The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble
Wu Man
Herself
Herself Movie Reviews
Blog Posts That Mention Herself
Cinema of Herself: On Four Short Films by Haaniyah Angus
Sundance 2020: The Glorias, Herself, Four Good Days
Figuring Things Out For Herself: Hailee Steinfeld on “The Edge of Seventeen”
TIFF 2014 Interview: Jane Levy Sings Herself to Stardom
Will “Mean Girl” Palin herself appear on SNL?
Answered by Zuzu herself: The color of Zuzu’s petals
The 20 Best Films of 2025 So Far
Gifts in the Impediment: Nina Conti and Shenoah Allen on “Sunlight”
Female Filmmakers in Focus: Marva Nabili on “The Sealed Soil”
59th Karlovy Vary Film Festival Announces Official Selection and Juries
How to Be Human: A Personal Response to John Carpenter’s “Starman,” Now in 4K
Excellent Cast Struggles to Hold Together Plodding “Dept. Q”
Cannes 2025: The President’s Cake, Death Does Not Exist, Peak Everything
Cannes 2025: The Mastermind, Young Mothers
Cannes 2025: Un Poeta, Teste O Croce?
Cannes 2025: Yes, Woman and Child, The Six Billion Dollar Man
Cannes 2025: It Was Just an Accident, Alpha
Cannes 2025: A Private Life, The Disappearance of Josef Mengele
Movies That Deal with the Peculiarities of Being a Teenager: Bruce Handy on His New Book about Teen Movies
“Nine Perfect Strangers’” Second Season is Less Insightful, Still Somewhat Fun
Cannes 2025: The Chronology of Water, Urchin
Cannes 2025: Die My Love, Pillion, Miroirs No. 3
Though Uneven, ‘Overcompensating’ Is a Promising New Comedy
Movies without Tariffs: A Preview of the 2025 Cannes Film Festival
Season 2 of Peacock’s “Poker Face” Deals Natasha Lyonne Another Hand of Devilishly Delightful Mysteries
What to Watch on Netflix: May 2025
Chicago Critics Film Festival 2025 Preview
Doc10 Launches 10th Anniversary Edition with Some of the Best Non-Fiction Films of 2025
The Dream Within the Fairy Tale: Emilie Blichfeldt on “The Ugly Stepsister”
Apple TV’s “Government Cheese” is Almost Great
Chicago Critics Film Festival Announces Full Schedule, Special Guests
A True Sense of the Eerie, or Why I Love the Hell House Films
“South of Midnight” is a Colorful PS2 Throwback
Netflix’s Intense and Seductive “Pulse” is the Streamer’s Best Show in Years
Ebertfest Announces Remaining Films and Special Guests Attending the 2025 Festival
Prime Video’s “The Bondsman” Takes Kevin Bacon on a Drab Trip to Hell and Back
Female Filmmakers in Focus: Fleur Fortuné on “The Assessment”
SXSW Film Festival 2025: Fu*cktoys, $Positions, Idiotka
SXSW Film Festival 2025: Forge, Slanted, The True Beauty of Being Bitten by a Tick
SXSW Film Festival 2025: The Baltimorons, For Worse, Magic Hour
Prime Video’s “The Wheel of Time” Finally Comes Into Its Own With Season Three
“Split Fiction” Has Compelling Gameplay Held Back By Pacing Issues
In “The Handmaid’s Tale,” Women Fight the Darkness—And Are Tempted By It
“Out of My Mind” Director Amber Sealey on Casting Authenticity and Breaking Barriers
Karen Jankel, Daughter of Author Michael Bond, Tells Stories of London’s Lovable Paddington Bear
Poetically in Love: Three Declarations of Love in Verse
People Have Theories: “Picnic at Hanging Rock” at 50
Having a Lunatic’s Dream: Emily Bett Rickards on “Queen of the Ring”
Sex, Love and Pickles: Amy Irving, Peter Riegert and Susan Sandler on “Crossing Delancey”
Writing Her Way: Marya E. Gates on Her New Book
Screwball in Vermont: “Baby Boom”
Pay Attention Now: Gretchen Mol and Juliana Margulies on “Millers in Marriage”
Chicago’s Own Filmspotting Podcast Celebrates 20 Years With Inaugural Festival
A Preview of the 2025 Rendez-Vous with French Cinema
Netflix’s “Running Point” is Pretty Funny if You Don’t Think About it Too Hard
New York International Children’s Film Festival Highlights Original Work From Around the World
A Look at Every Oscar-Nominated Short This Year
Apple’s “A Muerte” Is a Refreshing if Imperfect Watch
10 Great Performances from Sundance 2025
Sundance 2025: All That’s Left of You, Magic Farm, Didn’t Die
Sundance 2025: Sabar Bonda (Cactus Pears), DJ Ahmet, André Is an Idiot
Sundance 2025: Life After, Sugar Babies, Seeds
Sundance 2025: The Perfect Neighbor, The Alabama Solution, Zodiac Killer Project
Sundance 2025: Big Swings Pay Off in the Episodic Program
Sundance 2025: Bunnylovr, Atropia, Love, Brooklyn
Sundance 2025: Brides, Where the Wind Comes From, Two Women
Sundance 2025: Sunfish (and Other Stories on Green Lake), Plainclothes
Sundance 2025: If I Had Legs I’d Kick You, The Thing with Feathers, Rabbit Trap
“The Night Agent” Raises the Stakes and Reinvents Itself In Season Two
Sundance Film Festival 2025 Preview: 20 Films We Can’t Wait to See
Starz’s “The Couple Next Door” Stops Itself From Reaching Great Heights
This is Just the Beginning: Pamela Anderson on “The Last Showgirl”
Dream of Death: Robert Eggers on “Nosferatu”
Peter Berg Shows the Ugly Side of American History With the Frustrating “American Primeval”
FOX’s “Going Dutch” Lacks Chemistry, Heart, and a Sense of Humor
The Wicked Witch Is Dead: The Double-Bind of the Villainess’s Backstory
The Great Craft of 2024
Process the Environment: Rachel Morrison on “The Fire Inside”
The Great Performances of 2024, Part Two
The Great Performances of 2024, Part One
Netflix’s “No Good Deed” Is a Fantastic Black Comedy About the Woes of Homebuying
2025 Sundance Film Festival Announces Ambitious Program
The Best Films of 2024
We Need Art More Than Ever: Jude Law, Jurnee Smollett on “The Order”
Female Filmmakers in Focus: Marielle Heller on “Nightbitch”
Home Entertainment Guide: November 2024
Sharp, Propulsive “The Agency” Should Appeal to Fans of Spy Fiction
Solid Acting Saves the Familiar Premise of “Get Millie Black”
Love Is Political: Payal Kapadia on “All We Imagine as Light”
Jimmy O. Yang Shines in Excellent “Interior Chinatown”
“She Just Had an Accident”: “Seed of Chucky” at 20
Living Forward: Adam Elliot on “Memoir of a Snail”
Eddie Redmayne, Lashana Lynch Bring Gravity to “The Day of the Jackal”
CIFF 2024: Color Book, Transplant, Alpha
Silence As Salvation: The Quiet Femmes of Modern Horror
CIFF 2024: Rita, Listen to the Voices, Peacock
Bright Wall/Dark Room October 2024: All Hail the Screwball Queen by Olympia Kiriakou
Panic! At the Disco: Body Double at 40
Netflix’s “Tomb Raider: The Legend of Lara Croft” Gives Life to Iconic Character
