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Faculty, alumni, students and members of the Upper Valley community gathered together in Sanborn Library on April 15 to hear readings of Robert Frost poems. While attendees were invited to read their favorite Frost poems, the celebration centered on seventh grade students from Crossroads Academy in Lyme, N.H., each of whom read a poem they had selected.
A title like “Lee Cronin’s The Mummy” invites multiple questions. For one, who is Lee Cronin? Why is his name attached to the film? How, if at all, is this installment related to “The Mummy” starring Tom Cruise, “The Mummy” starring Brendan Fraser or any of the other multitudinous bandage-wrapped, Egyptian-themed entries which bear the name?
“XO, Kitty” season three picks up right where the show left off: smack in the middle of a prime young adult cocktail of romance, comedy and drama. But while its predecessors walked the line between the three, the newest installation in the “To All the Boys I’ve Loved Before” Netflix spinoff series takes a sharp turn into trope-y dramedy — a choice that destabilizes the show’s tonal balance and ultimately strips it of its charm.
On April 2, Netflix released “The Truth and Tragedy of Moriah Wilson,” a documentary about the life and death of Moriah Wilson ’19, a professional cyclist and Dartmouth alum who was murdered in 2022. The documentary gained immense popularity within the first few days of its release and has since ranked in the top 10 most-watched films on Netflix, according to Matthew Wilson, Moriah Wilson’s brother.
On April 8, 14 community members attended the Hood Museum of Art’s Hood Highlights Tour inspired by Hank Willis Thomas’s neon sign in the Kaish Gallery. The sign reads, “Remember Me” — two words taken from a note written about a century ago on the back of a postcard with a portrait of an African American man. The postcard was found in an archive, and depicts the man wearing clothes that are a testimony to his wartime experience. Thomas was moved by the found text.
“The Drama” is the kind of movie that both really does and really doesn’t need to be reviewed. Its impact hinges less on what you know and more on what you don’t, which makes writing about it without spoiling anything feel like a careful balancing act. Much of what makes it work depends on going in blind. What is important for moviegoers to know, though, is that it’s a tense, deeply uncomfortable experience — one that is the complete opposite of its happily-ever-after marketing.
In March, distinguished fellow Ezzedine Fishere published the English translation of his 2017 Arabic-language novel “Nightfall in Cairo.” Fishere worked with editor Sharidan Russell ’18 on the release, which was published by Commonsense House.
A Barbie doll with her fingers crossed behind her back. A small truck with a flat tire. These are some of the toy ideas of Alejandro (Julio Torres), a young man who aspires to become the world’s most famous toy designer. To achieve his dream, he must overcome a big obstacle: his precarious immigration status. Born in El Salvador, Alejandro needs visa sponsorship to continue living in New York City, but few companies are willing to hire a foreign-born worker. “Problemista” follows his effort to navigate a complicated immigration system while pursuing his lifelong dream.
Cloud rap has always been a genre defined by its resistance to definition. Emerging in the late 2000s through trailblazing artists like Main Attrakionz and Lil B, cloud rap introduced a sound that felt hazy and psychedelic, often shaped more by mood than by design. Though frequently tied to the online music platform SoundCloud and the artists who rose through it — such as Yung Lean and Bladee — the “cloud” has never referred to the platform itself. Instead, it is the atmosphere that lingers in the music’s euphoria and detachment: essentially, the perfect high.
“The Super Mario Galaxy Movie” knows exactly what it is. Directed once again by Aaron Horvath and Michael Jelenic and produced by Illumination and Nintendo, the sequel had high expectations to meet. Its predecessor, The Super Mario Bros. Movie, released in 2023, remains the highest-grossing video game adaptation of all time.
