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Many film reviewers, myself included, would argue that we are currently in the midst of a “golden age” of superhero cinema. Marvel Studios floods our theaters with critical and commercial successes and although DC Entertainment may currently be floundering in comparison, it recently rode high on the success of Christopher Nolan’s “The Dark Knight Trilogy.”
After last year’s “Oscars So White” controversy, I didn’t think a more uncomfortable Oscar ceremony would be possible. But somehow, the last five minutes of this year’s ceremony managed to top it and then some. In one of the most awkward moments in Academy Awards history, it was revealed that “Moonlight” had actually won Best Picture, even while the “La La Land” team was giving speeches on stage.
“Get Out” begins with a beautiful, stylistic long take following an African-American man trying to navigate a suburban neighborhood in the middle of the night. The scene sets the stage perfectly, as the man attempts to evade a car that starts to harass him. “Get Out” is a horror film to be sure, but its predominant interest is actually in the real-world horrors inflicted daily on the African-American community. It’s amazing that Hollywood, known for thinking the world is composed of entirely white, straight, cisgender males, allowed this film to be made — a film which unmasks the casual, passive and insidious racism that remains deep-seated and systemic in our society.
The beginning of 2017’s music landscape has been uncontestably dominated by rap artists from a city that has recently become a key niche of American popular culture: Atlanta, Georgia. Following the release of Migos’ wildly successful “Culture” in late January, Atlanta’s unique brand of trap rap has maintained a constant presence on radio stations, late night talk shows and the Billboard Hot 100 Chart.
The first few minutes of “The LEGO Batman Movie” are some of its funniest. As the audience stares at an empty screen waiting for the film to start, Batman (Will Arnett) informs us in a voice-over that all great movies start with a black screen and edgy music that makes parents and studio executives feel uncomfortable. He proceeds to comment on the varying degrees of epicness inherent in each of the studio logos as they appear on screen. I had yet to see a single LEGO brick, and I already thought the movie was hilarious. We then jump right into the middle of the action as literally all of Batman’s villains attempt to destroy Gotham City. The police are evidently helpless until the Dark Knight arrives on the scene, cues his own background music and starts unleashing havoc on his enemies. The first half of “The LEGO Batman Movie” is exactly like this: nonstop breathless fun filled with witty satire. It’s only a shame that the film decreases both in speed and in quality as it approaches its finale.
If “Manchester by the Sea” was a fairy tale, it would be the most downbeat one you’ve ever heard. Instead, it is a film that draws out every painful and saddening moment of its characters’ lives as they grieve the death of a beloved family member. In past reviews, I’ve tried to make clear that I have a special admiration for smaller, more personal films that are more concerned with character and story than spectacle. “Manchester by the Sea” should fit perfectly into that niche. And for some people it clearly did. The film is not only nominated for Best Picture at the 89th Academy Awards, but many critics have also declared it as 2016’s best film. I only wish I felt the same way.
Migos, a hip-hop group based in the suburbs of Atlanta, Georgia, was formed in 2009 by Quavious Marshall, Kirshnik Ball and Kiari Cephus, who are respectively called Quavo, Takeoff and Offset on stage. With hits like “Versace” and “Hannah Montana,” the group’s third mixtape, “Y.R.N.” (2013) secured its place on top music charts. Migos is, perhaps, most famous for popularizing “the dab,” a dance move that originated on the Atlanta hip-hop scene, in 2015.
British film critic Mark Kermode once said of “Pan’s Labyrinth” that if a film that good were to be released every 10 years, then he would happily carry on being a critic forever. That notion has guided me throughout my efforts in film criticism and has always been a reminder that I write reviews not because I wish to lambast terrible films, but because sharing my love for a truly exceptional piece of filmmaking is amongst my greatest pleasures.
“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.