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Many of the poems live up to the title’s shout-out to Walt Whitman, cutting through the current political miasma with fresh wit, insight, and lyrical outrage.
This is sweet and haunting music; and, like rose oil, it lingers.
This is the largest exhibition of Botticelli paintings ever mounted in North America. Bigger may not always be better, but this is a gorgeous show.
Dancer/choreographer Maureen Fleming's highly distinctive style of movement is unforgettable.
Margaret Atwood’s novel turns out to have been far more clairvoyant than even she believed it would be.
IRNE critics argue about what we think are the best, the brightest, and the most award worthy of these dozens and dozens of productions.
If you have a hankering for a new "found-footage" film, then Phoenix Forgotten will feed your retro-appetite.
Sara Baume’s sophomore novel insists that we rethink the value of empathy: depend on it, yes, but also be suspicious.
There are documentary films for all tastes this year.
Arts Fuse critics select the best in film, dance, theater, music, and author events for the coming weeks.
While calling this Ben Wheatley's most violent film may be debatable, Free Fire is absolutely the one most riddled with gunshots.
What could easily have become a dense, jargon-filled work of cultural psychology instead reads like a thoughtful conversation.
I try to be optimistic, but it’s hard not to observe that the jazz club scene in eastern Massachusetts is worse than it’s been in decades.
Martín Espada’s lyricism sings deeply in the key of loss, turning the anguish of social and personal histories into hope.
Paradise's central conflict and the performances in the Underground Railway Theater production are damn good.
Klaus Merz’s cunning, compressed prose invites us to listen for the sounds of the inexpressible, the other side of life.
Seeing the rugged minimalism of golf in its infancy was very appealing.
These tales have an incendiary energy, but Osama Alomar handles his narrative explosives with restraint, wisdom, care, and precision.
Get Out owes much to the small but precious film genre that dares to cultivate bizarre and hip satire.
Olivia Kate Cerrone tells this story in raw, blunt terms, in a naturalistic mode worthy of Zola.
The Boston Conservatory production of Mass was mostly frustrating, but Leonard Bernstein’s score came across very strongly.
The fiery excellence of Handel and Haydn Society's collective effort made Monteverdi’s epic masterpiece sparkle like a star.
temping is a strange and experimental beast, and I look forward to seeing where this type of interactive experience goes next.
These trio of releases from pianist Satoko Fujii are exciting snapshots of a jazz daredevil in action.
In a surprisingly quick 100 minutes, this smart play forces us to confront our own preconceived notions about good and evil.
Wakka Wakka's puppetry skills are highly impressive, its staging inventive and undeniably entertaining.
Resistance, at least in Boston theater, is futile.
Frantz explores the complicated emotions generated by the aftermath of a catastrophic war.
Nobody wants to be boring -- including cities and their neighborhoods.
Is the long trip through Purgatory worth the time? Not sure.