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(10/26/18 4:35pm)
A couple of years ago, a friend and I fell victim to a harmless fixation on Salinger’s storytelling. We were sixteen back then and in hindsight, that obsession was a sort of collective mania that we were actually late to join. Late, I say, because it wasn’t The Catcher in the Rye that we read over and over. The culprits in our case were Salinger’s out–of–print publications, a collection of 22 short stories that traced his legacy starting from his time as a student writer at Columbia University to his later success in The New Yorker.
(09/25/18 12:00pm)
Put your lips together and say mah. Gently move your tongue behind your upper teeth–lu—glide it towards the palate and roll it back—uh—then return it to its original position after delivering a sharp sk.
(08/05/18 3:33pm)
A man sitting on a leather couch, smoking a cigar, and looking ecstatic as he says “I love money” is a sight you would expect to see in a movie like The Wolf of Wall Street, behind some closed door in the Financial District. Except the scene in question is shot about 4,000 miles away, and its protagonist—whose German accent, if not the gilded background, gives him away—is none other than Florian Homm, the “Antichrist of finance.”
(07/02/18 1:46pm)
Happy first day of July! With temperatures set to reach 100°, it's easy to be tempted to stay inside. While there's no quick escape from the heatwave, there's always the option of barricading yourself in an air–conditioned cubicle on the premise that you're working hard. For when you're successfully done with that (and happy hour too, if you're into that), we have a couple of cinephile–friendly chill–out suggestions.
(05/11/18 5:22pm)
At the end of our last legal studies class this semester, the professor, in his characteristic hyper–excited tone, was shouting instructions for the final paper: “don’t use flowery language,” “get to the point,” “keep it short and relevant, not sweet!”
(04/16/18 4:43pm)
A schizophrenic character is not one that most of us can identify with, but there is still one scene in Aardvark that I found relatable. After Josh’s (Zachary Quinto, in the main role) therapist fails to do her job—and fails so hard that it would be almost comical, if her job wasn’t facilitating the treatment of mental illnesses—he gets up furiously and shouts “You charge for this?” voicing my exact thoughts on what I had been watching for an hour.
(04/11/18 6:41am)
As Hasan Minhaj walked onto the stage of Irvine Auditorium, there was a hint of surprise in his eyes that not even his wide smile could conceal: the hyper–enthusiastic shriek of the audience was thunderous. The event, organized by SPEC Connaissance, was sold out. More than 1,200 students and guests attended the preview for Minhaj’s upcoming Netflix talk show, followed by a Q&A session moderated by Dr. Fariha Khan, associate director of the Asian American Studies Program at Penn.
(04/07/18 1:00pm)
After years of stagnation due to countless saccharine, worn–out stories and even worse executions, the horror genre might finally be getting a much–deserved revival. A Quiet Place is the latest addition to a growing list of brutal, yet impeccable thrillers released since Jordan Peele’s Get Out. However, it wasn't directed by a seasoned horror filmmaker like James Wan (director of Saw, Insidious, and The Conjuring) or Mike Flanagan (director of Oculus and Before I Wake). Instead, it was created by John Krasinski, whose background in comedy would understandably make him the least likely contender for any accolade in the horror realm. In a video conference for college–press reps, even Krasinski agrees that he’s “not the horror guy.” But to his surprise, after co–writing, directing, and starring in A Quiet Place, the result is arguably one of the most terrific thrillers in recent memory.
(04/09/18 1:00pm)
After a four–year hiatus since the acclaimed The Grand Budapest Hotel, Wes Anderson steps back into the public spotlight with Isle of Dogs. His second animated movie tells the story of a group of dogs who try to escape oppression in an authoritarian, dystopian, fictionalized Japan. If the premise doesn’t sound enticing enough, it might be because it’s inevitably reminiscent of a children’s movie. As a 20–year–old, I must admit it was the name of the director, rather than his marketing strategy, that eventually convinced me to watch. However, Isle of Dogs is in no way childish—if anything, it’s Anderson’s most mature work to date.
(03/27/18 5:12am)
When Alec Druggan (C ’21), a staff photographer for the DP, moved to Philadelphia for his senior year of high school, he perceived that “in America, teenagers are much, much more sexually active than in other parts of the world.”
(03/27/18 10:00pm)
There’s something about cooking that’s fascinated me since one memorable day in late middle school, when a burst of overconfidence pushed me to try and recreate a recipe of Asian lemon chicken tenders. In all honesty, I thought I did pretty well—until I tasted my creation, that is. Let’s just say “rocky” became the signifier for my budding relationship with cooking.
