Ivet Castelo Torres, Catalan indie film co-director and co-producer of the upcoming film, “Ojos Negros,” sat down with me last month for an interview. Over some classic paella and a glass of wine, she discussed the movie’s plot and intricacies of shooting in Spain, as well as some of the unique properties of pursuing an education in filmography.
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Anders Holm, Adam DeVine and Blake Anderson have been through a lot together, from initially meeting in California to creating the hit Comedy Central show, “Workaholics.” The three of them stopped by Vilas Hall’s Parliamentary room last Friday to promote their newest project: the Netflix movie “Game Over, Man!”
“Get Out” proves it is possible to combine sharp humor with genuine terror. Jordan Peele created a horror movie that attracts a variety of audiences, but he was looking to do more than just provide entertainment. His Oscar-winning screenplay also offers a deep-seeded social critique on modern-day racism, and it is already a classic.
This year's Academy Awards, which are hosted again by Jimmy Kimmel, hope to shine a spotlight on the best films of 2017 during a time of intense controversy within the industry. The #MeToo movement has dominated all discussions regarding entertainment in the past few months thanks to the silence breakers who came forward with assault allegations against Hollywood’s biggest names, including James Franco, Kevin Spacey and Harvey Weinstein. With the political and social nature of awards season in mind, it’s time to figure out who will win the top prizes and the nominees who truly deserve them.
Marvel Studios once again exceeds all expectations with “Black Panther,” their most impressive display of passionate world-building and inventive storytelling portrayed by a cast of well-established favorites and exciting newcomers. Director Ryan Coogler and his creative team have done a meaningful job of not only making a political statement within a superhero flick, but also creating a social awareness for representation around it.
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.
Luca Guadagnino’s “Call Me by Your Name” takes the audience on a whimsical journey of romance and sexual curiosity. The film — based on André Aciman’s novel of the same name — beautifully portrays the worry-free summers of Northern Italy during the early 1980s. The gorgeous countrysides and romantic piano soundtrack surround the fascinating and erotic relationship between the 17-year-old Elio Perlman, played by the impressive Timothée Chalamet, and 24-year-old Oliver, portrayed by the charming Armie Hammer. While the story occasionally draws itself out, the film was both compelling and visually stunning, especially for the viewers who focus on each nuance of the meticulous script.
In breaking news from Hollywood, all of their male movie stars have recently been arrested and sent to jail as a result of a plethora of crimes being committed en masse. As a result of this, every Hollywood studio has released statements to the press, begging for male stars to fill movie roles.
With the first explosive trailer for Marvel’s “Avengers: Infinity War” having finally been released, the world is buzzing with excitement, rumors and predictions about Earth’s Mightiest Heroes assembling to face the long-awaited Thanos and his Infinity Gauntlet. The film’s 2018 release date comes 10 years after the Marvel Cinematic Universe’s first prodigal son, “Iron Man” was released. In “Iron Man,” Captain America’s shield was included in the background of one scene, and Nick Fury appears in another to discuss “the Avengers Initiative”; both were just Easter Eggs at the time, but what became of them has taken the world by storm to become the highest grossing film franchise of all time, a cultural icon for our generation and a reason to consume a lot of popcorn.
Upon leaving the theater after viewing “Justice League,” it can be misleading to judge the film based on excitement for its characters or the introduction of humor into the DC universe. However, DC’s first attempt at a large-scale team-up movie fails to bounce back from “Batman v Superman: Dawn of Justice,” the universally panned previous installment in the franchise.
In preparing for Greta Gerwig’s directorial debut in “Lady Bird,” I hads a sense of apprehension about the experience I presumed I would have. As industry costs increase and fall to the consumer, it becomes a greater gamble of financial precarity when $15 is the entry fee for the chance of an entertaining film and an enjoyable evening. Naturally, trailers yield the byway method of circumventing our concerns about this very problem, yet often find themselves under heavy critique for their own representation of the film they aim to market. With “Lady Bird,” I found an unfortunate parallel to this issue. However, it seemed to work astoundingly, and in a manner I hadn’t truly expected.
It is quite rare to see a film franchise completely reinvigorate a character without disappointing fans of the original. However, Marvel Studios has given new life to a character that has, up until this point, not lived up to its full potential. “Thor: Ragnarok” provides audiences with a fresh, comedic take on its iconic character, a gladiatorial side plot with the incredible Hulk, and ultimately a fun time at the theater.
Over the weekend, various theaters on the Madison campus played a part in the sixth annual “Tales from Planet Earth” film festival, aiming to bring concepts, concerns and discussion on the environment to movies — perhaps one of the most publicly accessible mediums of the modern age. The festival covers various topics each year, shifting between interdependent themes of hope, justice, belief, futures and environmental soundings. More often than not, these films are about humanity’s connectivity with nature as opposed to its inherent capacity to fulfill these ideas.
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 recently ventured to the Marquee in Union South for the exclusive screening of “Happy Death Day,” an upcoming horror movie that’s generated a ton of social media frenzy. The movie was shown on Sept. 27, more than two weeks before it hits theaters nationwide on Friday, Oct. 13 (fitting for a slasher film, I’d say). Lines were out the door; needless to say, I was just as excited to see it as the 100+ other moviegoers, mainly because of the plotline.
As any fan of the 2014 original film would agree, the “Kingsman” film franchise is noteworthy for its inventive action sequences, sophisticated humor and well-established chemistry between its stars, Taron Egerton and Colin Firth. “Kingsman: The Golden Circle” is only able to deliver two out of the three elements for this successful mission, but still delivers an entertaining and original spy flick.
Acclaimed screenwriter Taylor Sheridan has become synonymous with the art of tension in the dramatic thriller. His collaboration with Denis Villeneuve on 2015’s sleeper hit “Sicario” swiftly drew attention to his gritty, realist style that brings fans of the neo-noir flavor into contemporary, practical settings. The former “Sons of Anarchy” actor wrote and directed the recently-released crime thriller “Wind River,” in which Academy Award-nominee Jeremy Renner (“The Hurt Locker,” “Arrival”) portrays a skilled tracker who discovers the murdered body of a young woman on an American Indian reservation. Elizabeth Olsen (“Age of Ultron,” “Ingrid Goes West”) co-stars as the sole FBI agent who is sent out to investigate the supposed homicide. The narrative swiftly follows the pair as they delve deeper into the trail leading back to the perpetrators in a fiery blend of classical Hollywood tonality and Sheridan’s own inflections of intensity in a gut-wrenching story.
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.