Novice - Kultura (angleščina)

‘The Last House’ Review: End of the World as They Know It
07. August 2026 (08:59)
When a mysterious force traps people in their homes, one family tries to ride out the apocalypse. (New York Times)
Art Gallery Shows to See in August
07. August 2026 (00:02)
This week in Newly Reviewed Carolina Miranda covers three shows in Los Angeles: a group exhibit with Tom of Finland at the center, Betye Saar’s “wearable art” and Esther Pearl Watson’s spaceships.  (New York Times)
‘Tony’ Review: An Appetite for Experiences
06. August 2026 (11:32)
On 1970s Cape Cod, a young Anthony Bourdain chases love and finds his future in this rambunctious, utterly charming little movie. (New York Times)
‘Avatar Aang: The Last Airbender’ Shows How to Beat Franchise Fatigue
06. August 2026 (11:03)
There have been ups and downs, including a widely reviled big-screen disaster. But the latest film shows a story that is headed in the right direction. (New York Times)
On PBS Kids, Jacqueline Woodson Reminds Children Their Stories Matter
06. August 2026 (11:03)
A new animated special, “The Day You Begin,” based on the best-selling picture book, emphasizes the richness that diversity brings to a community. (New York Times)
Tarot Was a Courtly Card Game. How Did It Become a Tool for Divination?
06. August 2026 (11:03)
A Morgan Library & Museum exhibition explores the origins of a popular tradition that has drawn occultists and everyday people alike. (New York Times)
‘The Last Picture Shows’ Review: Celebrating Old-School Movie Houses
06. August 2026 (11:02)
The stand-alone cinema is facing extinction. A new documentary chronicles its fight for survival in the United States. (New York Times)
‘Olmo’ Review: A New Mexican Coming-of-Age Comedy
06. August 2026 (11:02)
Fernando Eimbcke’s film, set in Las Cruces, finds tenderness and turmoil in a 1970s Mexican American household. (New York Times)
‘Ice Cream Man’ Review: A Rocky Road to Hell
06. August 2026 (11:02)
Sweet-faced kids who just want a treat turn into murderous maniacs in Eli Roth’s messy new horror film. (New York Times)