Crimson staff writer
Daniel K. Lakhdhir
Latest Content
‘Prophet’ a Missed Opportunity
The Huntington Theatre’s production, which runs until May 1 at the Boston Center for the Arts, cannot overcome the deficiencies of Karam’s source material despite technical excellence and a pair of standout performances.
The Best of the Short and Sweet
Watching the five Oscar-nominated live-action short films in succession—as they are being shown at the Institute of Contemporary Art on selected days this spring—is quite the schizophrenic experience.
Irreverent 'Kashmir' Delights
As the plot thread becomes steadily more tenuous during the second act, “Kashmir If You Can” is more than ably held together by a talented cast and the inspired comic stylings of the writing staff.
‘Four Lions’ Mines Humor from Terrorism
“Four Lions” doesn’t shy away from controversy, presenting a world in which the terrorists seem no worse than any other character.
The Thermals Stuck In Uninspired Limbo
Neither vitriolic punk nor fully-fledged rock, they combine elements of both, and the most frequent result of this amalgamation is a peculiarly limp version of the former.
Big Boi Delivers an Adrenaline Shot to Hip Hop
Nobody expected the supposedly lesser half of hip-hop duo Outkast to lead the fight against monotony in major-label hip-hop, but with “Sir Luscious Left Foot: The Son of Chico Dusty,” that’s exactly what Big Boi accomplishes.
Sex, Drugs, and ‘The Rocky Horror Show’
Walking into “The Rocky Horror Show,” the musical upon which the infamous cult film, “The Rocky Horror Picture Show,” is based, audiences more or less know what to expect: silly names, comedic horror, and blatantly sexual songs and dance numbers.
Caribou
After years of balancing dream pop, noise, and spaced-out electronica, this is Caribou’s dance record.
Jónsi
“Go” retains most of the delicate beauty of Sigur Rós but drastically shifts the music’s emotional timbre.
Absurdity Obscures Meaning, Not Experience
Even before the show officially begins, it becomes clear that Sonia C. Coman ’11’s “Leah” intends to break the mold.
'Finger' Exercises Dramatic Control
“Don’t you think you’re being overdramatic?” asks Louise Harrington (Kelly E. Perron ’11)—mother of the fractious, dysfunctional family which “Five ...
Shutter Island
Martin Scorsese has made a habit of crafting films that employ genre tropes to illuminate the human condition.
Los Campesinos!
Los Campesinos! have never lived up to the carefree cheerfulness their exclamation-pointed name would seem to imply.
