Great films only become "great" by surviving multiple viewings. Zachary Zahos ‘15 is not sure Terrence Malick's To the Wonder can do so.

Trance, Danny Boyle's latest thriller, boils down to style over substance, Zachary Zahos '15 writes.

In a day and age when so many movies would rather aim so low as to hit nothing than bite off more than they can chew, the grandiosity of Cianfrance’s film is commendable, writes Mike DiStefano '16.

The task of adapting a novel to the film screen is always a difficult one. But it is especially difficult when that novel is On The Road, Allison Vitkauskas '14 writes.

It takes great skill to create a documentary film that evokes immense sentiment and gains popularity among its viewers. The Invisible War breaks through the shackles that often restrain the documentary film industry and serious art, writes Aditi Bhowmick ‘16.

Laura Boland '15 reviews Stoker, whose homages to Hitchcock are unable to save it from becoming an unsatisfying movie with a satisfying end.

Laura Boland '15 finds Harmony Korine's Spring Breakers to be a wild and entertaining piece of cinema that doesn't take itself too seriously.

Julia Moser finds a little to pass, but a lot to reject, from Admission.

Gaby Velkes '16 finds a lot to love in Now, Foragers, the world's first (or, at the very least, most recent) drama about mushrooms.

Though not an easy watch, Amour is powerful to the point of paradox, Zachary Zahos '15 writes.