The show has trouble leaning into kick-ass naughtiness for more than a few minutes at a time.
Barrio Triste relies on a mood of disaffected melancholy, if without a clear direction.
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There’s a warmth to the film that cuts through its disillusion with the industry that created it.
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Bernstein’s gifts as a storyteller are less narrative than atmospheric.
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The film understands that historical truth and personal memory are inseparable.
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The album sees the singer-songwriter moving in a different direction.
We ranked the Queen of Pop’s discography, from her self-titled debut to Confessions II.
The album doesn’t see the rapper experimenting with his skull-rattling sound very much.
McElwee discusses, among other things, his new film and staring down the loss of his son.
These films are generous reminders that cinema isn’t always about diagnosing global problems.
The show is at its best when it examines the questions that Susanna Kaysen did in her memoir.
The common refrain this season has been one of despair, of theatrical death by dearth.
The play is a metaphor for a life in the arts, though also possibly love, or living a purposeful life.