When audiences were first introduced to the character of Han Solo back in 1977, his past was a mystery. All Han had was his ship, the Millennium Falcon, his co-pilot, Chewbacca, and a series of claims about himself and his ship that may or may not be true. This all changed when the Star Wars franchise released its 10th film: “Solo: A Star Wars Story,” which tells the history of everyone’s favorite smuggler.
It’s been roughly three months since I arrived in Italy, a part of the world often broken down into a few romanticized generalizations invoking adorations of pastas, wines, cheeses and pizzas. The pattern of food association with the culture is, while somewhat accurate, casting a shadow on other elements of Italian society that may be overlooked outside of their niche communities. This, too, was my experience approaching the neorealism film movement of the 20th century.
2017 was an incredibly influential year for horror with “Get Out” and “It” bringing serious and impressive entries to the genre.
“Isle of Dogs” has all of the classic Wes Anderson signature traits: an all-star voice cast at the top of their game, an eclectic mix of pre-existing songs with an idiosyncratic score, intensely detailed shots and a story that is equal parts enduring and off-kilter.
Spoiler Alert: This article contains major plot details and spoilers for “Star Wars: The Last Jedi.” If there is anything certain about fans, it’s that they can be touchy.
With expensive blockbusters and art-house independent films dominating the entertainment industry, documentary filmmaking has wrongfully taken a back seat in the eyes of American audiences.
“Annihilation” is a melting pot. It’s quite difficult to compare it to a singular film that might capture its mood and personality. It carries the same cerebral, ominous tones that were signature traits in director Alex Garland’s previous hit, “Ex Machina,” and now bleeds into the increasingly horrific expedition via our protagonist crew.
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.
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.
It’s that time of year again for movie fans: The 90th Academy Awards are live on ABC tonight at 7 p.m.
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.
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.
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.
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.
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.