Review
Watching a historic reality show now takes on a different meaning than it did 20 years ago. Today, our reliance on technology borders on nightmare Ray Bradbury territory, so modern-day folks trying to survive on the frontier looks like an impossibility.
On the hard wooden benches of a jail in Lowell, dialoguing with his street-fighting antagonists, we sense the emergence of organizer Michael Ansara’s strategy for working-class political action.
Jacob’s Pillow’s new Doris Duke Theatre is a complete triumph. It is, in artistic director Pamela Tatge’s words, “nothing like we had in mind but exactly what we thought.”
Could it be that Erich Wolfgang Korngold’s Symphony in F-sharp is the big kahuna of our symphonic music?
In her new documentary about the crises in Brazilian democracy, Petra Costa examines a factor involved in the election of Jair Bolsonaro that was largely overlooked in the first film — the toxic power of the evangelical movement.
The story’s surprising degree of feeling for Joaquin Phoenix ‘s Joe saves “Eddington” from simply serving as fodder for overheated social media discourse and crusading op-eds.
A particular guttural sequence of phrases from accordionist Ted Reichman suggested a musical cadence, and I felt myself respond with the jazz fan’s involuntary noise of appreciation: “Unh!”
A trio of worthwhile docs at this year’s Tribeca Film Festival tour a city, stroll beneath the surface of the world, and stride through an inspirational life.
“The Slip” raises issues of race and entitlement, as well as the malleability of identity, all in one big, sloppy, and occasionally gorgeous package.
“Superman” is overstuffed and bloated — so much so that it’s impossible to get an emotional toehold in the story being told.
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