Walking through the retrospective exhibition of Lee Bontecou, on view at MoMA-Queens, is uncannily like visiting an out-of-the-way museum of natural history, as if her entire work to date had bee
It was the perfect setup for an op-ed article: the release, between the Democratic and Republican conventions, of Alien vs.
More than once in Jonathan Demme's reimagining of The Manchurian Candidate, a distraught Denzel Washington jabs at his skull and rasps, "They got in here." He means it literally.
I paid to see Will Smith fight legions of robots, and what I got was a trip back to Wabash Street.
This past February's forty-sixth annual Grammy Awards ceremony began with a surprise performance by the pop virtuoso who is once again calling himself Prince.
Like many intelligent women of advanced political beliefs, Celine detests the ideology of the soulmate.
In the 1960s, the New York Jewish Museum became the unlikely leading venue for contemporary avant-garde art in America.
I had a swell time at Fahrenheit 9/11, Michael Moore's documentary about George Bush's dubious progress from Florida to Iraq.
After Ronald Reagan's death, Ray Charles's version of "Amazing Grace," one of Reagan's favorite songs, kept popping up on radio and TV. Why not?
Not the judgment of film critics but the passage of time will decide whether Michael Moore's Fahrenheit 9/11 can change the world. Change, of course, is the whole purpose.