Posts
Jonas Hassen Khemiri does little in The Family Clause to put his own spin on the usual domestic showdown of repression versus dreams of liberation.
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Director Agnieszka Holland deftly presents a vision of genocide that is hard-hitting but never manipulative: the horror pervades the monochrome beauty of snow, skeletal trees, and pale, sunken faces.
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As a potentially thoughtful drama (hey, this is PBS) set during a revolutionary and colonialist era, Beecham House falls as flat as papadum.
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Adventurous jazz is not always as much fun to listen to as it is on Hero Trio, a stellar meeting of compositions, arrangements, and astute performances propelled by real passion.
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Working Man does an excellent job dramatizing the poverty and desperation of people who live paycheck to paycheck.
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The delicious cheekiness of the film is to present a story about two gay immigrants as a swooning romantic epic spanning years.
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Hinds’ shortcomings are readily apparent, but their infectious energy is undeniable.
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There is a gemlike quality to this film: an emotional, earthbound portrayal of the lived experience of a black woman — fighting to make ends meet, retaining her integrity despite repeated indignities.
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It has its flaws, but Love, Victor is a fun teen rom-com hat isn’t entirely rosy.
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Dance Commentary: Sally Banes (1950-2020)
Dance critic, scholar, performer, activist Sally Banes died on 14 June in Philadelphia.
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