Use the fields below to perform an advanced search of 's archives. This will return articles, images, and multimedia relevant to your query.
59 items found for your search. If no results were found please broaden your search.
On Saturday night, I trekked down to the labyrinthine nether-realm that is the Nugget Theater to see “Marshall.” Ten minutes before, I had left the Hopkins Center for the Arts’ screening of Taylor Sheridan’s problematic, complicated yet engaging “Wind River,” which played to a mostly packed theater.
On Sunday, Oct. 29, Upper Valley television channel CATV’s sixth annual Halloween-o-thon took place on Dartmouth’s campus from 1 p.m.
In last week’s review of “The Snowman,” I encouraged readers to skip that dreadfully dull film and instead watch “Battle of the Sexes.” As it happens, I saw the two films over a week ago, and the contrast could not have been greater.
I watched “Detroit” over a week ago, and I’m still not quite sure what to say.
To be clear from the outset, the original “Blade Runner” is far from perfect. It is a flawed masterpiece, as influential as it is imperfect. And that’s probably why I love it. It is a slow, poetic and evocative film that never asked for or needed a sequel. But here we are 35 years later and “Blade Runner 2049” actually exists. Is it as good as the first film?
In many ways, “Dunkirk” is the film Christopher Nolan was meant to make. This is not to say that it’s his best film, though it is certainly among the best.
Darren Aronofsky and I have a complicated relationship. Well, to be more accurate, his films and I have a charged, complex and often fraught relationship.
Each year, Telluride at Dartmouth brings hand-selected films from the famous Colorado’s Telluride Film Festival to Hanover.
Going into “Downsizing,” all I knew was the major overarching concept. People were shrinking in order to get more bang for their buck, in a strangely practical use of science fiction technology.
“The Shape of Water” is perhaps best understood as a cap to a thematic trilogy that began with “The Devil’s Backbone” and continued with “Pan’s Labyrinth.” All three films fuse fairy tale narratives and period piece war stories together, highlighting the connections they share to illustrate what does and does not work about each.
When the original “Twin Peaks” aired over 25 years ago, it was a TV show about a mystery. With its revival this year in the form of “Twin Peaks: The Return,” the show itself has become a mystery.
A jam-packed movie theater at an evening showing of a horror movie on its opening weekend is not an atypical sight in a suburban Pennsylvania town.
As a film, “The Big Sick” is an unconventional addition to a long tradition of romantic comedies with memorable protagonists that include the likes of “When Harry Met Sally,” “Bridget Jones’s Diary” and “Notting Hill.” Kumail Nanjiani stars as Kumail, a character based on his early life as a standup comic who falls in love with psychology graduate student and quintessential girl next door, Emily, a somewhat underutilized Zoe Kazan, who is based on Nanjiani’s wife in real life, Emily Gordon.
The Vietnam War doesn’t fit neatly into American folklore.
In this era of sequels, reboots and remakes, who would have thought that “Trainspotting” would get a second chance to shine.
Honestly, I should have known how much I would dislike “Table 19” just by looking at its film poster, which is designed to look like an Instagram post.
“The Lost City of Z” is one of the most confounding cinematic experiences I’ve had in some time.
In 2011, shortly after the resignation of former Egyptian president Hosni Mubarak, Egyptian surgeon Bassem Youssef created a satirical web series in an attempt to heal his country through comedy.
Learning a language at Dartmouth has always been experiential, but this month, the third annual Luso-Hispanic Film Festival is expanding the academic boundaries of the concept of experiential learning at the College to encompass the renowned cinema of Latin America.
“Gifted” will be the third consecutive film that I’ve given a negative rating. I want to make it absolutely clear that I don’t enjoy that fact in the slightest. Roger Ebert, the grandfather of film criticism and one of my key inspirations, wrote in his book, “Your Movie Sucks,” the following: “Some of these reviews were written in joyous zeal.