Unfortunately, centuries-old rivalries die hard—and the very thing that unites can also divide.
Pity the Focus Features marketing team behind Babies.
Perhaps the biggest question surrounding this show is why it’s even on Broadway in the first place.
It leads one to only wonder about this compulsion to delve directly into an artist’s life for answers to the art when it’s all mere speculation in the end.
Don’t go looking for a story where there is none.
The film is a series of sight gags and quirky scenes that don’t build upon one another.
What’s most thrilling about Two Escobars is the filmmakers’ nonjudgmental approach.
In a world ridden with hypocrisy, Gentelev’s film refreshingly exposes the respect-worthy honesty of Russia’s state-sanctioned thieves.
Unfortunately, Hamdan’s plight has already been documented exhaustively in countless newspaper and magazine articles.
A Glasnost-worthy openness shines through every face glimpsed in My Perestroika.
Like visual artist Steve McQueen, Iranian-born Shirin Neshat certainly knows how to speak without words.
Sure, Martin McDonagh is still pushing the envelope—but to where?
Don Argott’s suspenseful The Art of The Steal is propaganda at its finest.
In the age of CGI and Cirque du Soleil, even the play’s technical “spectacle” often seems as retro as its fossilized script.
True artistic discoveries—relatively secret revelations that unfold before one’s eyes—are few and far between.
Scarlett Johansson is so comfortable on stage that it’s hard to believe that this is her Broadway debut.
Arnold’s filmmaking style is precise and concise, as tight and lean as her teenage heroine.
With his combination of fearless physicality and intense intellect, Michael Fassbender is poised to become the next Daniel Day-Lewis.
In The White Ribbon, all feeling is stifled, and this repression breeds repression.
Russian Film Week, like the Eastern-European films it shows, runs at a devil-may-care pace.