This is a work of mature consideration, of hard-learned truths: a highly specific personal history, situated in a broader historical context.
This is a romcom with the “com” surgically removed. It’s just a straight drama, and it totally works on that level.
There are two compelling books stuffed into “The World Cannot Give.” The author should have committed to one.
Jill Gutowitz both celebrates the rapid rise in pop-culture queer representation and chronicles how very, very late that’s been in coming.
Sinclair Lewis’s novel remains essential as a razor-sharp — and highly entertaining — critique of a social system built to buttress Babbitts.
Roland Emmerich’s “Moonfall” is just a big silly ball of cheese…kind of like the moon, right? Right? Bueller?
Asimov adaptations onscreen, it seems, will always be fundamentally different from the author’s published works.
In “Audience-ology,” Kevin Goetz shares insights from his extensive experience digging into audience opinions about movies.
“Dirty Baby” is “muttish and raunchy,” but its dirtiness feels constrained and bitter rather than liberating or glorious.
Although “House of Gucci” is fun, don’t expect froth. It’s a “Godfather”-scale family saga worthy of its Reagan-era setting.
This is definitely Julia Child 101, but it’s an accessible introduction to the life and work of a culinary pioneer.
Director Daniel Fish’s radical reinvention of Rodgers and Hammerstein’s musical shines in a production now touring nationally.