1000 items found for your search. If no results were found please broaden your search.
HBO’s new documentary “The Inventor: Out for Blood in Silicon Valley” chronicles the rise and fall of Elizabeth Holmes, a Silicon Valley entrepreneur whose company, Theranos, claimed to revolutionize the world of blood testing. Spurred by an intense desire for wealth and fame, Holmes devised a way to carry out complex blood tests — the sorts that usually require an uncomfortable venous draw — with only a drop of blood obtained through a finger prick. The problem she and her company encountered, though, was that they simply couldn’t get the process to work. Terrified of failure and obsessed with her own legend, Holmes lied and connived to keep Theranos afloat, deliberately misrepresenting the abilities of her company. “The Inventor” dutifully tracks these events with straightforward documentary reporting, but it fails to fully delve into the fascinating character of Elizabeth Holmes or her web of deceit, resulting in a film that lacks intrigue and coherence.
Netflix has been a boon for stand-up comedians these past few years, offering an enormous platform for artists whose work would have been a little more difficult to find for our generation of instant streamers. I fell into the rabbit hole of stand-up around the same time I started my Netflix subscription, which means for a while, I hadn’t done much else but listen to the upteenth comedian give a self-deprecating monologue.
“The Umbrella Academy” is probably one of the most off-putting shows on Netflix. It opens with a scene at a pool in Russia, in which a teenager spontaneously gives birth in the pool after giving a potential suitor a peck on the cheek, setting the stage for the chaos that ensues.
It’s been a while since I’ve been as excited to see a movie as I was to see “Us,” the new film directed, written and produced by Jordan Peele. Like millions of people, I was blown away by how unexpectedly good Peele’s 2017 film “Get Out” was, so I came in to “Us” with high expectations, looking for something just as thought-provoking and well-constructed. While I don’t think that “Us” has “Get Out” beat, I still think it’s a fantastic, smart film that should be watched by everyone looking to walk out of a movie theater all giddy — like you used to before everything became a reboot or a third sequel in a franchise. I enjoyed it so much that I gladly paid to see it twice this past weekend.
“Triple Frontier” dropped on Netflix earlier this month with little advertisement but has since exploded into an online sensation. However, I think that the film’s high ratings can be attributed to the hype from its attractive, star-studded cast rather than the quality of the film itself.
At this point, the Marvel Cinematic Universe has garnered a reputation for tenacity when it comes to selecting unique directors whose prior work doesn’t always make them obvious candidates for mega-budget superhero extravaganzas. This strategy is noteworthy because it has paid off time and time again; the fact that Taika Waititi and Ryan Coogler have recently managed to reinvigorate the franchise with “Thor: Ragnarok” and “Black Panther,” respectively, suggests that this strategy is extremely viable.
Gary Clark Jr. seems to be in the midst of an identity crisis. After bursting out of the Austin music scene as an heir to greats like Jimi Hendrix and Stevie Ray Vaughan, he settled into a comfortable role as a jam-and-solo blues guitarist.Yet somewhere along the line grew tired of the redundancy. Starting with his 2015 album “The Story of Sonny Boy Slim,” Clark began experimenting with sounds that veered into R&B and funk, and his latest release, “This Land,” is even more of a departure from the traditional blues image he once presented. I would even go so far as to say that “This Land” is not a blues album at all. Rather, it is a sampler of Clark’s genre-bending experimentations, which hover somewhere between rock, R&B and hip hop. Unfortunately, the result is a messy record that has intriguing moments but lacks a coherent identity, sounding like the product of an artist who is still unsure of his own place in the world of modern music.
Dartmouth Comedy Network is Dartmouth’s newest comedy group, joining other comedy groups on campus including Dog Day Players, Casual Thursday and Jack-O-Lantern. Created by Samantha Locke ’22, the group represents Dartmouth’s only scripted comedy group.
You may have heard that the 91st Academy Awards ceremony took place a little over a week ago, and you may have also heard that the results were … controversial. But as much as I disapprove of “Green Book” as the Best Picture winner, I don’t really have the desire to explore that any further in this article. Instead, I’d like to discuss “Black Panther,” another Best Picture nominee and one whose failure to win the top prize reflects a series of ongoing problems with the Academy Awards.
