Review

Visual Arts Review: “Phyllis Ewen: Inundation” — Speaking to the Unraveling of the Environment

May 8, 2025
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Phyllis Ewen ponders humanity’s perilous relationship with the earth, expressing her concerns through her artwork.

Film Review: François Ozon’s “When Fall Is Coming” — Felix Culpa

May 8, 2025
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Redemption awaits “When Fall Is Coming.”

Jazz Album Review: “Chick Corea, Piano Improvisations Vol 1” — Flights of Lyrical Logic

May 7, 2025
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Throughout these bold solo performances, pianist Chick Corea exudes confidence.

Children’s Book Reviews: Different Endings

May 7, 2025
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Two new picture books offer a refreshing use of not-so-typical endings.

Film Review: “Thunderbolts*” — A Great Time at the Movies

May 6, 2025
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It’s pretty interesting that we live in a moment in which our comic-book obsessed culture is creating a number of antagonists based on the premise of, “Hey, what if Superman were emotionally stunted and really evil?”

Film Review: “The Empire” — Gallic Alien Invasion, Lampooned

May 6, 2025
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Bruno Dumont has always been a divisive filmmaker, drawn to provocation, and the wacky sci-fi parody of the comedy-drama “The Empire” has proven to be no exception.

Jazz Album Reviews: A Trio of Gems from Craft Recordings

May 5, 2025
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At the time of these sessions the musicians themselves were celebrating the relatively recent advent of the long-playing record.

Film Review: “The Ugly Stepsister” — Beauty Is Pain

May 4, 2025
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“The Ugly Stepsister” emphasizes how fiercely beauty reigns supreme for women of all ages — especially those in the 1700s.

Book Review: “Josephine Baker’s Secret War” — Zouzou in Casablanca

May 4, 2025
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What we don’t learn in “Josephine Baker’s Secret War” was what she did to steel herself against the risks she was taking. Was it all acting? A belief that her charmed life would never end?

Film Review: “Bonjour Tristesse” — A Capsized Remake

May 2, 2025
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The first thing to note about the 2025 remake of “Bonjour Tristesse” is that it matches the Otto Preminger rendition with its handsome look, its sumptuous color, and the skilled cinematography of Maximilian Pittner.

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