Saoirse Ronan centers an otherwise drab ‘How I Live Now’
Saoirse Ronan shines in an otherwise drab teen wartime romance ‘How I Live Now,’ adapted from the novel.
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Matthew McConaughey punctuates a long line of terrific performances with his best so far in ‘Dallas Buyers Club.’
Saoirse Ronan shines in an otherwise drab teen wartime romance ‘How I Live Now,’ adapted from the novel.
This week: an entertaining stand-up set from Aziz Ansari, an engrossing documentary about film technology and a Sal Mineo biopic.
The conversation rarely gets deep on the red carpet, but as the stars strolled past at the 47th CMA Awards we did our best to ask about the state of country music.
Kacey Musgraves’s quiet coup at the CMAs may signal rumblings of a regime change in country music.
Country songwriter’s debut is a stunner, but doesn’t fit into the genre’s neatly-defined boundaries
REVIEW | Why do we keep reliving Nov. 22, 1963, in an onslaught of stale 50th-anniversary shows?
Post TV critic Hank Stuever discusses the good, bad and so-bad-its-good of TV.
Post TV critic Hank Stuever discusses the good, bad and so-bad-its-good of TV.
An exhibit at the National Building Museum explores the extraordinary modern history of Los Angeles.
Trove of missing and looted art, hoarded for decades in a Munich apartment, is a collector’s dream.
The Post’s Philip Kennicott and digital artist Alex Rivera discuss what “Latino art” means today.
Michael Fabiano, 29, is on track to be a young Marlon Brando-style star of the opera world.
Conductor John Storgards leads strings with exuberant vitality.
Fans of Britten’s “War Requiem” heard a strong performance by the Washington Chorus on Sunday night.
The actor and animal rights supporter will narrate documentaries about, among other things, bear-hunting.
Actor will host the Emmy Awards for the second time this year after hosting the Tonys for the fourth time
TV COLUMN | “New Evidence” “documentary” follows last year’s “Mermaids: The Body Found.”
REVIEW | The Suzanne Farrell Ballet, as always, is so close, but ultimately frustrating.
Susan Marshall’s interesting new work, at the Terrace Theater, ends up seeming self-important, overworked.
Troupe keep audience constantly engaged, surprised and inquisitive through richly textured performance.
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