Review
In Berlin, the closest thing to a consensus on “Kontinental ’25” was that the film didn’t measure up to Romanian director Radu Jude’s customary standards. My view is that the critics didn’t look hard enough.
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A provocative commentary on our need to recognize our our common humanity, the film is, at its heart, a painfully cautionary tale.
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Two essential documentaries look at the legacies of Leni Riefenstahl and Elie Wiesel.
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The sprawling cast — 30-plus players — under Michael Arden’s direction performs with verve; they deliver outstanding performances and have excellent singing chops.
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Wes Montgomery and Joe Pass are master jazz guitarists who sound nothing alike.
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Anybody at Tuesday’s show who thought the members of Kraftwerk were just punching buttons at their static posts while audiovisuals surged automatically would be mistaken.
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Through it all, Deanna Raybourn’s quartet of females rely on the acuity and resourcefulness that has made the author’s other series characters both so memorable and beloved.
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Navigating the clash between tradition and experimentation — they are often two vastly different artistic worlds — requires bold programming.
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Ron Padgett’s “Pink Dust” proves that W.H. Auden was wrong — the nothing of poetry contains everything required to make a good (even heroic) life happen.
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The sheepishly affable Trey Anastasio wisely focused on music, allowing him to play a broader representation of his repertoire across two hours and 25 minutes.
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The 20th Annual Francis Davis Jazz Critics Poll: The Institution Continues