By Layla Evans, Contributing Writer
• September 28, 2025
With a movie that feels so relevant to the current political and social reformations of modern America, this was a cruel divergence in wasted potential. As a Black and mixed-race woman, who also lives where the movie was set, I know how prevalent these issues are to myself, the community and friends I know. So when I left the theater, I was a bit perplexed and disappointed. “One Battle After Another” is a well-made movie with nothing to say. It has the rebellious spirit — but no actual cause behind the revolt. This film was not about any particular revolution nor any reason for defiance but instead romanticizes the idea of revolution itself.
If you could go back in time and talk to your teenage self, what would you say?
Wear your retainer. Moisturize. Be nice to your mom. Spend more time with your brothers.
Set in the post-World War II McCarthy era, the love story between Katie Morosky and Hubbell Gardiner is tumultuous and political. Katie is an outspoken anti-war activist and Marxist, while Hubbell is a World War II veteran and All-American boy.
By Ada Sussman, Opinion Co-Editor
• April 17, 2024
Serving as both a tribute to the thrill of iconic action cinema and a lamentation of the mimeograph that the genre has become, Dev Patel’s directorial debut “Monkey Man” is intensely fiery and ambitious.
As a big fan of all things Spider-Man, especially “The Amazing Spider-Man” movie series, I was eager to watch the movie, despite the harsh backlash it received on social media. On a rainy Saturday afternoon, I watched “Madame Web.” How bad could it really be? Apparently, very bad.
I watched “The Virgin Suicides” twenty-five years after its release, and after speaking to a few friends, it’s clear that director Sofia Coppola’s stylistic choices may not be fully grasped by a modern audience. It is a shocking and polarizing movie — one that some see as fetishizing girls as well as mental illness.
By Ada Sussman, Opinion Co-Editor
• December 7, 2023
From the beginning, Mann’s “Ferrari” doesn’t hold any water. Though it tries to, the film can’t tear down the image of a man because it hardly built it up in the first place –– beyond a symbol of adoration and spectacle. The film’s classical composition and artisan facade just embellish the boring emptiness within it –– “Ferrari” is an impersonal failure at a detailed portrait.
“Yentl” is Barbra Streisand’s criminally underrated 1983 directorial film debut set in turn-of-the-20th-century Poland. After her father (or “Papa”) dies, Yentl, the titular character played by Babs, decides to disguise herself as a man to study Talmudic law at a Jewish school called a Yeshiva. At school, she meets the ambitious Avigdor, who is in love with Hadass, a local girl. During the film, the three enter a love triangle complicated by Yentl’s gender secret.
Picking out a movie to watch is like choosing what to have for dinner — there’s always that constant deflection of “No, you pick,” and the never ceasing question of, “What are you in the mood for?” Thankfully, that process has matured the more I listen to my best friend, who is a cinema and media studies major — and she’s got classics by the book. At the top of her list was “The Devil Wears Prada.”
Emily’s ability to indulge her emotions are of course, rich in imagery, metaphor and color. I think at times it may feel intimidating to try to articulate the extent of your feelings. What conveys too little? What precisely conveys what I feel? Does this sound pretty enough?
