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Don’t get me wrong: The Predator is part of a long line of second–rate reboots used to scrape every dollar out of a good idea like an almost–empty Nutella jar. That being said, this one is worth every penny.
Even though LA native Sonari Chidi (C '20) never envisioned himself behind the scenes of a documentary, there was a key element to documentary filmmaking that drew him to it: the ability to give a direct voice to those that are often ignored. This is what he does in his film, Shattering Refuge, in which he explores the media’s representation of refugees. He interviewed refugee filmmakers in Kenya, asylum recipients and immigrants in the U.S., as well as reporters who report on refugee and asylum issues.
A gorgeous, radiant chronicle of the many connections that created the universe grace the opening moments of Maniac, showcasing the masterful direction and ambitious scope of Netflix’s latest limited series. A well–produced, high–budget series like this one is a welcome return to form for the streaming giant. Maniac tackles the issue of human connection in today’s world, earning itself a place on everyone’s fall TV must–watch list.
Each year, the Film Society of Lincoln Center assembles a diverse lineup of movies from across the world to showcase at the annual New York Film Festival. In 2017, two little–known indie films snagged spots in NYFF55’s main slate of twenty–five movies. Months later, Call Me By Your Name and Lady Bird were launched into the mainstream, each nominated for the Oscar and Golden Globe for Best Picture. If you’re like me, this lack of foresight about the future success of these two films had a direct consequence—the failure to meet Timothée Chalamet in person before he was taking selfies with Kobe Bryant and running around in Gucci suits.
“Things get confusing in a world with occasional magic and curses,” complains one villager in Disenchantment, Matt Groening’s newest Netflix endeavor. “While I am a fan of such worlds, I just feel some rules for what can and cannot happen would help us—" (then, he is promptly killed by a Viking soldier).
Star Trek fans are something of a dying breed. Compared to its somewhat sci–fi rival Star Wars, it is losing its popularity: according to a Forbes survey, 46% of people stated that they preferred Wars, while only 14% voted for Trek. Despite its similar, consistent release of films on–par with the third trilogy of Star Wars films, the latter earned almost one billion more in the box office compared to the latest Trek film. That doesn’t mean that Star Trek–related things are dying out, though. Television like The Simpsons and The Big Bang Theory rely on classic “nerd” references to Star Trek just as much as Star Wars. The debates over which is better are something of a cultural staple in the discussion of sci–fi. It seems that Star Trek references are more popular than the content itself. However, not all references get the show right for fans.
For too long, adult animation has been the domain of a certain cringey kind of humor. Classics like The Simpsons have gone downhill over the years, and shows like Family Guy and South Park now serve as embarrassing reminders of what we thought was funny in middle school; raunchy for the sake of being raunchy, proudly “anti–PC”, filled with gratuitous violence and annoying voices. It’s a hard trap to escape from—even more critically lauded recent shows like Rick and Morty and Bob’s Burgers not only have to establish themselves above these annoying tropes, but also attract some annoying fanbases mired in these mindsets. That’s not to say adult cartoons can’t be good, but for animators, getting their shows taken seriously is an uphill battle.
A recent action release, Peppermint centers around Riley North, a middle–class suburban mother who watches her husband and her daughter get killed in a drive–by. After the justice system fails to capture those who harmed her, she disappears for five years to train and comes back as a revenge–seeking vigilante. The movie is very reminiscent of the early 2000s, when Jennifer Garner was starring as a leading badass in terrible movies like Daredevil, Elektra, and Alias. But don’t worry, Peppermint is much worse.
It’s an age–old story—in its past couple seasons, the TV show you once loved seems to have lost its magic. What was once fresh and exciting has become a chore to watch, and you begin to wonder if you should even bother when the new season’s premiere rolls around. This attitude is ubiquitous when it comes to fans of the FX series American Horror Story. A preference for more recent iterations of the offbeat show is practically unheard of. So, upon hearing that this year’s American Horror Story: Apocalypse would reintroduce the characters and thematic elements of the show’s earlier installments, a little bud of hope sprung in me. Unfortunately, the premiere episode left me with little reassurance.
This article is part of 34th Street's Philadelphia, Curated issue. Click here to see more of our favorite spots from all over the city.
