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Monday, Nov. 25, 2024

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‘Salt Fat Acid Heat’ a joyous, flavorful escape

By Nora McGreevy · Monday, Nov. 5, 2018

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'The Chilling Adventure of Sabrina': An empowering reboot

By Ahlering Jackoboice · Monday, Nov. 5, 2018

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Scenecast: Garthcast

By Nora McGreevy · Saturday, Nov. 3, 2018

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Big fish, even bigger Pond

By Cynthia Tran · Friday, Nov. 2, 2018

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Coming-of-age feels fresh in lesbian first-love film ‘Rafiki’

By Jim Moster · Friday, Nov. 2, 2018

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Scene Selections: New Singles

By Ryan Israel · Thursday, Nov. 1, 2018

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‘WRLD ON DRUGS’: good but not great

By Danny Liggio · Wednesday, Oct. 31, 2018

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LANY's ‘Malibu Nights’ packs a tragic punch

By Dessi Gomez · Wednesday, Oct. 31, 2018

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‘The Good Place’ gets brought down to Earth

By Nicholas Ottone · Tuesday, Oct. 30, 2018

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IDSA’s Women & Design Summit inspires more diversity in creativity

By Diane Park · Tuesday, Oct. 30, 2018

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‘First Man’ a muscular, grounded work of cinema

By Charlie Kenney · Monday, Oct. 29, 2018

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Gregory Alan Isakov at his best on ‘Evening Machines’

By Matthew Kellenberg · Monday, Oct. 29, 2018

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Boy Pablo’s ‘Soy Pablo’ fails to define identity

By Matthew Kellenberg · Friday, Oct. 26, 2018

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'The Romanoffs' is aesthetically pleasing but otherwise unsatisfying

By Sara Schlecht · Friday, Oct. 26, 2018

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‘Solidary & Solitary’ collectors aim to make change in the art world

By Tajae Thompson · Thursday, Oct. 25, 2018

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Garth Brooks takes Notre Dame by storm

By Carlos De Loera · Wednesday, Oct. 24, 2018

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‘Big Mouth’ succeeds in a sweet, shameful second season

By Nicholas Ottone · Tuesday, Oct. 23, 2018

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Jessie Reyez dives in on ‘Being Human In Public’

By Nora McGreevy · Tuesday, Oct. 23, 2018

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Garth Brooks, god of country music, to play sold-out show at Notre Dame stadium

By Nora McGreevy · Thursday, Oct. 11, 2018

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In ‘Sorry to Bother You,’ laughter is revolutionary

By Nicholas Ottone · Wednesday, Oct. 10, 2018

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