'Viva Pedro' brings auteur's greatest hits to the Loew
If the forthcoming frigid, dark New Hampshire winter inspires bleak and forlorn feelings, Pedro Almodovar prescribes the art of cinema for your wintertime woes.
If the forthcoming frigid, dark New Hampshire winter inspires bleak and forlorn feelings, Pedro Almodovar prescribes the art of cinema for your wintertime woes.
Moviegoers sure love their villains. Superhero movies, for example, have become the most bankable genre for major studios in the last few years -- thanks in no small part to the appeal of outrageously depraved supervillains like Lex Luthor and the Green Goblin.
Courtesy of the Hopkins Center The Stephen Petronio Company is not your traditional dance company.
While top 10 lists are a nice way to try to summarize a year, no one seriously believes that they accurately reflect the entire gamut of music.
If you took the Lord of the Rings trilogy, peppered it with liberal helpings of Narnia, Harry Potter and any number of other big fantasy epics, then turned the whole concoction upside down and shook it until every last spark of creativity came tumbling out, the result might look more than a little bit like "Eragon." In an age when the grandeur of fantasy films is limited only by the imaginations of their creators, here is a movie made without the scarcest hint of inspiration or originality.
Courtesy of Eric Hasse Stray a little bit off Main Street and you may enter a strange, underground dream world.
When you finally surrender to studying for those miserable finals and tire of sleeping on the couch because of myriad invading family members, the realization hits that with Thanksgiving comes a limited number of joys: football for some, turkey for others, shopping for the brave few and the universal delight sure to warm the hearts of the "grinchiest" folk, the commencement of the holiday movie season. While it is impossible to avoid succumbing to all that holiday cheer, we cannot all erect our Christmas trees before the leftover turkey has even reached the refrigerator.
It is easy to hate the Programming Board. Really, it is not even original anymore. The ubiquitous name "Programming Board" is tacked onto everything from concerts to Bingo Night, but most people have no idea what they do or how they work.
Student productions are one of Dartmouth theater's best-kept secrets. Unfortunately, these excellent plays are all too often overshadowed by the (also excellent) mainstage productions, with which they tend to run concurrently.
It certainly is not easy to pull off a really scary play, the kind of unsettling performance that stays with you long after you leave the theater.
In an age when globalization and mass media have the power to connect us to even the most remote corners of the globe, the story of the Tower of Babel seems a fitting inspiration for cinematic recreation.
Courtesy of the Hopkins Center Perhaps due to the midterm madness on campus, there was a noticeable lack of undergraduates in the audience when Bill Frisell and his Unspeakable Orchestra, with special guests Ron Miles and Greg Tardy, took the stage in Spaulding Auditorium last night.
On Saturday night, prospective buyers, interested artists and fans of local artist Eric Aho gathered in Hanover's Spheris Gallery to hear an informal talk about the artist's work.
Welcome to the world of the Alpha Delta Phi fraternity in 1960, where brains scraped from the windshield of a car wreck are a perfect ingredient for the house brew, where the greatest achievement in recent memory was a brother who could shake quarters out of his foreskin, and where urination, defecation and masturbation make up the Holy Trinity. Chris Miller '63 brings this "awesomely depraved" world to light in his new memoir, "The Real Animal House." Miller is one of the screenwriters of the titular movie that made the Dartmouth fraternity scene so notorious.
For all those who attended one of the Displaced Theater Company's performances of Jean Paul Sartre's "No Exit" this weekend, there was, quite literally, no exit.
By Leslie Adkins The Dartmouth Staff Few royals were as infamously apathetic about the welfare of their countries as Marie Antoinette.
Alt-rock band Filligar has undertaken a dicey gamble by entering an already overcrowded musical niche.
Courtesy of Lulu Frost In the land of popped-collar Lacoste polos, legging ensembles and Uggs galore, creativity in fashion often leaves something to be desired.
Editor's Note: This article is the second of a series examining hidden artworks at Dartmouth. Resting in the basement of Thayer Dining Hall are a series of images that have been called deeply offensive, racist and insulting, and have, over the years, continued to spark debate. The fate of the controversial Hovey murals is particularly interesting to contemplate in light of the College's recent uncovering of the Tiffany and Royal Bavarian stained glass windows in Rollins Chapel, which had been concealed since 1972 as a means of making the space less denominational. Painted in 1937-38 by American illustrator Walter Beach Humphrey '14, famous for his covers of "The Saturday Evening Post" and "Collier's," the Hovey murals were a reaction to the famous Orozco Frescoes in Baker Library. In a 1938 issue of the Dartmouth Alumni magazine, Humphrey wrote, "If my allusions to the celebrated murals in Baker Library seem ill chosen to anyone ... I feel it excusable to use them as a foil for my own ideas.
Catherine Tudish came to Dartmouth along with the Class of 2010 this September as the newest faculty member in the creative writing department.