Reviews

A review of Kelly Reichardt’s The Mastermind, a minimalist, tragicomic twist on the heist genre, following Josh O’Connor as an apathetic family man whose amateur art theft slowly falls apart.

The ivory tower of cuisine comes alive in Brad Bird’s Ratatouille. Remy the rat, under the tutelage of the spirit of the late Chef Gusteau, attempts to find the key, but what will it take for the world to welcome its most unconventional chef?

This article attempts to analyze Wes Anderson’s work through the lens of James C. Scott’s 1998 book Seeing Like A State, using Asteroid City and The Phoenician Scheme to try to understand auteurship as a form of quasibureaucratic control, a form of control that these films, despite their pervasive stylization, subtly yet consistently undermine. Many have accused Anderson of retreating into pure mannerism, but these films can be read as dramatizations of resistance to their ow

Welcoming the New Year with finals behind, Caramelo prompts the usage of troupes and the future of storytelling with its own comedic and sensitive uniqueness. Whether it be a statement piece or a slapstick comedy, it’s important to experience films that remind us of the beauty and transformation of film.  

2025 marks the fourth year of what has now become an annual tradition: agonizing over the list, caught between performativity and pure dopamine. A few things are different this time. The industry, ever more so, is tasked with answering the existential questions regarding the ethical use of generative videos, mergers, box-office numbers, and perhaps most importantly of all, the role of advocacy cinema in the current zeitgeist, where paranoia and distrust for the government and

Every year without fail, Love Actually makes its way onto every list of classic movies to watch during the Christmas season. The film uses the overarching theme of holiday romance to bring together nine carefully crafted love stories. While Nicole Au can undoubtedly agree that this film is the perfect Christmas movie, she does an in-depth examination of each storyline to determine which ones deserve more praise than others (and to spark lively debate amongst other die-hard Lo

This article argues that Primal Fear is one of cinema’s most overlooked twist-driven thrillers. The movie follows defense attorney Martin Vail as he defends a timid altar boy, Aaron Stampler (played by none other than Edward Norton), who appears incapable of murder. As Vail’s investigation unfolds throughout the course of the movie, the film reveals layers of church abuse, legal manipulation, and moral ambiguity. Nicole Au argues that Primal Fear deserves far more recognition

This piece explores how Costa-Gavras’s Z treats politics not merely as a clash of physical power, but as a fight for narrative control. In Z, the struggle to explain an event becomes a struggle to define reality. Its ending, in withholding any sense of resolution, is what makes the film feel disturbingly modern.