
[OFF-SCREEN WITH OSTREM] ‘Mickey 17’ splits audiences with blunt politics and bold direction
Peter Ostrem, The Rubicon
• May 29, 2025

[OFF-SCREEN WITH OSTREM] Sinners revives original genre filmmaking in a barren movie landscape
Peter Ostrem, The Rubicon
• May 15, 2025

[OFF-SCREEN WITH OSTREM] Why I think “Cure” is a cinematic masterpiece
Peter Ostrem, The Rubicon
• March 5, 2025

2025 Oscars: the victorious and the defeated
Peter Ostrem, The Rubicon
• March 4, 2025

[OFF-SCREEN WITH OSTREM] “The Brutalist”: a brutally honest American commentary
Peter Ostrem, The Rubicon
• February 7, 2025

[OFF-SCREEN WITH OSTREM] Modern Blockbusters suck, at everything
Peter Ostrem, The Rubicon
• January 9, 2025

[OFF-SCREEN WITH OSTREM] The good and not-so-good of recent cinema
Peter Ostrem, The Rubicon
• December 17, 2024

[OFF-SCREEN WITH OSTREM] “Terrifier 3:” shocking gore and shockingly bad filmmaking
Peter Ostrem, The Rubicon
• November 7, 2024

[OFF-SCREEN WITH OSTREM] Halloween (1978): The Horror Standard
Peter Ostrem, The Rubicon
• October 26, 2024

[STORY BEHIND THE STORY] The Off-screen experience of “Off-Screen With Ostrem”
Amanda Hsu, The Rubicon
• October 22, 2024

[OFF-SCREEN WITH OSTREM] Good Will Hunting tells an intimate story of growth and connection
Peter Ostrem, The Rubicon
• September 30, 2024

[OFF-SCREEN WITH OSTREM] Minneapolis-Saint Paul International Film Festival highlights new filmmakers
Peter Ostrem, The Rubicon
• April 22, 2024
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