Film & TV
‘Nightbitch’ review: A painful adaptation that belongs in the doghouse
Claire Tweedie, Former Editor in Chief
• October 30, 2024
‘Cursed in Baja’ premiere shows the strength of the horror community
April Klein, Asst. Arts & Life Editor
• October 21, 2024
‘A Different Man’ review: Sebastian Stan and Adam Pearson play two sides of the same coin
April Klein, Asst. Arts & Life Editor
• October 14, 2024
‘Joker: Folie á Deux’ review: Todd Phillips should be disbarred from the Director’s Guild of America
April Klein, Asst. Arts & Life Editor
• October 7, 2024
‘The Wild Robot’: The best DreamWorks movie in 13 years
Finn Morse, Theater Beat Writer
• October 7, 2024
‘Megalopolis’ review: A baffling, unhinged epic unlike anything before or since
Jake Panek, Film & TV Beat Writer
• September 30, 2024
Preserving the past to ensure the future of moviegoing: Music Box Theatre ‘revives at 95’
Jake Panek, Arts & Life Beat Writer
• September 23, 2024
‘The Substance’ review: A wild, nauseating body horror facemelter
Jake Panek, Arts & Life Beat Writer
• September 23, 2024
“Beetlejuice Beetlejuice” review: A delightfully spooky return to form for Tim Burton
Jake Panek, Arts & Life Beat Writer
• September 16, 2024
“I Saw the TV Glow” Review: Nostalgia and queer identity intersect in Jane Schoenbrun’s new psychological horror-drama.
Robin Pett, Contributing Writer
• May 26, 2024
KiKi Layne’s love for the unexpected: DePaul Theater School alumni reflects on career and teachings amid “Dandelion” opening
Sam Mroz, Contributing Writer
• May 26, 2024
“Stress Positions” review – Theda Hammel stuns with 2024’s funniest film
April Klein, Asst. Arts & Life Editor
• May 19, 2024
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