because of its strong direction and performances, especially from the late Brian Dennehy.
One of the pleasures of The Glass Hotel is how easily digestible it is; the prose rolls off the page, rewarding the reader’s close attention with subtle insights into character and motivation.
Play The Way You Feel is the best volume around on the uneasy relationship between film and jazz.
The songs by Milton Nascimento and Chico Buarque re-imagined on Rio Minas are not necessarily their best known, but all of the performances on this album eloquently testify to saxophonist Jean-Pierre Zanella’s love of Brazil and its people.
What do graphic novels about architecture bring to our understanding of the urban experience? They suggest that buildings can be like our memories — they hide as much as they show.
Deerskin is a mordantly funny commentary on the fragility of identity, livelihood, and masculinity.
Never Have I Ever suffers from an identity crisis: the show doesn’t want to face that it is just another Netflix teen comedy, albeit with its share of engaging moments.
Like Nina Antonia and Robert Clark, Mark Doty deftly interweaves personal narrative with his literary concerns.
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