Criticism

I Guess That’s Why They Call It the Blues: Our Critics discuss Ma Rainey’s Black Bottom (for Parterre Box)

Netflix adaptation hits the marks of Wilson’s original while settling into a more focused filmic style.

If the original version of The Prom had zazz—Ryan Murphy’s adaptation barely achieves fizz.

With virtual streamed productions, the Wilma and PTC show that a path forward might also bring national recognition.

The camp elements here–including Susan Hayward’s performance–are undeniable, yet I WANT TO LIVE is a sincere and important movie.

Featuring Barbara Stanwyck’s blood-chilling performance, this may be the greatest Film Noir ever.

In this rarely seen 1958 remake of Morning Glory, Susan Strasberg does not prove herself the next Katharine Hepburn.

Our critics had three top picks, as did the judges… and they were different.

Opera Philadelphia’s new channel kicks off with a virtual program that embodies their best ideals.

The lead role is a wonderful fit for Ginger Rogers, who plays it with brassy charm and a laudable sense of humor.

Camp is the lens through which this film is best examined, including an utterly bewildering cross-pollinating of genres.