The Harvard Crimson sends its writer— Ethan B. Reichsman '18 —to the French Riviera to cover the Cannes Film Festival.
Young Thug takes his mumble-rap style to a clearer, more refined level while also managing to step outside of his comfort zone. The vocal clarity on this project draws closer attention to the lyrics, however, an area where he continues to struggle to bring depth.
“Melodrama” triumphs in its ability to capture all the different facets of love and its consequent heartbreak. Each song explores these feelings in a tender way, slowly peeling back the layers of boozy nights until we are confronted with truth and raw emotion.
For the 2016-2017 season of the Boston Early Music Festival (BEMF), the Akademie für Alte Musik Berlin played an energetic show at The New England Conservatory’s Jordan Hall. The program performed on March 24, “Of Frogs and Men,” consisted of Baroque music on the theme of nature. These pieces were played delightfully by fifteen players including violins, violas, oboes, a violoncello, a double bass, a bassoon, a lute, a harpsichord, and a recorder, all the while bringing to life the opulence of this style to the stage.
On April 3, the Museum of Fine Arts previewed its upcoming exhibition, “Matisse in the Studio.” Organized by both the Museum of Fine Arts and London’s Royal Academy of Arts, and in partnership with Nice’s Musée Matisse, which provided the curators with many of the objects and paintings featured in the exhibition, it is the first major international show to highlight not just Matisse’s art, but also the space in which he created his masterpieces.
One nice thing about “Free Fire” is that the sound designers probably had a lot of fun putting together the film’s endless cacophony of gunshot noises.
By establishing a world with bizarre characters and twisted logic, Lanthimos is able to mine the drawn-out, if inevitable, build-up to a dramatic conclusion for an equal measure of laughs and chills.
Edie Meidav’s short story anthology “Kingdom of the Young” fails to meet high expectations: Though her previous three novels were universally acclaimed, her first anthology does not live up to the hype.
“A poet’s poet’s poet,” as acclaimed poet John Ashbery described her, Elizabeth Bishop, one of the finest mid-twentieth century American poets, is masterfully portrayed in Megan Marshall’s new biography, “Elizabeth Bishop: A Miracle for Breakfast.” Marshall, a former student of Bishop’s, interweaves a richly descriptive account of Bishop’s personal life and artistic output with sections about Marshall’s own life.
“Eastwatch” shifts its sights away from the violence, and chooses to focus on the political landscapes of Westeros, and how the characters navigate their way through them.
This is the first episode in season seven that actually feels like a “Game of Thrones” episode.
It’s a great single-player experience that you might not want to play again after you beat it, but it’s a hell of a time while you’re on that first run.
In Hellblade, everything’s very intimate—the camera is very close to Senua. It’s brutal, and it’s very visceral, so combat is different.
“The Queen’s Justice” seems consumed with fleshing out the relationship between the human consciousness and imagination.
Farmer took a step back from the other pavilions’ fear of the apocalypse. He reminds us that what humanity is afraid of is its own end, not the end of everything.
Even though multiple plot points have been set in place, the series still feels like it’s struggling to find its speed.
All narratives face problems with making the context as compelling as the climax; and, in the series’ defense, it has managed to show, with annual consistency, that its climaxes are worth the journey. However, the episodes surrounding the series’ best hours (“Blackwater,” “The Rains of Castamere,” and “Hardhome,” among others) are still occasionally poorly plotted context at best—and lazy table setting at worst.
I’ve poured many, many hours into "Stellaris,” and I can tell you that it’s worth your time.
I here assert that the queer identity must not be anything. The queer identity must be indefinable, nondescript, impossible to anchor to one image, one glam-rock group or pop goddess.