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“To me, ’67 was a year that was different from what came after it.”
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This symphony is the finest synthesis of Leonard Bernstein’s considerable theatrical instincts within a concert framework, idiosyncratic and singular.
Read More“The Friends of Eddie Coyle” was simply too good a movie, perfect, in its way, and the director of “Killing Them Softly” wants to avoid comparison.
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Ornette Coleman turned to me and said, “You know, you can never really be out of tune. You are always in tune with something.”
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If Castle Rock is intended to be a commentary on Trump’s not-so-great America, well, what better genre than horror to spread the angst?
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Armenian cultural history has always been about survival: between Armenians preserving their art within the shifting boundaries of their homeland, and carrying their art beyond the country’s borders.
Read MoreTony Fletcher’s research is impeccable, his sources are unimpeachable, and his style is thoroughly engaging.
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Shouting and honking saxes made visceral appeals to the emotions and the body. For jazz critics, this kind of theatricality degraded what should have been ‘Art.’
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“It’s easy to see why we have such a lousy life and such great literature.”
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The Sadness is an especially brutal film about societal collapse and how public health crises like COVID-19 amplify whatever savage impulses lie dormant within us.
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Arts Feature: Best Movies (With Some Disappointments) of 2025