Film & TV
Film Review: Ryan Gosling Can DRIVE
We’d be happy to ride shotgun in this latest blockbuster.
I Don't Care How She Does It
SJP should stick to Manolos over finance.
Study These Fall Films
Street took the liberty of stereotyping you... again. But this time by major! Match your major with the film you shouldn't miss this fall.
Penn On Screen
At Penn, we know we’re in good company with plenty of actor and director alums — Elizabeth Banks and Ken Olin, to name a few.
The Misfits
High school misfit dramedy squeaks past success with soul
This Week In: Vintage Cinema
Philly is taking an inexplicable trip back in time to the days of David Bowie, the Exploding Plastic Inevitable, and unabashed male nudity in the arthouse market.
Inside Man: Extended Interview
Page One director Andrew Rossi chatted with Street about the future of print media and his unprecedented access to The New York Times’ hallowed halls.
The Hours and the Times
Compelling doc takes a sentimental look at The New York Times
Daytripper
Coogan carries on the uniquely British tradition of going on a road trip with someone you hate
Super Lame
Spielberg’s presence only shows how far Abrams misses his mark
X-Men: First Class
Thoughtful characterization sets this predecessor apart from the usual blockbuster fare
I love Paris
The City of Lights stars in Woody Allen's latest
Cannes in Review
As if you needed another reason to be jealous of your Cinema Studies major–ing friends who jetted off to France this for the Cannes International Film Festival, this year proved to be one of those years where you just had to have been there. Street takes a look at some of the high(and low)lights of the festival’s controversy–charged 64th foray. The Tree of Life Even among the festival’s most decorated films, there seemed to be few works that had the entire audience clapping by the credits. The Tree of Life, the 1950’s impressionist period piece from the reclusive auteur Terrence Malick, may have taken home the Palme d’Or – but that hardly means the decision was without dispute. The film was a hit among those who valued Malick’s drifting, reflective narrative style and painterly direction of lush imagery.
