Review
“The Maids” uses video and fantasy with purpose, while “Kenrex” turns a grim murder story into empty showmanship.
In Boston, the Boss fused crowd-pleasing anthems with a forceful anti-Trump jeremiad—raising questions even as he roused the faithful
Radu Jude’s latest begins in Ken Loach–like realism before veering into a savage, cine-literate black comedy about complicity and conscience.
A powerful new book exposes how the fear of Black liberation shaped the American legal order—and how the legacy of the slave patrol endures today.
A decade after “Fever Daydream,” the band’s return transforms moody electronics into a surging, physical spectacle.
Boots Riley fuses anti-capitalist critique with surrealist comedy, imagining revolt as both necessity and joy.
Anne-Sophie Mutter’s latest album sidesteps easy binaries, pairing Widmann’s mercurial Beethoven study with works by Chin, Darvishi, and Adès in performances of striking authority.
Anthony Kaldellis recasts the fall of Constantinople as a long process of attrition, shaped by strategy, fear, and the limits of Western indifference.
This substantial collection of the writings of classical music critic Michael Steinberg evokes a time when critics educated, provoked, and helped build cultural life.
A compelling program of Donald Hass, Florence Price, and Brahms reveals ensemble precision and deeply felt musical dialogue.
Arts Commentary: The Kennedy Center and the Boston Symphony Orchestra — A Tale of Two Crises