The Academy Awards is something near and dear to my heart. I watch it every year, eagerly consuming articles, talk shows and general awards buzz to help make my predictions for who will take home Hollywood’s most prestigious prize. It’s my Super Bowl, and I love every second of it.
Use the fields below to perform an advanced search of The Daily Cardinal's archives. This will return articles, images, and multimedia relevant to your query. You can also try a Basic search
38 items found for your search. If no results were found please broaden your search.
A crowd of students, faculty and community members filled the Cinematheque auditorium on Friday in anticipation of Oscar-winning director Damien Chazelle to screen his film, “La La Land,” on 35mm print.
Few films have made such ripples in film debate and the entire sci-fi genre as Ridley Scott’s original “Blade Runner” film. It polarized critics and audiences alike at the time of its 1982 release — hailed for its immersive, captivating visual effects but criticized for its pacing and out-there plot. “Blade Runner” is also notorious for its multiple cuts, with Scott having the most creative control on “The Final Cut.” Having only seen the original once, I can’t say I’ve been swept up in the cult following “Blade Runner” has garnered over time, but its visual scope and philosophical themes give it an enigmatic quality that I still find myself being drawn to. On these levels, its sequel, “Blade Runner 2049,” improves, staying true to the story’s roots while expanding on what made “Blade Runner” a classic.
I am not a horror fan. The jump scares, paranormal events and downright creepy characters are all things I can live without in my life. So, when I found myself sitting in a Marcus Point Cinema theater about to watch “It,” I didn’t know what to expect from the two-plus hours to come. After the credits finally rolled, though, I can say that “It” might be the exception to my horror genre aversion.
The fall semester has officially begun, and with that marks the beginning of the fall movie season. The last few months of the year almost always bring forth a diverse mix of blockbusters and Oscar contenders, but there are a few other promising titles lined up in the coming weeks to make for a balanced movie-going experience. Here’s what you need to look out for this fall:
Summer is arguably the best time of the year for the cinema because it gives audiences the chance to see a variety of films. While there are some films I didn’t get the chance to see, here is my personal ranking of the films that were released this summer, from best to worst:
Movie-going experiences are abundant at the University of Wisconsin-Madison. For generations, students, staff and community members have had the opportunity to enjoy “Big Screen” entertainment. The medium’s landscape has changed, remodeled and adjusted along with the campus and city, and while some venues no longer exist, new ones emerged, creating the film community we see now.
In the third episode of Rock With the Flock, The Daily Cardinal arts staff discusses the latest music, upcoming albums and what the biggest summer song will be.
In the first episode of Rock With the Flock, The Daily Cardinal arts staff discusses the latest movie trailers, "13 Reasons Why" and upcoming films.
In the first episode of Rock With the Flock, The Daily Cardinal arts staff reflect on this year's South by Southwest film and music festival experience.
The final premiere I attended at SXSW ended on a high note with “The Big Sick.” Directed by Michael Showalter and produced by Judd Apatow, the rom-com depicts the real-life love story between Kumail Nanjiani, a comedian who comes from a traditional, Muslim Pakistani family, and Emily Gordon, a therapist who meets Kumail at one of his shows. They soon fall for one another, but Kumail’s family’s traditions require that he marry a woman from his own culture, complicating his relationship with Emily because he feels he needs to keep her a secret. To complicate matters further, Emily contracts a life-threatening infection, forcing her into a medically induced coma and causing Kumail to question what he wants and what he believes.
Director Dustin Guy Defa screened his film, “Person to Person,” a feature-length based on his short film of the same name. The film follows five characters throughout the course of a day, exploring questions of occupation, relationships and death, starring Abbi Jacobson, Michael Cera and Tavi Gevinson.
Six years after his film “Kill List” premiered here, director Ben Wheatley returns to SXSW with his film “Free Fire.” The film focuses on a group of criminals who meet to broker a gun sale in a large warehouse. Chaos soon ensues as the exchange goes horribly wrong, and the characters find themselves in a battle royale of gunfire from all sides, trying to make it out of that warehouse alive.
Fresh off the successes of “Rogue One: A Star Wars Story,” director Gareth Edwards gave a SXSW keynote to discuss how he got his start in filmmaking.
“Game of Thrones” creators David Benioff and D.B. Weiss made first-time appearances at SXSW this week to discuss their popular show. They were joined on stage by “GoT” stars Maisie Williams and Sophie Turner, who play Arya and Sansa Stark, respectively. The two women served as moderators for the talk, asking Benioff and Weiss several behind-the-scenes questions regarding the show.
Sunday night kicked off with “Atomic Blonde,” a film based on the graphic novel, “The Coldest City.” Set in Berlin before the collapse of the Berlin Wall, the film stars Charlize Theron as Lorraine Broughton, an MI6 agent who teams up with Berlin spy David Percival, played by James McAvoy, to take down a group of spies who assassinated an undercover agent. David Leitch directed the film, having made his directorial debut with the action-hit, “John Wick.” He also as an extensive background as a stunt coordinator, working on other films like “Captain America: Civil War” and “The Bourne Ultimatum.” The combination of a spy thriller, an experienced action director and seasoned actors should theoretically make a great formula. Unfortunately, that didn’t happen with “Atomic Blonde.”
Film festivals are useful venues for independent filmmaking. Among the lineup was “Small Town Crime,” directed by brothers Eshom and Ian Nelms. The film stars John Hawkes as Mike, a former cop-turned-alcoholic struggling to find employment. When Mike discovers a brutally beaten girl laying on the side of the road, dying moments after he takes her to the hospital, he finds himself drawn back into his former life to figure out who was responsible for the murder.
Passion is truly the name of the game here at SXSW. Every filmmaker, well-known or not, poured heart and soul into these productions, and that couldn’t be more evident when Edgar Wright premiered his new film, “Baby Driver,” at the Paramount Theatre.
The Head and the Heart returned to Madison this week to perform at the Orpheum for two nights. On Tuesday, I watched as both the balcony seating and general admission enjoyed a continuous influx of people all waiting in anticipation to see the indie band take to the stage.
Halloween would be incomplete without a few scary movies to indulge in. It seems that Mike Flanagan may be a decent option with his horror film “Ouija: Origin of Evil,” which hit theaters just in time for Halloween and is garnering some positive buzz. However, before there was “Origin of Evil,” there was the original “Ouija,” a film not so well received — and for good reason. With a messy plot and rare moments of actual fright, “Ouija” is a lackluster picture that I struggle to even label as a “horror” film. While I wouldn’t recommend watching this on Halloween — or anytime, really — There are a few things to note about the franchise before heading off to Point Cinema to see “Ouija: Origin of Evil.”