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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.
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.
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.
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.
“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.
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.
Spoilers ahead.
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).
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.
“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.
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.
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.
“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).
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.
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.
James Wan’s 2013 horror film “The Conjuring” dramatized the exploits of real-life paranormal investigators Ed and Lorraine Warren in a thrilling and uncommonly poignant horror film. Since that initial installment, the series has expanded into a full-blown cinematic universe, with films like “Annabelle,” “The Nun” and their respective sequels.
Although Dan Erickson’s “Severance” is rife with cynicism and corporate humor, it differs drastically from a workplace satire. “Severance” is ultimately a work of science fiction. The show grants insight into the depths of human psychology and emotion.
“L’Absinthe” by Edgar Degas. “Tired” by Ramón Casas. “The Wedding Dress” by Frederick Elwell. These are the portrayals of women experiencing extreme despair that inspired Michelle Zauner in the production of Japanese Breakfast’s new album, “For Melancholy Brunettes (& sad women),” which was released on March 21.
In the spirit of the saying “if it ain’t broke, don’t fix it,” the “White Lotus” season premiere — “Same Spirits, New Forms” — delivers exactly what its title promises. For those unfamiliar, the “spirit” of the White Lotus television series centers around a luxury resort enterprise functioning as a cultural refuge for the hyper-rich. Far from broke, the Emmy award-winning first and second seasons of “White Lotus” cemented themselves in the zeitgeist as a satirical exploration of America’s ever-expanding wealth gap. Each season thus far has transformed the serene utopia of a Four Seasons property into a crime scene where everything that can go wrong, does, and where somebody innocent is sure to end up dead.
If controversy begets conversation, then on Sunday, the Caesars Superdome in New Orleans, La. hosted a performance primed for discussion. The Super Bowl halftime show is meant to appeal to the masses, which is why, for many viewers, Kendrick Lamar’s performance fell short — its dense, politically-charged messaging went against the mainstream audience’s expectations. However, I think the 13-minute set undoubtedly stood as a testament to a storyteller’s showmanship.