The popular art installation “Play Me, I’m Yours” is back through Oct. 10, placing pianos available for use by anyone throughout Boston neighborhoods and at several locations in Cambridge, with most done by Cambridge artists.
Marcin Wrona’s soft-horror thinker “Demon” unfurls a competent and moody bit of filmmaking, which becomes just as much about the dynamics of the society it’s set against as it is about a supernatural incursion.
For the Stoned faithful, there’s good news: “Snowden” marks something of a comeback, a return to the realm of political and historical dramatization that powered “JFK” and “Nixon,” which provided a foundation for the filmmaker’s strong political leanings.
Feast of Saints Cosmas and Damian; Comedy Arts Fest; Toy Camera Fest; Walter Sickert & The Army of Broken Toys; Poetry Brothel; Festival of Indie Games; “db” and Writers’ Slumber Party; Rock and Roll Yard Sale; Cambridge Carnival; RiverFest; and Fairy Day.
All the pieces are here to make what should theoretically be something magnificent, but being pretty and well acted can’t save this romantic, tearful drama from being a disappointment.
Police are preparing residents for a steam pipe venting process – known as a “steam blow” – that in the past has brought emergency phone calls from worried members of the public.
The scope and the questions here are nothing new, but Werner Herzog’s laid-back yet probing style and quest for getting at the human condition and effects of a digital sphere enveloping society is nothing short of infectious. (It’s viral, if you will.)
“Florence Foster Jenkins” has a mood as tone deaf as its main character, and neither Meryl Streep nor Hugh Grant come off well in this tale of a turn-of-the-century socialite and amateur soprano who made it to Carnegie Hall with money and self-deception, not talent.
When Norman Lear got CBS to greenlight “All in the Family,” it changed the landscape of TV forever. As one talking head in this affectionate documentary says, the history of television can be broken into two periods: “Before Norman and After Norman.”
How “Ab Fab” will perform as a film will be based on the nostalgic returns of folks here who recall the England of Margaret Thatcher, when satire with a side of feminine sophomoric silliness felt free and liberating. Saunders and Lumley pucker up and give it a game go.