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(04/21/23 4:00am)
Belated and transient, the spring has finally decided to make its splashy appearance with the sunny days; summer, by extension, is just around the corner. Well away with the haze of the pandemic that has encroached upon the film and television industry for three years, this summer will undoubtedly offer everyone a splendid feast. For me, it’s anxiously waiting for a promised thrilling ride with Christopher Nolan’s cinematic sensation Oppenheimer or Pixar’s latest entry Elemental, while at the same time eagerly anticipating the premiere of arthouse gems like Ken Loach’s The Old Oak, Aki Kaurismäki’s Fallen Leaves, or Wang Bing’s Jeunesse. Though, arguably, there’s still the ordeal of finals week to survive, Street’s decided to offer you a treat of all the incoming blockbusters, returning series, and quirky originals that are set to premiere in summer 2023.
(04/28/23 4:00am)
every episode of girls (hbo) is a aesop's fable, the moral of which is "wherever you go, there you are"
(05/19/23 5:00am)
It may be hackneyed to say this, but college really does go by in a blink of an eye. One minute you’re shading your eyes on your New Student Orientation campus tour in 95 degree heat, maybe a little hungover. Four years go by and the next moment you’re scrolling through Indeed job listings in your first apartment. One thing is certain—grappling with adulthood is hard.
(04/19/23 12:00pm)
With the Madness that was March, I was reminded of a few of my favorite basketball movies. Basketball can be really fun to watch but its entertainment isn’t always guaranteed. A basketball movie, on the other hand, is essentially required to be entertaining. In terms of sports movies, you're bound to find a simple thrill anywhere you look within the genre, but I would argue that the basketball movie has the most to offer out of the bunch. There’s more than your average biopic or family–oriented redemption story, and even when the basketball movies employ those common conventions, they can still often prove to be novel or meaningful in some way. With that in mind, here are some basketball movies are either culturally significant or grossly overlooked in the popular conversation.
(04/12/23 7:00am)
“Run. Run!” shouts Anna Torv’s Tess in episode 2 of The Last of Us. Ellie (Bella Ramsey) scrambles away, army—crawling out of the path of a rampaging, fungus—mottled zombie. She hides, waits for Joel (Pedro Pascal), and breathes shakily. And the second the two of them make a noise, the zombie comes at them again. Its face was clearly once human, but is now overrun by a fan–like pattern of mushrooms. Its colors, albeit muted in the dim light, are a fantastic mix of blues, oranges, and beiges, all toeing the line between believable naturalness and the disturbing unnaturalness of the undead. Its fungal gills, though made of liquid silicone or rubber, look like they grew deep in a haunted forest. If it wasn’t so terrifying, it would almost be beautiful.
(06/02/23 1:33pm)
Glass Onion: A Knives Out Mystery, The Gray Man, or earlier, Red Notice—these are what Netflix co–chief Ted Sarandos termed as “big event films” and supposedly represent the company’s (I hate to call it a film studio) path forward under a “bigger, better, fewer” refrain after its shocking earnings disclosure last April that resulted in a significant stock value loss. Deliciously packaged and advertised, these “big event films,” however, distressingly stand in every possible way at the opposite of the cinematic art, and I’m not comparing them to esoteric, erudite arthouse productions. Being innovative is an excessively high standard; they’re just not interesting or even entertaining.
(04/21/23 10:07pm)
Warning: This piece contains spoilers for the season finale of The Last of Us.
(04/03/23 4:00am)
Two years ago, during the 20th anniversary of the stone–cold classic Crouching Tiger, Hidden Dragon, Ang Lee pondered how his sweeping epic had come to be. He realized that when deciding between making an action movie or a drama, he chose both. “I wanted it all,” Lee told Entertainment Weekly. “I didn’t realize I was upgrading a B–movie to A.”
(04/04/23 10:51pm)
The latest addition to the “Good for Her'' cinematic universe comes from an unlikely source. Alongside Midsommar’s Dani and Knives Out’s Marta, Cocaine Bear stands tall against the people trying to take her down. Now, the female protagonist is getting exactly what she wants: an insane amount of cocaine. Directed by Elizabeth Banks, the comedic thriller lives up to the genre by following the misadventures of the titular cocaine bear’s interactions with (and often slaughterings of) an assortment of characters. The film leans into the absurdity of the concept and remains self–aware throughout the entirety of its 95–minute run time.
