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(01/27/20 10:15pm)
Guy Ritchie has returned to his roots. After his slightly peculiar live–action remake of Aladdin, it was unclear if the director would go back to his classic, comedic, fast–paced style of film as aptly displayed in the Sherlock Holmes duology or the funny spy action thriller The Man from U.N.C.L.E. Within the first five minutes of Ritchie’s latest film, The Gentlemen, it becomes clear that this is Ritchie back in his old groove—almost immediately, a character calls another a “deluded shit–eating cunt,” threatens to physically harm him, and then shares a drink in his living room.
(01/28/20 8:32pm)
Dolittle begins with a lovely animated clip that quickly fleshes out a tragic backstory for Dr. Dolittle, injecting quick and underdeveloped emotion into the story. Not only that, but it quickly fridges Dr. Dolittle’s wife, Lily, establishing why he’s a sad hermit in the movie's exposition. Perhaps if Dolittle had simply been this animation about Dr. Dolittle and Lily exploring the world and rescuing animals, it might have actually been enjoyable.
(01/26/20 8:55pm)
In recent years, streaming services and web series have revolutionized the stories Indian content creators are able to tell. They have become not only one of the most popular forms of media amongst Indian youth, but also have finally paved the way for Western audiences to enjoy groundbreaking Indian content. Most Bollywood films, though as varied in genre and narrative as Hollywood films, are still musicals, and the overall view of the genre, as well as the Western world’s reluctance to enjoy foreign cinema, has prevented non–Indian audiences from enjoying Indian content.
(01/22/20 12:06am)
I read Little Women for the first time in sixth grade, climbing to the top of my bunk bed every night armed with the four–inch–thick novel in one hand and a book light in the other. The story of a Civil War–era family of four daughters was one I soon grew infatuated with. So when its latest film adaptation by Greta Gerwig came out, I ran to see it.
(01/21/20 11:32pm)
Schitt’s Creek is one of those rare family sitcoms that revels in sincerity and genuine kindness. Unlike other well–known, feel–good sitcoms on television today, such as The Good Place or Brooklyn Nine-Nine, it chooses not to focus on existential philosophy or action–filled police casework. All it has are its characters, the Roses, and their small–town problems and skirmishes.
(01/20/20 1:32am)
Whether willfully or not, the Oscars are considered an important cultural event and a hallmark of success for actors, directors, and technical crews. Everyone’s gaudy outfits get articles devoted to them, coverage of the newscast fills social media, and these awards are considered to be granted to the best of the best in Hollywood.
(12/11/19 8:52pm)
This decade's output of television—the good, the bad, and the ugly—was staggering. At times, it was hard to keep up. But we tried our best. To qualify, a show had to air not entirely but mostly in this decade, and to have made a cultural impact on the 2010s. Below is Street's list of our favorite television shows from this decade, listed in the order in which they aired.
(12/11/19 8:52pm)
This decade in cinema has been a wild ride. We saw the rise of the comic book movie, the return of some of the biggest franchises of all time (from Star Wars to Jurassic Park), and an explosion of indie studios—from the social media savvy A24 to the microbudget horror juggernaut Blumhouse. For this list, Street sorted through it all to give our top 15 movies of the decade—listed in the order in which they came out.
(12/03/19 11:23pm)
Saw Chris Evans in 'Knives Out': “I'm a seasonal bisexual, I just really like men in sweaters."
(11/29/19 7:18pm)
Towards the beginning of Knives Out, a detective (Lakeith Stanfield) remarks that Harlan Thrombey (Christopher Plummer), a successful crime novelist and the patriarch of the Thrombey family, “practically lived inside a Clue Board.” The detective is referring to Harlan’s sprawling, mahogany–filled mansion that serves as the film’s primary setting. In some ways, though, the whole movie feels like Clue.
(11/27/19 3:06am)
Ford v. Ferrari is not just a racing movie. Yes, it has to do with racing—the first act is primarily about assembling a race car, its two main characters are well–known figures within the racing world, and the majority of the runtime is spent either on the track or in the workshop. But you don't have to know precisely what an RPM is, how races work, or what even goes into the construction of a race car to understand the movie.
(11/21/19 8:42am)
If The Walt Disney Company had not already solidified itself as one of the most influential and culturally relevant media companies of all time, the buzz surrounding its streaming service, Disney+, has made us sure. Just a day after its release, they boasted over 10 million subscribers, and that number is only growing. The response to this new service, and the hundreds of movies and TV shows it contains, has been widespread and positive at every turn.
(12/02/19 1:43am)
Fall means lots of things—sweaters, yellow leaves, and early sunsets. For Street, it also means the ideal season for procrastination: in this brief period before finals, it's nice to distract ourselves by searching for a new show to binge. Check out what's on F&TV's watchlist this month—covering ever genre from horror to comedy.
(11/13/19 3:19am)
Despondent Girl Seeks Media Job: “I’m going to be an editorial intern until I die.”
(11/11/19 10:43pm)
Perhaps following up Stanley Kubrick’s The Shining is an impossible task. Kubrick’s 1980 classic is considered one of his best films, if not his magnum opus, and has spawned great discussion since its release. Such detail–focused examination is showcased most famously in the documentary Room 237. The Shining is not just an important aspect of film canon—it is an icon, a constantly referenced piece of work, and a culmination of an amazing director’s talents in one of the best horror movies of all time.
(11/13/19 3:53am)
The Gershman Philadelphia Jewish Film Festival, the second oldest Jewish film fest in the country, kicked off on Nov. 9. The festival was founded to, “educate and engage diverse Philadelphia communities, Jewish and non–Jewish alike, by presenting world–class film premieres, repertory cinema, and associated programs that are inspired by Jewish history, heritage, and values.”It will be taking place through Nov. 23.
(11/27/19 4:58am)
Thanksgiving break: the holiday that's all about tense family politics, revisiting awkward stories from your childhood, and endless moments we wish we could avoid. Luckily, there’s a solution—a trip to the movies, otherwise known as two hours of no conversation over freshly buttered popcorn.
(11/06/19 3:52am)
Girl at Magic Gardens: “Molly is literally my best friend.”
(11/07/19 2:01am)
The Lighthouse is a hard film to watch and an even harder one to explain. Its premise is that Robert Pattinson and Willem Dafoe are stranded on an island together for four weeks, and clearly they're beginning to go insane. There's a female siren, who shouts in a terrifying half–song, half–scream, a seagull who attempts to make Robert Pattinson’s existence a living hell, and an incessant humming noise from the lighthouse that seems to be driving each character mad. Director Robert Eggers, who previously gained critical acclaim for his breakout film The Witch in 2016, has crafted this film in black–and–white and an oppressive 1.19 by 1 aspect ratio. There's also the glaring, holy light of the lighthouse, omniscient and pseudo–religious. Suffice it to say, The Lighthouse is a very strange film, but certainly an interesting one.
(11/04/19 8:34am)
The King, on all accounts, should be a home run—it has Timothée Chalamet, Robert Pattinson, men rolling around in the mud, and it’s released on Netflix, meaning its mass of Twitter fans can watch it right from their bedroom, free of charge. The film initially gained traction when its trailer was released and people drooled over Timothée Chalamet’s dirt–stained face and messy hairstyle. Even within hours of its release, people were already talking about Robert Pattinson and his weird accent. Yet, despite the fact that The King seemed primed for success, it fumbled with a boring plot, peculiar pacing, and some uninspired performances.
