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“Hard to Watch” lays out a pragmatic path — directions for how to preserve your time and attention — that will help just about anybody engage with any kind of art thoughtfully and purposefully.
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The recording proves to be both an excellent example of Andrew Hill’s unusual creative methods, particularly the wonderful results he managed to get with ensembles.
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Bruna Dantas Lobato’s sensibility is unmistakably original: she explores her protagonist’s life and surroundings like a dowsing rod, poking into closets, corners, and cupboards.
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There are valuable lessons here, but I are afraid that this docuseries will be overlooked among all the more enticing, and sensationalized, witchy watchings.
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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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Each of these four works has its own flavor, and lovers of Baroque and Classic-era music will happily scoop up one or more of the recordings.
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The script is an experiment, a (sometimes) witty lecture on language. But it doesn’t work dramatically.
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It’s Jeremy Strong’s portrayal of Roy Cohn that hangs in this not-very-good movie like a Rembrandt on the cracked plaster of a La Quinta suite by the airport.
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This memoir is, in part, Gene Yu’s effort to give credit where credit is due for his rescue of a woman kidnapped by the Jihadist terrorist group Abu Sayyaf.
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Critic John DiLeo argues that even the Academy Awards can make mistakes. And, in the process, he constructs an alternate history of who should or should not have been Oscar nominees.
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