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!

This film looks like a movie made from far-too-familiar pieces. Instead, Puzzle is a delightful and rewarding surprise.

Four years ago this week, I wrote about how I had changed my mind about "Dead Poets Society." This week, I re-post it as a tribute to my favorite professor.

"There is nothing novel about isolationism," says Dr. Kathryn Bartholomew, professor emeritus of languages and linguistics. "It’s the contrary, hospitality, that surprises and delights us." Can you guess which recent sci-fi film inspired this observation?

Three Identical Strangers is about the joys of brotherhood, the importance of free information and effective journalism, the difference between nature and nurture, and the dangers of science unchecked by conscience.

Crazy Rich Asians is a Cinderella story in which someone much richer than most of us discovers that wealth is relative, and she might not measure up to the standards of China's super-rich.

If "Love is attention," like they say in Lady Bird, then the secret of Eighth Grade is the love it shows its central character: 13-year-old Kayla.

While Mission: Impossible—Fallout played, I loved every minute of it. But afterward, I had an itch that I couldn't scratch. I wrote this to scratch it.

Just what the summer movie season needed: a light, fun, frivolous 90 minutes in a record store with Nick Offerman.

I'm not likely to see a more memorable, meaningful movie all year. Neither are you.