Reviews
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‘Mickey 17’ review: Double the Pattinson, double the funny, double the mess
April Klein, Asst. Arts & Life Editor
• February 17, 2025
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Tongue-Tied Tequila: ‘Fool For Love’ at the Steppenwolf Theater
Finn Morse, Theater Beat Writer
• February 17, 2025
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‘Grand Theft Hamlet’ review: A hysterical, inspiring documentary about art and community in a chaotic online world
Jake Panek, Film & TV Beat Writer
• February 17, 2025
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‘Love Hurts’ review: Love stinks and so does this movie
Sam McCarthy, Contributing Writer
• February 10, 2025
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‘Presence’ review: You can only watch
April Klein, Asst. Arts & Life Editor
• February 3, 2025
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I watched all the X-Men movies so you don’t have to
Amber Corkey, Copy Editor
• January 13, 2025
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‘Y2K’ review – A satirical trek through the end of the millennium drowns in its own ambition
April Klein, Asst. Arts & Life Editor
• December 17, 2024
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‘Gladiator II’ review – A sequel 20-years in the making struggles to make a lasting impact
Alek Sacinski, Contributing Writer
• December 3, 2024
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‘Wicked’ review – Cynthia Erivo and Ariana Grande transform this classic musical
Karidja Monjolo, Contributing Writer
• December 3, 2024
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‘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
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‘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
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‘The Wild Robot’: The best DreamWorks movie in 13 years
Finn Morse, Theater Beat Writer
• October 7, 2024
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