Food
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‘Evil’ Review: Is It Satan, or Is It Us? It’s Time to Find Out.
Michelle and Robert King’s macabre comedy about the possibility of demonic possession and the certainty of evil begins its final…
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A Furious, Forgotten Slave Narrative Resurfaces After Nearly 170 Years
John S. Jacobs was a fugitive, an abolitionist — and the brother of the canonical author Harriet Jacobs. Now, his…
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At MoMA, LaToya Ruby Frazier Asks What Our Monuments Should Be
The documentary photographer honors those who turn their energies to a social good. And our critic says this artist does…
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Tems, R&B’s Golden Child, Dials In
When the ground began to shake, rocking her bed to-and-fro like a raft in a current, Temilade Openiyi briefly wondered…
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‘Hit Man’ Review: It’s a Hit, Man
Glen Powell stars in one of the year’s funniest, sexiest, most enjoyable movies — and somehow it’s surprisingly deep, too.
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Gamelan Dharma Swara Finds Its Authentic Self
The ensemble, which plays traditional and contemporary Balinese music, nearly dissolved during the pandemic. Reborn, it will perform a piece…
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In Brutal Ordeals, a Performance Artist Embodies the Oppressed
It’s hard to look away from Carlos Martiel’s feats of endurance and self-harm. Does his sacrifice help us understand a…
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New ‘Richard III’ Raises an Old Question: Who Should Wear the Crown?
A production at the Shakespeare’s Globe theater faced criticism because a nondisabled actor plays the scheming king. But disputes like…
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Two Wild Movies at Cannes Have Everybody Arguing
“The Substance” features Demi Moore in go-for-broke mode, while “Emilia Pérez” is a musical crime drama that defies description.
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Review: In ‘Usus,’ Pig Latin Gets Lost in Translation
T. Adamson’s new comedy, which opens Clubbed Thumb’s popular Summerworks series at the Wild Project, is about a group of…