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I’ve followed Netflix’s animated series “Big Mouth” since it debuted in 2017. I’ve loved every minute of it since, including its third season, which was released on Oct. 4. But I know that it rubs some people the wrong way, and I can see why it does. The sexual jokes are blatant and graphic — which can feel especially inappropriate considering that the characters are middle schoolers — and visually, the show is a tad more grotesque than your typical animation.
It’s strange to say, but I did not notice the narrator had no name the entire time I was reading Nico Walker’s novel “Cherry.” It was only when I sat down to write this review that I realized the person whose deepest thoughts I had been reading was unnamed to me, however fictional or autobiographical he may be.
What is contemporary art? For some, it’s Pollocks and Picassos and Poliakoffs. For others, it is the senseless combination of shape and color. For University of Chicago art history professor Darby English, it’s a conversation.
“Joker” is not the most boring film I’ve seen all year. Nor is it the most poorly made. Nevertheless, “Joker” is probably the worst film I’ve seen in 2019, or at least the one I despised the most.
Welcome to 1969 Hollywood. Retro buildings, vintage cars and neon signs line Hollywood Boulevard. Men dress in bell bottoms, patterned shirts and turtlenecks with blazers. Women wear miniskirts and vinyl, knee-high boots. Flower children don bohemian outfits of the counterculture movement. The Quentin Tarantino-directed movie “Once Upon a Time... in Hollywood” pictures these vintage scenes through rose-colored glasses.
When someone mentions the word “pink,” what images come to mind? Maybe you picture a little baby girl in her light-pink nursery, pink-frosted gender-reveal cakes or the new millennial pink that covers dorm rooms and stores across the country. Whatever you think of, it is most likely related to girls and traditional femininity.
“Doesn’t money make you horny?” Ramona (portrayed by Jennifer Lopez) whispers this to newcomer Destiny (portrayed by Constance Wu), as she leaves center stage, bathed in dollar bills. In the film “Hustlers,” Ramona immediately establishes the primary foundation of the film: the intertwined web of money and sex.
Maybe you have seen her give a tour of her dorm on YouTube or heard about her stint on the red carpet of the Video Music Awards this summer. Joelle Park ’19, who is in her final term at Dartmouth, is by all accounts zealous and innovative — founding and maintaining her own Youtube channel titled “Joelle,” which has over seven thousand subscribers, is just the start.
As a Dartmouth student, the end of summer can be a pretty lonely time. With almost all other colleges starting the last week of August, the stretch between when home friends leave to the journey back to Hanover can be a slow and painful one. I am on campus now, of course — and it would be an understatement to say that my schedule is just a bit chaotic — but when I lived in a ghost town for those couple weeks, I had nothing but free time.
It’s hard not to enjoy certain moments of pure thrill — the rapid descent of a rollercoaster, maybe, or a hard-won victory on the athletic field. Director James Mangold’s new film, “Ford v Ferrari,” draws upon one of such thrills: the roar and rush of high-speed driving. Shown at Dartmouth’s Hopkins Center for the Arts as part of the annual Telluride Film Festival screenings, “Ford v Ferrari” is a riveting piece of car-focused filmmaking wrapped up in an underwhelming but ultimately solid narrative envelope.
Tonight and Friday night, the Sankofa Danzafro dance troupe will perform its show “The City of Others” in the Moore Theater at the Hopkins Center at 7:30 p.m. Through the art of dance and music, “The City of Others” tells the powerful story of young Afro-Colombians who are struggling to combat the historical legacy of slavery and racism in Colombia.
Netflix’s “Tall Girl” is a film that I will carry in my heart forever. I have never in my life felt such burning hatred for a movie before, and for setting that record — for teaching me that I am capable of hating a medium of art that I love so dearly — “Tall Girl” is special to me.
Coinciding with the 20th anniversary of “The Matrix” this year, Warner Brothers recently announced that Lana Wachowski — the elder of the Wachowski siblings behind the original classic — would be reuniting with actors Keanu Reeves and Carrie-Anne Moss to direct a fourth “Matrix” film.
