October 2, 2023October 2, 2023 Justine Kraemer

#TIFF23: “Concrete Utopia” is a Disaster Epic With a Timely Message

September 30, 2023October 1, 2023 Justine Kraemer

#TIFF23: “Pain Hustlers” is an American Horror Story That Struggles to Maintain Focus

September 30, 2023September 30, 2023 Justine Kraemer

#TIFF23 TV Preview: “All the Light We Cannot See” Fails to Live Up to Its Potential

September 30, 2023September 30, 2023 Justine Kraemer

#TIFF23: “Lee” is an Endearing if Slightly Problematic Look at an American Legend

September 30, 2023September 30, 2023 Justine Kraemer

#TIFF23: “The Boy and the Heron” is a Heartfelt Tribute to a Legendary Legacy

September 4, 2023September 4, 2023 Justine Kraemer

Book Review: “Marry Me by Midnight” by Felicia Grossman

September 4, 2023September 4, 2023 Justine Kraemer

Book Review: “Lady Tan’s Circle of Women” by Lisa See

September 4, 2023September 4, 2023 Justine Kraemer

Book Review: “Yellowface” by R.F. Kuang

September 4, 2023September 4, 2023 Justine Kraemer

‘You Are So Not Invited to My Bat Mitzvah’ is a Joyful Jewish Story With Lots of Heart

September 3, 2023September 3, 2023 Justine Kraemer

‘Red, White, and Royal Blue’ is a Missed Opportunity to Expand on the Source Material