Street x Sundance: 'Honey Boy'
Honey Boy is an explanation. It might even be a baptism. Or maybe it's about permission. Permission to hate, permission to forgive, and permission to move on.
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Honey Boy is an explanation. It might even be a baptism. Or maybe it's about permission. Permission to hate, permission to forgive, and permission to move on.
He’s been dubbed the "Jack the Ripper" of the United States. He’s admitted to brutally violating and murdering over 30 women during the 1970s. He’s known for his disarming charisma and (literally) devilish good looks. His story has been recounted in media and popular culture countless times. Ted Bundy—the household name that plagued headlines and haunted millions for decades—is emerging once again. 30 years after his execution, we’re offered yet another allegedly unique look into the mind of America’s most infamous serial killer—this time, through a Netflix Original.
Former Street editor–in–chief Nick Joyner went to the Sundance Film Festival in Park City, Utah. Now Nick’s back to fill us in about all the hottest indies coming out this year.
It’s a rare thing to see a socially conscious film held with care and comedy, and Adam is just that. The movie—directed by Rhys Ernst, a queer filmmaker who has worked as a producer on Amazon Studios’ Transparent—resembles something of a queer The Perks of Being a Wallflower crossed with radical sexual politics.
Dirty God (2019) opens with a slow pan over a body of burned flesh. The sinewy, drum–tight skin looks like a tapestry in the warm morning light, so gorgeous that it becomes textural. Several minutes pass before we see a face, the face of the disembodied figure we’ve been scrutinizing.
With just under a month left before the 91st Academy Awards air on ABC, the scramble to watch as many of the nominees as possible is well underway. For those of us excited to share in the joy and outrage that will inevitably erupt in response to the Oscar results, this is our last chance to catch up on all that we may have missed in 2018. Although the nominated feature films tend to populate theaters nationwide or are available on–demand via streaming services, the 15 nominees in the short categories are often left out of the conversation. While many of these shorts may require screenings at specialty theaters, six of the 15 are available online.
What exactly qualifies a film as "popular?" This question came to the forefront when, this past August, the Academy of Motion Picture Arts and Sciences announced an addition to the upcoming Oscars, an award titled “Outstanding Achievement in Popular Film.” The category would be separate from the most anticipated prize of the evening of Best Picture. Though the Academy released few details about the new award other than its title, the decision still incited passionate response.
In possession of a 1.1-billion-yen budget, a massive bank of source material, and a story steeped in destruction, brotherhood, and power, Akira (1988) was set up to succeed.
Ghostbusters is one of those classic films that everyone loves. The catchy theme song, iconic white hearse, and clunky proton packs are easily recognized by all and beloved by many. In the era of sequels and remakes, it’s no surprise that this cherished franchise is being adapted to entertain a new generation of viewers. But the drama surrounding the 2016 and 2020 Ghostbusters remakes may come down to more than just creative differences.
Hoodie Allen (whose real name is Steve Markowitz) isn't your average rapper—he’s also a former Penn student that used to stroll down Locust Walk like the rest of us. As an undergraduate, Markowitz (W ‘10) was a member of the Sprint Football team and a brother in the Alpha Epsilon Pi fraternity while working on a budding rap career. He got a job at Google post–graduation, later decided to quit to pursue a full–time career in music, and hasn’t looked back since—he’s released multiple charting albums and EPs in the past decade. Given his time at Penn, let’s take a look at his relationship with the university where he studied and began his rise to success.
The Talk—we all know it, hate it, and under normal circumstances, would probably avoid revisiting the embarrassing, pubescent eras of our lives in which it was given to us. But Sex Education is The Talk revamped. This new Netflix Original is a witty, raunchy, and unexpectedly touching exploration of the confusing topics of teen sex and love, minus the awkward parental intervention.
Ah, yes, awards season—one of those excessive American cultural extravagances that people love to hate. For some of us, however, at the very end of this season comes the Sunday night show that we’ve been anticipating all year—the Academy Awards. For those of us who have followed the previous year’s films with intense scrutiny, have set aside predictions based on our knowledge of the Academy’s tastes and our own intuition, and who have become invested in the dozens of players that find their way into the mix, the nominations are perhaps the most compelling aspect of this grandiose operation. The Oscars announced their 2019 nominations this Tuesday, and Street is here to go over the biggest surprises and snubs.
On the night of January 18, 2019, I took SEPTA up to the Philadelphia Mausoleum of Contemporary Art (PhilaMOCA) and watched a heartfelt documentary about an old man and his undying need to create. Never–Ending Man: Hayao Miyazaki follows the co–founder of Studio Ghibli as he struggles with the idleness of post–retirement life and, later, his decision to pick up a new project, Boro the Caterpillar.
I, along with literally everyone else on the planet, spent my winter break binging the latest season of The Marvelous Mrs. Maisel. I mean, with two Golden Globe wins under its belt, it’s almost impossible to not be intrigued by the dazzling life of upper–class Jewish New York in the 1950s. It’s whimsical, it’s hilarious, and it manages to portray every aspect of life in just the perfect rose–colored lens.
It’s a well–known and pretty undisputed opinion among the general population that movies are amazing. I mean, what’s not to like? They’re entertaining, they make you feel emotions, and they are beautiful snapshots into human existence and culture.
Ten thousand men of Harvard want vict'ry today For they know that o'er old Eli Fair Harvard holds sway.
With Philadelphia being such a large, culturally rich city, there are many spaces dedicated to the arts, from museums and theaters to venues that offer live music. Live music performances provide a special energy that can’t really be experienced in many other settings, and are a great way to have a fun night out with friends. Fortunately, there are quite a few different venues situated not too far from campus.
Short description: penis jokes. Long description: The Upside is a dramedy that follows the birth and growth of a friendship between Dell (Kevin Hart), a paroled ex–convict, and Phillip (Bryan Cranston), a wealthy quadriplegic, after Dell is hired to be Phillip’s full–time caretaker.
To the average Philadelphian walking their dog or jogging through the neighborhood, it would come as a shock to know that a small Wynnefield townhouse was, for one night, a concert venue. On Jan. 14, indie prog rock band Kindo (formerly known as The Reign of Kindo) performed a 90–minute headlining set on the concrete basement floor of a four–bedroom house not too far from St. Joseph’s University. Walking up the brick stairs makes concert attendees feel more like trick–or–treaters or door–to–door salesmen than prog aficionados, and there comes a moment before opening the door where one hopes they have the correct address and won't be barging in on a house party or family dinner.
When I was three years old, I refused to watch anything other than MTV and Animal Planet for months. Instead of playing tag and watching The Backyardigans, I worshiped at the altar of TRL and its weekly rotation of up–and–coming pop divas. First, it was Christina Milian. Then it was Avril Lavigne. However, my most enduring obsession was with JoJo, the 13–year–old wunderkind with a voice reminiscent of a young Mariah Carey—all vocal runs and vibrato. I remember choreographing dance routines to her ever–catchy single “Baby It’s You” and inventing an imaginary boyfriend so I could relate to “Leave (Get Out).” In many ways, JoJo’s commanding vocals and playful demeanor cemented my love for mainstream pop. So when she re–recorded her self–titled debut album after a dispute with her former record label that deprived Spotify of some quintessential throwbacks, I knew I had to take a listen.
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