The real problem at the core of the movie seems to be restraint: Luhrmann has none. In fact, the film is packed so full of confetti and sex that there seems to be little room for one key element: the source text. This makes for an entertaining film, perhaps, but not for a successful adaptation of one of the great American novels.
This album is less personal than some of the group’s more recent releases. Lyrically, the focus is on status-obsessed characters (mostly unattainable women) of the sort one probably meets a lot in the band’s hometown, Versailles, France. The album’s strongest points are its swaggering grooves.
“Twelve Reasons to Die” gives us a glimpse of hip-hop at its best. Working within their genre, which has a rich history of contemporary and classic forms, Adrian Younge and Ghostface Killah understand the capabilities of hip-hop as a storytelling tool and have created a narrative-driven masterwork.
At the end of the production, S speaks to Shelley, demanding his counterpart to decide what type of man he will be. “It’s time to decide who you are—master or monster,” he says. With such an emotional ending, Giles’s “Sea Change” invited its audience to live and breath the life of Mary Shelley, leaving a sentiment that resonated even after the curtains were closed.
There were breakups on the left, a besotted duo on the right, and playful friendly interactions behind. The varied relationships reached a climax at one moment in the middle of the production when all nine performers herded the audience into one group and danced around them, chant-like and circular as the lights narrowed on the unsuspecting theatergoers. The message was clear; relationships are all-consuming, emotional, and there’s no way to avoid the glaring reality of love.
As you can expect in any Loach film, there is no shortage of vividly rendered scenery. The cinematography is a real treat for the eyes, a visual whiskey tasting of colors, textures, and terrains. And despite a lazy plot, "The Angels' Share" still manages to be a heartening and enjoyable story.
The real problem at the core of the movie seems to be restraint: Luhrmann has none. In fact, the film is packed so full of confetti and sex that there seems to be little room for one key element: the source text. This makes for an entertaining film, perhaps, but not for a successful adaptation of one of the great American novels.
Kirill Medvedev has brilliantly anticipated, but not truly managed to avoid the traps of literature and politics that he so perceptively outlines in his essays. His present celebrity as the leading poet of his country is yet a fragile one, by very fact of its inimitable novelty.
Through superb character development, narrative innovations that are all her own, and humor that winks at Austen without kowtowing to her, new author Lousia Hall crafts a poignant tale that transcends the riff-off genre.
At the end of the production, S speaks to Shelley, demanding his counterpart to decide what type of man he will be. “It’s time to decide who you are—master or monster,” he says. With such an emotional ending, Giles’s “Sea Change” invited its audience to live and breath the life of Mary Shelley, leaving a sentiment that resonated even after the curtains were closed.
There were breakups on the left, a besotted duo on the right, and playful friendly interactions behind. The varied relationships reached a climax at one moment in the middle of the production when all nine performers herded the audience into one group and danced around them, chant-like and circular as the lights narrowed on the unsuspecting theatergoers. The message was clear; relationships are all-consuming, emotional, and there’s no way to avoid the glaring reality of love.
Patrick Marber’s “Closer” is a play of extreme, if shallow, intensity. It features only four characters, each of whom is pitilessly revealed to be selfish, narcissistic, and hypocritical. In a setting as intimate as the Loeb Ex, “Closer”, which ran until April 27 and was directed by Lily R. Glimcher ‘14, had an almost suffocating effect.
“Pain & Gain” is, in the end, a charming paradox. It is the least Michael-Bay film Bay has ever made, containing nearly none of the reckless destruction for which he is known. Yet somehow, it is also the most Michael-Bay a film can get, distilling all of his cinematic techniques down to their essence and deconstructing the aspects that fall into the Bay aesthetic.
For some of these artists, the task of creating an art piece that engages with its surroundings is an emotional journey.
“We few, we happy few, we band of brothers.” So goes the famous St. Crispin’s Day speech, delivered by King Henry V at the climax of the eponymous Shakespeare play. In a departure from more popular Shakespeare comedies or dramas, director Matthew G. Warner ’13 says, the decision to perform “Henry V,” an English historyplay, illuminates a different, lesser-known aspect of Shakespeare’s work. Presented by the Hyperion Shakespeare Company, “Henry V” will open at the Agassiz Theatre on May 3.
Dance is at the forefront in “At Last,” but the production is lent an additional layer of complexity by its plot. The dances in the production chronicle the evolving relationships of four different couples. In between dances, vocalist Page Axelson, a junior at Reading Memorial High School, sings differing versions of “At Last” that speak to the particular nature of the couples’ stories.
An interactive listing of events for this weekend's Arts First festival.
“Upstream Color” comes to us after a nine-year gap from director Shane Carruth’s first film, full of stunning visuals and a deeply puzzling plot. Despite the jumbled and disjointed narrative, the cinematography is so beautifully done that it makes the film a pleasure to watch, if not to understand.
Kirill Medvedev has brilliantly anticipated, but not truly managed to avoid the traps of literature and politics that he so perceptively outlines in his essays. His present celebrity as the leading poet of his country is yet a fragile one, by very fact of its inimitable novelty.
