Reviews

In this article, Caleb Lee explores the visionary Wes Anderson’s filmography, examining what makes him a cultural touchstone for so many and how his visual flair impacts how we view his work. He also ranks the films.

In her article, Hannah Smith analyzes believability and subjectivity in Lance Oppenheim and Nathan Fielder’s You Can See Everything (2026) through a focus on camera work and dialogue. She argues that the questions their documentary asks are not ones of truth, but ones that hinge on belief—or disbelief—in the subject.

We often like to point out other people’s biases, but why don’t we examine our own? In the mercurial You Can See Everything, Nathan Fielder and Lance Oppenheim explore this question through a mind-bending kaleidoscope of perspectives, semantics, and doubt. By the end, the most unsettling subject isn’t Elizabeth Holmes but the documentarian himself, and the audience, who, like Fielder, tend to hear exactly what we need to.

In this piece, Sam Dameron reviews Zach Cregger’s newest film, Resident Evil. A horror-comedy, based on the popular game series of the same name.

In her review of Fiona Obertinca’s “Dandelion” (2025), Assistant Managing Editor Sadie Cho explores how the short film represents finding community as a queer teenager in a historically accurate manner and meaningfully deviates from mainstream queer movies by depicting queer joy.

What does it really mean to adapt a novel, and how can one succeed or fail in doing so? These questions have long tormented authors, filmmakers, and audiences alike. Emerald Fennell’s 2026 “Wuthering Heights” takes a controversial approach to reimagining Emily Brontë’s 1847 novel, simultaneously illuminating the question while complicating it further.

In her mise-en-scène of Jane Schoenbrun’s I Saw the TV Glow (2024), Sadie Cho analyzes how a variety of details in Owen’s monologue–his wording, the setting, the music, and the camera angles–exemplify his immaturity, despite the fact that he appears to have a normal adult life. This scene contributes to the film’s larger message that risk-taking is necessary to not just age, but truly mature as a person.

Through an analytical history of the life and times of both of its artistic fathers, Carlos examines the Marquis de Sade’s 120 Days of Sodom–a scroll stuffed into a wall in a Bastille cell that would two centuries later become the most infamous film ever made.