Search results for

While the number of Asian-American lawyers and law students increased greatly in recent decades, there are few Asian-American lawyers in top positions in the legal field.

In John Sandford's new thriller Broken Prey, middle-aged Minneapolis police officer Lucas Davenport takes time out from crime-solving to compile a list of the top 100 rock songs for a road trip.

China's workers are vulnerable as the push to adopt AI comes from top leaders amid a sluggish economy.

Following up his Oscar-winning drama “Drive My Car,” Japanese director Ryusuke Hamaguchi’s latest is a meditation on nature and commerce called “Evil Does Not Exist.” Nathan Weinbender says the film, which is now playing at the Magic Lantern Theater, is slow and challenging but worthwhile and thought-provoking.

Directed by Elizabeth Banks and produced by Phil Lord and Christopher Miller, “Cocaine Bear” is Hollywood’s latest attempt at manufacturing a B-movie sensation. Nathan Weinbender says the bear itself is a true movie star, but the film itself isn’t nearly as fun as it should be.

The French-Cambodian co-production “Return to Seoul” is about a young woman searching for her biological parents and, in turn, her true self. Nathan Weinbender says it’s one of the best movies of the year so far, and is worth seeking out.

As a sports flick, “Hustle” doesn’t break any new ground, but it’s still an entertaining watch, Dan Webster says in his movie review.

20 years ago, “Oldboy” made a splash at Cannes and popularized a wave of genre-defying South Korean cinema. Now Park Chan-wook’s best known film is back in theaters, and Nathan Weinbender says it holds up two decades later.

There’s a new film from Spain that’s worth seeking out. It’s called “The Beasts,” and it concerns a growing tension between farmers in Galicia. Nathan Weinbender says it’s one of the best movies of the year.

It’s always an event when Martin Scorsese directs a new film, and his latest is the sprawling, violent historical drama “Killers of the Flower Moon.” Nathan Weinbender says it’s a painful, brutal epic that demands to be seen on the big screen.