Movies and TV
Emerald Fennell talks mirrors, chemistry in ‘Saltburn’
Mimi Calzada, Life&Arts Editor
• November 27, 2023
‘Napoleon’ brings back sprawling historical epics in glorious fashion
Atahan Koksoy, General Life&Arts Reporter
• November 17, 2023
‘The Ballad of Songbirds and Snakes’ illustrates Snow’s journey to head gamemaker
Isabella Capuchino, General Life&Arts Reporter
• November 17, 2023
UT alumna Lady Bird Johnson’s voice lives on through diary recordings in new Hulu documentary
Flora Farr, General Life&Arts Reporter
• November 16, 2023
Q&A: ‘Grapefruit,’ independent filmmaking with Chase Joliet, Steph Barkley
Ryan Ranc, Senior Life&Arts Reporter
• November 16, 2023
‘The Holdovers’ comes as a handsomely-told dramedy with a trio of top-notch performances
Matthew Collier, General Life&Arts Reporter
• November 13, 2023
Sofia Coppola’s “Priscilla” tells harrowing story with tender elegance, stunning visuals
Minza Mirza, Senior Life&Arts Reporter
• November 12, 2023
Director Macon Blair talks remaking cult classic ‘The Toxic Avenger’
Ryan Ranc, Senior Film Columnist
• November 2, 2023
David Fincher’s ‘The Killer’ meticulously crafts a journey into mind of a dangerous criminal
Matthew Collier, General Life&Arts Reporter
• November 2, 2023
‘The Exorcist: Believer’ spits in the face of original, leaving audiences disappointed at what could’ve been a great legacy sequel
Ryan Ranc, Senior Film Columnist
• October 31, 2023
‘Saw X’ producers Mark Burg, Oren Koules discuss making a prequel 20 years later
Ryan Ranc, Senior Film Columnist
• October 31, 2023
UT Alumni produce feature film ‘Home Free’ to showcase at Austin Film Festival
Trinity Orosco, General Life&Arts Reporter
• October 30, 2023