Crimson staff writer

Mila Gauvin II

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‘Green Book’ More Black and White Than Anything Else

In "Green Book," Peter Farrelly eschews impactful subtlety in favor of a feel-good movie with ultimately little substance.

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Editors' Note: When Arts Goes Normie

At some point in the year, we realized that we weren’t just “Crimson friends,” but actual friends.

Will we get past Mila Gauvin II? The world may never know

The Case Against ‘The Final Countdown’

In my small comp class of 10 elected compers, picking up pitches wasn’t as competitive. But considering how much Arts has grown since then, it’s come to be a… tedious tradition. And just because it’s tradition doesn’t make it right.

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‘Little Woods’: The Female-Led Neo-Western We Didn’t Know We Needed

DaCosta navigates precisely, quietly, starkly, resulting in a small neo-Western that builds without judgment of its characters or the society that has condemned them to their fate.

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‘The Handmaid’s Tale’: ‘Postpartum’ Not So Different from Prepartum

​All roads lead to the Waterford household. At least, they do for June, who unbelievably ends up back there for a third time.

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‘The Handmaid’s Tale’: ‘The Last Ceremony’ More Heartbreaking and Horrific Than Any Other

To say that “The Last Ceremony” is an emotional rollercoaster would be an understatement.

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'Incredibles 2' Worth the Incredibly Long Wait

Though its homage to the past is undeniable, “Incredibles 2” makes sure to speak to the present.

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‘The Handmaid’s Tale’: ‘Women’s Work’ Disrupts a Man’s World

Despite the character-related inconsistencies, the episode upholds its themes well.

‘The Handmaid’s Tale’: 'Other Women'

‘The Handmaid’s Tale’: In 'Other Women,' June is Back To—No, Worse Than—Square One

“Other Women” might as well be a throwback episode, as the cyclical nature of life as a handmaid is brought back full circle in what is ultimately a study in brainwashing.

‘The Handmaid’s Tale’: ‘Seeds’

‘The Handmaid’s Tale’: Silence Sows the ‘Seeds’ of Rebellion

In an episode where death looms over the characters’ heads, “Seeds” hints at a new life not just within June’s body, but for the characters themselves.

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From Cannes: ‘Capharnaüm’ Says No to Child Neglect, Yes to Child Acting Prodigies

In “Capharnaüm,” director Nadine Labaki paints a depressing tableau of a vicious cycle that Zain unfortunately gets caught up in, one that starts one node up in Zain's family tree with his parents.

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From Cannes: 'BlacKkKlansman' a Thriller That Brings Together Past and Present

Spike Lee’s “BlacKkKlansman” is a testament to the director’s ability to weave the politics of the past and present, of identity, race, and religion, in an alternatively comedic, disturbing, and suspenseful thrill ride based on an unbelievably true story.

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From Cannes: ‘Zimna wojna’ (‘Cold War’) a Bleak Love Story

Without seeming resolute or preachy, Pawlikowski’s “Cold War” is a clarion call for the enduring power of love in a bleak time.

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From Cannes: Gaspar Noé’s Craze-Inducing Warning Against Drugs Reaches a ‘Climax’

"Climax" is a trippy prism of an arthouse film that succeeds in its attempt to destabilize its audience into the same debauchery as its characters, though at times the actors and director, too, fall into the easy trap of overdoing it.


From Cannes: ‘Di Qiu Zui Hou De Ye Wan’ (‘Long Day’s Journey Into Night’) Scintillating In Its Obscurity

Bi Gan makes 3D film into a cinematic experience integral to the film’s second half, in a way that amplifies the first half’s slow-moving narrative—both in direction and in plot—a beautiful tale of a man in search of the ghost of his past.