“The Snowman” is both a wonderment to behold and an endless aching thud of frenetic plot manipulations that insult the audience’s intelligence. Even Michael Fassbender doesn’t emerge unscarred.
One of the best films of 2017 is a beacon of hope for the future of independent film as well as beautiful emotional journey that tests our morals and values, sense of humanity and even our qualifications for happiness.
The &pizza chain may have won the yearlong regulatory war for a space in Harvard Square, but neighborhood group resistance hasn’t gone away. Now it’s a short video ad and a couple of marketing tactics shown in it that has a few people agitated.
The Out of the Blue Art Gallery, home of all-ages rock shows, literary events, women’s wrestling and of course plenty of local artists and craftspeople, must move Dec. 1. To help it make the transition, the venue is hosting a party, feast and silent auction.
Much is borrowed and polished in Denis Villeneuve’s highly anticipated “Blade Runner 2049,” which is both homage and departure, and Ryan Gosling’s cop finds most roads lead to Rick Deckard, his predecessor from the original.
A “Drive 2 Support Puerto Rico” is planned for 10 a.m. to 3 p.m. Sunday to gather critically needed items for Puerto Rico’s Hurricane Maria relief at the Cambridge Police Department, 125 Sixth St., near Kendall Square.
Biotech has helped transform Kendall Square into what’s been called “the most innovative square mile on the planet” – but, well, why? Why here and not somewhere else? And what’s next?
“Battle of the Sexes” is more than just an empowerment victory lap for women and others seeking equality; it’s a heartfelt love story or two, and a fantastic time capsule resurrecting the early ’70s with aplomb.
The film, premiering Friday at a semi-formal event at the Putnam Avenue Upper School, weaves together the stories of generations touched by the church since it opened its doors a century ago as a spiritual refuge for immigrants.
The undeniable charm of Taron Egerton, Mark Strong, Colin Firth and Pedro Pascal, along with the sinister sweetness of Julianne Moore’s baddie or even Channing Tatum dancing in cowboy boots, can’t quite save this ugly and bloated sequel.