Peter Keough
Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
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A lot seems to be going on beneath the surface, but the surface itself is so beguiling, with the scenery, sea, and sunsets rapturously shot on digital cameras by cinematographer Artur Tort, and with the alternately lulling and agitating soundtrack, that the urgency tends to lapse.
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Polish director Krzysztof Kieślowski’s marvel universe explored in Three Colors.
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Reviews of the cogent and well-crafted The Big Payback, the comprehensive if conventional Zora Neale Hurston: Claiming a Space, and No Straight Lines: The Rise of Queer Comics, which expertly balances whimsy and gravity, though the version of the film shown by PBS has been heavily censored.
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Poet and professor Jed Rasula makes the case for The Waste Land‘s lasting revolutionary impact in his engaging and insightful, if occasionally discursive, study.
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Two powerful films about fending off violent threats, xenophobic and fascist.
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“It’s easy to see why we have such a lousy life and such great literature.”
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This is a profound loss to cinema and to Boston’s filmmaking community in particular, a close-knit group in which Lucia Small enjoyed many friendships and engaged in fruitful collaborations.
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From Mobile to Mars, from the mind of Robin Williams to the rise and fall of a Pez entrepreneur, and with a side trip to Newton South High.
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Book Review: Advertisements for Democracy — Norman Mailer’s Anti-Fascist Eloquence
Guns, anti-Semitism, paranoid conspiracy theories — it never gets old.
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