VULTURE PICKS UPDATED JAN. 30, 2023 25 Notable New Releases Over the Next Two Weeks

Stolen Youth: Inside the Cult at Sarah Lawrence
The Slonim 9 roommates share their story.
Hulu, February 9.
This docuseries from Oscar-nominated director Zach Heinzerling, based on New York’s 2019 story about a group of college students who were manipulated and abused by a classmate’s father, takes us inside the cult with video and interviews of the affected “stolen youth” in an attempt to understand how any of this could have happened. —Roxana Hadadi

You, Season Four
Hello again.
Netflix, February 9.
This serial-killer-satire series retains all its initial punch in the new season with protagonist-monster Joe (Penn Badgley) wrapped up in an Agatha Christie–esque mansion murder in the U.K. involving a cast of nightmare people. —Kathryn VanArendonk

Dear Edward
From the creator of Friday Night Lights.
Apple TV+, February 3.
Yes, this is a drama about what happens in the wake of a plane crash, but don’t expect to see cannibalism à la Yellowjackets. This emotional series, based on Ann Napolitano’s novel, follows a 12-year-old boy, the sole survivor, and others who lost loved ones as they cope with their grief. —Jen Chaney

Vanderpump Rules
Ten years removed from “reality.”
Bravo, February 8.
For a decade, the employees of Lisa Vanderpump’s bars and restaurants have kissed, befriended, and betrayed each other in front of Bravo’s cameras. Whether their antics are authentic or not, the cast’s total shamelessness does make for good TV. —R.H.

The 65th Annual Grammy Awards
Will Beyoncé finally win Best Album?
CBS, February 5.
Trevor Noah hosts this celebration of music, an event where Beyoncé, the artist with the most nominations this year, often does not receive the accolade she deserves. Perhaps things will be different for her this year; if not, as noted on her Grammy-contending Renaissance, America has a problem. —J.C.

History’s Greatest Heists With Pierce Brosnan
A break from world-war programming.
The History Channel, February 7.
A seemingly mid show can be made more tolerable with a great host, and that’s the appeal of this one, in which the former James Bond walks viewers through historical money grabs. That voice! That gravitas! —R.H.

Schoolhouse Rock!
Warm up your pipes, Interplanet Janet.
ABC, February 1.
In an effort to target Generation X, ABC’s latest Singalong special focuses on Schoolhouse Rock! Performers ranging from the Black Eyed Peas to Shaquille O’Neal to the Muppets will revisit the songs from the 1970s educational videos that taught us how conjunctions function. —J.C.

The Puppy Bowl XIX
A wholesome alternative.
Animal Planet and Discovery+, February 12.
Football is a violent game that gives people lasting brain damage. By comparison, the rampant product placement of the Puppy Bowl, now in its 19th year, is a smorgasbord of warmth and delight. Of this year’s 110 puppy players, my money’s on a basset hound named Asiago. —K.V.A.

Knock at the Cabin
Incredibly tense and unbearably moving.
In select theaters, February 3.
M. Night Shyamalan’s latest thriller, about a gay couple and their young daughter besieged by four weirdos who claim only they can stop the apocalypse, with an alternately creepy and tender performance from Dave Bautista, might be the director’s best film since The Village. —Bilge Ebiri

’Verse Jumping With Daniels
On the directing duo’s dizzying influences.
Lincoln Center, February 3 through 9.
Daniels Kwan and Scheinert, the mad geniuses behind Everything Everywhere All at Once, have programmed an idiosyncratic series that includes Wong Kar Wai’s martial-arts drama The Grandmaster, the Jackass team’s Bad Grandpa, and Jennie Livingston’s documentary milestone Paris Is Burning. —Alison Willmore

Keeping Score
Todd Field’s Tár imagines a radical departure from reality: a woman who has already been music director to a handful of top orchestras. Now, the New York Philharmonic is making up for lost time and inviting a slate of women maestros to David Geffen Hall (Dalia Stasevska kicked it off recently).

By Justin Davidson

Ruth Reinhardt
Featuring: Adès and Dvorák
February 16 to 18

Nathalie Stutzmann
Featuring: Wagner, Prokofiev, Dvorák
February 22 to 24

Daniela Candillari
Featuring: Mazzoli, Elgar, Dvorák
February 28

Susanna Mälkki
Featuring: Stravinsky and Lara
March 29 to 31

Karina Canellakis
Featuring: Brahms, Di Castri, Lutosławski
April 27 to 29

Marin Alsop
Featuring: Barber, Corea, Prokofiev
May 25 to 27

Videodrome, Director’s Cut
Long live the newly restored flesh!
Metrograph, February 3 through 5.
David Cronenberg’s influential 1983 body-horror classic, starring James Woods as a TV programmer with a taste for boundary-pushing content and Debbie Harry as a masochistic radio DJ, is back on the big screen in spiffed-up 4K. —A.W.

Una Vita Difficile
From Italian master Dino Risi.
Film Forum, February 3 through 16.
It sounds absurd to even contemplate: an unreleased 1961 epic romance starring the legendary Alberto Sordi that tackles the decades after WWII — a mixture of sentiment and grand historic sweep that the Italians always did so well — that’s somehow just getting a U.S. release. —B.E.

