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The point of the revelatory exercises in Second Star is to mentally invigorate, to sharpen how we look at the things in plain sight that we take for granted.
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Netflix’s dumb series Sanctuary serves up a cartoon view of sumo wrestling.
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Kerry Howley’s expose is a vibrant report on the chaotic and often disquieting world of surveillance and national security.
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Children’s picture books about dogs and cats are plentiful, but a few new entries in the genre stand out.
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This not-quite-full retrospective contains three masterpieces of Iranian cinema: Close-Up, Taste of Cherry and The Wind Will Carry Us.
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Chasing Rembrandt is a small show, probably quickly assembled to complement the TheaterWorks production. For curious viewers, though, it raises a number of provocative questions.
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The saxman and his usual band (including vocalist Patrice Quinn instead of the billed Ami Taf Ra) easily adapted to the 200-seat venue, barely modulating their visceral delivery while also highlighting their softer dynamics and a personal rapport.
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All of the characters in Back to the Dirt are, in a sense, survivalists, people clinging onto what’s long gone, stockpiling karma for an apocalypse that is already upon them.
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Singer Marc Jordan has earned his voice the hard way, trekking through the music business for 50 years, and there’s a weathered honesty in his music now.
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An avant-garde iconoclast, Nam June Paik once said “It’s an artist’s job to think about the future.”
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