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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
More than skin deep, and not as sentimental as it might first appear, Rachel Portesi’s adoption of Victorian techniques is appropriate to the themes of loss and change she sets out to explore.
Arts Fuse critics select the best in film, theater, music, dance, visual arts, and author events for the coming week.
These extraordinary books from world-class writers are about reviving, through words, a now-derelict town and the lives of its ten thousand murdered Jews.
Singular folksinger Karen Dalton never made it to the big time. A new documentary suggests why.
Essayist Isaac Fitzgerald sees the world from the perspective of someone who was victimized — in his case, by a physically abusive father and a needy, emotionally abusive mother.
This expansive biography of Ted Williams is not awash in sentimentally, thanks to Ben Bradlee’s praiseworthy search for the facts, no matter where they lead, and his command of language, honed during his 25-year career as a reporter and editor at “The Boston Globe.”
Strangely, Paul Landis makes no acknowledgment of the implications of the evidence he attests to, namely that neither Lee Harvey Oswald nor any other single gunman could have acted alone.
“There were times when I felt as if I were perpetually stuck, like in that film, ‘Groundhog Day,’ in the spring of 1992 just as Bosnia was careening into conflict. At one point I went to Sarajevo to visit friends and was relieved, indeed surprised, to find that while I had been re-living the war over and over, the city was gradually rebuilding and leaving the war behind.”
In Third Person , the characters are so intentionally mysterious that, oddly, the surfeit of enigma denies them any depth of personality.
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