I think a lot about how easily tempted I was. A letter, an envelope, a particularly melodramatic delivery system, and all arguments, statistics, and Crimson exposés vanished from memory. I was a little disappointed in myself, but mostly, I was confused. I consider myself a relatively secure person. I like my life here, sans final clubs. How could I hate everything about what they are and what they represent, yet still be tempted?
But sometimes I wonder, if I’d carried out my summer as planned, if I’d done my internship and went back to Harvard, would I ever have had these thoughts? Would I have realized that journalism wasn’t the field for me? Would I have committed to changing concentrations? Would I have mustered the gusto to commit to an even less employable career path? I can’t help but think the answer would be no.
The visuals are beautiful, yes; the sweeping shots of the Chinese countryside and lavishly decorated Imperial City are appropriately grandiose for a film with access to Disney’s pocketbooks — but all the production value in the world can’t save a movie without a soul.
Now, in the most objective opinion of this reviewer (for whom, in the spirit of full transparency, this will be the third “Frozen 2”-related piece he’s written for The Crimson), this is misguided. Animation is serious business.
Despite the writers’ best attempts in the first episode, “Love, Victor” never manages to shake off the shortcomings of the original film. It feels too — in a word — safe.
For a Parks and Rec virgin, I’m sure the special was reasonably enjoyable. For anyone who’s watched the show in its entirety — or in my case, five times over — it was an endless barrage of nostalgia-tapping references, jokes, and guest appearances.
"Tigertail" is a story about our parents, born of Yang’s attempt to learn about his own — and in making this film, Yang calls upon us to do the same.
Is it inevitable that a TV adaptation will be less nuanced, less well-executed than its literary counterpart? “Little Fires Everywhere” seems to confirm this theory.
“Onward” is by no means a bad film. At this point, it’s questionable whether Disney-Pixar is capable of producing one. Yet the lack of emotional clarity lingers.
It was like this culinary cold war, a pissing contest for who’d eaten the weirdest animal appendage. I was hurt, not just because I had lost the war (my mom was never able to find frozen sheep penis at the grocery store, not even at Whole Foods), but because we were fighting it in the first place. What were we trying to prove? And to whom? Why?
Arts Vanity: Amidst Box Office Success of 'Frozen 2,' Disney Announces Plans for Franchise Expansion
Having made $358 million in its opening weekend, and after being called an “indomitable, enjoyable powerhouse” and “well-worth the six-year wait” by top critics, Disney plans to capitalize on the film’s momentum in a series of franchise expansions.
Whatever goes on at Disney Animation Studios seems to be working, because “Frozen 2” is yet another indomitable, enjoyable powerhouse of an animated movie, and joins the canon of Disney classics — and in some ways, redefines it.
Rene Gallimard (Henry R. Lynch ’20) and Butterfly (Eric J. Cheng ’20) in "M. Butterfly"
Hulu’s new eight-episode miniseries, “Looking for Alaska,” remains fairly faithful to its source material as it follows protagonist Miles Halter as he adjusts to life at a boarding school called Culver Creek Academy.
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