10 years on, “Whiplash” is as breathtaking as it is misunderstood
Joshua Lee
• September 23, 2024
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“Beetlejuice Beetlejuice” is Burton’s best film in over a decade, but that’s a low bar
Joshua Lee
• September 18, 2024
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Exploring how SBU’s media consumption has changed over the last decade
Joshua Lee
• April 29, 2024
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“Ghostbusters: Frozen Empire”: when a franchise cannibalizes itself
Joshua Lee
• April 28, 2024
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“Love Lies Bleeding” takes a million swings, and they all pay off — except one
Joshua Lee
• April 17, 2024
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The joyful, horrifying and toxic experience of winning an Oscar
Joshua Lee
• March 19, 2024
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“The Zone of Interest” is unlike anything you have ever seen
Joshua Lee
• February 11, 2024
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The Frankensteinian “Poor Things” is Yorgos Lanthimos’ magnum opus
Joshua Lee
• January 19, 2024
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“Saltburn” is a narrative trainwreck that you can’t look away from
Joshua Lee
• December 23, 2023
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“The Holdovers” is a cute, innocent film that overly fetishizes a vintage outlook of the past
Joshua Lee
• November 21, 2023
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The best film masterpiece of the year and one of the most frustrating: New York Film Festival screenings review
Joshua Lee
• November 3, 2023
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