Arrow-right Camera
The Spokesman-Review Newspaper
Spokane, Washington  Est. May 19, 1883

Latest Stories

A&E >  Movies

Movie review: ‘Heart Eyes’ a fun and irreverent holiday slasher

Finally, a flick that can please every Valentine’s Day moviegoer: those who hate the lovey-dovey holiday, those who adore it, those who want romance in their Valentine’s Day movies and those who prefer their gushing more gory. Every section of that particular Venn diagram can come away satisfied from “Heart Eyes,” a fun and irreverent seasonal slasher from director Josh Ruben.
A&E >  Movies

What to stream: Explore eclectic movie roles of ‘Love Me’ star Steven Yeun

Acclaimed actor Steven Yeun stars opposite Kristen Stewart in “Love Me,” written and directed by husband and wife filmmaking team Andrew and Sam Zuchero. The film is hitting theaters one year after its premiere at the Sundance Film Festival in 2024, and follows an unconventional love story set after the extinction of humanity. The two-hander between two of the most exciting actors working today is a chance to explore the filmography of Yeun, who has steadily been building one of the most eclectic and interesting resumes since his breakout role on the zombie series “The Walking Dead” in 2010.
A&E >  Movies

Movie review: ‘Love Me’ is a sci-fi romance that already feels dated

Tell me if you’ve heard this one before: a buoy and a satellite meet on a post-humanity Earth. The satellite asks the buoy “are you a life form?” And the buoy answers yes, quickly scanning the dregs of the internet to offer up a lifelike image, and lands on an influencer. A love story ensues.
A&E >  Movies

Movie review: ‘Dog Man’ is a cutely frenetic escape from January doldrums

Never fear, “Dog Man” is here — to save your families from the doldrums of January moviegoing. The popular children’s books by Dav Pilkey (a spinoff of the “Captain Underpants” series) are adapted with a silly, self-referential charm by writer/director Peter Hastings, the result a cutely frenetic but somewhat narratively flimsy animated feature.
A&E >  Movies

2025 movies: Picking 25 films that intrigue for one reason or another

It’s a challenge to keep a list of noteworthy movies still to come in 2025 to a lean 25. To make it easier, we’ve stuck to theatrical releases, so apologies to fast-approaching streaming flicks such as Apple TV+ offering “The Gorge” (Feb. 14), starring Anya Taylor-Joy and Miles Teller, and Netflix’s “The Electric State” (March 14), helmed by past and future “Avengers” directors Joe and Anthony Russo.
A&E >  Movies

‘Joker’ sequel, ‘Madame Web’ lead 2025 Razzie nominations

NEW YORK — “Joker: Folie à Deux” leads the nominations for the 2025 Golden Raspberries, satirical awards that celebrate the worst films and performances of the past year. Video game adaptation “Borderlands,” biopic “Reagan,” Marvel superhero flick “Madame Web” and Francis Ford Coppola’s controversy-filled “Megalopolis” each earned six nominations on Tuesday, while the “Joker” sequel nabbed ...
A&E >  Movies

Brandi Carlile nabs Oscar nomination for song in Elton John documentary

Brandi Carlile, Maple Valley’s multiple-Grammy Award-winning roots rocker, has received her first Oscar nomination. The nominated song, “Never Too Late,” written by Carlile, Elton John, Bernie Taupin and Andrew Watt for the documentary “Elton John: Never Too Late,” was named Thursday in the original song category.
A&E >  Movies

Movie review: ‘Brave the Dark’ fails to shed new light on familiar thematic territory

Movies about inspirational teachers are a well-worn subgenre. Whether it’s “School of Rock” or “Dangerous Minds,” the relationship between a caring teacher and a group of (usually) troubled students offers easy access for heartstring-pulling and triumphant feelings of hard-earned success. The new film “Brave the Dark” treads this familiar territory, but it’s more of a unique one-on-one connection between teacher and student.
A&E >  Movies

Movie review: Soderbergh brings unique cinematic ‘Presence’ to mediocre ghost story

Since his flirtation with retirement about a decade ago, filmmaker Steven Soderbergh has been working at an almost feverish pace, cranking out film after film, usually genre exercises made swiftly, with light, adaptable technology such as iPhones (“Unsane,” “High Flying Bird”). His latest film, “Presence,” is another cinematic experiment, a ghost story seen from the point of view of well, the ghost.