Review
Critic John DiLeo argues that even the Academy Awards can make mistakes. And, in the process, he constructs an alternate history of who should or should not have been Oscar nominees.
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Was another helping of “The Platform” necessary? Maybe. But only if it was done right — and this is half-baked sci-fi horror.
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Cecile Desprairies’ extraordinary work is a cross between the dispassionate inquiry of a historian and a family memoir whose author is searching for catharsis at the end of her attempt to understand her family’s place in the Nazi-collaborationist narrative.
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William A. Everett’s book is well-researched but based on a problematic premise.
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Tedeschi Trucks Band demonstrated the difference between actively engaging in a musical tradition versus paying tribute to it.
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It was a mind-blowing experience. Countless times in dance performances a choreographer strives to make movements on stage mimic music. But Dianne McIntyre was dramatizing a much deeper, more organic connection.
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Time and again, Alice Fogel’s poems’ subtractions have a purifying effect, showing us a landscape or an architecture we hadn’t guessed was there.
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Tony winning playwright Joe DiPietro does a commendable job of dramatizing the true-life confrontation between Margaret Chase Smith and Joseph McCarthy while they were both serving in the United States Senate.
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A magical realist romp of a novel with a dollop of poignancy by the great Ukrainian writer Andrey Kurkov.
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If Fernando Huergo’s band of A-list Boston players sounded especially inspired, it was certainly in no small part due to what he was giving them to play.
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Arts Feature: Best Movies (With Some Disappointments) of 2025