Review
Documentarian Ross McElwee’s most profound film folds four decades of self-portraiture into a threnody for his son—and a meditation on memory, guilt, and cinema’s solace.
The webslinger’s new outing has the cameos, the conspiracy, and the corporate logic. What it doesn’t have is heart.
Kelly McWilliams’s “No One Leaves the Manor” turns a haunted-house setup into a sharp, lyrical reckoning with race, class, disability, and trauma.
From Tom Morello’s searing set to CMAT’s breakout turn and Dave Matthews’ final-set detour, the festival kept its focus on music that opened outward rather than looking back.
The punk auteur’s late-career swan song is ragged, witty, and politically sharpened, though not always as cohesive as its ambitions.
“The Dink” turns pickleball rivalries into an easygoing comedy about aging, ego, and unexpected connection.
Double Edge Theatre revives its 2015 roaming spectacle of ecological grief, political resistance, and communal art.
Daniel Mason’s latest novel trades the ambition of “North Woods” for a lighter, self-satisfied satire of intellectual life.
At Agganis Arena, the guitarist led a genre-spanning set from tight harmonies to deep-space jams.
Director Robb Moss’s latest revisits countercultural lives in later years, while “Amazing Live Sea Monkeys” probes a bizarre empire shadowed by exploitation and extremism.
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