Monday, March 10 2014
In her debut collection of stories, I Want to Show You More, Jamie Quatro's reveals her talent for examining the desire and vulnerability inside us all.
Roger Michell and Hanif Kureishi reunite in Le Week-End, a surprisingly uncompromising portrait of a long, restless marriage.
With their third album, Adam Granduciel and company continue to mature their ethereal re-appropriation of classic rock, creating a classic album in the process.
The closer we think we’re looking at Joyce Maynard, the further she distances herself from us.
Ninja Tune finally delivers an album worthy of the label's long history of jazzy, smokey, and head-bopping beats.
Young Reckless Hearts is an insipid release short on ideas and long on campiness.
An oft-overlooked songwriter and his band offer an album that hopefully won't be so overlooked this time.
While there was always an arctic edge to McMorrow, Post Tropical only deepens the powerful sense of cold and chill that cloaks his work. Thank goodness for that.
Sunday, March 9 2014
The ever-expanding TV population of zombies, the disappeared, and assorted cyborgs is joined by the citizens of Arcadia, Missouri, who just can’t seem to stay in the graves where their loving relatives have interred them.
Friday, March 7 2014
Throughout this couple's arguments and despairs, the film's tautological systemology hums along, allowing the viewer to see its many recurrent tropes through their eyes.
Everything that’s good about Thief comes with a qualification.
Mr. Peabody is awesome, you see right away, and his decision to adopt the abandoned infant Sherman seems a sweet and righteous extension of his wonderfulness.
The New York Philharmonic's resurrection of Sondheim's Sweeney Todd, starring Bryn Terfel and Emma Thompson, proves to be one of the most delightfully wicked evenings of theater in recent memory.
Bethlehem asks, Whose sins need to be redeemed? Who will be the sacrificial lamb? And who will be committing the sacrifice?
Observed as ambiguous figures as impossible to pin down as the effect of the colors they discuss, John Harvey's The Story of Black and Carol Mavor Blue Mythologies are impossible to resist.
The dynamic quartet can rock your socks off, but their sound is hard to categorize with its blend of prog-rock riffage, fuzzy blues, Southern soul and melty psychedelia.
One of cinema's most resonant and timeless works, Terence Davies's second film recreates childhood dreams and memories within which any viewer can situate themselves.
It's easy to say that Mould's 1989 debut is a post-Hüsker Dü album, but the story of Workbook is a more complicated one than that, and 25 years later it still plays like a story worth hearing.
Wild Beasts pushes its sound further away from the high-wire theatrics of its early records to create another indispensable album in a catalog quickly becoming one of rock's most distinctive.
TacocaT's buoyant but familiar power-pop is bailed out by its lyrical specificity and amusing delivery.