Music review: The Chainsmokers, Migos and The Weeknd
(01/20/17 5:00am)
“Paris,” The Chainsmokers
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“Paris,” The Chainsmokers
After watching “Oldboy” and “The Handmaiden,” I think it’s fair to say that director Chan-wook Park, who directed both films, has a fascination with extremes. In “Oldboy,” it’s manifested through extreme violence, in “The Handmaiden,” it’s extreme sexual activity. Conceptually, there is nothing wrong with extremes in film, but they need to be justified or else films run the risk of coming off as gratuitous. So does “The Handmaiden” manage to justify its more intense moments? The answer: most of the time but perhaps not enough.
It felt like America could not go one week in 2016 without either a national tragedy or national embarrassment. Division and conflict were rampant in society, but whether viewers wanted to face the nation’s challenges outright or escape into the digital world through their laptops and televisions, 2016 brought a wide variety of phenomenal programs to choose.
I love “Star Wars.” I always have, and I always will. And, like most fans, I was deeply impressed by how well Disney and J.J. Abrams managed to revitalize the franchise with “Star Wars: The Force Awakens,” whose success undeniably built up hype for the saga’s next offering, “Rogue One: A Star Wars Story.” Yet despite the excitement, I had no real anticipation or expectations for the newest film. Nonetheless, as a “Star Wars” fan, I felt an obligation to see it. So I did. The verdict? “Rogue One” was decent.
“Shape of You,” “Castle on the Hill,” Ed Sheeran, ÷
Within the world of film, the Academy Awards (Oscars) represent the pinnacle of an actor or actress’s career. It is the one awards ceremony that really matters. Unlike other awards shows such as the People’s Choice Awards, the Oscars are voted on by Hollywood elites, which means the winners are being rewarded for their efforts by their peers, lending the ceremony a prestige that others lack. For this reason, many film critics now see the Golden Globe Awards as the appetizer before the Oscars, giving us some sense for which films may win the truly important statuettes next month. This is the perspective I intend to keep in mind as I share my thoughts on some of the winners and nominees of the 74th annual Golden Globes.
“To Be Without You,” Ryan Adams, “Prisoners”
Who would have thought that the most impressive science fiction film of 2016 would not be “Rogue One: A Star Wars Story” but instead Denis Villeneuve’s thought-provoking, psychological and deeply moving “Arrival.” Villeneuve has already proven himself to be an extremely talented director with films like “Incendies” and “Sicario.” Despite this, I was skeptical when early reviews called “Arrival” a new sci-fi masterpiece. Good films have a tendency to buckle under the weight of tremendous hype, and I was nervous that Villeneuve simply wouldn’t be able to live up to the mammoth expectations being set by the film’s early admirers. Yet somehow “Arrival” surprised me, finding a way not to meet my expectations but instead surpass them and engage me on both an intellectual and emotional level.
Five minutes. That’s how long it took for “The Girl on the Train” to completely bore me. Thirty minutes. That’s about how long it took for me to guess the twist ending for “The Girl on the Train.” Though for the sake of transparency, I should clarify. I had actually guessed the twist within the first few minutes, but at about the 30-minute mark I changed my mind and this second guess turned out to be correct. Incidentally, my initial guess would have made for a far more interesting film. “The Girl on the Train” probably isn’t the worst film I’ve seen all year, but thus far it’s certainly the best example of wasted potential.
With midterms coming up you may find yourself short on time, meaning that treks to FoCo, Collis or even into town for food may become few and far between. Just how will you manage to spend your endless meal swipes (’20s), or your quickly-declining DBA (everybody else) in the most efficient way possible? With the ultimate college solution: instant noodles.
Jeremy Gavron’s memoir “A Woman on the Edge of Time” gives the reader deep insight into the inner psyche of both Gavron and his mother. Hannah Gavron committed suicide at 29-years-old despite living a relatively charmed life. Gavron explores the complex ups and downs of her story with startling intensity. As the writer searches for his mother’s motivation in instigating her own death, he also explores the implications that this knowledge has had on his past and will have on his future.
Making a film about Barack Obama during his presidency is a bold move. Premiering that film only a few short months before the 2016 election — well, that’s just downright audacious. Releasing “Southside with You” during the current political climate is bound to stir up strong responses, so all I will say is this: I will try my hardest to keep my personal politics out of this review, but I also acknowledge that there are people who will dislike the mere idea of this film no matter what I say. And that’s fine, because for the rest of us, “Southside with You” has a whole lot to offer.
As Jeru the Damaja’s profanity-laced rap song “Come Clean” began to play over the opening credits of “Morris from America,” I could practically feel every person over 60 in the theater clench up inside. It didn’t take long for the couple behind me to walk out. When that happened, I thought to myself, “I’m going to enjoy this movie.” I can’t help but admire a movie that begins with a bang and weeds out any audience member not interested in meeting it on its own terms.
“Hell or High Water” may not be for everyone, but I think that’s honestly for the best. David Mackenzie’s newest film is strange, uncompromising, beautiful, confounding and frankly a breath of fresh air in a year full of films that have failed to live up to expectations. Perhaps this disappointing year was the key to “Hell or High Water”; I had no expectations for it, so I never assumed it would be one of the best films I’ve seen so far in 2016.
“I’m weary of the ways of the world,” Solange sings in her new release “A Seat at the Table.” The album cover, featuring a faded photo of the artist’s face, suggests a dark tone. Indeed, the music in this new release may not be as colorful as the celebrated “Losing You,” but “A Seat at the Table” brings detailed arrangement and articulate, powerful lyricism to the — no pun intended — table.
When Dartmouth and Brown University meet on Memorial Field Saturday, they play the Big Green’s final home game of the season, while also stepping into a larger history of Ivy League football.
In the most crucial game of the year so far, the men’s soccer team (10-4-2, 4-1-1 Ivy League) takes on Brown University (5-5-6, 2-2-2 Ivy) Saturday on Burnham Field, looking to win its first Ancient Eight title since 2011.
The women’s basketball team opens its season this Sunday at Leede Arena against the New Jersey Institute of Technology. To prepare for the season, The Dartmouth has profiled each of the Ivy League’s eight teams for a quick look at the season ahead.
The women’s basketball team and its second-year coaching staff are set to kick off the season at home Sunday, against the New Jersey Institute of Technology — the Big Green’s first opening game in Hanover since the 2009-10 season.
A tri-meet against Harvard University and Cornell University will officially launch the Dartmouth’s men’s and women’s swimming and diving teams’ season this weekend.