This past Friday, Hozier’s second studio album was released, closing a five year gap between his debut album from 2014 and his latest. Given the massive success of the Irish singer’s first album, “Hozier” and five years’ worth of expectation, Hozier’s second album was released upon high anticipation. So does ‘Wasteland, Baby!’ rise to the challenge?
“Alita: Battle Angel” is the latest in the line of big budget, young adult sci-fi films to not do well critically or commercially. Following in the footsteps of the “Divergent” and “Maze Runner” trilogies, I felt like “Alita” tried too hard to recreate the success of “The Hunger Games.” While it might have worked in 2012, I think that today’s audiences are bored of the generic “chosen one” teenaged protagonist who must fight to overthrow a dystopian government, all while having to deal with a ham-fisted romantic subplot that does nothing but drag the plot down. That being said, I did enjoy this movie.
Six of the 22 Dartmouth Idol semi-finalists have advanced to the Dartmouth Idol finals, which will be held on Friday, March 1 at 8 p.m. in Spaulding Auditorium at the Hopkins Center for the Arts. This unique opportunity allows students to compete and showcase their abilities. Additionally, the audience is responsible for voting on the winner, making the production even more entertaining.
From Feb. 22 to March 2, the exhibit “#MeToo: Intersectionality Hashtag Activism and Our Lives” will be up in Berry West in the hallway in front of King Arthur Flour Café. The exhibit is a compilation of poetry, artwork and academic information about the Me Too movement in the U.S. and abroad, created by Dartmouth students. The work included in the exhibit is a product of the 2018 fall women, gender and sexuality studies class, which shares the name of the exhibit.
The Oscars may have come and gone, but I’m still not quite ready to embrace the new cinematic year. So, as a final send-off, it seems fitting to reflect on the best and worst films that 2018 had to offer. A couple of caveats before I begin, though: 1) Rather than organizing these films into a meaningless ranking, I’ve arranged them alphabetically. However, I have bolded the titles of the best film and the worst film of 2018 (in my humble opinion). 2) There are plenty of films from 2018 that I would have loved to see but haven’t gotten a chance to, largely due to accessibility issues. If you don’t see one of your favorite films from last year on this list, assume that I wanted to see it, didn’t get the chance to and would have included it on this list if I had. That last part is total wishful thinking, but it will keep everyone marginally happy. As a disclaimer, I did see all the Best Picture nominees.
Just as contemporary crowds flock to the Louvre today to catch a glimpse of DaVinci’s “Mona Lisa,” during the 19th century, there was one painting that stood out amidst all the rest as the most captivating work of the “Grand Tour.” The artwork, falsely identified as Guido Reni’s 1599 portrait of Beatrice Cenci attracted visitors from all around the globe and spawned numerous copies. Writers such as Charles Dickens, Nathaniel Hawthorne and Herman Melville all documented their journey to Rome to see the painting. Hawthorne wrote in his travel journal that the painting’s “spell is indefinable, and the painter has wrought it in a way more like magic than anything else I have known.” The work appears in two of Edith Wharton’s novels and provided the inspiration for Percy Shelley’s 1819 drama “The Cenci.”
The Oscars held its 91st annual ceremony on Sunday, awarding Hollywood’s most prestigious filmmaking awards to the best films of the year ... or that’s the idea, anyways.
“Beauty is truth, truth beauty, — that is all / Ye know on earth, and all ye need to know.”
Whenever I find a poem or story I really love, I make my friends read it to me out loud. Poetry, which relies on the cleverest use of language, is an auditory experience as much as it is a written art. I am reminded of this when I listen to slam poetry. Hearing a piece out loud simply makes the writing more immediate and visceral. Slam poetry was started as a way “to breathe life” into poetry, both by re-invigorating the written word with performance and by functioning as a platform for marginalized voices beyond “social, cultural, political and economic barriers” according to Poetry Slam, Inc. Slam is a venue away from the traditional stuffiness of poetry, which is why it makes sense that the most fertile ground for slam is on the Internet. Both slam and YouTube are young, fresh and inviting to younger generations. The YouTube account “Button Poetry” compiles the most promising and innovative slam poets from the most respected competitions into one accessible platform.