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(03/06/26 7:00am)
A24’s newest release, “How to Make a Killing,” directed by John Patton Ford, starts at the end. Becket Redfellow (Glen Powell) is set to be executed in four hours, and glibly recounts his tale of woe on a priest (Adrian Lukis) through the bars of his cell. This opening scene establishes the film’s structure — Becket’s diegetic voiceover chronicles his criminal descent as he chases family fortune by murdering estranged relatives.
(03/02/26 7:00am)
“Pulp fiction” takes on an entirely new meaning in Park Chan-wook’s “No Other Choice,” a dark comedy about the job market. The bleak film follows Man-su — played by Lee Byung-hun of “Squid Game” fame — a family man who has worked at the pulp manufacturer Solar Paper for 25 years. When an American firm acquires his company, his bosses state they have “no other choice” but to downsize and unceremoniously let him go. After an emasculating, hopeless year of unemployment, Man-su decides he has “no other choice” but to literally eliminate his competition: he must kill the manager of the rival company Moon Paper, and all other applicants.
(03/02/26 7:10am)
“The old world is dying, and the new world struggles to be born; now is the time of monsters.” Italian philosopher Antonio Gramsci’s line opens “Ghost in the Machine,” a Sundance documentary directed by independent filmmaker Valerie Veatch that uses its 110-minute runtime to ask viewers to reconsider what exactly feels “new” about artificial intelligence. The film firmly positions AI as the continuation of a conveniently forgotten intellectual and ideological history rather than as an abrupt technological innovation.
(02/20/26 7:00am)
As its generic title might suggest, Bart Layton’s “Crime 101” often plays like a remix of familiar tropes from crime genre classics. Thankfully, its strong direction and all-star cast make it a strong, well-made entry in the tradition, even if it doesn’t break any new ground and ends with a slightly undercooked finale.
(02/13/26 6:06am)
Friday Night Rock kicked off the winter term with a standout show on Friday, Jan. 23, bringing Racing Mount Pleasant to Sarner Underground for what I consider the best FNR performance I’ve seen here at Dartmouth.
(02/13/26 6:06am)
In “If I Had Legs I’d Kick You,” the sky may not be falling, but the ceiling is. The dramedy-meets-psychological-thriller centers on Linda (Rose Byrne), a therapist whose unnamed young daughter is struggling with an unidentified eating disorder. Her life is a series of unrelenting battles. Her husband Charles (Christian Slater) is a cruise ship captain who calls home only to berate her; her therapist (Conan O’Brien) is hostile and remarkably unhelpful and her own clients’ struggles are increasingly difficult for her to treat.
(02/02/26 7:09am)
Now that the Academy has released its ironclad grip on the Oscars contenders on Jan. 22, it is time to discuss Joachim Trier’s “Sentimental Value.” The staggering nine nominations — unprecedented for a Norwegian film — acknowledge the remarkable script and direction, stunning performances and tender yet gripping story. In short, “Sentimental Value” may be a perfect movie.
(01/30/26 8:00am)
“28 Years Later” is a strange, experimental take on the zombie genre and one of 2025’s best films. It served as the third installment in the horror franchise that began with 2002’s “28 Days Later” and introduced a new cast of characters for a planned trilogy. Last year’s entry ended with an outrageous sequence in which young protagonist Spike (Alfie Williams) was rescued by a gang of acrobatic zombie-killing ninjas dressed to resemble Jimmy Savile, a beloved UK media personality who was eventually outed as one of the country’s most notorious pedophiles.
(01/23/26 8:05am)
Introspective and anticlimactic, the Bruce Springsteen biopic “Springsteen: Deliver Me From Nowhere” is perhaps most accessible to viewers who are already fans of “the Boss.” This is not a traditional biopic — so viewers expecting a narration of the arc of Springsteen’s life will be disappointed. However, those interested in the craft of his songwriting and a glimpse into his emotions will be rewarded.
(01/23/26 7:10am)
Spoilers ahead.
(01/16/26 7:09am)
In an era of floundering Disney remakes and sequels such as the live-action “Snow White” and “Moana 2,” “Zootopia 2” is an imaginative return to the quick-witted, touching Disney of my childhood. The sequel to the beloved 2016 animated film seamlessly integrates sociopolitical themes into a heartwarming movie geared towards children. The film also dares to ask: What would the child of a fox and bunny look like?
