Review: ‘Crimes of Grindelwald’ is another disappointment
Two years ago, I was in the minority when I declared “Fantastic Beasts and Where to Find Them” to be less than the sum of its parts.
Two years ago, I was in the minority when I declared “Fantastic Beasts and Where to Find Them” to be less than the sum of its parts.
In Yosemite Valley, a massive rock formation looms over the sweeping vistas of picturesque splendor.
When I saw “The Old Man and the Gun” last weekend at The Nugget, I was easily one of the youngest people in the audience.
It’s the day after Halloween, which obviously means we’re ready to plunge headfirst into the holiday season.
Director Damien Chazelle is quickly making a name for himself as the rightful heir to the throne of dramatic cinema.
Michael Myers and Laurie Strode deserve more in the new “Halloween.” When one thinks of the quintessential film serial killers, several names come to mind: Jason Voorhees, Freddy Kreuger, Leatherface, etc.
I love my Saturday afternoon naps. I really do. Six of the seven Saturdays that I’ve been on campus, I’ve spent buried under a pile of blankets in a coma-like state that I don’t emerge from for at least three hours.
“What a wonderful life I’ve had! I only wish I’d realized it sooner.” – Colette In the present moment of the Time’s Up movement, Kavanaugh’s confirmation and the Trump presidency at-large, the age-old narrative of man silencing woman is especially resonant.
“Eating Animals” is an important film. Based on the 2009 book of the same name by Jonathan Safran Foer, the documentary explores the subject of the American agricultural industry, a topic that’s often neglected in public discussions, and focuses on the highly troubling issue of the factory farming of poultry and livestock.
One of my fondest memories of my senior year of high school is when my English class read, performed and studied William Shakespeare’s epic tragedy “King Lear.” At that time, the play captivated me with its stark and honest portrayal of human fallibility and tragic loss and it quickly became one of my favorite works of literature.
“The Front Runner” directed by Jason Reitman of “Juno,” “Up in the Air” and “Tully,” stars Hugh Jackman as U.S.
When I was eight years old, I begged my mom for weeks to let me see “Iron Man.” I remember the excitement I felt when she finally relented and said yes.
There’s crazy, there’s satire, there’s dystopian, and then there’s “Sorry to Bother You.” Musician Boots Riley’s 2018 directorial debut takes place in an alternative-world Oakland — but don’t let the term “alternative-world” fool you.
“I have a hangover that is a real museum piece,” Lee Israel writes, imitating writer Dorothy Parker in a particularly famous forgery of Parker’s letters.
Spike Lee’s latest film, “BlacKkKlansman” is very much a movie created for and about the current American political and racial environment.
Directed by and starring Bradley Cooper, and featuring pop supernova Lady Gaga, 2018’s “A Star is Born,” a remake of William Wellman’s 1937 film of the same name, breathes new life into the music drama genre.
“Late at night, my mind would come alive with voices and stories and friends as dear to me as any in the real world.
A working-class woman meets an outrageously rich man, and they fall in love in much to the derision and outrage of the man’s family (mostly his mother). It’s a classic formula, seen in works like “Pride and Prejudice” to which some critics have compared “Crazy Rich Asians,” the romantic-comedy released this summer that featured an all-Asian cast.
Dear Paul Thomas Anderson, I want to begin by affirming how much I respect your work. Although the rest of this letter will not be kind to your newest film, “Phantom Thread,” I don’t want you to doubt my admiration for you as a filmmaker.
It’s hard not to ask what the best film of 2017 was, given that the 90th Academy Awards are less than a week away.