Novice - Kultura (angleščina)

Review: RZA’s ‘One Spoon of Chocolate’ Hammers Away at Racism
30. April 2026 (11:03)
In RZA’s new movie, Unique (Shameik Moore) realizes Black residents in town are being hunted by white men. Despite the premise, the film lacks intensity. (New York Times)
Is Yoko Ono the Most Radical Artist of the Trump Era?
30. April 2026 (11:02)
In the 1960s, she invited an audience to cut off her clothes. As attacks on women’s rights escalate, “Cut Piece” and other decades-old works of feminist art feel more relevant than ever. (New York Times)
‘Two Pianos’ Review: Striking an Odd Chord
30. April 2026 (11:02)
The filmmaker Arnaud Desplechin directed this off-kilter drama about a French pianist and the life he left behind. (New York Times)
Review: ‘That Time I Got Reincarnated as a Slime the Movie: Tears of the Azure Sea’
30. April 2026 (11:02)
Based on a popular anime series, the film, subtitled “Tears of the Azure Sea,” is a satisfactory stand-alone fantasy adventure set on an island resort. (New York Times)
‘Hokum’ Review: You Can Check In, but You Might Not Check Out
30. April 2026 (11:02)
Adam Scott is perfection as a damaged writer battling an ancient witch and his own demons in this hugely enjoyable chiller. (New York Times)
‘The Devil Wears Prada 2’ Review: A Rhapsody in Cerulean
30. April 2026 (11:02)
In this sequel, Andy (Anne Hathaway) and Miranda (Meryl Streep) encounter a series of crises that set the stage for a larger, existential catastrophe. (New York Times)
‘Deep Water’ Review: Prepare for an Emergency Landing, With Fins
30. April 2026 (11:01)
The action director Renny Harlin combines two different kinds of disaster movies, with lots of gory shark scenes. (New York Times)
‘Animal Farm’ Review: George Orwell, Lost in the Mud
30. April 2026 (11:01)
A confusing adaptation of Orwell’s political novel seems blissfully detached from its source’s clarity. (New York Times)
The Prince of Italian Pop Art Smiles Again
30. April 2026 (11:01)
Lévy Gorvy Dayan gallery offers new glimpses of the perfectionism and hidden goofiness of Domenico Gnoli, whose caricatures of reality captured la dolce vita. (New York Times)