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“Call Me by Your Name,” a 132-minute, single-thread romantic drama between two young men in Northern Italy, from director Luca Guadagnino (“I Am Love,” “A Bigger Splash”), may be the most gorgeous and heartfelt movie of 2017.
When dealing with women’s issues, we’re often told that, slowly but surely, conditions are improving — that the wage gap is closing, that more and more women are being employed in male-dominated fields each year.
The Chronicle sat down with director Daryl Wein to discuss “White Rabbit” and what he hopes his work will convey in the current political climate.
No matter how hard I try to shut it out, the Academy keeps coming back into my life.
The Grammys will celebrate its 60th birthday Jan. 28, with two Grammy-nominated Duke musicians, Christopher Jacobson and Patrick Douthit.
Tommy Wiseau’s 2003 film “The Room” went from box office flop to profitable cult classic within just a year of its premiere.
I was once a big fan of dystopian novels and films. The bleak, trash-filled landscape of “WALL-E” and the babies born in jars of Aldous Huxley’s “Brave New World” both scared and intrigued me.
A few days ago, there was a headline on Vox: “How tribalism overrules progressive tenets like ‘believing women.’”
Like over 1 billion people worldwide, I rang in 2018 by watching the ball drop in Times Square. Confetti streamed down into the crowd, which was substantial despite the frigid temperatures.
The fourth series of BBC’s “People Just Do Nothing” hit Netflix in September 2017.
As a tie-in with its latest feature-length film, Netflix released a promotional “Bright”-themed video fireplace. What an accurate depiction of this movie: an oil drum full of burning refuse.
So much happens in “The Last Jedi” that it becomes difficult to remember exactly what the main conflict should be.
Reminiscing on my elementary school days, when I was first introduced to the 1995 adaptation of “Jumanji,” I recall the orphaned Judy and Peter Shepherd (Kirsten Dunst and Bradley Pierce) unleashing creatures from the depths of a centuries-old board game into their new home, including a disheveled Robin Williams who is finally released twenty-six years into the future.
“Star Wars: The Last Jedi” hit theaters a little less than two weeks ago, with the second-largest opening weekend ever.
My favorite album of 2017 has no garnishing, no extraneous material — it is a modest record.
With his Netflix series “Easy,” currently in its second season, director Joe Swanberg does some growing up.
Although I make this claim nearly every year, 2017 has been a spectacular year for film.
Last week, we in Recess released our choices for the best arts and culture of 2017.
As 2017, at long last, comes to a close, the Recess staff is taking a look back at some of the year’s greatest moments in culture.
Humanity is at the core of every Pixar film. Whether the company is encouraging audiences to sympathize with the monsters living under their beds or assigning rich inner-lives to the contents of a child’s toy box, Pixar has a reputation for finding the humanity in the inhuman.
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