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Film
‘The Grinch’ for the modern moment
Hayley Hodson
•
Dec. 17, 2018
De Palma steals from the masters in ‘Sisters’
Amir Abou-Jaoude
•
Nov. 30, 2018
‘Beautiful Boy’: A tragic story of addiction
Emilia Diaz-Magaloni
•
Nov. 30, 2018
In ‘Andrei Rublev,’ Tarkovsky contemplates artistry and reality
Amir Abou-Jaoude
•
Nov. 28, 2018
‘A Private War’ grounds a journalistic goddess
Noah Howard
•
Nov. 27, 2018
Beware Orson Welles’ final film
Hayley Hodson
•
Nov. 26, 2018
‘The Nutcracker and the Four Realms’ is a lump of coal
Kaycee Branche
•
Nov. 14, 2018
In ‘Westfront 1918,’ Pabst evokes the traumas of World War I
Amir Abou-Jaoude
•
Nov. 12, 2018
‘Crazy Rich Asians’ screenwriter, VR leaders unite at second annual Confluence Summit
Olivia Popp
•
Nov. 9, 2018
Interview: ‘The War at Home’ is as relevant today as it was upon release
Hannah Blum
•
Nov. 8, 2018
“The Kindergarten Teacher” challenges audiences
Juan Fueyo-Gomez
•
Nov. 7, 2018
Elect to revisit these artworks on election night
Olivia Popp
,
Amir Abou-Jaoude
and
Shana E. Hadi
•
Nov. 6, 2018
Interview: Stanford’s Ben Werdegar on music for ‘A Star is Born’
Hayley Hodson
•
Nov. 2, 2018
‘The War at Home’ connects present with past
Hannah Blum
•
Nov. 2, 2018
“Studio 54” is a study of an (in)famous 70s nightclub
Simone Zhu
•
Oct. 24, 2018
Dietrich is an extraordinary actress in ‘The Scarlet Empress’
Amir Abou-Jaoude
•
Oct. 23, 2018
‘2001: A Space Odyssey’ is a bizarre, epic journey
Noah Howard
•
Oct. 22, 2018
‘The Guilty’ delivers thrills from behind a telephone
Grace Zhou
•
Oct. 19, 2018
‘First Man’ flies high
Hayley Hodson
•
Oct. 17, 2018
Bradley Cooper critiques show business in ‘A Star Is Born’
Amir Abou-Jaoude
•
Oct. 15, 2018
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