“Minari” is a beautiful film. Yes, because of its grounded, lush depiction of rural America, but also because of the story it tells: the immigrant experience — the American experience — and all its idiosyncrasies, its ups and downs, and its unparalleled beauty.
I present to you the Masthead of the 147th Guard of Arts Board of The Harvard Crimson as characters from “Parks and Recreation.”
“Soul” offers a thesis on the meaning of human life — a difficult question to answer in a 200-page philosophy dissertation, much less a 104-minute animated film. And it does so with all the beauty, detail, and imagination that audiences have come to expect from Pixar.
To quote a former arts chair, “Nietzsche was wrong. God is very much alive,” and 2020’s Twitter headlines are just His Mad Libs.
Ultimately, however, he’s still the same lovable, goofy, relentlessly optimistic snowman we met almost a decade ago: a reminder that, even in these uncertain times, (to use a line from “Frozen 2”), some things never change.
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.
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