Film & TV
“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
“Rustin” review: History falls flat in over-ambitious and underwhelming dramatization
Claire Tweedie, Former Editor in Chief
• October 15, 2023
“The People’s Joker” review: Putting clown makeup on a story of identity and calling it a parody
Claire Tweedie, Former Editor in Chief
• October 15, 2023
“Poor Things” review: A technicolor take on oddity and identity
Claire Tweedie, Former Editor in Chief
• October 15, 2023
“Eric Larue” review: Shoddy artistry upends an otherwise novel story of tragedy and faith
Sam Mroz, Contributing Writer
• October 15, 2023
“El Conde” review: Laughing all the way down to hell
April Klein, Asst. Arts & Life Editor
• October 8, 2023
Next generation of queer and women filmmakers drive change
Meghan Lajewski, Contributing Writer
• October 1, 2023
Scarier than expected, Kenneth Branagh charts a new path for Poirot in “A Haunting in Venice”
Elizabeth Gregerson, Contributing Writer
• October 1, 2023
“The Creator” Panel discusses AI and virtual reality, technology as our closest friend and scariest fear
Samuel Mroz, Asst. Arts and Life Editor
• October 1, 2023
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