Meryl Streep

Hariri-Kia paints a vivid portrait of an ever-changing media landscape, exploring everything from the shift to online content to the pervasiveness of performative activism.

Almodóvar’s political teachings are never divorced from their humanity, even if they’re banging you over the head.

The film is delightfully comedic, weaving together elements of romance and comfort even in its darkest moments. Despite trifling its tone, the film’s core narrative is effective and solid enough for an audience to inevitably root for its mishmash group of heroes. 

It isn’t Corden’s identity that’s at fault for his inauthentic portrayal: It’s his thoughtless performance.

While the film might be nauseating for those expecting a more refined product, it delivers as entertainment to those expecting to be enchanted by a cheery product.

The beauty of “Britt-Marie Was Here” is that, while the main character is on the older side, the story does not revolve around her age.

Credits would roll, but it’d be difficult to string together a list of more than one or two relevant happenings in the episode.

“Cabaret” would fail to ride the wave of its surprise win, losing out to the old “razzle dazzle” of 2002 Best Picture winner “Chicago” as Rob Marshall’s tale of merry murderesses made its way to the Final Four.

When I tell people I’m a film major, I’m met with fleeting expressions of confusion as to why I’m studying film at a school historically not known for its film department. But then, I am always inevitably asked what my favorite film is as if I should have some extra authority on the subject.