The Harvard Crimson sends its writer— Ethan B. Reichsman '18 —to the French Riviera to cover the Cannes Film Festival.
Young Thug takes his mumble-rap style to a clearer, more refined level while also managing to step outside of his comfort zone. The vocal clarity on this project draws closer attention to the lyrics, however, an area where he continues to struggle to bring depth.
“Melodrama” triumphs in its ability to capture all the different facets of love and its consequent heartbreak. Each song explores these feelings in a tender way, slowly peeling back the layers of boozy nights until we are confronted with truth and raw emotion.
For the 2016-2017 season of the Boston Early Music Festival (BEMF), the Akademie für Alte Musik Berlin played an energetic show at The New England Conservatory’s Jordan Hall. The program performed on March 24, “Of Frogs and Men,” consisted of Baroque music on the theme of nature. These pieces were played delightfully by fifteen players including violins, violas, oboes, a violoncello, a double bass, a bassoon, a lute, a harpsichord, and a recorder, all the while bringing to life the opulence of this style to the stage.
On April 3, the Museum of Fine Arts previewed its upcoming exhibition, “Matisse in the Studio.” Organized by both the Museum of Fine Arts and London’s Royal Academy of Arts, and in partnership with Nice’s Musée Matisse, which provided the curators with many of the objects and paintings featured in the exhibition, it is the first major international show to highlight not just Matisse’s art, but also the space in which he created his masterpieces.
One nice thing about “Free Fire” is that the sound designers probably had a lot of fun putting together the film’s endless cacophony of gunshot noises.
By establishing a world with bizarre characters and twisted logic, Lanthimos is able to mine the drawn-out, if inevitable, build-up to a dramatic conclusion for an equal measure of laughs and chills.
Edie Meidav’s short story anthology “Kingdom of the Young” fails to meet high expectations: Though her previous three novels were universally acclaimed, her first anthology does not live up to the hype.
“A poet’s poet’s poet,” as acclaimed poet John Ashbery described her, Elizabeth Bishop, one of the finest mid-twentieth century American poets, is masterfully portrayed in Megan Marshall’s new biography, “Elizabeth Bishop: A Miracle for Breakfast.” Marshall, a former student of Bishop’s, interweaves a richly descriptive account of Bishop’s personal life and artistic output with sections about Marshall’s own life.
I’ve poured many, many hours into "Stellaris,” and I can tell you that it’s worth your time.
I here assert that the queer identity must not be anything. The queer identity must be indefinable, nondescript, impossible to anchor to one image, one glam-rock group or pop goddess.
We cannot divorce “Pepper” from its reputation. So we must acquaint ourselves with its history and observe how it pushes back on the fifty years’ worth of meaning imposed on it.
“I went into a dream” indeed: “Pepper” argues and proves that dreams and the imagination—and, ultimately, music and art itself—are that missing link between our inescapable everyday lives and the divine.
Anyone who has watched the trailer of the new Netflix original “Win It All” knows exactly what unfolds in the first hour of the film.
Denis manages to create a world far more similar to reality than most romantic comedies, one full of genuine awkwardness and mishaps and no dramatic conclusion.
Aryan can fly. No one knows how, or why, but not only can the lead character of Kornél Mundruczó’s “Jupiter’s Moon” rise above the ground, he is practically invulnerable.
Much of what could be boring in “120 Battements par Minute (120 Beats per Minute),” written, edited, and directed by Robin Campillo, is not.
Bong Joon-ho’s latest feature follows the titular, genetically modified pig and her human caretaker Mija (Seo Hyun Ahn) through the world of corporate greed and animal–rights activism.
Not only is it clear that the brilliant and playful mind that has made Varda into the living legend of cinema that she is remains undimmed, but she has found for us a new guard, ready to step into the light.