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Arts & Life

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‘Support the Girls’ is a Tragicomic Triumph for an Excellent Ensemble

By Evan Amaral · Wednesday, Aug. 29, 2018

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Culture and Charm Collide in ‘Crazy Rich Asians’

By Alisha Compton · Sunday, Aug. 19, 2018

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Sundance Winner ‘Cameron Post’ Takes Conversion Therapy to Task

By Evan Amaral · Saturday, Aug. 18, 2018

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Crystal Moselle Brings Documentary Realism to ‘Skate Kitchen’

By Evan Amaral · Saturday, Aug. 18, 2018

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Emory Community Reacts to Aretha Franklin’s Death

By Madison Bober · Thursday, Aug. 16, 2018

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Stay Out of These Waters: 'The Meg' is a Megalo-Mess

By Jesse Weiner · Monday, Aug. 13, 2018

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‘Reignited Trilogy’ Reimagines Spyro

By Brian Savino · Friday, Aug. 3, 2018

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Lauren Greenfield Puts ‘Generation Wealth’ Under the Microscope

By Evan Amaral · Thursday, Aug. 2, 2018

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A ‘Custody’ Battle Turns Brutal in Xavier Legrand’s Disturbing Debut

By Evan Amaral · Thursday, Aug. 2, 2018

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Your Review of the Marvelous ‘M:I 6,’ Should You Choose to Accept It

By Evan Amaral · Monday, July 30, 2018

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Beaton Was a True Original, But ‘Love, Cecil’ is Not

By Evan Amaral · Friday, July 27, 2018

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This Summer, ‘Mamma Mia! Here We Go Again’ is All You Need

By Evan Amaral · Thursday, July 26, 2018

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In ‘The King,’ America Can’t Help Falling Apart

By Evan Amaral · Sunday, July 22, 2018

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'N. Sane Trilogy' a Worthy Vision

By Brian Savino · Saturday, July 21, 2018

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‘The Cakemaker’ is a Goodie Bag of Dramatic Grub

By Evan Amaral · Saturday, July 14, 2018

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‘Ant-Man and the Wasp’ A Small But Mighty Sequel

By Jesse Weiner · Tuesday, July 10, 2018

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In ‘Damsel,’ the West is No Country for Thirsty Men

By Evan Amaral · Thursday, June 28, 2018

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These Boots Were Made for Filmmaking: Riley on Creativity, Capitalism

By Adesola Thomas · Thursday, June 28, 2018

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'Fallen Kingdom' Spells Extinction for 'Jurassic' Franchise

By Isaiah Sirois · Thursday, June 28, 2018

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'Incredibles 2' Packs Nostalgic Punch

By Alisha Compton · Tuesday, June 26, 2018

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From ‘Lady Fleming’ to ‘Sox,’ Oxford plans to relocate stray cats

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