BY NOAH COHEN
The issue for “The Maze Runner” is direction; it’s constantly unclear which questions we-the-audience are intended to consider paramount; it’s unclear whether we should consider present conflicts to be lethal threats or minor nuisances.
BY CHLOE GILKE
“Last Wedding” simultaneously represents classic “New Girl” and a version of the show viewers have never seen before.
BY NATALIE GADBOIS
Perhaps it’s the abundance of television stars, or the comfortable suburban setting, but “This Is Where I Leave You” feels more like a sitcom than a movie, built up with easy laughs and schmaltz rather than real moments.
BY CATHERINE SULPIZIO
The “Batman” franchise has always blurred the edges between the two institutions, law enforcement and the villains, and the show carries on this skeptical tradition.
BY JACOB RICH
“Tusk” is the definition of a solid “B” movie. Both the overall concept and the dialogue are legitimately clever, and the film is self-aware enough to make its low-budget aesthetic negligible
BY GIBSON JOHNS
If 1989 ends up being the album that I and many others expect it to be, then gone will be the days of the country duds that Taylor Swift used as fillers on Red.
BY COSMO PAPPAS
This Friday, the doors to the Keene Theater of the Residential College will welcome German-speaking and non-German-speaking guests alike for an open workshop with Tanz Tangente.
BY CHLOE GILKE
Network television isn’t dead. It’s alive and thriving, though its face is no longer recognizably white or male, nor is its programming comparable to whatever was airing ten years ago.
BY GILLIAN JAKAB
This Thursday evening in the Michigan Theater, University organizations The Penny Stamps Distinguished Speaker Series and the Weiser Center for Emerging Democracies are co-presenting the Pussy Riot/Zona Prava member’s lecture “Punk Prayer.”
BY PAIGE PFLEGER
The offbeat group bought a house off the auction block for $1,000 back in 2012 and renovated it to give it away to a writer of any kind. Casey Rocheteau beat out hundreds of writers for her new Hamtramck abode.
BY BRIAN BURLAGE
He has crafted an album that strikes not with the swing of its fist but by the turning of its back. Too Bright brings to a careful head all the beauty and devastation of Hadreas’ personal battles.
BY KARSTEN SMOLINSKI
The film follows an all-too-familiar pattern of unraveling secrets and dramatic confrontations. However, the excellent cast manages just enough charisma to prevent a complete tragedy.
BY ALEC STERN
The other day, my brother asked me what “The Strain” was even about. “Vampires,” I said. “But not like, sexy vampires. They’re scary.” He was unimpressed, but there wasn’t really much else I could say to try and impress him.
BY YARDAIN AMRON
Call it prog-rock, indie-electronica, experimental-folk, whatever soothes our craving to label and define. But This Is All Yours just doesn’t fit all neat and tidy in any one box.
BY JOOHYUN YU
Students on The Diag express their personalities through their outfits.
BY NATALIE GADBOIS
Wilde’s photo illustrates a modern Madonna – her face calm, her waist already thin, even her breasts sans stretch marks. Her baby is naked and glowing, a paragon of infant innocence and grace. What purpose does this humble-brag serve?