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‘Outcry’: Giving a voice to the silence of women

By Lexi Kilcoin · Wednesday, Feb. 2, 2022

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‘The House’ is an unsettling stop-motion nightmare

By Justin George · Wednesday, Feb. 2, 2022

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‘Much Ado About Nothing’ enters modernity

By Rose Androwich · Tuesday, Feb. 1, 2022

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‘Spider-Man: No Way Home’: A spoiler-filled review

By John Clark · Tuesday, Feb. 1, 2022

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‘Macbeth’ adaptation provides moving cinematography

By Marcelle Couto · Monday, Jan. 31, 2022

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Reboots suck, but here’s why you should watch ‘Scream’

By Anna Falk · Monday, Jan. 31, 2022

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'Rocky Horror' retrospective: Hot patootie, rest his soul

By Natalie Allton · Friday, Jan. 28, 2022

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'Hype House': A hate-watch

By Gracie Simoncic · Friday, Jan. 28, 2022

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Earl Sweatshirt is ‘Sick!’

By Charlie Maxwell · Thursday, Jan. 27, 2022

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‘Woodlands Dark and Days Bewitched’: A deep dive into the history of folk horror

By Justin George · Thursday, Jan. 27, 2022

The disappointing reality of 'The Matrix Resurrections'

By JP Spoonmore · Wednesday, Jan. 26, 2022

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LepreCon is a paradise for students of all backgrounds and interests

By Caitlin Brannigan · Wednesday, Jan. 26, 2022

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‘Cheer’ is back and better than ever

By Abigail Keaney · Tuesday, Jan. 25, 2022

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‘Emily in Paris’: The millennial fantasy of a white woman in a foreign place

By Natalie Allton · Tuesday, Jan. 25, 2022

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The best of Notre Dame’s 2022 Student Film Festival

By Claire Lyons · Monday, Jan. 24, 2022

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‘Licorice Pizza’: An instant classic

By Justin George · Friday, Jan. 21, 2022

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‘Brightside’ made me sad: How the new Lumineers album failed me

By Anna Falk · Friday, Jan. 21, 2022

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‘After We Fell’ and the real problem with modern cinema

By Rose Androwich · Thursday, Jan. 20, 2022

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Looking through the pensive: Reflections on the Harry Potter 20th anniversary special

By Gracie Simoncic · Thursday, Jan. 20, 2022

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Why everyone’s buzzing about ‘Yellowjackets’

By Evan McKenna · Wednesday, Jan. 19, 2022

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