Queen of Me
Shania’s back.
Republic Records, February 3.
In the ’90s, Shania Twain married pop sheen and country swagger. In the aughts, she bounced back after battling Lyme disease. Now, she releases Queen of Me. In the New Wave rocker “Waking Up Dreaming,” the folk-pop jam “Last Day of Summer,” and the country-rock “Giddy Up!,” she sounds like she’s having a blast. —Craig Jenkins

Five years in the making.
Warp Records, February 10.
Kelela, a vocalist at the crossroads of R&B; and electronic music, finally releases her sophomore album, Raven, which juggles gossamer vocals, clattering breakbeats, and bubbly synthesizer melodies as effortlessly as its acclaimed predecessor, Take Me Apart. —C.J.

This Is Why
Pop punk forever.
Atlantic Records, February 10.
Following lead singer Hayley Williams’s resplendent pair of solo albums, veteran act Paramore reconvenes for This Is Why, wherein the trio greets a chaotic decade with its loudest, crunchiest batch of songs since the late aughts. —C.J.


Photo: Penguin Random House
Victory City
A display of strength and endurance.
Random House, February 7.
In 14th-century southern India, 9-year-old Pampa Kampana has an encounter with death that makes her a conduit for her namesake goddess; after she learns how to wield the deity’s power, she builds a dazzling city over the course of hundreds of years. Salman Rushdie’s latest is an epic work of mythical fiction. —Emma Alpern

Victory City, by Salman Rushdie
$30 now 17% off
Good Sport
When the game is life.
TED and Pushkin Industries, February 8.
Featuring special guests including Bomani Jones and WNBA Hall of Famer Dawn Staley, this new anthology series led by Jody Avirgan explores questions like “What happens to a lifelong athlete when they age out of their sport?” and “What’s it like to be on a persistently losing team?” —Nicholas Quah

La Brega: The Puerto Rican Experience in Eight Songs
Behind the music of the land.
WNYC Studios and Futuro Studios.
The critically acclaimed podcast dedicated to Puerto Rico’s history returns for a new music-centric season. Hosted by Alana Casanova-Burgess, each episode digs into the origins of an iconic Puerto Rican song, collectively functioning as a guide through one of the island’s defining exports. —N.Q.

The Appointment
A medical musical.
WP Theater, through February 4.
The absurd meets the mundane in Lightning Rod Special’s live-wire dramatization of an abortion procedure, complete with scenes set within the womb, full of very needy singing fetuses. They may even demand audience interaction. —Jackson McHenry

The Sign in Sidney Brustein’s Window
The Hansberry you don’t know.
BAM, previews begin February 4.
Lorraine Hansberry’s drama about Greenwich Village radicals isn’t nearly as well known as A Raisin in the Sun, and BAM’s reviving it — for the first time since it left Broadway in 1965 — with a star-studded cast led by Oscar Isaac and Rachel Brosnahan. —J.M.

David Deutsch
Free and liquid.
Venus Over Manhattan gallery, 55 Great Jones Street, and Eva Presenhuber gallery, 39 Great Jones Street; through February 8.
Forty of the most lucid paintings that you’ll see anywhere today. Deutsch’s gliding brushwork describes abstract shapes and figments of the imagination in an almost shamanic style recalling Dalí without the surrealism — only freedom, dexterity, and vision remaining. —Jerry Saltz

Amy Hill
Renaissance reminiscent.
Fortnight Institute, 21 East 3rd Street; through February 11.
Small haunting works in a precisionist, almost George Tooker style feature people in contemplative poses in quiet places — scenes that evoke reverence, love, uncanniness, and an obsessive attention to detail, color, and the ancient art of painting. —J.S.

Jeremy Denk
Piano many ways.
Washington Irving High School, February 4.
You can count on Jeremy Denk to unify a program by dint of his own curious ear. Beethoven, Rzewski, and Thomas “Blind Tom” Wiggins seem to have little in common until you listen to them together and feel the rowdy percussiveness and folk-infused defiance. —Justin Davidson

The Lviv National Philharmonic Orchestra of Ukraine
Let there be music.
Carnegie Hall, February 15.
One of the many surreal aspects of the war in Ukraine is that, in cities under constant bombardment, concert life goes on. Conductor Theodore Kuchar brings the Lviv Philharmonic on tour, along with pianist Stanislav Khristenko, for a program that includes Brahms’s First Piano Concerto and Dvorák’s “New World” Symphony. —J.D.

El Mundo
Baroque music from Guatemala.
Weill Recital Hall, February 8.
Scholarship and vogue have brought the music of colonial Latin America out of the library and into the concert hall. This early-music ensemble explores the practices of the massive Guatemala City Cathedral, where European forms blended with Indigenous traditions and African rhythms. —J.D.

Want more stories like this one? Subscribe now to support our journalism and get unlimited access to our coverage. If you prefer to read in print, you can also find this article in the January 30, 2023, issue of New York Magazine.