
‘The Last Showgirl’ Sparkles, But Fails to Truly Shine
By Grace Ko, Hoya Staff Writer
• January 18, 2025

‘Perverts’: Breaking Down the Mystique, Theology and Meaning Behind Ethel Cain
By Nick Williams, Hoya Staff Writer
• January 18, 2025

‘Babygirl’ Fails to Reach Its Peak
By Caroline Woodward, Guide Senior Editor
• January 18, 2025

SZA Kindles Old and New Emotional Heights on ‘SOS Deluxe: LANA’
By Evan Bournazian, Hoya Staff Writer
• January 18, 2025

‘A Complete Unknown’: Gaslight, Gatekeep, Girlboss (or How to Have a Bob Dylan Winter)
By Mauro Mazzariello, Hoya Staff Writer
• January 18, 2025
Spilling the Chai: Laapataa (Forgotten) Ladies, Laapataa Voices
By Anandita Agarwal, Guide Columnist
• January 18, 2025

On Your Radar: Honoring MLK Jr.
By Caitlin McBride, Hoya Staff Writer
• January 18, 2025
Philm and Filosophy: ‘The Sacrifice’
By Luke McMahan, Guide Columnist
• January 18, 2025
Are You A Kennedy? The Hunt for the People’s Princess
By Anandita Agarwal, Guide Columnist
• December 4, 2024

Rangila 30: Dancing Under the Stars for Culture, Community, and Change
By Elizabethe Bogrette; Caroline Brown, Senior Guide Editor; Special to the Hoya
• December 4, 2024
‘Soleil O’: Med Hondo’s Cinematic Manifestation of Fanon’s Decolonial Struggle
By Luke McMahan, Guide Columnist
• December 4, 2024

‘Nosferatu’: Why You Should Listen To Your Wife And Not Travel for Business
By Mauro Mazzariello, Hoya Staff Writer
• December 4, 2024
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