The first season of American Vandal found tremendous success on a number of counts. Despite an unconventional premise, the mockumentary was well–received by audiences and critics. Following up a season focused on clearing the name of a “known dick drawer” in a high school vandalism scandal isn’t a particularly easy task, and potty humor doesn’t have a long shelf–life. However, in its second season, American Vandal swaps comedy for heart, and the result is another satisfying take on youth culture and the merciless dog–eat–dog world of high school.
With summer blockbuster season finally behind us, the fall months promise the release of some of the most anticipated (and most buzzworthy) films of the year, and the annual marker of this exciting time is the Toronto International Film Festival. Currently underway, TIFF tends to get a lot of attention for premiering the movies that will thereafter pick up steam, during the so–called “awards season,” which lasts roughly from September to March.
This year was the 100th anniversary of filmmaker Ingmar Bergman’s birth. In his life, he made dozens of films and earned a place as one of the most accomplished filmmakers of all time, and in his honor, the Lightbox Film Center at the International House is holding a month–long series entitled “Autumn Sonata: An Ingmar Bergman Centennial Retrospective,” screening many of his most famous and beloved works on Thursdays and weekends in September. So hurry in before the month ends.
Some Penn students arrive on campus with an image of what they’d like their future to be and a plan for how to get there; others hope that the college experience will give them some direction. For alumnus Zach Fox (C ’17) it was at the tender age of 12 that he knew he wanted to be a comedian—an aspiration that took him from Philadelphia to Los Angeles and back before finishing his sophomore year. Now he has a feature film making its Penn debut this month, his own production company (Fat Camp Films) and an upcoming project in collaboration with Instagram’s @fuckjerry.
If you’re a Penn student (or Philly resident) who harbors dreams of making your own movie masterpiece, what you might not realize is that you’re living in one of the best cities in the country to make it happen. Time and time again, that was the theme of “Film in Philly 101,” an event put on by the Philadelphia Film Society on September 5 that brought together a diverse group of Philly film creatives to discuss how to get started with film in the City of Brotherly Love. While we might not be known for being a film capital of the world, you don’t have to despair because you’re not in Hollywood—there are a multitude of resources for aspiring filmmakers in and around Philly. Whether you’ve been creating for years, or you’ve just decided you want to get started with pursuing a project, here are the best places to look for advice, inspiration, feedback, and mentorship—straight from the people who know the Philly film scene best.
'The Nun,' a horror prequel to The Conjuring 2, opens with a suicide which I think perfectly sums up this movie: overkill. A nun ties a noose around her neck and then jumps out the window of the abbey.
With its return to TV this week, It’s Always Sunny in Philadelphia starts its 13th season and further cements its place as one of the longest running sitcoms in television history. The run would be impressive for a beloved old–school family comedy, or even a modern network hit, but for It's Always Sunny—FX’s abnormally profane and occasionally disgusting saga of five deplorable Philadelphians who run a bar and cause trouble all over the greater Philadelphia area—it is a little bit insane. Not only has It's Always Sunny made it this far, it’s still damn good, with guest appearances coming up this season from stars like Mindy Kaling, an incredibly devoted fan base that has been stressing for months over whether or not Dennis (Glenn Howerton) will be back this season, and unprecedented ratings in preceding episodes to boot.
Paying only $10 a month for access to a movie screening every day is a deal that sounds too good to be true. Yet, in August of 2017, the subscription company MoviePass was able to make this film lovers’ dream a reality, and attracted both a surge of subscribers and skepticism. In a world where standard movie tickets can cost as much as $15, MoviePass allowed its users to watch dozens of films per month at a fraction of the upfront cost. The company offered deals of this kind for several years prior, but at a higher price point. When the subscription price dropped to a seemingly miraculous $9.95 a month, a wave of new subscribers jumped on it, with many not realizing that it would only last so long.
What are two rising Penn seniors to do during their last summer as college students? If you’re Kyle Rosenbluth (E ‘19) and Daniel Fradin (C ‘19), you fly to the Arctic Circle with recording and production gear in tow, and you make a movie. When I sat down with the pair of housemates, friends, and newly minted partners in filmmaking, they recounted their decision to book a one way plane ticket to northern Canada and shoot a documentary about climate change in a remote town casually, with smiles on their faces.
To All the Boys I’ve Loved Before, the buzzy Netflix film released in summer 2018, was one of the sweetest movies I’ve ever seen. It feels like this past year has been filled with movies that are supposed to hit at a deeper purpose, or a bigger picture, but this romance was refreshing and light–hearted in the sweetest way.
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