Review

‘Trance’ Is Mostly Mesmerizing

Grounded by two top notch performances from James McAvoy and Vincent Cassell, Danny Boyle’s latest is a twisty thrill ride.

Spend Excellent Time with ‘The Company You Keep’

Robert Redford assembles a stellar cast doing superlative work in this character-based thriller about a man on the run from a crime he committed decades ago.

‘6 Souls’ Is Creepy Fun Until Exposition Overwhelms the Scares

This horror film starring Julianne Moore and Jonathan Rhys Meyers starts off smart and scary before deteriorating into just another slice of schlock.

'Buyer & Cellar' Is Inventive, Witty, and Pretty Wonderful

In Jonathan Tolins’ witty “Buyer & Cellar,” at Rattlestick Playwrights Theater, an impish Michael Urie plays a struggling actor who gets an unusual job working for Barbra Streisand.

'Good With People' Makes a Virtue of Brevity

David Harrower’s “Good With People,” from Scotland’s Traverse Theatre Company, packs rich acting, taut direction, and even a bit of history into 55 minutes of riveting theater.

'Smash' Recap: Episode 9, 'The Parents'

Karen's dad and Ivy's famous mom enter the picture in this week's episode of "Smash."

‘The Last Five Years’ Benefits From Its Author’s Insightful Direction

Jason Robert Brown has chosen to direct “The Last Five Years,” his 2002 two-person musical about a troubled first marriage, for Second Stage Theatre, and the result is enthralling.

'Southern Discomfort' Showcases a Gallery of Eccentrics

Elisabeth Gray’s undeniably appealing solo show “Southern Discomfort” has yet to discover what it is that makes it stand out from every other actor-generated one-person piece.

Flimsy ‘Lucky Guy’ Relies on Hanks for Heft

Tom Hanks makes his Broadway debut in Nora Ephron’s “Lucky Guy,” a breezy but thin account of the life and career of columnist Mike McAlary, displaying potent theatrical technique.

'Mad Forest' Proves Denser and Madder Than Ever

Open Fist delivers a solid production of Caryl Churchill’s 1996 play “Mad Forest,” a fascinating look at Romania’s 1989 revolution, thanks to Marya Mazor’s terrific direction.