‘Wicked’ review – Cynthia Erivo and Ariana Grande transform this classic musical
Karidja Monjolo, Contributing Writer
• December 3, 2024
‘The Piano Lesson’ review: A haunting past crafts a captivating film
Claire Tweedie, Former Editor in Chief
• October 31, 2024
‘Hard Truths’ review: Mike Leigh’s brutally honest yet kind drama stuns
April Klein, Asst. Arts & Life Editor
• October 31, 2024
‘Flow’ review: Give it some apPAWse
Grace Logan, Arts & Life Editor
• October 31, 2024
‘Grand Tour’ review: Yearning for meaning across time and space
April Klein, Asst. Arts & Life Editor
• October 31, 2024
‘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
‘A Different Man’ review: Sebastian Stan and Adam Pearson play two sides of the same coin
April Klein, Arts & Life Assistant Editor
• October 14, 2024
‘Joker: Folie á Deux’ review: Todd Phillips should be disbarred from the Director’s Guild of America
April Klein, Arts & Life Assistant Editor
• October 7, 2024
‘The Wild Robot’: The best DreamWorks movie in 13 years
Finn Morse, Theater Beat Writer
• October 7, 2024
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