Disney’s 4K transfer is an early contender for the best-looking home video release of the year.
The play’s deliberate repetitions reveal how its characters rely upon the rituals they share to make meaning of a fractured world.
The details in The Dropout are strikingly unembellished, but it’s the perspective-shifting storytelling that brims with imagination.
In its fourth season, The Marvelous Mrs. Maisel focuses on the aesthetics of its protagonist’s life rather than restoring her conscience.
This slightly zany production sells the show’s intelligent warmth with a persuasiveness to rival Harold Hill himself.
Once things get moving, it’s smooth sailing to the double-shocker of a denouement.
The show is massively successful at demonstrating that Jackson was an extraordinary artist putting forth extraordinary art.
Eugene O’Neill’s play isn’t about all of us, as much as this production might lean into the allure of universality.
The best theater of 2021 hasn’t just been a treat but a privilege to witness.
This production squarely delivers as a potent tribute to the words and music of Stephen Sondheim.
This West Side Story, though, is at its best when it zooms in and settles down into character study.
tick, tick… BOOM! never quite resolves that tension between well-attended wake and intimate memoir.
The Visitor is ultimately about powerlessness, a fable of despair that illustrates how nothing changes if only one man does.
The 2021 Tony Awards, honoring the Broadway season that was cut short by the Covid pandemic, are all about memory.
If the play’s first half shows America as distilled dystopia, that focus only sharpens after an ambitious structural shift.
The film works harder to fix the problems with its source material than to establish itself as an independent piece of art.
Merry Wives distills what legacy we need most from Shakespeare now and what art we need most from each other.
Fruma-Sarah’s slim premise isn’t quite sturdy enough to allow its more substantial aspirations to take flight.
While Apple TV+’s Schmigadoon! walks and talks like a musical, it doesn’t hold up, structurally, as a television series.
Enemy of the People could do more to challenge the assumption that majority votes work the way they’re supposed to.