Below are your search results. You can also try a Basic Search.
When the trailer for M3GAN first dropped last year, people immediately took to social media, obsessing over the well–dressed, blonde, robot girl and celebrating her odd (but intriguing) dance routine. What wasn’t there to enjoy about a killer doll with great hair and sassy moves?
The film A New Old Play opens with its protagonist’s death.
Some individuals have comfort people while some have comfort blankets. Others, though, have comfort TV shows. Comfort shows—with their specific storylines, immersive worlds, and fictional characters that we grow to know so deeply—as a type of emotional support aren't a foreign concept, but they're arguably more important now than ever before, given the current climate of the world.
One of my favorite introductions to a film is that of Quentin Tarantino’s Inglourious Basterds. (Which, if you haven’t seen, you should go and watch immediately before reading this spoiler.) In it, a Nazi colonel (Christoph Waltz) visits a French farmer’s (Denis Ménochet) house, responding to rumors that someone in the area is clandestinely sheltering a Jewish family from the Holocaust. The first ten minutes play out, slowly building tension as the audience attempts to piece together which character knows something that the other does not. Then, as the farmer details the ages and features of the family’s children, the camera slowly pans down to reveal them quietly hiding beneath the floorboards.
The Oscars are having an identity crisis.
Maybe it’s the highly dramatic acting that feels almost mimed at times, or maybe it’s the flamboyant clothing sported by Lily Collins’ character, but whatever it is, the fact remains that Emily in Paris is a show that, while highly entertaining, is usually laughable. Ask someone if they’ve watched the Netflix original series, and they’ll almost certainly roll their eyes and laugh, indicating their dislike for the cheesy program.
Bones and All is impossible to turn away from. Grimy, gory, gross—absolutely. Swooningly romantic, gentle, and beautiful—also yes. Many viewers may be turned off by the premise of cannibals eating their way across America’s great plains and sprawling highways, but those who find their interest piqued will surely be rewarded. This is a film with a lot of meat on its bones.
The story of Penn's upcoming student–run and produced Bifocal Film Festival doesn’t start where you would expect it to—in Philadelphia. Rather, it begins in Kenya.
The frenzied buzz over Bong Joon–ho’s phenomenal Parasite (2019) seems to have just been yesterday, with both a sweeping victory at the Oscars and the box office (the fourth highest grossing foreign film in the United States). Decision to Leave (2022), a crime thriller from the celebrated Korean auteur Park Chan–wook, was recently released in the United States, and the film has been often described by the press in tandem with Parasite. Decision To Leave had its world premiere at Cannes Film Festival with a tremendous success, and it also aims to be a leading contender in the 2023 Oscar race. While it is still extremely hard to replicate Parasite’s success, Decision to Leave is in no way less glamorous. In fact, the audience may be left much more emotionally struck after watching Decision to Leave.
The screen opens up with beautiful shots of a wedding on the Queen Elizabeth II ship. Nat King Cole’s crooning voice on “L-O-V-E” sounds through the screen. Fireworks begin to sizzle to the edges of the frame. The credits roll: “Dennis Quaid … Natasha Richardson …”
“I honestly think Pitch Perfect did wonders for college a cappella,” Victoria Conroy (C ’24), music director of the pop/rock a cappella group Off The Beat, told Street. “I think one of the reasons that it was so successful is that there’s nothing like college a cappella … and there’s just something about it that draws people into it.”
If there’s one thing The White Lotus is sure to make you ponder, it’s the number of murders that can be committed at a luxury resort before anybody steps in to explore.
2022 has been an incredible year for film and television. Audiences were able to revisit classic characters and worlds as we soared the skies with Lieutenant Pete “Maverick” Mitchell and were welcomed back to dragon–filled Westeros.
A few weekends ago, as I was getting ready to go out, I received a horrifying text message from my mother: “I started watching Tell Me Lies.” For any girl who just started college, if your mom sends you this same text, you should scream, panic, and very quickly change your family’s Hulu password.
On Oct. 16, the 60th New York Film Festival (NYFF), presented by Film at Lincoln Center, came to an end after a 17–day cinematic marathon. Featuring a wide range of quirky, subversive, and most importantly, inherently different films from across the world, the festival is a potent testament to the youth of cinematic art and its everlasting appeal, even after the severe effects from the COVID–19 pandemic. Since its creation in 1963, the NYFF is one of the longest–running and most prestigious non–competitive film festivals in the United States.
Warning: this article contains spoilers for 'Do Revenge.'
Who is Lydia Tár?
Four minutes left in the episode—just 240 seconds for a five–year–long tale of deceit, love, and fame to unfold. In the time it took to microwave Kraft mac–and–cheese, the main character would have to decide whether or not to reveal an earth–shattering secret that would change the course of her and her family's life. Season 4 Episode 9 of Hannah Montana had left me in shambles.
Three women walk into a bar: one perjured herself on the stand, one had a pop–star career funded by her husband stealing money from his class–action victims, and one ran a telemarketing fraud scheme that targeted vulnerable groups. What do they have in common? They're all stars of Bravo’s Real Housewives franchise.
For years, I’ve had a weekly tradition of tuning in at 11:30 PM to watch Saturday Night Live as it airs. To me, SNL is the pinnacle of comedy, with hilarious sketches and insanely well–produced pre–tape videos, all created from scratch within a week.
Get 34th Street's newsletter, The Toast, delivered to your inbox every Friday morning.
Newsletters