“Rango” is a parody of its genre that seems intent on diminishing the value of the Western and its cinematic traditions—yet despite all of its mockery and self-deprecation, it's a charming film that reflects only positively on the genre that gave it birth.

Iran is one of eight countries where homosexuality is a crime punishable by death—but also a country in which sex-change operations are legal, said Organization for Refuge Asylum and Migration founder Neil Grungras in a discussion last night about LGBT rights in the Middle East.

On Sunday night, Natalie Portman ’03 became the first graduate of Harvard College to win an Academy Award for best actress.

Regardless of whether or not one sees his songs as competent music, it is incredibly difficult to deny that Justin Bieber has a presence—an intangible swagger and confidence that he exudes throughout the film.

Don’t let their lack of pretension fool you—the two young stars’ new film, “Take Me Home Tonight,” looks to be a career stepping-stone for both.

While the film undoubtedly contains reams of crude humor and vulgar jokes, these are employed as both a reflection and critique of current American culture.

Creating an effective documentary is a decidedly difficult task; one must carefully consider both the story and its intended audience, and along the way, balance the variety of perspectives that comprise the finished product. In 2009, documentary filmmaker Michael Sheridan attempted this complex undertaking, and worked to capture on film the true conditions of war-stricken Afghanistan. To achieve a more realistic representation of the underdeveloped nation, Sheridan trained a group of Afghani students in the art of documentary filmmaking, so that their stories could be told in their own voices.

Dan Sousa is not a typical animator. Instead of creating films with strong narrative structure and central characters, he prefers to captivate his audience with an immediate visceral reaction.

“Unknown” persistently tries to transcend its genre but gets only halfway there, ironically ending up in the cinematic no-man’s land of films which lack any real identity of their own.

Although successful in some respects, “Cedar Rapids” is to “The Hangover” as Cedar Rapids the city is to Las Vegas: much less energetic and much more forgettable.