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(10/16/18 6:10am)
“The Front Runner,” directed by Jason Reitman of “Juno,” “Up in the Air” and “Tully,” stars Hugh Jackman as U.S. senator Gary Hart during the final three weeks of his 1988 bid for the Democratic presidential nomination. The movie seeks to present the campaign, which is derailed by the reporting of Hart’s affair with Donna Rice (Sara Paxton), as a turning point in our nation’s political sphere wherein a candidate’s personal life is used as a litmus test for their governing ability. Reitman is decidedly on a soapbox, but he does not have a clear stance on whether or not we are better for the investigative reporting that brings cameras into bedrooms and back alleys.
(10/16/18 6:13pm)
One of my fondest memories of my senior year of high school is when my English class read, performed and studied William Shakespeare’s epic tragedy “King Lear.” At that time, the play captivated me with its stark and honest portrayal of human fallibility and tragic loss and it quickly became one of my favorite works of literature. Naturally, I was thrilled to have the opportunity to watch legendary British actor Ian McKellen star as the titular Lear in a performance broadcast live from London to the Black Family Visual Arts Center this past Sunday evening.
(10/12/18 3:13am)
Fame. Depression. Passion. Music. Love. The newest remake of A Star is Born (Cooper, 2018) revolves around these central themes and gives new meaning to each one. Bradley Cooper’s directorial debut features himself as Jackson Maine, an alcoholic country star, and Lady Gaga as Ally, a waitress with a voice of gold.
(10/09/18 6:10am)
When I was eight years old, I begged my mom for weeks to let me see “Iron Man.” I remember the excitement I felt when she finally relented and said yes. I saw it opening weekend, and it was everything I dreamed of and more. That moment began a 10-year love affair with superhero movies that, while tested at times, is still going strong. “Venom” is one such movie that tests that love.
(10/09/18 6:05am)
There’s crazy, there’s satire, there’s dystopian and then there’s “Sorry to Bother You.” Musician Boots Riley’s 2018 directorial debut takes place in an alternate universe’s Oakland — but don’t let the term “alternate universe” fool you. The film is a funhouse mirror for our world that only reflects everything going on in our reality.
(10/05/18 6:00am)
“I have a hangover that is a real museum piece,” Lee Israel writes, imitating writer Dorothy Parker in a particularly famous forgery of Parker’s letters. Israel, a biographer who became a literary forger in the 1990s as her writing career came to a standstill, is the subject of the Telluride selected film, “Can You Ever Forgive Me?” Melissa McCarthy gives incredible nuance to her role as Israel, offering both sympathy and humor to her portrayal.
(10/04/18 6:05am)
Is it indie pop? Techno? R&B? Hip-hop? Blood Orange’s new album “Negro Swan” revives Devonte Hynes’s genre-transcending sound with an earnest meditation on the state of those existing on the fringes of society.
(10/02/18 6:10am)
Spike Lee’s latest film, “BlacKkKlansman” is very much a movie created for and about the current American political and racial environment. Though set in the 1970s, Lee’s film is an unsubtle indictment of a Trumpian America that finds itself battling a harsh racial divide despite expectations that our progress and modernity should have left such racism behind long ago.
(10/02/18 6:05am)
Directed by and starring Bradley Cooper, and featuring pop supernova Lady Gaga, 2018’s “A Star is Born,” a remake of William Wellman’s 1937 film of the same name, breathes new life into the music drama genre.
(09/28/18 6:05am)
“Late at night my mind would come alive with voices and stories and friends as dear to me as any in the real world. I gave myself up to it, longing for transformation,” quips Winona Ryder as the enviable Jo March in the 1994 film adaptation of Louisa May Alcott’s coming-of-age classic “Little Women.” Just as Alcott’s Jo sought to find her place in the world, so too does Lara of “Girl” strive to establish herself as a woman and artist. With “Girl,” Flemish director Lukas Dhont offers a more contemporary coming-of-age story whose plot turns on the very idea of self-driven metamorphosis. “Girl,” a deceivingly simple title which contains multitudes, is the story of 15 year-old Lara, a transgender girl from Belgium who, like Jo March, longs for transformation. Lara does not only yearn to change her body, but wants more than anything to become a ballerina. The movie frames a period of major transition for Lara: she’s just moved to a new city, is living in a new apartment, is preparing for transition surgery and has begun training at the prestigious Royal Ballet School of Antwerp.
