Film

This Is a Review of ‘Horse Girl’ Starring Alison Brie, Thanks
This film has gotten a lot of medium reviews, so prepare for a large review.
Isabel Tan, Deputy Copy Chief
• February 12, 2020

‘And Then We Danced’ Shows the Freedom Within the Language of Dance
A Georgian coming-of-age story that uses dance as a way to communicate words left unsaid.
Kaylee DeFreitas, Arts Editor
• February 10, 2020

Extremism Burns Slowly in the Mind of ‘Young Ahmed’
The Dardenne brothers’ “Young Ahmed” is a complex and unsettling portrait of radicalization.
Alexandra Bentzien, Staff Writer
• February 10, 2020

‘The Turning’ Reanimates Tropes That Should Stay Dead
Constant jump scares and a lack of any genuinely scary horror elements make this movie a pain.
Nicholas Pabon, Contributing Writer
• February 5, 2020

In ‘Beanpole’ Peacetime is Anything But
Russia’s Oscar entry for Best International Feature focuses on the bond between two women as they try to seek ways to heal from the traumas of war.
Kaylee DeFreitas, Arts Editor
• February 3, 2020

‘The Good Place’ Walks Through the Final Door
The series finale of the NBC comedy focuses on the beauty of the end.
Ethan Zack, Arts Editor
• February 3, 2020

‘Sex Education’ Season Two Explores the Serious Side of Sexuality
The new season deftly tackles issues like sexual assault, but still fosters toxicity in its portrayal of LGBTQ+ relationships.
Ashley Wu, Deputy Arts Editor
• January 31, 2020

The Patched Film Adopts the Worst From Video Games
Films such as “Cats” and “Sonic the Hedgehog” show that the movie industry is taking a spooky page from the video game industry in releasing unfinished products and rushing fixes at the artists’ expense.
Fareid El Gafy, Film & TV Editor
• January 27, 2020

‘Dollface’: An Unexpectedly Necessary and Hilarious Rollercoaster Ride
The Hulu original is a comedy we didn’t know we needed about female friendship.
Nyssa Joseph, Contributing Writer
• December 4, 2019

‘In Fabric’: Strickland Spins the Giallo Genre Afresh for a New Generation
Director Peter Strickland blends British comedy and Italian horror in a deliciously terrifying flick.
Nicolas Pedrero-Setzer, Contributing Writer
• December 4, 2019

‘Give Me Liberty’ Acts as a Manifesto for a New Style of Madcap American Cinema
Kirill Mikhanovsky’s pseudo-autobiographical film stars unprofessional actors in a bold new fashion for American filmmaking.
Nicolas Pedrero-Setzer, Contributing Writer
• December 3, 2019

‘Tel Aviv on Fire’ Channels Frustration Into Comedy
The Luxembourgish Oscars entry, directed by NYU Tisch professor and Palestinian director Sameh Zoabi, tackles the Israel-Palestine conflict through a satirical lens.
Nicholas Weid, Contributing Writer
• December 2, 2019

Sam Bergheiser, Contributing Writer • October 21, 2025

Selin Kemiktarak, Contributing Writer • October 21, 2025

Ellie Miller, Staff Writer • October 21, 2025

Zachary Karp, Contributing Writer • October 21, 2025

Rebecca O’Reilly, Contributing Writer • October 21, 2025