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Film
DeMille’s ‘Cleopatra’ is a riveting exercise in camp
Amir Abou-Jaoude
•
Feb. 21, 2018
Marvel gets a blast of Afrofuturism with the thrilling ‘Black Panther’
Jacob Nierenberg
•
Feb. 20, 2018
‘Black Panther’ steps up Marvel’s game
Noah Howard
•
Feb. 20, 2018
In 2018, celebrity heroes are dead
Zak Sharif
•
Feb. 14, 2018
An evening with Sterling K. Brown and Ryan Michelle Bathe: alumni, actors and artists
Olivia Popp
•
Feb. 13, 2018
Sundance 2018, part 6: Olivia Popp’s favorite (and award-winning) films
Olivia Popp
•
Feb. 9, 2018
‘Mary and the Witch’s Flower’ rivals Ghibli films with its delightful imagination
Noah Howard
•
Feb. 9, 2018
Sundance 2018, part 4: Exploring the nontraditional
Olivia Popp
•
Feb. 5, 2018
Sundance 2018, part 3: The Festival’s darkest films, reviewed
Olivia Popp
•
Feb. 3, 2018
‘Ready, fire, aim’: A talk with Disney producer Don Hahn
Olivia Popp
•
Feb. 1, 2018
Sundance 2018, part 2: Valladares’ take on ‘Hale County,’ ‘You Were Never Really Here,’ ‘Leave No Trace’
Carlos Valladares
•
Jan. 31, 2018
The 2018 Sundance Film Festival, part 1
Sabrina Medler
•
Jan. 30, 2018
Welles’ ‘Othello’ is a beautiful, painful tragedy
Amir Abou-Jaoude
•
Jan. 26, 2018
Arts & Life
Movies in Conversation: ‘The Last Jedi’
Elaine Kim
and
Isaac Vaught
•
Jan. 25, 2018
‘The Killer’ elevates the western to new poignancy
Noah Howard
•
Jan. 22, 2018
George Cukor’s 1940 film ‘The Philadelphia Story’ delights audiences, even today
Amir Abou-Jaoude
•
Jan. 19, 2018
Christopher Plummer shines in Ridley Scott’s ‘All the Money in the World’
Amir Abou-Jaoude
•
Jan. 18, 2018
‘The Misfits,’ Marilyn Monroe’s final film, is bleak perfection
Carlos Valladares
•
Jan. 18, 2018
‘Darkest Hour’ offers an astounding Gary Oldman performance and little else
Jacob Nierenberg
•
Jan. 17, 2018
‘Downsizing’ needs to shrink to fit its narrative
Noah Howard
•
Jan. 16, 2018
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