Review
Pierre Reverdy’s poetry that is suspicious of the deceiving beauty of words, hence its pared-down, elemental, stylistic qualities.
“Gloria” explores better than any movie I’ve seen how, when middle-aged divorcees become a couple, they are still affected by their relationship with their ex-spouses and children.
“Dallas Buyers Club,” though it does get decidedly sunnier once Ron is introduced to natural self-medication, which extends his life well beyond the projected thirty days, is not an open-and-shut case.
Director Asghar Farhadi is a master storyteller. He is particularly adept at painting characters in deep shades of gray.
No amount of postmodern theory can paper over the fact that a half-baked cake, even one made with tasty ingredients, fails to satisfy.
As with any Richard Powers novel, when you finish “Orfeo” you will have no doubt you are alive, awake, and likely ready to start over at page one.
Saturday’s reading of Lutoslawski’s Piano Concerto greatly benefited from pianist Garrick Ohlsson’s steely yet sensitive account of the solo part.
Those willing to accept that powerful political theater can be as much about depicting pain as providing hope will find much to admire in this visually striking, dramatically compelling piece.
I don’t share Rebecca Mead’s awe for “Middlemarch,” but I share her enthusiasm for stretching the envelope of memoir.
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