(01/09/26 7:13am)
Those familiar with Mary Shelley’s 1818 classic gothic horror novel “Frankenstein; Or, The Modern Prometheus” know that the central creature is nameless — not, as many think, named after his mad scientist creator. Built from various body parts and electric currents, rejected by humanity for the body he did not ask for, he wanders alone with neither a name nor a companion. Featuring trademark whimsical cinematography and standout acting, Guillermo del Toro’s “Frankenstein” loyally and memorably interprets the classic. The latest in a long line of adaptations, del Toro’s film insightfully explores the background of the creator Victor Frankenstein (Oscar Isaac) while giving due place to the perspective of the creature (Jacob Elordi).
(11/14/25 6:05am)
Following a close 20-17 win over the Princeton Tigers last weekend, Dartmouth football will stay in the woods to host the red-hot Cornell Big Red.
(11/10/25 7:14am)
On Oct. 21, students, faculty and community members gathered in Loew Auditorium to watch Swiss director Fredi Murer’s 1985 film, “Alpine Fire.” The screening was part of Cannes on the Connecticut, a film series curated by Montgomery Fellow Vinzenz Hediger to showcase international films.
(11/03/25 7:09am)
“To be free, you have to know how to live,” sings Brazilian rapper Negra Li, in “Luta Cansativa.” This song opens one of the early sequences of Anna Muylaert’s new film “The Best Mother in the World.” In the scene, a Black woman named Gal (Shirley Cruz) meanders through São Paulo’s chaotic traffic, pushing her heavy, garbage-filled cart. Her job involves collecting trash from the streets and selling it for recycling. As the rap suggests, Gal is trying to pursue freedom — both for herself and her children.
(11/03/25 7:15am)
The day begins as usual for various White House and military personnel. Captain Olivia Walker (Rebecca Ferguson) tends to her sick toddler before heading off to work in the Situation Room at 4:30 a.m. Major Daniel Gonzalez (Anthony Ramos) argues with his girlfriend over the phone before returning to his post as the commander of the Fort Greely Army base in Alaska. Characters exchange pleasantries, drink coffee and settle in for the workday.
(10/20/25 6:14am)
After 10 minutes, most viewers will have figured out exactly where “Tron: Ares” is going; it’s narratively shallow and plays out exactly as you’d expect. Most of the dialogue is also predictable, forcing accomplished actors to give stilted performances as they spout ham-fisted exposition and unfunny jokes. Despite its under-two-hour runtime, the movie feels both too long and not eventful enough.
(10/13/25 6:00am)
“Against all odds, I’ve found myself in the business of optics, not substance.” Spoken by a peripheral character, this is the unassuming thesis of Luca Guadagnino’s latest film. “After the Hunt” is a gripping psychological thriller that weaves a complex web of power dynamics related to race, class and gender. In this campus drama set in 2019, philosophy professor Alma Imhoff (Julia Roberts) contends with the news that a favored colleague Hank (Andrew Garfield) has allegedly sexually assaulted her Ph.D. student Maggie (Ayo Edebiri).
(10/13/25 6:15am)
Feather boas. Bodies dripping with rhinestones. Burgundy stage curtains fading into shadow. This was the promotional imagery for Taylor Swift’s 12th studio album “The Life of a Showgirl.” Written and produced during Swift’s The Eras Tour by Swift, Max Martin and Shellback, this is a record about performance. It leans into spectacle, teasing some sort of confession behind its glittering facade that is never quite revealed. Over 12 tracks, Swift slips between contradictory personas, leaving the listener uncertain as to which, if any, are real.
(09/29/25 6:04am)
The date September 11, 2001, is seared in America’s national memory as a day of collective grief and profound horror. Yet it is within this context of national tragedy that Canadian couple Irene Sankoff and David Hein’s hit musical “Come From Away” tells a true story of universal compassion. The Tony-nominated musical has made its way to White River Junction’s very own Northern Stage. Directed by Carol Dunne, the 100-minute local production opened previews on Sept. 24, marking the first show of Northern Stage’s fall season.
