mon 18/12/2017

graham fuller

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Bio
Graham is a British writer and editor based in New York since 1986. He was the executive editor at Interview magazine (1990-2000) and the Sunday arts editor at the New York Daily News (2000-2005). He has written on film for the New York Times, New York Observer, all the British broadsheets, Sight and Sound, Film Comment and Rolling Stone.

Articles By Graham Fuller

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Albums of the Year 2017: Rising Appalachia - Alive

2017 has been a time of change if not turmoil, on both personal and...

Christmas Oratorio, LPO, Jurowski, RFH review - right piece,...

Just when you can scarcely move for Messiahs, two Christmas Oratorios came along at once on Saturday night. That’s London...

Aladdin, Richmond Theatre review - great Dame, weak script

It's always good news when Christopher Biggins announces he's going to don false bosoms again to play a panto Dame, and Aladdin offers...

Agatha Christie's Crooked House, Channel 5 review - act...

Crooked House is being released as a film in various territories, but has already been shown on television in America and has now...

Witnesses: A Frozen Death finale, BBC Four review - weirdo c...

It’s remarkable how pervasive the Scandi-noir formula has become, with its penchant for weird and perverted killers, labyrinthine plotting and...

Jenny Uglow: Mr Lear - A Life of Art and Nonsense review - a...

Jenny Uglow’s biography of Edward Lear (1812-1888) is a...

Zimerman, LSO, Rattle, Barbican review - a diverse Bernstein...

Leonard Bernstein is 100 already. Actually, he’s not – his centenary falls in 2018, but the...

Reissue CDs Weekly: Northern Soul's Classiest Rarities...

The title Northern Soul's Classiest Rarities Volume 6 suggests this 24-track compilation might be a rag-bag; a...

Star Wars: The Last Jedi - a bold new chapter

It’s impossible to view The Last Jedi independently from its predecessors. It’s the second instalment of the third trilogy of...

Naum Kleiman: Eisenstein on Paper review - a lavish journey...

"From drawing, via the theatre, to the cinema". Naum Kleiman's  introductory qualification of Sergey Eisenstein's own self-perceived line in...