(03/27/23 4:00am)
Content warning: The following text describes sexual harassment and can be disturbing and/or triggering for some readers. Please find resources listed at the bottom of the article.
(03/31/23 12:00am)
At this year’s Oscars, the hit movie Everything Everywhere All at Once absolutely swept the house with seven total wins. Perhaps one of the most important moments was Michelle Yeoh being awarded the “Best Actress” title, becoming the first Asian woman to win this award after her well–rounded performance. As with any powerhouse win, this received both admiration and admonition by critics. Yet, above all criticism, one truth prevails: This movie gave a voice to experiences of deep rooted generational trauma and healing in a way that left viewers laughing, crying, and experiencing everything in between. Everything Everywhere All at Once is a new, stunning example of absurdist comedy as a dynamic and versatile genre.
(03/20/23 12:00pm)
The afternoon following an early screening of their newest movie, Somebody I Used to Know, writer–director Dave Franco and writer–lead actress Alison Brie crammed themselves and ten college kids around a small round table in a room on 19th Street. An interview with college journalists in the Philadelphia area was pretty different from the rest of the press junket the husband and wife duo have been attending; we didn’t make them read thirst tweets, for one thing. But Brie and Franco were full of smiles, well–spoken commentary about their movie and their careers, and good advice.
(03/15/23 4:00am)
Titanic hasn’t aged a day since 1997. That’s not just because it still dominates cultural discourse (that damn door), or inspires popular parodies, or just became the third highest–grossing film ever (again!), but because it still somehow feels completely revolutionary. More than ever, it's the antithesis to “modern cinema,” which relishes in self–referential storytelling and superhuman power fantasies. Titanic may be big, but it displays a reverence for human emotion—and for human lives—that you’ll never find in a superhero movie. A restored version of the film in 3D has just returned to theaters, and it amplifies the ways in which Titanic was groundbreaking in the first place. It was Hollywood’s last completely inescapable original piece of drama, and there’s a reason it still resonates.
(02/27/23 5:00am)
When the trailer for M3GAN first dropped last year, people immediately took to social media, obsessing over the well–dressed, blonde, robot girl and celebrating her odd (but intriguing) dance routine. What wasn’t there to enjoy about a killer doll with great hair and sassy moves?
(02/20/23 5:00am)
The film A New Old Play opens with its protagonist’s death.
(03/03/23 5:00am)
Some individuals have comfort people while some have comfort blankets. Others, though, have comfort TV shows. Comfort shows—with their specific storylines, immersive worlds, and fictional characters that we grow to know so deeply—as a type of emotional support aren't a foreign concept, but they're arguably more important now than ever before, given the current climate of the world.
(02/13/23 11:00am)
One of my favorite introductions to a film is that of Quentin Tarantino’s Inglourious Basterds. (Which, if you haven’t seen, you should go and watch immediately before reading this spoiler.) In it, a Nazi colonel (Christoph Waltz) visits a French farmer’s (Denis Ménochet) house, responding to rumors that someone in the area is clandestinely sheltering a Jewish family from the Holocaust. The first ten minutes play out, slowly building tension as the audience attempts to piece together which character knows something that the other does not. Then, as the farmer details the ages and features of the family’s children, the camera slowly pans down to reveal them quietly hiding beneath the floorboards.
(02/08/23 2:00pm)
The Oscars are having an identity crisis.
(01/23/23 5:00am)
Maybe it’s the highly dramatic acting that feels almost mimed at times, or maybe it’s the flamboyant clothing sported by Lily Collins’ character, but whatever it is, the fact remains that Emily in Paris is a show that, while highly entertaining, is usually laughable. Ask someone if they’ve watched the Netflix original series, and they’ll almost certainly roll their eyes and laugh, indicating their dislike for the cheesy program.
(01/16/23 5:00am)
Bones and All is impossible to turn away from. Grimy, gory, gross—absolutely. Swooningly romantic, gentle, and beautiful—also yes. Many viewers may be turned off by the premise of cannibals eating their way across America’s great plains and sprawling highways, but those who find their interest piqued will surely be rewarded. This is a film with a lot of meat on its bones.
