As I comb through the marketing (or lack thereof) in the wake of viewing “Velvet Buzzsaw,” I’m repeatedly confounded by director Dan Gilroy’s quasi-epithetic obsession as the creator of the fantastic 2014 neo-noir “Nightcrawler". While “Nightcrawler” knows exactly what it is in both grounded characterization and sensical narrative progression, “Velvet Buzzsaw” is a gross juxtaposition to such competency.
Astronaut Neil Armstrong, played by Ryan Gosling, is the focal point of this middle-of-the-road biopic which is both beautiful to look at and hard to watch simultaneously.
This year's Oscar nominations feature several firsts and many close races.
Arts co-editor John Everman reviews the new Netflix documentary about the Fyre Festival of 2017.
From start to finish, you’ll recognize you’re watching an emotional film from the eye of a master filmmaker like Barry Jenkins.
Christian Bale in "Vice" does fantastic work as Dick Cheney in an unrecognizable role.
As R&B and rap artists dominate our modern music sensibility, rock bands have seemingly ceased to exist in today’s popular culture. One rock band, however, has stood the test of time and cemented their status in music history unlike any other. You’ve definitely heard their songs, but now it’s time to see the passionate musicians behind the scenes and witness a chunk of history where music wasn’t simply something to listen to — it was something to live.
Well, folks, Fall has reached its peak seasonal swing. The leaves have shifted from the lush greens to a deciduous melting pot of auburns, oranges and yellows; humidity recedes into memory as the overwhelming musk of the overcast, rainy woodland sweeps into Madison’s concrete jungle; pumpkins, gourds and an infinity of novelty lattes and doughnuts flood the coffee shops and bakeries of State Street, and so much more.
The Boogeyman is back! The latest installment of the remarkably everlasting “Halloween” franchise was released into theaters on Friday, Oct. 19.
If you had told me a few years ago that I would cry at a movie starring Bradley Cooper and Lady Gaga, I would have laughed, but with “A Star Is Born,” the two A-listers have done something that’s nothing short of iconic in Cooper’s directorial debut.
“Star Trek” legend William Shatner was beamed up to Madison this past Friday, as the prolific actor took his Midwest tour to the Orpheum Theater.
Following a stereotypical summer of big-budget blockbusters that satisfy the masses and empty our wallets, it’s time to shift our gaze toward a few of the more audacious stories that hope to impress during this upcoming fall semester. These five films have potential to be the perfect escape to the theater for all students struggling to readjust to college life.
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.
Earlier this month, John Krasinski’s “A Quiet Place” was released on home media. Its basic premise — a family living in taciturn paranoia among creatures who hunt via sound — was enough to pique my interest during its initial run in theaters. The film received immense critical and commercial success, reaping its budget tenfold and numerous voices calling it one of the best horror movies in years.
When we discuss the coming-of-age style of storytelling, a dominant preconception of what that entails enters our minds: typically, a vision of young adults — perhaps 18 to 21 years old — as they cross the threshold of adolescence into the larger world beyond the formulaic suburbia. Dwindling friendships, sporadic emotions and an intense pressure from the unknown are common components these stories use to empathize with us viewers, who have experienced some or all of these emotions at one point. In the American education system, the 18-21 range is prime real estate for the subgenre, as the shift from secondary to higher education is inducive to these anxieties.
The topic of familial estrangement is hardly new to the impetus of the narrative arc. In particular recency, plenty of wonderfully made films have explored this idea with a fluid blend of dramatic tension and character development: “Lady Bird,” “I, Tonya,” “Birdman” and perhaps even “Swiss Army Man,” to a degree. The respective character internalizes that emotional severance as a means of either reconciliation or maturation, offering a relatable and believable drive.