
“the rest” provides a promising look into boygenius’ musical future
Carly Witt, Opinions Editor
• November 5, 2023

“Evil Does Not Exist”: A tranquil coasting across the vanity of mankind
Sam Mroz, Asst. Arts & Life Editor
• October 22, 2023

“Sweet Dreams”: A biting perspective on colonization that stings and surprises
Claire Tweedie, Arts & Life Editor
• October 22, 2023

“Monster”: A quiet look at the complexity of boyhood and the monsters behind it
Claire Tweedie, Arts & Life Editor
• October 22, 2023

“La Chimera”: Grave robbing plays as pastime to a dense reflection of lost love
Sam Mroz, Asst. Arts & Life Editor
• October 22, 2023

“Lost Country”: Politics and family come together in a story built on social unrest
Sam Mroz, Asst. Arts and Life Editor
• October 22, 2023

“Zone of Interest”: A resonant moral probing of evil and its subtle cultural imprints
Sam Mroz, Asst. Arts & Life Editor
• October 22, 2023

“Pikmin 1+2” review: A Blooming Bundle
Jason Fennell , Contributing Writer
• October 15, 2023

“The Boy and the Heron” review: A boy and a bird graciously sing Miyazaki’s swan song to cinema
Sam Mroz, Asst. Arts & Life Editor
• October 15, 2023

“Rustin” review: History falls flat in over-ambitious and underwhelming dramatization
Claire Tweedie, Arts & Life Editor
• October 15, 2023

“The People’s Joker” review: Putting clown makeup on a story of identity and calling it a parody
Claire Tweedie, Arts & Life Editor
• October 15, 2023

“Poor Things” review: A technicolor take on oddity and identity
Claire Tweedie, Arts & Life Editor
• October 15, 2023
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