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Poetry Review: Hannah Sullivan’s “Was It For This” — The Harsh Reality of Our Transience

January 24, 2023
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The structure, plot, themes, tone, and diction of Was It For This all combine to consecrate the ordinary alongside the exceptional.

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Children’s Book Review: “The Hanukkah Magic of Nate Gadol” — Superficial Scorcery

December 28, 2021
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Is it at all remotely important to know how gift-giving became a Hanukkah tradition in America?

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Film Review: “First Cow” — A Bovine Tour de Force

March 13, 2020
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Marvelously acted and directed, First Cow is a masterpiece that dramatizes how struggle and adversity are part of the human comedy.

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Visual Arts Review: Immersed in Memory and Flight: Andrae Green’s “Paradise/Mash-Up” at the BCA

September 29, 2025
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For the artist Andrae Green, where land and sea meet is not a line, but an immersion.

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Coming Attractions: February 5 through 14 — What Will Light Your Fire

January 29, 2017
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Arts Fuse critics select the best in theater, film, music, author events, and dance for the coming weeks.

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Author Interview: Aaron S. Lecklider on the Forgotten History of Homosexuality and the Left in American Culture

July 7, 2021
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The reader comes away from Love’s Next Meeting with an awareness of the rich history of homosexual culture existed long before the Stonewall riots in the summer of ‘69.

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Film Review: “Red Rocket” — A Dog’s Life

October 26, 2021
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No woman, I’m willing to bet, could have filmed the sex scenes in Red Rocket. She would have cracked up laughing or thrown up.

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Coming Attractions: December 29 through January 14– What Will Light Your Fire

December 29, 2019
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Arts Fuse critics select the best in film, dance, visual art, theater, music, and author events for the coming weeks.

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Film Review: “Shoplifters” — Family Life in the Lower Depths

December 8, 2018
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Shoplifters is a masterpiece about the underclass that effortlessly explores emotional complexity amid moral contradictions.

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Film Review: Wither the People of Magnitogorsk — “Kombinat”

March 2, 2021
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Without ignoring the terrible-beautiful magnetism of the industrial imagery we love to hate and hate to love, the camera is gradually, gently, drawn across the river and away from the workday, to spend time with these very real humans who serve the machines.

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