Review
At the New Museum, “I Am Tony” turns film, music, violence, memory, and Black creativity into a searing visual reckoning.
David Kittredge’s lively, illuminating documentary revisits John Boorman’s troubled 1977 “Exorcist II: The Heretic”—a studio-era fiasco whose ambition, artistry, and afterlife now demand a second look.
With Matthew Hagle at the piano and a storied 1742 Guarneri in hand, violinist Pine found both familial warmth and dramatic urgency in three Brahms sonatas.
At TD Garden, Geddy Lee and Alex Lifeson honored Neil Peart’s legacy without trying to replace him, as Anika Nilles powered a revitalized, emotionally resonant version of Rush through two distinct marathon sets.
Claudia Acuña reconnects Chilean roots with American jazz on “Ave de Luz,” while Jorge Drexler explores love, technology, politics, and dance on “Taracá.”
A lawyer-poet’s arguments against war, racism, plutocracy, and despair are sharpened by moments of sensual attention and stubborn devotion.
In films about Franco’s disappeared, AI companions, Iranian exile, and an Indian South African family’s buried history, the Camden International Film Festival finds digital—and analog—means of restoring bonds fractured by violence, loss, and time.
By Dan Kennedy Social change and corporate greed are destroying newspapers in small-town America. What happens to the people left behind? Deserted: Life Without Local News in Rural America by Nick Mathews. University of Illinois Press, 168 pages, $110 (cloth), $24.95 (paper) Local news is in crisis everywhere, but the challenge is more daunting in…
Claire Chase and her collaborators make a persuasive, vivifying case for Terry Riley’s hourlong score of freewheeling fantasy, grief, birdsong, and release.
The Cape Ann Museum’s revelatory exhibition shows how Milton Avery, Adolph Gottlieb, and Mark Rothko turned the Gloucester shore into a language of abstraction.
Book Appreciation: “Gulliver’s Travels” at 300 — Small Men, Tech Bro Delusions