Claire Denis’ film High Life, which was released on Friday, April 12, is definitely unique. And it is also certainly a showcase of the most bodily fluids I’ve seen in a science fiction film, so much to the point where I pledged to walk out at five different points. But the film has an impressive and elusive gravity to it that kept me in my seat, despite being grossed out right up to my limits.
An undeniable electricity filled The Anthem as Jorja Smith and Kali Uchis kicked off their North American “Kali & Jorja Tour” this Sunday.
I can still remember the sense of excitement I felt when I first watched the original Avengers movie, and Avengers: Endgame, released on April 24, managed to capture that same sense of excitement and potential.
“Poets are the oracles — they just know things, and though we may not always be able to decode what they said, the oracle, they absolutely know things,” said Associate Director of the Archaelogical Museum Sanchita Balachandran when she introduced poet Rickey Laurentiis to the stage on Tuesday, April 16 in Mudd 26. Laurentiis, tall with long braids down their back, took the microphone and started with a poem.
If, like me, you go into Netflix’s The Music Teacher without any prior knowledge of the film, its narrative and tone will likely surprise you. Although the preview images and narrative summary paint the film as a romantic comedy, the narrative is actually much more dramatic and contemplative in its exploration of isolation and regret. Unfortunately, although the film’s thematic structure is interesting, the overall execution is lacking, and its flaws make it difficult to find the strengths.
Unexpectedly, at 12:01 a.m. PST (3:01 a.m. for us poor souls on the East Coast) on Saturday, April 13, Childish Gambino released Guava Island immediately after it’s premiere at Coachella the night prior. The 55-minute movie (arguably, musical) was released on Amazon Prime and made available to everyone for free for the first 18 hours, though it is now only available to Prime subscribers.
Mitski performed a sold-out show at Ram’s Head Live! on Friday, April 19 to a wildly receptive crowd. At the venue, listeners filled every inch of the floor and the balconies, soaking up every moment of the performance. The crowd was pulsing with energy; There was rarely a moment when people weren’t screaming or singing along to the music. Mitski herself, on the other hand, was strikingly reticent, performing alongside her band members and, among other items, a simple white desk and a chair. As the night went on, however, I found these to be among the least surprising elements of one of the most breathtaking, unique shows I’d ever seen.
The Barnstormers performed a staged reading of George Bernard Shaw’s You Never Can Tell on Saturday, April 20. You Never Can Tell is the first play the Barnstormers ever performed; This brought a certain nostalgia to the show, as it is also the 100th anniversary of the formation of the theatre group in January 1919.
Cage The Elephant released their fifth studio album, Social Cues, on Friday, April 18. Cage The Elephant consistently impresses me with the range of music they put out. There are songs I absolutely love, songs I cannot stand listening to and songs that I simply forget. I’ve found that it’s difficult to take in an entire Cage The Elephant album at one time because their music is so high-energy and intense that it’s hard to figure out which tracks I actually enjoy. Social Cues is no exception in that many of the songs blend together on first listen. However, the album definitely has some standouts, and Cage The Elephant never fails to prove their musical prowess.
As April Awareness winds to a close, the University’s chapter of Out in Science Technology Engineering & Mathematics (oSTEM) broke new ground with their inaugural annual drag show, “Drag Them,” on Sunday, April 21. The thrilling evening was hosted by the two event organizers, Miss Anne Thropy and Suey Sigh Delle — juniors Coleman Haley and Jane Brusilovsky respectively — in full drag and bio drag (when a female dresses in the style of male drag queens).
Anderson .Paak & The Free Nationals joined Childish Gambino, Jaden Smith and BLACKPINK as one of the opening performers for Coachella on Friday, April 12. But before taking to the highly-coveted stage in Indio, Calif., he took us back to Ventura County in his 11 track LP, Ventura, which comes just six months after the 2018 release of Oxnard. If Oxnard’s hit song “Tints,” featuring Kendrick Lamar, was the song that helped me deal with my homesickness and longing for sunny Southern California last semester, Ventura’s “Make It Better,” featuring Smokey Robinson, is the next perfect song that will get me through this particularly gloomy spring season.
The John Astin Theatre presented their second weekend of Mauritius at the Merrick Barn. Directed by James Glossman, a lecturer in the Theatre Arts & Studies program, the show centered around two denominations of postage stamps issued in 1847 by British Mauritius, then a colony off the southeast coast of Africa.
Renowned Shakespeare critic James Shapiro came to Hopkins on Thursday, April 11 to deliver an outstanding Turnbull lecture he called “Lincoln, Booth, Shakespeare.” He read for the first time an extract from his latest, yet to be released novel, Shakespeare in a Divided America.
The city of Baltimore is no stranger to stories of violence and corruption. In the spring of 2015, Baltimore made national news headlines when Freddie Gray, a 25-year-old black man, died from injuries sustained in policy custody.
LSD’s inaugural and eponymous album finally dropped on Friday, April 12 after the group pushed it back from the original release date of Nov. 8. Because of this I was expecting awe-inspiring, jaw-dropping new beats and a bountiful well of new music to listen to until the summer’s inevitable slew of bouncy pop starts coming at us. While the new stuff we got off the album was great, five out of the album’s nine songs were previously released as singles, and the final track is a remix; I can’t say I wasn’t disappointed.
To some extent all romantic comedies are the same. You might think that that’s a bad thing, but I’d argue in the genre’s defense. Sometimes there’s nothing wrong with following a good formula. That being said, if you don’t like rom-coms, The Perfect Date isn’t for you. If you don’t like high school rom-coms, then you probably shouldn’t even bother reading this review. But if, like myself, you’re the type of person who’s seen To All the Boys I’ve Loved Before multiple times and would watch it again right now, then you also need to stop reading this review because you have to go watch The Perfect Date immediately.
Standing in the crowd of the Fillmore Silver Spring on Friday night, I was immediately taken back to my childhood, one of the hallmarks of which was listening to music in our family SUV. Whether we were going shopping for groceries or picking up new threads at the local Marshalls, my parents would always play music in the car. The selection was usually pretty eclectic — it included everything from Mendelssohn’s E minor violin concerto and random excerpts from Bach’s solo cello suites to Dream Theater’s Metropolis Pt. 2: Scenes from a Memory and excessive replays of The Pussycat Dolls’ “Don’t Cha.”
The return of the spring season always seems to bring with it two things: better moods and better music. In this past week, Vampire Weekend, Khalid and Kevin Abstract have all released much anticipated albums (not to mention Anderson .Paak, but he gets his own article).
I went into Shazam! with pretty high hopes. It had been very well reviewed, and I’d heard some really good things. Zachary Levi is a great actor who looked perfect for the role of the main character, kid-turned-adult-superhero Billy Batson, and the trailers were exciting and hilarious. Things all looked positive, and I was genuinely eager to see it opening night. So, with all that being said, I want to be very clear — Shazam! was not a good movie. I enjoyed it, and I’m glad I saw it, but it was not a quality film.
Nipsey Hussle was murdered a week ago. He was standing outside his clothing store, The Marathon Clothing, on Slauson Avenue, the street he grew up on in Los Angeles. He got into a confrontation with a man trying to enter the store. The man left, got a gun, came back and shot Nipsey.
