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Luke O’Neil doesn’t have any solutions to our political dissipation, but he certainly knows how to diagnose its illnesses.
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Boston Baroque served up a lithe and vital performance of the Messiah that felt rich, personal, and gloriously lived in.
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“The Seduction” is visually stunning but, even though it is the magnificently clothed French aristocracy, it all comes down to unremarkable people behaving badly.
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Our classical music critics supply their favorites, albums and concerts, from over the past year.
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Wednesday’s show proved that The Dream Syndicate more than honors both its past and present with passion and precision.
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The film skims across topical issues aimlessly; it strives for relevance but never achieves it.
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“Baby Driver” is a book in the tradition of American road literature, but it moves at a distinctly different pace.
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Though none of the works exhibit the stylistic flashiness of Fernande Decruck’s better-known contemporaries, they all suggest a musician of singular—and sometimes idiosyncratic—vision.
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What really sets “The Séance of Blake Manor” apart from other games in the genre is its meticulous world building and research.
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As an artist, Allan Crite was always observing, drawing, and thinking about his Boston—the buildings, streets, parks, and playgrounds of Lower Roxbury and the South End.
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