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It’s a well–known and pretty undisputed opinion among the general population that movies are amazing. I mean, what’s not to like? They’re entertaining, they make you feel emotions, and they are beautiful snapshots into human existence and culture.
Ten thousand men of Harvard want vict'ry today For they know that o'er old Eli Fair Harvard holds sway.
We’re watching YOU, and loving it. The ominous, all–caps, three–letter word is the perfect title for this juicy ten–episode Lifetime original series, based on a book of the same name by Caroline Kepnes. Since its release on Netflix just three weeks ago, YOU has developed a considerably large following and has both critics and fans itching for a second season.
Short description: penis jokes. Long description: The Upside is a dramedy that follows the birth and growth of a friendship between Dell (Kevin Hart), a paroled ex–convict, and Phillip (Bryan Cranston), a wealthy quadriplegic, after Dell is hired to be Phillip’s full–time caretaker.
Alfonso Cuarón’s Roma opens up on the gentle sound of soapy water gliding against tile, with abstract waves of foam dancing in monochrome for minutes before the film introduces its central figure, Cleo Gutiérrez (Yalitza Aparicio), a young woman who serves as an in–house domestic worker for an upper–middle–class household in 1970s Mexico City. The camera sweeps the interior spaces of the home around which Cleo’s life is centered, catching glimpses of the many rooms that house the family’s four children. The gentle observation of Cuarón’s camera (the Academy Award winning director also served as the film’s cinematographer and editor) is present in all aspects of the film. Naturalistic editing links moments like threads of memory, with dialogue that is sparse but masterfully integrated into a story that is simultaneously melancholy and hopeful.
Between the flurry of Oscar buzz December releases and the shower of new streamable content ushered in with the new year, winter break was the prime time to catch up on the movies and television shows that will have everyone talking upon returning to the bleak Philadelphia winter. However, if sunny vacations and family obligations kept you from the theater, the remote, or the simple comforts of a night in with Netflix, Street has you covered for all that you missed while away.
It's no surprise that the subject of women ruling on their own has come into focus in recent film. The belief that women would be unfit to run a modern country can be countered with historical precedent—filmmakers and feminists alike insist that women, when allowed, have ruled with the same degree of competence as men. Two individual films focused on queens (Mary Queen of Scots and The Favourite) show two entirely different takes of women in power: one a success and one a flop.
Black Mirror: Bandersnatch is Netflix’s newest addition to their Black Mirror series. It follows young programmer Stefan Butler as he works on his video game adaptation of a choose–your–own–adventure book titled Bandersnatch. Throughout this process, Stefan is plagued by childhood traumas and paranoia that his actions are being controlled by some outside force. You, the viewer, are the outside force.
2018 is nearly over. And with the new year comes reflection, retrospection, and some top ten lists. This year gave us an onslaught of pop culture, and now Street has endeavored to choose the best of all of it—best albums, best television shows, best books, and best movies from this year, based on staff's picks.
2018 is nearly over. And with the new year comes reflection, retrospection, and some top ten lists. This year gave us an onslaught of pop culture, and now Street has endeavored to choose the best of all of it—best albums, best television shows, best books, and best movies from this year, based on staff's picks.
Sex, scandal and floral arrangements permeate La Casa de Las Flores, Manolo Carlos' latest Mexican telenovela series, now showing on Netflix.
Before I tell you anything else, I want to say that you should go see this movie. It’s a different experience than one I’ve ever had before. I’m telling everyone I know to go see this movie, especially my grandparents, who may be the only ones who will actually listen to me.
Outlaw King has the near–impossible task of depicting an exalted figure in medieval history and his victory. This legend is Robert the Bruce, or Robert I of Scotland, the man who led his country into independence from beneath English rule in the year 1306. He is a fabled warrior, a proclaimed hero, and someone almost larger than life. He defeated England when they were outnumbered by at least 5,000 men with genius military tactics, encouraged his soldiers in a time where it seemed hopeless, and built his army from the ground up. Outlaw King then has a heavy task in presenting him, but, surprisingly, it succeeds.
Following its initial release on November 16, the Netflix holiday original The Princess Switch has garnered fairly consistent reviews: it's silly, heart–warming, holiday fun that is extremely predictable. While I have nothing against a predictable story line and actually prefer happy endings, this movie felt like 100 minutes of very little excitement.
The coming–of–age of a LGBT teenager in a religious household is not a premise that is unfamiliar to audiences of contemporary film and television. As the seed of interpersonal and ideological conflict, the religious experiences of those in the LGBT community spur meaningful discussions around identity, family, self–acceptance, and, of course, love. The exploration of how religion shapes the experiences of young people within the LGBT community, and the potential trauma that might entail, can be enormously valuable for all viewers no matter what their background or identity. In recent years, the traditional canon of coming–of–age stories has expanded enormously as LGBT representation in film continues to grow, with many new classics emerging, garnering critical acclaim and stacking up awards. Based on a true story, Boy Erased provides a crucial look at a dimension of the contemporary LGBT experience that many of us forget has affected hundreds of thousands of Americans—the continued practice of conversion therapy, which proves particularly detrimental to LGBT youth.
The highly anticipated film, Bohemian Rhapsody, was released in theatres on November 2nd. With Robot star Rami Malek playing Freddie Mercury, the movie celebrates Queen and explores the extraordinary life of its leader. In this day and age, many of us have only experienced the iconic music of Queen, but don’t know all the details of Mercury’s revolutionary existence. Here’s a quick crash course to prepare you for the movie:
Fantastic Beasts: The Crimes of Grindelwald is a mouthful of a movie title, and it’s representative of the film’s biggest problem: it tries to do to way too much. Although Crimes is ultimately an enjoyable watch, it fails to capture the elusive magic of the original series and muddies the waters for the Potterverse going forward.
The new Fantastic Beasts: The Crimes of Grindelwald movie is coming up, and if you're anything like the Harry Potter fanatic I am, you hate it when you can’t figure out all of the references and details. A marathon is all you need to catch up and remember everything for the (much worse) new movie.
I have watched in horror and disbelief with the rest of the country as reports of mass shootings and instances of gun violence have consistently plagued news outlets and dinner–table conversations for almost as long as I could remember. But it wasn’t until about a week ago that I started to think about the issue of gun violence a little more personally.
The opening moments of Can You Ever Forgive Me? reveal a New York City unlike the blue–skied wonderland where writers keen on making it take to the illuminated streets in search of their big break. Instead, we experience the well–worn streets of the Upper West Side through the eyes of the real–life writer Lee Israel, the central figure of the film, who is portrayed with control and sympathy by Melissa McCarthy. After being fired from her job and told off by her agent, Lee is at a loss on seemingly every measurable scale of her life. She’s behind in her rent, her cat is ill, and despite her talent and previous success, she sees no future of her own voice making it to the page, hiding behind the figures she writes about). The gloom and doom she carries with her seems to infiltrate every space she enters, including the bar she frequents given her habit of heavy drinking. Just by chance, Lee happens upon a spirited, charismatic man, Jack Hock (Richard E. Grant), who she’d met before, or at least remembered given an alcohol–induced, fur–destroying public urination stunt at a party. Despite their dichotomous personalities, the two bond quickly. However, as delightful as their friendship may be, it is far from the only unlikely spark that sets the film into motion.
Solutions by The State News