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Book Review: “Strange Beasts of China” — An Exuberant Chinese Fantasy

July 15, 2021
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The volume’s spirited imagination is strong enough to compensate for flaws in its translation.

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Theater Review: Mermaids Don’t Lie in “From The Sea, To Somewhere Else”

July 20, 2016
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Those seeking whimsical and intimate theatrical entertainment should take in this imaginative production.

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Book Review: “A Hero of France” — An Insider’s Guide to the French Resistance

June 16, 2016
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Alan Furst’s books are spy thrillers infused with a crisp, rather than a flowery, literary sensibility.

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Fuse Food Review: “Yeeros” — A Splendidly Traditional Gyro Joint

May 26, 2016
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What fun to have meat carved off the revolving spit!

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Dance Review: Howling Wolf—Abraham.In.Motion at the ICA

October 12, 2014
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One of the reasons audiences and funders love Kyle Abraham’s work is that the layered landscapes of his dances resonate with the fraught conditions outside the theatre.

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Movie Review: Beware the Tire From Hell

May 3, 2011
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That Rubber fails to accomplish much of interest is really a shame. Call it a waste of potential: this film is, perhaps in spite of itself, sharply current—an ideal cinematic concept of the Internet age, self-consciousness gone a muck. Rubber. Directed by Quentin Dupieux. At Kendall Square Cinema. By Taylor Adams French director Quentin Dupieux’s…

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Video Game Review: “The Legend of Zelda: Majora’s Mask 3D” — Worthy of a Cult

March 14, 2015
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The Legend of Zelda: Majora’s Mask is the video game version of Groundhog’s Day — you’re Bill Murray, and it’s brilliant.

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September Short Fuses – Materia Critica

September 7, 2021
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Each month, our arts critics — music, book, theater, dance, and visual arts — fire off a few brief reviews.

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Book Review: “America and Other Myths” — Sucking “a Sad Poem Right out of America onto Film.”

August 28, 2024
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In her fine book, Lisa Volpe examines mid-’50s picture-making expeditions taken across the U.S. by photographers Robert Frank and Todd Webb.

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Stage Review: “Sinners” — Theater that Matters

March 29, 2017
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Questioning Joshua Sobol’s right to write about these kinds of intimate atrocities is to suggest that stages should never address these issues.

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