Posts
“Hollywood’s Imperial Wars” is at its best as a bold and informative survey of the movies that the studios felt it was “credibly possible” for them to make after Vietnam.
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This is my kind of music, a tight latin jazz outfit that embraces great horn charts and explosive percussion.
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You either go full Hollywood CGI, or you pare it down to the poetry of it.
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Whatever else 2024 has in store for queer filmmakers and audiences, there’s likely to be nothing else that’ll put a smile on your face quite like “The People’s Joker.”
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It’s not hyperbole to suggest that Dan O’Brien’s “True Story: A Trilogy” represents a distinctive achievement in theater history.
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“Amar Singh Chamkila” doesn’t hit the compelling heights of “Highway” and “Tanasha,” but the director Imtiaz Ali successfully infuses — within the limits of the musical biopic — a buoyant, rebellious spirit.
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If “La Chimera” is a bit harder to penetrate than the director-writer’s previous works, it boasts some captivating passages and raises pertinent questions about art, history, globalism, and national identity.
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“Ripley” is one of the most entertaining and finely-wrought thriller series to come from Netflix in years.
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This book is a fiery manifesto that charges that copyright law today is an outrageously unjust scheme that does nothing for 99 percent of authors, other creative people, and their fans, while it locks up a commodity that fills the coffers of large corporations.
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Pianist Noah Haidu’s impeccably performed and recorded “Standards II” is a winner.
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Arts Commentary & CD Reviews: On The Kennedy Center, Ben Folds, & Gustav Mahler