Film & TV
Changing tastes, new futures: The state of the domestic box office in 2023
April Klein, Contributing Writer
• January 21, 2024
Torn legacies, tough audiences and a building controversy against the Golden Globes
Sam Mroz, Contributing Writer
• January 15, 2024
“Poor Things” review: A technicolor take on oddity and identity
Claire Tweedie, Former Editor in Chief
• January 15, 2024
“Eileen” filmmakers talk story, structure and surprises behind cinematic adaptation
Sam Mroz, Contributing Writer
• December 6, 2023
“The Killer” review: A thriller as obvious as it is effective
Sam Mroz, Contributing Writer
• November 5, 2023
“Evil Does Not Exist”: A tranquil coasting across the vanity of mankind
Sam Mroz, Contributing Writer
• October 22, 2023
“Sweet Dreams”: A biting perspective on colonization that stings and surprises
Claire Tweedie, Former Editor in Chief
• October 22, 2023
“Monster”: A quiet look at the complexity of boyhood and the monsters behind it
Claire Tweedie, Former Editor in Chief
• October 22, 2023
“La Chimera”: Grave robbing plays as pastime to a dense reflection of lost love
Sam Mroz, Contributing Writer
• October 22, 2023
“Lost Country”: Politics and family come together in a story built on social unrest
Sam Mroz, Contributing Writer
• October 22, 2023
“Zone of Interest”: A resonant moral probing of evil and its subtle cultural imprints
Sam Mroz, Contributing Writer
• October 22, 2023
“The Boy and the Heron” review: A boy and a bird graciously sing Miyazaki’s swan song to cinema
Sam Mroz, Contributing Writer
• October 15, 2023
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