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The more cerebral visitor may leave “Collision18:present” wondering if, like the classic definition of what constitutes pornography, ‘cyberart’ is firmly situated in the eye of the beholder (or of the curators).
Read MoreThe director of THE MASTER, Paul Thomas Anderson, runs toward Scientology as fast as he runs away from it and its top guns (Tom Cruise did visit the set to lodge a few complaints).
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Blues singer Beth Hart wields the hammer of the gods with easy finesse but also deep emotion.
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Mariss Jansons’ ultimate performance, taped live at Carnegie Hall, shows the maestro at the top of his game; François-Xavier Roth’s new recording of pieces by Ravel and Debussy is a bit of a hit-or-miss affair; Diana Damrau’s Tudor Queens, a survey of heroines from three Donizetti operas, is nothing short of terrific.
Read MoreToni Erdmann gently but somewhat darkly reminds us that living life in the fast lane means missing out on its slower, humbler pleasures.
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Hulu’s History of the World, Part II — the damn thing isn’t funny.
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Odyssey Opera, and major singers from Ukraine and Russia, bring the great Russian composers’s three one-act operas to Jordan Hall on Sunday, September 25.
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The strength of The Mars Room is its compelling vision of the stultifying and claustrophobic underworld of women in prison.
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One of the year’s stand-out releases: full of wonderful music, all of it well worth getting to know, and played to the hilt.
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The 20th Annual Francis Davis Jazz Critics Poll: The Institution Continues