(03/20/18 2:18pm)
I saw the trailer for Thoroughbreds at the Paris Theater in New York at some point in early December. It was the two female leads that eventually made me get out of bed on a Sunday morning just to go all the way to Old City and watch it—at least, this is what it looks like on an ever–growing list of “cool trailers” that I keep on my phone, and which comes in handy specifically in moments like that one.
(02/13/18 6:39am)
February 14 is not only Valentine’s Day, but also the very heart of midterm season. As our minds are busy concocting ways to fit as much information as possible into a cheat sheet, it might be hard—and time–consuming—to come up with romantic plans. I think we all agree that movie theaters are the go–to option for uninspired dates, and watching Netflix with your Valentine is, honestly, just sad. If, however, you still want to incorporate films into your tryst, here are five quicker but equally charming options:
(02/09/18 12:53pm)
Tom Hanks and Martin Scorsese are more than just American sweethearts. Within the Academy of Motion Picture Arts and Sciences, they’re household names—and in the snake pit that is the movie industry, they’re the coveted golden ticket to a plethora of awards, instant international recognition, and—of course—money. Reducing incredibly gifted artists to the status of Oscar–bait might seem ignorant: most modern–day cinema purists are reluctant to accept that mainstream, profit–making awards and evident talent are not mutually exclusive. But the practice is neither uncommon, nor unjustified: looking back at what gets the Academy excited, some obvious patterns emerge.
(02/10/18 10:35pm)
There are a number of reasons for which hotel–room windows don’t open. One of them is to prevent guests from smoking and tossing lit cigarettes outside—but in 1950’s New York City, smoking was ubiquitous, still very much in vogue, and not necessarily thought of as a hazard. On the night of November 28, 1953, the window of room 1018A in the Hotel Pennsylvania was wide–open. Ten stories below, a figure with twisted limbs was lying on the pavement outside the building. The body belonged to Frank Olson, a biological warfare scientist and loving father of three children. They were soon told that their dad had died as a result of “jumping or falling” out the window.
(01/29/18 8:25am)
Waving at the cheering crowd, eyes gleaming from beneath the brim of his simple trucker hat, third–time Oscar nominee Woody Harrelson walked on the stage of the Zellerbach Theater on the evening of January 27th. The event marked a year from the release of Harrelson’s directorial debut, Lost in London. The film, which is inspired by a true story, recreates the events of a rather wild night: after his wife sees the cover of a magazine which suggests that Harrelson had an orgy the previous night, she threatens to leave him, and he goes out for drinks with an Arab prince. Naturally, chaos ensues—Harrelson runs into his “best friend” Owen Wilson, but gets into a fight with him after Wilson states that his best friend is Wes Anderson. Eventually, Harrelson ends up in prison, where he spends the night before being bailed out by his wife—and, of course, Owen Wilson. Lost in London was shot in a single–take, in real–time, with a single camera, and live–streamed into 550 theaters across the US on January 19th, 2017.
(01/24/18 2:00pm)
In anticipation of the upcoming screening of Lost in London at the Annenberg Center, Street got a chance to interview Woody Harrelson, the first–time director and main star of the movie. The film was shot in a single take, with one camera, and for the first time in the history of cinema, live broadcast into 550 theaters in the US on January 19, 2017. The film is inspired by a real incident: in 2002, after a night out in Soho, Harrelson broke an ashtray in a London taxi, which led to him spending a night in jail. Lost in London, which also stars Owen Wilson and Willie Nelson, follows the three as they recreate the events of that night.
(11/07/17 8:32pm)
Comic fanboys might still defend them, but over the past few years, superhero movies have become so formulaic that it’s become hard to distinguish one from another. When you have the kind of money that DC or Marvel handle, the recipe is not hard to follow: assemble a catchy cast, take a storyline that hasn’t been pictured yet, sprinkle it with more fight scenes than necessary, add some flashy CGI, and voilà! You have just created the next blockbuster.
(10/25/17 1:56am)
Thai–style rolled ice cream wasn’t a thing on the East Coast before 10Below opened its first location in New York’s Chinatown. Two years later, New Yorkers and tourists alike flock to the small parlor on Mott Street to get their hands on these sweet, creamy desserts—and to up their Instagram game. Thankfully for the Philly–area sweet tooth, the chain just opened its first store right across from Liberty Place. Street decided to test if it lives up to the hype.
(10/10/17 8:03pm)
What makes a movie worthy of being classified as “horror”? Is it how many screeches it elicits from the audience? Is it the excessive amount of gore? Maybe it’s the lingering feeling of terror that the viewer experiences after the screen goes black. Arguably, any of these would be enough to grant a movie its genre. Happy Death Day, though, does the undoable: none of these conditions are applicable in its case—yet it is, undeniably, a “horror” movie. In fact, I would go as far as saying that it’s the most horrendous movie that I’ve ever seen.