Peg Aloi
Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
The Lost King contains perhaps too many calculated moments of sentimental synchronicity. Still, it manages to soar, thanks to the excellent performance of its lead, Sally Hawkins.
In terms of genre, I would describe Wildflower as a sort of Hallmark Channel-style drama, a quirky but heartwarming tale of a scrappy girl who overcomes the odds to help her family stay together.
A bit of spring cleaning this time around, with recommendations of some fairly recent viewing choices you may have missed.
Boston Strangler centers on women journalists who are devalued and must hold their own, demanding safety and justice in a society that doesn’t always deem them worthy of protection.
Featuring a transcendent performance by Bill Nighy, Living inspires viewers to look inward, and then outward, gently begging us to muster whatever power we have to seize the day.
This week’s column is all about cozy comfort, decadent distractions, and heart-melting romance.
This is the event’s 48th year, making the Boston Sci-Fi Film Festival the longest running genre festival in the country.
The three films I selected to start my 2023 Sundance journey were very different from one another, but they shared one common theme: girlhood.
Here’s my TV suggestions for the late-January period of long cold dark days and nights.
Visual Art Commentary: Silence Is Complicity — Why Museums Must Use Their Voice to Defend Democracy