Review
The latest film from Yorgos Lanthimos is a confusing mishmash of forced weirdness.
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Considering that none of Guillaume Guillon-Lethière’s history is familiar, absorbing this scholarly exhibition, which is accompanied by extensive labels and wall texts, is demanding.
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Much praised by Berlioz and others, this Italian opera (composed for the great mezzo María Malibran) brings a notable female composer out of the shadows.
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A profound piece of director Chris Wilcha’s life was being disrespected and threatened with extinction. He had to do something. He had to make a documentary about it.
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At this year’s festival: the Best Film of 2024, “We Strangers,” and a slew of gossipy docs on show business celebrities.
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This unconventional memoir suggests that music can do more than just change ideas or beliefs — it can transform minds, overhaul brains.
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The revolving cast members of the FTA road show were determined to reinforce the belief among members of the military that the Vietnam War was at best pointless and at worst criminally insane as well as murderous.
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Two films about the glories of summer are infused with bittersweet reminders of the reality of social class in America.
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As usual, Annie Baker is more interested in how viewers gather information, gleaned from bits of dialogue, than in wrapping up a neat plot or delivering a message.
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What Lana Del Rey lost in time at Fenway she tried to make up for with the slew of guests she brought on stage.
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Arts Feature: Best Movies (With Some Disappointments) of 2025