Interview With Jesse Eisenberg And Aaron Sorkin
Street sat down with Jesse Eisenberg and Aaron Sorkin to discuss interactive media, fencing and the real men behind the story.
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Street sat down with Jesse Eisenberg and Aaron Sorkin to discuss interactive media, fencing and the real men behind the story.
“Why won’t anyone take me seriously?” asks Joaquin Phoenix in I’m Still Here, a “documentary” about the star’s bizarre transition from acting to rapping. Within the film, this statement is the cry of a fallen artist who desperately wants the public to respect his bizarre pursuits. However, it may also be one of many inside jokes.
Street sat down with Nash Edgerton, director of The Square, to discuss spiders, stuntwork and freak accidents
At this point in the semester, the summer movie schedule is probably a distant afterthought. In order to get you thinking about what's really important, we’ve put our trailer-watching procrastination to good use, pointing out the best and worst prospects for the season ahead.
The Square, a gritty and masterful neo-noir flick, announces two powerful voices to the film world. Hailing from Australia, director Nash Edgerton and his brother, screenwriter Joel Edgerton, are drawing comparisons to the Coens, and rightly so.
It’s appropriate that Kick-Ass opens tomorrow. While the next few days will be filled with enough booze and debauchery to keep you busy, I can think of no better Fling activity than watching this film in a theater filled with your drunken classmates.
Let’s face it. When Tina Fey and Steve Carell come together for a movie, you’re going to see it regardless of what we say. However, for better enjoyment it may be a good idea to lower your expectations.
Although stop-motion has been around since the early days of film, it has burst back into the spotlight over the past twenty years courtesy of The Nightmare Before Christmas, Corpse Bride, Fantastic Mr. Fox and the Wallace & Gromit series, among other modern animation classics. The endlessly demanding technique involves taking photographs of objects, from clay to puppets and beyond, moved in small increments between shots. These are then played in sequence to create the illusion of movement. Stop-motion may lack the fluidity of hand-drawn or computer animation, but the rich texture and immersive quality that it creates cannot be imitated.
In Bong Joon-ho’s satirical masterpiece The Host, a giant monster wrecks havoc on a Korean city. Mother, Bong’s follow-up feature, presents a different kind of brute force, internalized in the figure of a fiercely devoted mother.
Last year, many film lovers were outraged that the Swedish vampire masterpiece Let the Right One In didn’t score an Academy Award nomination for “Best Foreign Language Film.” However, Oscar voters were not to blame. Instead, the Swedish Film Institute failed to select the movie as the country’s official submission, effectively eliminating it from consideration.
Each year as Oscar nominations are announced, worthy candidates are inevitably left off the nominations shortlist. Most of the time, these contenders are soon forgotten, but we decided to highlight our favorites that didn’t quite make the cut.
Street chatted with The Art of the Steal director Don Argott and producer Sheena M. Joyce. The couple owns 9.14 Pictures, a production company located in Philadelphia.
According to Don Argott’s riveting documentary The Art of the Steal, one of the biggest thefts of recent memory was conducted not by masked men with guns, but by Philadelphia’s own elected officials. The film tells the history of Dr. Albert Barnes (a Penn graduate) and his prestigious art collection, home to hundreds of original paintings by masters such as Matisse, Renoir, Cezanne and Van Gogh.
Shutter Island, Scorsese and DiCaprio’s fourth collaboration, finds the legendary duo taking more risks than ever before. Set in the 1950s on an island home to a mental institution, the film is a complex, genre-blending thrill ride of psychological horror.
Street caught up with legends Martin Scorsese, Leonardo DiCaprio and Sir Ben Kingsley to discuss their new film, Shutter Island
In 2008, Made in the Dark catapulted Hot Chip to the forefront of electropop, capturing the attention of hipsters across the country. Yet what makes this British band unique is not their ability to craft heart-pounding, synth-infused dance beats, but their willingness to explore life beyond the dance floor — namely, the introspection that follows once the lights go out and the alcohol wears off.
An unlikely nation has captured the attention of cinephiles across the globe. Since 2005, four Romanian films have won major awards at the Cannes Film Festival, leading observers to announce that a Romanian New Wave has arrived. While some debate over whether a unified new wave actually exists, the films emerging from the country undoubtedly share striking stylistic and thematic elements.
As director Bela Tarr points out, Werckmeister Harmonies explores the “boundaries between civilization and barbarism.” While cryptic, his experimental allegory about encroaching fascism is visually stunning and endlessly rewarding.
Something is amiss in the village of Eichwald, Germany. A series of “accidents” begin to occur: a barn catches fire, a hidden wire trips a horse and its rider and a woman falls through a rotten floor to her death. And as the townspeople contemplate these events, more pointed acts of violence soon follow, culminating in the brutal murder of a child. However, the perpetrator continues to remain elusive, creating an atmosphere of deep unrest in the town.
2009 has been sort of an up and down year for theater-goers, as triumphant highs, like The Hurt Locker, have shared screen time with embarrassing lows, The Squeakquel, anyone? As with any year, though, opinions on even the most lauded films vary, so Street's film editors this semester have each compiled their own top 10 lists. Update your movie-going plans accordingly.
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