Famously drawn on Dartmouth fraternity life, the raunchy, exaggerated depictions of Greek social scene and over the top humor in 1978 comedy “Animal House” still resonate with today’s college students. Author Jeff Nelligan explores the film’s cross-cultural bridge in his recently released short satirical book, “When the Germans Bombed Pearl Harbor: Animal House in Western Intellectual Thought,” a faux-academic study of “Animal House,” which was co-written by Dartmouth alumnus Chris Miller ’63. In the book, Nelligan frames the film as a cornerstone of the Western intellectual tradition, comparing it to classical works by authors like Homer and Shakespeare. In doing so, Nelligan playfully applies the language of high cultural theory to a film rooted in college chaos and irreverence.
In one of the first scenes of the documentary “Assembly,” multidisciplinary artist and co-director Rashaad Newsome prepares to deliver his father’s eulogy. He does not hide his anxiety. Newsome, who is a Black queer person from Louisiana, says he has “never felt truly protected in this country.” With a desire to create spaces of safety and belonging, Newsome decides to transform the Park Avenue Armory, a former military facility in New York City, into a futuristic ballroom house where LGBTQ+ people can thrive.
“Project Hail Mary” is practically miraculous in how deftly it balances intergalactic stakes and an intimate, character-focused emotional core. Directors Phil Lord ’97 and Chris Miller ’97, best known for their comedies and animated films like “21 Jump Street” and “The Lego Movie,” turn out to be the perfect fit for a blockbuster sci-fi story that treats wonder, comedy and sentiment with equal conviction.
Although the Literary Arts Bridge, tucked away in downtown Hanover, only officially opened in November, students are embracing the colorful offices as a hub for creative writing.
The Dartmouth College Wind Ensemble, the student resident ensemble at the Hopkins Center for the Arts, premiered original compositions by the winners of the Arturo Márquez Composition Competition on Feb. 13 with the Concord-Carlisle High School’s Frontiers Ensemble. The performance of the contemporary Mexican score “Flor Violeta: Concertino for Harp and Wind Ensemble” by Omar Arellano Osorio featured guest Greta Richardson ’26 on the harp.
In its opening scene, Maggie Gyllenhaal’s “The Bride!” announces itself as a major artistic swing and adaptation of the Frankenstein story. Stuck in some sort of purgatory, a disembodied Mary Shelley (Jessie Buckley) reveals she was never able to finish the story of her seminal novel “Frankenstein” before her death, and declares her intention to complete it by possessing the body of a woman in 1930s Chicago named Ida (also Buckley).
Eleven Dartmouth students and recent graduates spent the week of Jan. 22 volunteering at the Sundance Film Festival in Park City, Utah, the largest independent film festival in the United States.
A24’s newest release, “How to Make a Killing,” directed by John Patton Ford, starts at the end. Becket Redfellow (Glen Powell) is set to be executed in four hours, and glibly recounts his tale of woe on a priest (Adrian Lukis) through the bars of his cell. This opening scene establishes the film’s structure — Becket’s diegetic voiceover chronicles his criminal descent as he chases family fortune by murdering estranged relatives.
“Pulp fiction” takes on an entirely new meaning in Park Chan-wook’s “No Other Choice,” a dark comedy about the job market. The bleak film follows Man-su — played by Lee Byung-hun of “Squid Game” fame — a family man who has worked at the pulp manufacturer Solar Paper for 25 years. When an American firm acquires his company, his bosses state they have “no other choice” but to downsize and unceremoniously let him go. After an emasculating, hopeless year of unemployment, Man-su decides he has “no other choice” but to literally eliminate his competition: he must kill the manager of the rival company Moon Paper, and all other applicants.
“The old world is dying, and the new world struggles to be born; now is the time of monsters.” Italian philosopher Antonio Gramsci’s line opens “Ghost in the Machine,” a Sundance documentary directed by independent filmmaker Valerie Veatch that uses its 110-minute runtime to ask viewers to reconsider what exactly feels “new” about artificial intelligence. The film firmly positions AI as the continuation of a conveniently forgotten intellectual and ideological history rather than as an abrupt technological innovation.