By Dana Alexander ‘22

Grief is one of the most powerful emotions to inhabit the human psyche. Once the grief finds refuge in our suffering, it begins to eat away at things we once considered joyous. The most common way for some to deal with this grief is to subscribe to some form of therapy.

However, some choose to bury the immense sadness by distracting themselves. Believing that if they never truly address the grief the pain will stop. That is the pre-existing information granted to the viewers of “Drive My Car.”

The now Academy-Awarding winning film epitomizes the beauty in international pictures. The […]

By Dana Alexander ‘22

“A fable from a true tragedy.” An ominous line that serves as the stepping stone for the thriller that lies ahead.

The film Spencer is not something that can be summed up as a biographical picture. To do so would tarnish the masterfully crafted genre-bending narrative of the story. On the surface, we see Princess Diana in the final stages of her royal life.

However, once we’re allowed a more substantial examination, we find a prisoner, a woman who is trapped within the soul-crushing confines of the Royal Family; while also dealing with constant involuntary dissection from the media.

These themes […]

By Dana Alexander ‘22

“Shakespeare’s plays are boring and aren’t relevant in a modern setting,” said Matt Durkin, a friend who attends St. Rita.

This is a thought countless people have had when digesting the vast works of William Shakespeare. However, “The Tragedy of MacBeth” not only disproves this misconception about Shakespeare plays, but transforms into something that is utterly wicked and mesmerizing.

This film is without a doubt an important landmark in Joel Coen’s career. This is the first film he has solo directed in 14 years. He’d previously co-directed his last projects with his brother Ethan. Going into this film, Coen had […]

By Dana Alexander ‘22

“I didn’t need to watch the credits to know this movie was directed by Wes Anderson,” said Pat Swanson.

For the past two-and-a-half decades, Wes Anderson has invited the world to his labyrinthine style of filmmaking. His films are littered with whimsical and intricately constructed characters and dialogue. This is then complemented by carefully staged symmetrical shots that seek to push the boundaries of the word nuance.

On Oct. 29, I, along with Patrick Swanson, Danny Hartz, and Matt Durkin ventured to AMC Crestwood to view his new film, “The French Dispatch,” described as a love letter to journalism, infused […]