Film & TV

‘The End’ review: A scattershot opera of acceptance and forgiveness after the apocalypse
Jake Panek, Film & TV Beat Writer
• October 30, 2024

‘Desire Lines’ review: Half-documentary half-queer drama gets close to greatness
April Klein, Asst. Arts & Life Editor
• October 30, 2024

‘All We Imagine as Light’ review: A lyrical and meditative masterpiece of sisterhood and longing
Jake Panek, Film & TV Beat Writer
• October 30, 2024

‘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
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