(09/25/18 6:10am)
A masterful and satirical take on the crime drama complex that has swept the nation, Netflix’s “American Vandal” is mysterious, delectable and utterly ridiculous. Using a documentary format, “American Vandal” mocks the sophistication of the crime drama gaze by putting all its investigative energies toward deciphering the absurdities of high school life and the low-level offenses of the fictional Hanover High School’s student body.
(09/25/18 6:05am)
When you have been writing and recording music since the 1960s, it should be a challenge to consistently produce new and exciting music. It should be a challenge to reinvent and reestablish yourself with each new album and single. It should be a challenge to cater to the fans you already have while simultaneously trying to appeal to more.
(09/20/18 6:05am)
“You can only actually help someone who wants to be helped.”
(09/14/18 6:10am)
Hilarious, thoughtful and unwavering, pop culture critic Michael Arceneaux’s memoir “I Can’t Date Jesus” tackles the awkward and sometimes painful realities of growing up over the course of 17 essays.
(09/13/18 6:03am)
A working-class woman meets an outrageously rich man, and they fall in love in much to the derision and outrage of the man’s family (mostly his mother).
(03/06/18 5:10am)
Dear Paul Thomas Anderson,
(03/06/18 5:13pm)
“How We Get Free: Black Feminism and the Combahee River Collective,” edited by Princeton University professor Keeanga-Yamahtta Taylor, takes on the task of commemorating the inimitable 1977 statement made by the Combahee River Collective, a group of radical Black feminists that emerged after America’s Civil Rights era. The collective’s letter, a political declaration, revolutionized the way radical political change is talked about to this very day. “How We Get Free” includes the infamous statement in its pages, offering readers the opportunity to engage with the group that has shaped our political world yet remains unknown to many.
(02/27/18 5:00am)
It’s hard not to ask what the best film of 2017 was, given that the 90th Academy Awards are less than a week away. But if you’re like me, it’s also surprisingly difficult to settle on a definitive answer. About a year ago, I reviewed “Moonlight” and called it the rare, transcendent cinematic experience that I’m lucky to have even once a year. “Moonlight,” to be clear, was precisely that film for 2016. Yet I had no such similar experience in 2017.
(02/27/18 5:00am)
Although 2018 is just starting, there have already been many times this year that I’ve found myself wondering if I am living in a twisted dystopia. It seems that many have made the parallel between the harrowing state of affairs in George Orwell’s “1984” and the current state of politics. Since President Donald Trump’s advisor Kellyanne Conway used the politically charged words “alternative facts,” sales of the 20th-century novel spiked drastically. The term is eerily reminiscent of “newspeak,” a means by which the omnipotent Inner Party of Orwell’s novel prohibits unorthodox political thought. This fall, the Dartmouth theater department investigated the relevance of Orwell’s prophetic dystopia to today’s reality in the play “1984,” which opened on Feb. 16 and finished its run Sunday night.
(02/23/18 6:30am)
If you’ve been out of the obscure and cultish garage punk loop, you have probably never heard of the indie rock band Superchunk. Formed in 1989 in Chapel Hill, North Carolina, Superchunk exploded onto the counterculture scene of the early ’90s, producing seven albums over the course of the decade. The group took a brief hiatus soon after the turn of the millennium, eventually producing only two albums between 2002 and 2014. After releasing its tenth album, “I Hate Music” in 2013, Superchunk returned last Friday with the politically charged and triumphantly subversive album “What a Time To Be Alive.” At a time when punk music seems to be increasingly dwarfed by the allure of hip-hop and electronic music, “What a Time to Be Alive” is a collection of catchy and energetic songs that simultaneously presents a commercially agreeable message and returns to the genre’s roots in counterculture. Moreover, it’s a visceral and sincere reaction to our country’s recent escapades.