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Music has always been a major part of our interaction with the world. It fills our music halls, our campuses, our workplaces and even our homes. Popular artists like Lady Gaga and Kendrick Lamar have built personas and entire brands around their names. Even members of famous bands like Harry Styles of One Direction and Adam Levine of Maroon 5 have name recognition.
“Blockers” is what you would get if you let
Seth Rogen write the script for an original Disney Channel movie.
In “A Quiet Place,” John Krasinski -- most famous for his role in “The Office” -- decides to take his first plunge into the horror genre as director and leading actor. What results is a compelling exploration of one of the most crucial elements involved in the making of a successful horror film: sound design.
“Lean on Pete,” based on the book by Willy Vlautin, is writer and director Andrew Haigh’s newest film, which tells the coming-of-age story of Charley Thompson, a 15-year-old kid who befriends a race horse and sets out on a journey to find his family and stability in life.
On March 27, “Healing Baltimore's Harbor: A Pipe Dream?” was shown in the Doyle Forman Theater, bringing students and Washington, D.C. locals to hear more about Baltimore’s unsafe harbor. Students in Professor Mike English’s “Environmental Filmmaking for Public Television” class created the documentary examining Baltimore’s aged and crumbling sewage and stormwater infrastructure that continues to pollute the city’s harbor. Previously screened at the DC Environmental Film Festival, the short documentary has made its way into the conversations of DMV area environmental circles.
The world was profoundly affected by the stock market crash of 2008, and Americans are still feeling the consequences. However, since 2008, Chinese markets have appeared to be unaffected and even improving in some cases. Documentary filmmaker Jed Rothstein’s “The China Hustle” explores a loophole that may have allowed Chinese companies to exploit world markets.
Director and British Statist Armando Iannucci finds himself in a weird predicament. His latest film “The Death of Stalin” has been a sensational critical hit, with The New Yorker magazine heralding it as “the most accurate picture of life under Soviet terror that anyone has ever committed to film.” Inevitable connections have been drawn between his comedic portrayal of Soviet Russia and current political situations domestically and abroad.
Taking place 10 years after the events of the first “Pacific Rim” film, “Pacific Rim: Uprising” follows Jake Pentecost (
John Boyega), son of Stacker Pentecost (Idris Elba), who gets pulled back into the military to teach and prepare the new generation of Jaeger pilots, those who command the massive mecha-robots that face the otherworldly monsters. In the event that a new threat emerges, the team would work together to save the planet
People often take for granted things that are a part of their everyday lives and ignore their meaningful origins in lieu of more pressing details like jobs and family.
We live in strange times, don’t we? Where alternative facts are nearly indistinguishable from the truth. Where our leaders do and say things that often leave us scratching our heads. Where our presidential cabinets have become a revolving door of characters. That’s what makes “The Death of Stalin” so wonderfully funny and reflective. Its timeliness reminds us of the humor and absurdity of our present political conditions—and perhaps the horror we see in the face of it.
In a world full of videos of crackling fireplaces, crickets chirping and ethereal soundtracks played over a night sky, viewers and listeners have plenty of resources for finding sleep aids online. However, these videos usually have no substantial purpose besides lulling the listener to sleep.
It’s those five words that have us on the edge of our seats every year: “and the Oscar goes to…” We await in gleeful anticipation for who will carry that golden statuette. Will it be a surprise? Will it finally be someone who should’ve gotten it three movies ago? Will it be the newcomer?
“Bombshell: The Hedy Lamarr Story” tells the tale of World War II inventor and actress Hedy Lamarr, a tale Lamarr spent years trying to share. Directed by Alexandra Dean, the documentary focuses particularly on Lamarr’s revolutionary invention of frequency hopping, which helped the Allies create a new remote-controlled torpedo. Throughout the years Lamarr never received credit for her work until the end of her life, and never got paid by the U.S. military for her patent. This was because she was seen as just a “pretty face” and an object, but not an illustrious thinker and inventor.
Horror director and producer Eli Roth has had an interesting career spanning two decades. From cult classics like “Cabin Fever” and “Hostel,” as well as an extremely memorable performance as the “Bear Jew” in Quentin Tarantino’s “Inglourious Basterds,” Roth has had both highs and lows, mostly earning a reputation as a niche director who makes gruesome, polarizing films. In a move away from his traditional role as director and producer of violent horror flicks, Roth has decided to undertake a reimagining of the 1974 revenge thriller of the same name, “Death Wish.”
The Academy Awards this year have a very diverse set of films across all categories, with the short film section being no exception. Here is The Eagle’s guide to the Oscar-nominated shorts broken down by category (“Animated,” “Live-Action” and “Documentary”) and listed in alphabetical order within those categories.
The months leading up to the 90th Academy Awards have been tumultuous for the film industry.
The reckoning Hollywood is facing with many of its prominent male figures as a result of the #MeToo movement has created a unique dynamic this award season. This year has been significant for the viewers and industry insiders as they revealed an underbelly of sexual harassment and abuse.
"Annihilation,” Alex Garland’s much-anticipated follow-up to his smash hit “Ex Machina” is in theaters this weekend. Trailers have teased the film as sci-fi horror with world-ending stakes, a seemingly odd turn from “Ex Machina.” In the end, “Annihilation” is a slow burn sci-fi thriller pondering over gender status, humanity and creation.
It’s probably safe to say that traditions, no matter how celebrated, can become dull after endless repetition. This is the case for the characters in “Game Night,” a film co-directed by the writers of “Horrible Bosses” (Jonathan Goldstein) and more recently “Spider-Man: Homecoming” (both John Francis Daley and Goldstein). When the subjects of the film decide to shake things up a little bit, it drastically backfires, sending the gang into a frenzied adventure when one of their friends is kidnapped.
Among conversations on contemporary pop culture, there is a consensus: a lack of representation is certainly holding back important stories from being told. Among conversations on cinema, there is a question: if movies are heralded as the universal and accessible art form than for whom are they accessible to? It is clear that we have reached a fever pitch in our society where the demands for equal representation in film is, perhaps finally, being met with real action.
“I live on the wrong side of the tracks” says Christine “Lady Bird” McPherson (
Saoirse Ronan) in the movie, “Lady Bird.” At first, the comment seems innocuous, a humorous quip that cements the utter quirkiness of our female protagonist. On a second reading, however, it gives more depth to the film; “Lady Bird” is a movie on place and class more than it is about the mother-daughter dynamic.