Review
Sunday’s 100-minute show at Crystal Ballroom offered a celebration of what Gang of Four means for its surviving original members and followers alike, including newer generations represented onstage as well as in the packed hall.
The future for documentaries looks troubling, but the IFFBoston perseveres.
American darkness is now up front and personal. “Holland”‘s stale moves miss where we are now — disaster isn’t hidden, it is in clear view.
This was a “Resurrection” Symphony for today: urgent and unsettled, yes, but also searching, persevering, and, ultimately, triumphant. If the weekend turns out to have marked conductor Benjamin Zander’s last go-around with this masterpiece, what a way to finish.
Exposure is a septet assembled to perform Robert Fripp’s quirkily diverse, overlooked 1979 solo album “Exposure” for the first time ever, in sequence.
The author argues that “the only way to prevent the senseless acts of cruelty” that result from the “grinding gears” of the “machinery of death” is to “retire the machinery altogether.”
For fans of director Stanley Kubrick, this enhanced biography may be the most thorough and readable volume on one of the cinema’s most profound seers.
If you think the world’s gotten a lot colder in the last couple years, you’re not alone. Director David Cronenberg feels it too.
Three films that stood out at this year’s annual festival at the Museum of Modern Art and Film at Lincoln Center.
The best way to honor all of those responsible for the Allman Brothers Band was to play like the Allman Brothers Band: be fierce, not nostalgic; be pleasing, not cloying; be generous, not self-indulgent. And The Brothers pulled it off.
The Annual Francis Davis Jazz Critics Poll at Mid-Year: Warming Up a Riff — How It Happened, and Why It Matters