Review
The pleasure of Talley’s Folly is in its details, the give-and-take of the dialogue, the smaller and larger revelations they tease out of each other, the characterization of the two human creatures dancing their dance.
Satoko Fujii’s quartet could go from 0 to 100 at the drop of a hat, but only once in a while, and nearly always at the perfect time.
In Hesitation Marks, Nine Inch Nails’ Trent Reznor foregoes trendy flourishes. He might have delivered a set of competently-made, stripped-back industrial tunes. But the end result is monotony.
With a good critic like Peter Rainer, the opinion itself is the least interesting part of the review. It’s the contextualizing of the opinion. And the choice of words on paper.
Christian Gerhaher is, perhaps, the great Mahler baritone of his generation, while Bruckner is, perhaps, a surprising choice for conductor Kent Nagano, whose championship of new music is legendary.
Jessie Reijonen’s eclectic and spacious approach to jazz is a deliberate attempt to investigate, not necessarily fuse, his disparate roots.
The documentary was originally screened at South by Southwest in 2010 while Levon Helm was still alive, but with his death from cancer in 2012, the film now serves as a heartfelt tribute to a true American original.
Lindsay Lohan is prostituting herself to a dreary vision of a Tinseltown shorn of even flickers of glory. And I like that.
There is a paucity of richness in The Goddess Chronicle. The myth might have been, but wasn’t, mined for tales of compassion, or inevitability of sorrow, or the psychology of misogyny or of revenge, or the strictures of fate.
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