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Miriam Bale

More from Miriam Bale

Critic’s Notebook: Why I Will Never Watch a New Woody Allen Film Again

As 'Wonder Wheel' hits theaters, one film critic explains how she went from Woody Allen fan to Woody Allen boycotter.

Critic’s Notebook: The Real Problem With Kendall Jenner’s Pepsi Ad

The pulled commercial is the latest example of the white corporate world brazenly borrowing from black culture, and Jenner was precisely the wrong person to star in it.

Critic’s Notebook: The Faux Feminism of ‘Feud’

By portraying Joan Crawford and Bette Davis as victims of male manipulation — and tacking on a subplot about a struggling female director — the series misses the power, intelligence and agency of the…

Critic’s Notebook: Let’s Start Appreciating Kristen Stewart as a Great Actress

Exploring the tension between the two sides of the actress' persona — glamour queen and reclusive tomboy — Stewart gives her most fascinating, thrillingly physical performance yet in 'Personal…

Critic’s Notebook: Why the Daniel Craig-Halle Berry L.A. Riots Film Is a Bad Idea

Turkish-French director Deniz Gamze Erguven's in-development drama about the 1992 L.A. riots is rife with red flags.

Critic’s Notebook: On Kanye’s ‘Blue’ Eyes, Lupita’s Alien Lives and Allowing Black Artists to Be Free

Kanye West stirred controversy by wearing light contacts to the Met Ball on Monday night, but we should stop policing black artists' aesthetic and artistic choices.

Critic’s Notebook: Beyonce’s ‘Lemonade’ Is a Revolutionary Work of Black Feminism

Beyonce's new visual album is a masterwork by a black woman for black women, about a subject they know well: how to turn nothing into something.