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In Ex Machina, Caleb Smith falls in love with Ava, a humanoid robot with artificial intelligence (AI). In Her, Theodore Twombly falls in love with Samantha, a self–named operating system with AI. In Blade Runner 2049, K is in a domestic relationship with Joi, a projected hologram of Ana de Armas… with AI.
It’s that time of year that some dread and others anticipate: Valentine’s Day. It’s time to pull out the romantic comedies, sappy love stories, popcorn, and Ben & Jerry’s to help it all go down.
Stand-up comedy has reached new heights with help from Netflix. The streaming platform even has an entire Instagram, @netflixisajoke, dedicated to promoting their endless comedy series and specials. Not sure where to start? Check out the following comedians, each with a unique style to suit you. Watch to laugh, or just so you can start catching your friend's constant references to well-known comedy routines in casual conversation. Either way, there's a comedian who you'll soon find yourself Youtube–stalking, whether it's their sets from the early 2000s or their work on your favorite current comedy shows.
When we think about the point at which movies cross over from being popular entertainment to art cinema—the artificial division between the empty genre film and the poetic, slow–moving indie flick—where exactly do we place animated movies? The proliferation of animation as a major film–making medium has been a long process primarily driven by technological innovation. The special effects of classic films like King Kong would not have been possible without the use of stop–motion animation. Early computer–generated animated films, including Pixar’s first feature film Toy Story, have held up surprisingly well despite the great leaps in CGI technologies. In 2018, Spiderman: Into the Spiderverse garnered significant acclaim for emulating the visual style of a comic book through computer animation. In short, contemporary 3D animation is nothing less than awe–inspiring. However, in addition to innovation at the artistic and technological level, the medium of animation has been a hotbed for inventive modes of storytelling. Many of the greatest animated films in recent memory have transcended the genres and the audiences that we set on such a flexible medium, using the liberties of limitless visual invention to tell the stories that children hold with them well into adulthood.
In Roland Barthes’ essay, “The Death of the Author,” he asserts that critics and audiences must separate literature from its author. To acknowledge the author is to unnecessarily add background context to the piece. The phrase, “death of the author,” has come up in recent criticism around artists like J.K. Rowling and the validity of her extensive addendums to Harry Potter. Now, with the current round of Oscars coming up, we face the slight alteration of Barthes’ concepts, a proposed idea for a newer medium: The death of the director.
Following Outlaw King, Roma, and Black Mirror: Bandersnatch, Netflix keeps its output of original productions rolling in 2019 with Velvet Buzzsaw, a satirical thriller–turned–comedy following several art world big–shots who begin commercializing a dead man’s artwork. When business begins picking up, supernatural tragedy befalls everyone who’s been involved with profiting off the dead artist, Vetril Dease.
Honey Boy is an explanation. It might even be a baptism. Or maybe it's about permission. Permission to hate, permission to forgive, and permission to move on.
He’s been dubbed the "Jack the Ripper" of the United States. He’s admitted to brutally violating and murdering over 30 women during the 1970s. He’s known for his disarming charisma and (literally) devilish good looks. His story has been recounted in media and popular culture countless times. Ted Bundy—the household name that plagued headlines and haunted millions for decades—is emerging once again. 30 years after his execution, we’re offered yet another allegedly unique look into the mind of America’s most infamous serial killer—this time, through a Netflix Original.
Former Street editor–in–chief Nick Joyner went to the Sundance Film Festival in Park City, Utah. Now Nick’s back to fill us in about all the hottest indies coming out this year.
It’s a rare thing to see a socially conscious film held with care and comedy, and Adam is just that. The movie—directed by Rhys Ernst, a queer filmmaker who has worked as a producer on Amazon Studios’ Transparent—resembles something of a queer The Perks of Being a Wallflower crossed with radical sexual politics.
Dirty God (2019) opens with a slow pan over a body of burned flesh. The sinewy, drum–tight skin looks like a tapestry in the warm morning light, so gorgeous that it becomes textural. Several minutes pass before we see a face, the face of the disembodied figure we’ve been scrutinizing.
With just under a month left before the 91st Academy Awards air on ABC, the scramble to watch as many of the nominees as possible is well underway. For those of us excited to share in the joy and outrage that will inevitably erupt in response to the Oscar results, this is our last chance to catch up on all that we may have missed in 2018. Although the nominated feature films tend to populate theaters nationwide or are available on–demand via streaming services, the 15 nominees in the short categories are often left out of the conversation. While many of these shorts may require screenings at specialty theaters, six of the 15 are available online.
What exactly qualifies a film as "popular?" This question came to the forefront when, this past August, the Academy of Motion Picture Arts and Sciences announced an addition to the upcoming Oscars, an award titled “Outstanding Achievement in Popular Film.” The category would be separate from the most anticipated prize of the evening of Best Picture. Though the Academy released few details about the new award other than its title, the decision still incited passionate response.
In possession of a 1.1-billion-yen budget, a massive bank of source material, and a story steeped in destruction, brotherhood, and power, Akira (1988) was set up to succeed.
Ghostbusters is one of those classic films that everyone loves. The catchy theme song, iconic white hearse, and clunky proton packs are easily recognized by all and beloved by many. In the era of sequels and remakes, it’s no surprise that this cherished franchise is being adapted to entertain a new generation of viewers. But the drama surrounding the 2016 and 2020 Ghostbusters remakes may come down to more than just creative differences.
While the background of the Thorpe affair is mostly unknown to Americans, the consequences of Jeremy Thorpe’s quiet affair with Norman Scott, a relationship that ended shortly after it began, had effects on both of their lives and certainly Thorpe’s political career. Ben Whishaw accepted a Golden Globe for Best Supporting Actor in a Limited Miniseries, marking his first American award and the only win for the show, A Very English Scandal. He thanks, in quick succession, his director, his writer, the surrounding cast, and then, in a slower tone, turns to dedicate the award to the man he portrayed: Norman Scott.
The Talk—we all know it, hate it, and under normal circumstances, would probably avoid revisiting the embarrassing, pubescent eras of our lives in which it was given to us. But Sex Education is The Talk revamped. This new Netflix Original is a witty, raunchy, and unexpectedly touching exploration of the confusing topics of teen sex and love, minus the awkward parental intervention.
Ah, yes, awards season—one of those excessive American cultural extravagances that people love to hate. For some of us, however, at the very end of this season comes the Sunday night show that we’ve been anticipating all year—the Academy Awards. For those of us who have followed the previous year’s films with intense scrutiny, have set aside predictions based on our knowledge of the Academy’s tastes and our own intuition, and who have become invested in the dozens of players that find their way into the mix, the nominations are perhaps the most compelling aspect of this grandiose operation. The Oscars announced their 2019 nominations this Tuesday, and Street is here to go over the biggest surprises and snubs.
On the night of January 18, 2019, I took SEPTA up to the Philadelphia Mausoleum of Contemporary Art (PhilaMOCA) and watched a heartfelt documentary about an old man and his undying need to create. Never–Ending Man: Hayao Miyazaki follows the co–founder of Studio Ghibli as he struggles with the idleness of post–retirement life and, later, his decision to pick up a new project, Boro the Caterpillar.
I, along with literally everyone else on the planet, spent my winter break binging the latest season of The Marvelous Mrs. Maisel. I mean, with two Golden Globe wins under its belt, it’s almost impossible to not be intrigued by the dazzling life of upper–class Jewish New York in the 1950s. It’s whimsical, it’s hilarious, and it manages to portray every aspect of life in just the perfect rose–colored lens.
Solutions by The State News