Film
‘Free Time’ subverts any semblance of competent adulthood
I would call “Free Time” incompetence porn, but it’s not.
Liv Steinhardt, Contributing Writer
• April 5, 2024
WSN’s guide to the 53rd New Directors/New Films festival
In anticipation of the Lincoln Center and MoMA’s latest edition of ND/NF, WSN has put together a list of the most exciting films on the festival docket.
Mick Gaw, Film & TV Editor
• April 3, 2024
Review: ‘High & Low: John Galliano’ captures a fashion icon falling apart at the seams
The documentary chronicles fashion designer John Galliano’s career in full, but falters in redeeming his character following incidents of antisemitism.
Karina Rower, Deputy Copy Chief
• April 2, 2024
Review: ‘Do Not Expect Too Much From the End of the World’ is a brilliantly funny portrayal of 21st-century labor
In his new feel-bad comedy, Radu Jude inventively depicts the frenzy of late stage capitalism through an overburdened personal assistant in the film industry.
Nolan Morris, Contributing Writer
• April 1, 2024
Inside the Boxd: ‘Maestro,’ ‘The Banshees of Inisherin,’ ‘Valhalla Rising’ and ‘Mulholland Drive’
Inside the Boxd is a weekly column documenting WSN staffers’ recent film reviews on Letterboxd. Grab some popcorn and get that watchlist ready!
Anna Baird-Hassell, Emily Genova, Mick Gaw and Yezen Saadah
• March 29, 2024
Review: Unfortunately, ‘Immaculate’ doesn’t live up to its name
With “Immaculate,” Michael Mohan delivers an imperfect, try-hard horror film that redeems itself by being somewhat fun and occasionally comedic.
Lulu Chatterjee, Staff Writer
• March 27, 2024
Review: ‘Kung Fu Panda 4’ lacks what made its predecessors so charming
DreamWorks Animation’s latest addition to the decade-long series lacks the ingenuity and emotional core of its predecessors.
Tony Jaeyeong Jeong, Staff Writer
• March 26, 2024
Q&A: Filmmaker Neo Sora on capturing Ryuichi Sakamoto’s final performance
WSN spoke with director Neo Sora about his latest film “Ryuichi Sakamoto | Opus,” the late musical icon’s last recorded concert.
Mick Gaw, Film & TV Editor
• March 15, 2024
Review: Netflix’s ‘Avatar: The Last Airbender’ is rough, buddy
The live-action adaptation of “Avatar: The Last Airbender” rarely ever excels as a shot-for-shot remake of the popular cartoon, ultimately frustrating longtime fans of the original.
Carmo Moniz and Yezen Saadah
• March 15, 2024
Review: ‘Love Lies Bleeding’ is a sultry slasher that disappoints
Within the brawn and blood of New Mexico in the ’80s, Rose Glass’ romantic thriller precariously balances romance and violence against a quickly paced plot.
Eleanor Jacobs, Staff Writer
• March 15, 2024
Review: ‘Expats’ stumbles upon modern Hong Kong
The high anticipation for A24 director Lulu Wang’s portrayal of the Asian metropolis doesn’t seem to be given enough air time — but her efforts shine through.
Kaitlyn Sze Tu, Contributing Writer
• March 11, 2024
Why Celine Song should win best screenplay at the Oscars
Though it’s worth recognizing the visual and technical merits behind the success of “Past Lives,” Celine Song’s genre-defying screenplay is the star of the film.
Bella Simonte, Contributing Writer
• March 8, 2024
Steven Wang, Staff Writer • January 24, 2025
Sidney Snider, Sports Editor • January 24, 2025
Yezen Saadah, Editor-in-Chief • January 24, 2025
Andrea Lui, Staff Writer • January 24, 2025