In which Overstreet returns to writing about movies for Good Letters with a celebration of Abbas Kiarostami's final, enigmatic, meditative movie.

In which I talk about the art of book-to-movie productions, a lot of great movies, and a few terrible movies, with David Kern and Steven Greydanus. Listen to our lively, in-depth exploration of the art of adaptation!

In which I find myself as a special guest on two separate podcasts, both of them hosted by David Kern, for conversations about Madeleine L'Engle and the best movies of 2018.

As the four volumes of The Auralia Thread reach their decennial anniversaries, here's a challenge for imaginations of kids young and old: the first-ever Auralia's Coloring Contest.

Widows starts with a bang and then devolves into an overstuffed, over-serious, and even predictable thriller.

Josephine Decker's wildly imaginative new film is worth seeing for its experimental ambitions, even if, in the end, it's all a bit too much.

Putting Ryan Gosling's feet on the moon, Damien Chazelle has found firmer footing than he did in the eager-to-impress La La Land. This film is modest by comparison, but I find it haunting and enigmatic.

Preachy, but elevated by an excellent lead performance, The Hate U Give is the kind of after-school special that all of America needs right now.

Bradley Cooper's big remake of A Star is Born strums all those predictable chords so hard, all the strings start breaking.

At two special Seattle screenings of the sci-fi thriller Prospect, I will interview filmmakers Zeek Earl and Christopher Caldwell. You're invited!