1000 items found for your search. If no results were found please broaden your search.
I love my Saturday afternoon naps. I really do. Six of the seven Saturdays that I’ve been on campus, I’ve spent buried under a pile of blankets in a coma-like state that I didn’t emerge from for at least three hours. If I don’t have my Saturday afternoon nap, there is a serious possibility I won’t have enough energy to power through the weekend. The one Saturday I didn’t nap was last weekend, when I saw “Bad Times at the El Royale.” Even though I knew very little about the movie and had no real expectations for it, it already had some stiff competition it needed to beat to make the experience worthwhile — because while it had moments of genuine entertainment, it failed to be a better time than a Saturday afternoon nap.
“You can’t heal someone who has gone through hell,” says Georgianna, a Wabanaki woman who is also the face of the documentary “Dawnland,” presented in the Loew Auditorium in the Black Family Visual Arts Center this past Friday. This quote may be the best way to describe the experiences that were brought to light in this moving documentary, directed by Adam Mazo and Ben Pender-Cudlip.
Over the past two years, no band has had a more meteoric rise in the world of rock and roll than the Michigan quartet Greta Van Fleet. Comprised of three brothers — Josh, Jake and Sam Kiszka — along with friend Danny Wagner, Greta Van Fleet has exploded from the small-town suburbia of Frankenmuth, Michigan to the international stage of modern rock and erumpent stardom. Propelled by two fiery EPs, 2017’s “Black Smoke Rising” and “From the Fires,” the band quickly caught mainstream attention for their classic rock revival sound rooted in a Led Zeppelin-esque penchant for thunderous riffs and singer Josh Kiszka’s distinctive howl, which is eerily reminiscent of the great Robert Plant. Unsurprisingly, this launch into the glorious orbit of rock and roll resulted in extremely high expectations and hype surrounding the band’s official debut album, “Anthem of the Peaceful Army.”
“What a wonderful life I’ve had! I only wish I’d realized it sooner.” – Colette
“Eating Animals” is an important film. Based on the 2009 book of the same name by Jonathan Safran Foer, the documentary explores the subject of the American agricultural industry, a topic that’s often neglected in public discussions, and focuses on the highly troubling issue of the factory farming of poultry and livestock. It is a system whose bread and butter, so to speak, is the brutal and barbaric abuse of animals. However, it is one thing to know this as a fact, but it is an entirely different thing to see it happen.
Airing in July this past summer, HBO’s “Sharp Objects,” an adaption of “Gone Girl” author Gillian Flynn’s book of the same name, sets out to remind its audience of what is unique to the identity of the Midwestern United States and what is possible within the supposedly limited format of the miniseries. Following the story of St. Louis Chronicle journalist Camille Preaker, played by Amy Adams, “Sharp Objects” takes its audience on the journey of an investigative reporter who must vanquish her own demons while hunting down others. Assigned to report on a murder and a series of child disappearances in rural Missouri, Camille is forced to return to the fictional town of Wind Gap, Missouri, the hometown she had long left behind.
Simultaneously making readers want to revel in the narrative as long as possible while also powering on to the end of the tangled story, “Providence,” by Caroline Kepnes is a novel about love and obsession, full of gripping emotional detail and a compelling New England narrative backdrop.
Costumes for theater characters reflect their personas and emphasize their individuality. Armando Ortiz Jr. ’19 understands this sentiment exactly. He is a behind-the-scenes costume designer, imagining, creating and perfecting the outfits of many characters.
“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.
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.
Is it possible to capture the essence of a city in a film? Director Tamer El Said’s film “In the Last Days of the City” attempts to do just that.
Jazz and comedy are two very different art forms, yet they share many similarities. Both are free form and improvisational. Both are honest and authentic.
This Thursday night at the Hopkins Center for the Arts, audiences can see a different and intimate performance of one of the most formal art forms possible: opera.
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.
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.
Across from the Hinman boxes in the Hopkins Center for the Arts stand a pair of twin phone booths, which have remained out of service and neglected for years. According to student curator Jamie Park ‘20, this fall, the booths will be repurposed into a student art exhibit titled The Booth, shining a spotlight on student artwork in a space that more often highlights the work of visiting artists.
“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.
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.