Review
Gus Kaikkonen has shown himself particularly adept at directing period pieces in such a way that they don’t bog down in their period, but convey the life of their own time into our own.
The jazz of tomorrow is in gifted hands. The future of the music business is more up for grabs.
A Most Wanted Man could have been a tense espionage yarn, but director and cast seem distinctly uninterested in delivering the nail-biting goods.
Some four centuries after Playhouse Creatures takes place, women are still facing inequality in the theatre world; companies like Maiden Phoenix are part of the solution to that problem.
Director Richard Linklater does something in Boyhood that is virtually unique. He filmed it over a twelve year period, so the actors actually grow older right before our eyes.
I’m miffed that three of the greatest documentaries ever produced, all from around Boston, didn’t make the cut on the Sight & Sound list.
4000 Miles is a showcase for dramatist Amy Herzog’s quirky sensibilities and canny insights into family dynamics.
There are laughs in this production of Twelfth Night, but the romantic payoffs are scarce, perhaps because the sit-com rhythms tend to swamp all else (including some of the poetry).
Despite Woody Allen’s recycling of old ideas and plot points, his actors give such strong characterizations that I tossed my skepticism aside and enjoyed the moonlit ride.
From the start of Get On Up, James Brown’s life is reduced to the plastic clichés of music biography.
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