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Film Review: “Joker: Folie à Deux” — “Morning in America” as Musical Nightmare

October 3, 2024
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This is a work of towering, masterful, sustained cinematic rage set at the dawn of the Reagan Era.

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October Short Fuses — Materia Critica

October 3, 2024
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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.

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Weekly Feature: Poetry at The Arts Fuse

October 3, 2024
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This week’s poem: Sam Cha’s “Ode: a portrait of god as a photograph of Gaza”

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Design Review: “Polinature” — A Plug-in Vertical Garden That Fights Climate Change

October 2, 2024
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Projects like “Polinature” overcome reams of bureaucracy, reinforced by government inertia, in order to improve our environment in admirably cost effective and efficient ways.

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Concert Review: In Austin, Texas — Three Major Acts of State-of-the-Art Progressive Jazz

October 2, 2024
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It was all intense, bracing, and urgent jazz in Austin last week. I don’t know how all y’all spoiled New Yorkers keep your heads from exploding.

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Coming Attractions: October 1 through 14 — What Will Light Your Fire

October 1, 2024
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Our expert critics supply a guide to film, visual art, theater, author readings, and music. More offerings will be added as they come in.

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Film Review: “In The Summers” — Coming of Age Never Stops

October 1, 2024
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This nuanced study in domestic malfunction is as universal as it is heartbreaking.

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Arts Remembrance: Maggie Smith

October 1, 2024
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Maggie Smith’s finest and most memorable roles drew on her genius for dramatizing the emotional complexity of outsiders.

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Book Review: Paolo Giordano’s “Tasmania” — A Brilliant Novel about Being Blinded by Personal Catastrophes

October 1, 2024
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An absorbing novel that builds steadily, not to a shattering or violent conclusion (all the violence is in the past or offstage) but to a quiet release that is humane and persuasive.

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Film Review: “A Different Man”– Odd Man Out

September 30, 2024
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It is on the universal theme of identity that “A Different Man” resonates most eloquently, demonstrating how who we are is not fixed but chosen, a mask we don whether it fits or not.

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