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Film
The 1939 ‘Rebecca’ is the perfect Hitchcock crash course
Amir Abou-Jaoude
•
Nov. 30, 2017
‘The Florida Project’ narrates a grungy fairy tale of poverty
AnQi Yu
•
Nov. 29, 2017
‘The Divine Order’ a faint, unremarkable shadow of Ibsen’s ‘A Doll’s House’
Amir Abou-Jaoude
•
Nov. 29, 2017
Greta Gerwig’s ‘Lady Bird’ is a miracle of people-watching
Carlos Valladares
•
Nov. 28, 2017
‘Tom of Finland’: A strong biopic of Finland’s iconic gay erotica illustrator
Allison Oddman
•
Nov. 22, 2017
Frances McDormand shines in the flawed ‘Three Billboards Outside Ebbing, Missouri’
Carlos Valladares
•
Nov. 20, 2017
‘Loving Vincent’: a portrait of the artist as an old man
•
Nov. 19, 2017
‘Animal House,’ or what college is really like
Chelsea Red-Horse Mohl
•
Nov. 16, 2017
Joe Wright on the past, art and the recent Hollywood sexual assault scandals
Zak Sharif
•
Nov. 14, 2017
Love is a tasteless, trite thing in ‘God’s Own Country’
Amir Abou-Jaoude
•
Nov. 8, 2017
‘Thor: Ragnarok’ brings the comedy to a blockbuster superhero flick
Noah Howard
•
Nov. 8, 2017
‘Jane’ provides a scintillating vision into Goodall’s legacy
Amir Abou-Jaoude
•
Nov. 5, 2017
From ‘The Square’ comes a powerful plea for humanity
Elaine Kim
•
Nov. 2, 2017
Ai Weiwei brings humanity to the refugee crisis in ‘Human Flow’
Mac Taylor
•
Nov. 2, 2017
United Nations Association Film Festival: A look at ‘Guangzhou Dream Factory’
Cathy Wang
•
Oct. 30, 2017
Even Michael Fassbender can’t save ‘The Snowman’ from its cold, lifeless narrative
Noah Howard
•
Oct. 27, 2017
Movies In Conversation: ‘Blade Runner 2049’
Elaine Kim
•
Oct. 26, 2017
The Daily’s Halloween movie picks
Arts & Life Screen Beat writers
•
Oct. 24, 2017
From ‘Cléo’ to ‘Faces Places,’ Agnès Varda is preoccupied with the ordinary life
AnQi Yu
•
Oct. 24, 2017
On the impossibility of separating art from artist
Jacob Kuppermann
•
Oct. 21, 2017
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