Taylor Swift. The name of one of America’s most successful musicians conjures up images of cowgirl boots, sparkly dresses, Twitter feuds and boyfriends. Often the mere mention of Swift induces a chorus of eyerolls or sighs of disgust. Very rarely do conversations about Swift mention her enormous success as a musician, including the fact that her most recent album “Lover” became 2019’s best-selling record in just a week. A common critique I hear of Swift’s work is that her music is too sophomoric, too girly and hyper-focused on relationships — according to Swift in a recent Rolling Stone article, the media has long since decided she was a “a boy-crazy man-eater.” And it’s true to a certain extent; the success of “Lover” demonstrates that Swift’s strength is highly rooted in her ability to write and compose songs based on love.
Starting this Friday, the Hopkins Center will be showing advanced screenings of six films from the acclaimed Telluride Film Festival in Colorado, beginning with “Ford v Ferrari” and ending with “The Climb” on Sept. 26. Every year, Telluride at Dartmouth presents an opportunity to see much-anticipated films months before they come to theaters.
When word broke that Donna Tartt’s Pulitzer Prize-winning novel “The Goldfinch” would be adapted into a movie last year, I sighed and dreaded the worst. There is something sacred that is destroyed when a much-beloved novel makes its on-screen debut. Movie adaptations of novels rarely do their written counterparts justice. Instead, they bury them in piles of scathing reviews and Rotten Tomato ratings that sully not only the film’s reputation but also that of the novel (for example, “The Hunger Games”). Similarly, while “The Goldfinch” as a film failed miserably in recreating the vivid characters and atmosphere of Tartt’s imagination, it partly redeemed itself by creating a standalone experience that did not feel derivative of the novel and managed to preserve the novel’s enduring beauty.
Alumnus and musician Zach Plante ’18 has taken his passion for music coast to coast and is set to release his first extended play record with the band Pass By Catastrophe on Sept. 27. Plante, who plays bass, guitar and piano in Pass By Catastrophe, is accompanied by Dexter Simpson, Max Kilberg and Sam Silverman. The band produces rock, indie rock and pop rock that is, according to Plante, reminiscent of the past but with a new modern twist.
In his two books “The Family: The Secret Fundamentalism at the Heart of American Power” and “C-Street: The Fundamentalist Threat to American Democracy,” English and creative writing professor Jeff Sharlet takes deep dives into the political influence of the Christian organization known as “The Fellowship” or “The Family” both within and beyond the U.S.
In the Drake-produced HBO series “Euphoria,” Generation Z is diagnosed and deified. Drawing attention to teen sex lives, drug abuse, family troubles and identity crises, “Euphoria” defines a generation by its most dramatic manifestations. The show’s narrator, lead and Gen Z translator Rue Bennett, played by former Disney Channel star Zendaya, is a biracial teenager struggling with drug addiction and the loss of her father. Self-aware yet unstable, Rue is the ultimate unreliable narrator. Rather than offering her audience righteous honesty or a critic’s presumed purity, Rue makes a show of the archival and analytical process. Just as drugs allow her to edit and enhance her own experience and perception, Rue, as narrator, takes liberties in her storytelling and invites us to trip alongside her. Through her constant battles with relapse, she teaches us what it means to actively recover and revise oneself. In doing so, she suggests that she is, in fact, a representative of her generation — those young adults born in the late ’90s and early 2000s who’ve been shaped by a constant surveillance and demand for self-narration. Where this generation is concerned, “Euphoria” argues that the revision of society and self is, perhaps, Gen Z’s birthright.
This isn’t necessarily something I’m proud of, but over the past few weeks, I have joined a group of my friends to hate-watch “The Bachelorette.” Together, we screamed at the screen, laughed at the absurdity of limo exits and cringed at the corny pickup lines. It was a ritual that I enjoyed for the community aspect of it; the television show just happened to be there. However, it became increasingly evident to me that the popular “romantic” and long-running reality T.V. show’s portrayal of gender dynamics is extremely concerning, as it celebrates contestants disrespecting boundaries and using violence and deceit in the pursuit of love.