Review
Several films in this year’s festival explore the nature of dreams and the people who are driven by them.
The movie version of “The Long Walk” doesn’t follow Stephen King’s narrative exactly, but it remains true to the spirit of the novel. Which means it is just as harrowing an experience.
The Pogues leaned on their instrumental breadth when they took the Suffolk Downs stage as an 11-piece ensemble augmented at times by guest singers and a three-piece horn section.
Ideally, if the verse and the music work seamlessly together, they can create a third kind of art that is neither fish nor fowl. It can stand alone on its own merits.
Mick Herron’s prose, it must be said, remains top-notch, chock full of puns and timely references, as well as colorful dialogue. But the premise of this successful series of espionage thrillers is beginning to show some wear.
It’s likely, the playwright suggests, that Americans are incapable of getting out of their own way long enough to cooperate in ways that do anything about the challenges that we face as a society and a country, let alone the world.
Baritone Will Liverman is emerging as a musician with a capital “M,” one whose thoroughgoing approach to the craft is singularly illuminating, inviting, and affecting.
The long-anticipated pairing of Gov’t Mule and the Tedeschi Trucks Band turned out to be one of those rare moments when the live performance outshined even the promise on paper.
This novel is as fresh and charming as any contemporary work this critic has read in ages.
By Trevor Fairbrother The Queer Lens project made me think about queer culture and camera culture as distinct phenomena that began in the Victorian era: each was a manifestation of modernity. The latest exhibition that Paul Martineau has curated at the J. Paul Getty Museum is titled Queer Lens: A History of Photography and features…
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