Terence Davies' handsomely produced but stilted 'Benediction' traces the tempestuous origins of a bitter old queen.
Wild, messy, and audacious, Rob Savage's 'DASHCAM' is relentless in its tastelessness and gore.
Reflecting on the eternal and the ephemeral, Our Town hits every note in Thornton Wilder's classic symphony of Americana.
A pair of assault survivors plot revenge in Paola Lázaro's electrifying, blisteringly funny 'There's Always the Hudson.'
Fresh out of isolation, Florence and the Machine makes a glorious and cinematic return with a dynamic new album.
Mosaic's richly visual, compellingly acted drama "Marys Seacole" feels disjointed in execution.
Sofi Tukker's brilliantly-executed sophomore album, "WET TENNIS," is a pure rush of endorphins.
Sex-ed and spilled secrets spiral into scandal in Studio's powerful world premiere production of "John Proctor Is the Villain."
It's a mad, mad, mad, mad world in Marvel's gruesome superhero adventure "Doctor Strange in the Multiverse of Madness."
Girlfriends unite for a restoring, queer-positive road trip in Round House's moving "it's not a trip it's a journey."
'Broken Hearts Club' finds Syd at her most intimate and vulnerable, and at the top of her game as a songwriter.
Jerrod Carmichael's HBO Max comedy special Rothaniel is a frank, funny masterpiece in the imperfect art of coming out onstage.
The bright, bustling Broadway tour of "Mean Girls" makes for a better comedy than as a showcase for song and dance.
Gay country singer Orville Peck gets a little wilder and a lot more real on his latest album, 'Bronco.'
Michael Bay's gun-crazy actioner "Ambulance" is loud, dumb, and feels interminably long, but at least it's mostly coherent.