As someone who grew up on the music of Queen, The Rolling Stones, and Led Zeppelin, I was ecstatic when I heard about Bohemian Rhapsody. It looked like it would be an epic tribute to a legendary band and Freddie Mercury specifically. After anticipating its release for almost a year, there had been plenty of time to build up my expectations for the film. In many ways, this film surprised me, and while it met or surpassed my expectations in most areas, there were moments where it definitely did not live up to my standards, detracting from what could have been a great film.
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Disclaimer: This review is of the PC version and was conducted on a PC with an Nvidia GeForce GTX 960, i7, 8GBs of RAM.
Zach Piatt is a sophomore journalism major and writes “Dugout Chatter" for the Daily News. His views do not necessarily agree with those of the newspaper. Write to Zach at firstname.lastname@example.org.
It is typical of artists in their first studio album appearance to produce content that may seem lackluster. A possible cause of this could be the signer trying to find their own sound. Maybe it is simply inexperience in the industry at that point. Joji on the other hand seems to have the entire situation solved down to a tee. Through the evolution of his work on multiple singles and joining the popular rap group 88rising, Joji has gained the experience of a veteran in his genre even at such a young age. With the release of Ballads 1, Joji pushes the boundaries of his sound in a natural and pleasing way, but it is not free from overly creative errors that lack meaning.
Disclaimer: This review contains spoilers for this episode and previous episodes of Jojo’s Bizarre Adventure.
Jordan Rhodes is a senior english major who writes "Shepard’s Corner" for The Daily News. His views do not necessarily agree with those of the newspaper. Write to Jordan at email@example.com.
During the final day of this year’s Heartland Film Festival, every single finalist was shown to the public one last time, although all the winners were announced the day prior. Taking home the coveted grand prize for “Best Narrative Feature” was a foreign film titled The Elephant and the Butterfly. Going into this film as my final screening of the event, I had high hopes that it would surpass all other narratives I had seen prior. While it didn’t do that, there’s a clear reason why it won the grand prize. The Elephant and the Butterfly is a heartwarming story about family, achieving its purpose of being a feel-good film almost too well.
The most important thing I’ve learned while studying history is that there are so many great stories left untold in a modern age. There are so many great, culturally significant events that just get lost along the shuffle of time. Father Time doesn’t care about who you are or the things you’ve done, it comes down to society to remember who you are. There are many great people who never get their stories told. Fortunately for the radium girls of the late 1920’s, directors Lydia Dean Pilcher and Ginny Mohler have created a phenomenal film depicting the long untold tale of young laborers fighting against the system in ways that (almost) changed the world.
Disclaimer: This game was played on a PS4 using smartphone controllers. This copy of the game was provided by the developer for review purposes.
Demi Lawrence is a sophomore journalism news major and writes "Unspoken" for The Daily News. Her views do not necessarily agree with those of the newspaper. Write to Demi at firstname.lastname@example.org.
It’s not surprising to see someone double-up between roles during productions of a film. Writer and director, director and producer, actor and producer, writer and actor; a lot of these roles tend to find people taking multiple of them. The trouble comes when some directors try to take on every role possible. A famous example of this is The Room, which is written, directed, produced, and performed by Tommy Wiseau. Neil Breen also does this for many of his films. They tend to turn into vanity projects where the director in question wants to make themselves appear the greatest man on Earth, even if they can’t deliver on that.
Heartland brings many amazing films all to one place. There are so many touching stories, moving documentaries, and beautiful narratives that stay fresh in the mind of any viewer. Thinking back on my time at Heartland this year, there isn’t a single film I saw, even the less-than-good ones, that didn’t leave an impression. There’s a reason audience ballots are scored from “fair” to “excellent,” because really, there aren’t too many bad films at Heartland. At the very least, bad but ambitious films still leave an impact on a viewer, especially one that’s not used to viewing actual, artistically minded films.
Heartland Film Festival: 'Bathtubs Over Broadway' is an insightful look into the hidden world of corporate song and dance
The documentary is a genre that has fairly limitless potential when it comes to subject matter. Whether it’s tackling the life of a single person or attempting to inform the masses of something immensely important (that wouldn’t otherwise land in another medium), documentaries are no stranger to the film landscape. However, a film recently released uses the format to introduce audiences to something they may have never heard of before in their lives: musicals that are semi-literal commercials.
We're back witches, with another magical episode of The Coven podcast. This week, we're looking at final girls in slasher films. Final girls in slasher films almost always follow a cookie cutter model. Why does this happen in this genre of the film industry and what does it mean for the women that are involved? All of this and more on this week's episode of The Coven.
Disclaimer: This review is of the Xbox One version, and was done in a playthrough as Kassandra
I remember when I was in my early teenage years looking for metal-core bands to unleash my angsty youth, listening to A Day to Remember, Bullet for My Valentine, and of course Bring Me the Horizon. One day I was playing Guitar Hero 6 with my friend and stumbled upon a song called ‘Ravenous’ by Atreyu. The song is filled with skull-crushing guitar solos and a killer hook that drives the whole song. It feels completely unique to the genre. Eight years later the band releases ‘In Our Wake’ and all I’m left with to say is: what happened? The album is full of three-minute songs that sound exactly the same featuring boring melodic choruses and a sound that is desperately trying to stay relevant.
Cancer is a devastating illness that no one should have to endure, and this is especially true regarding children. Childhood is meant to be an innocent, fun time in a person’s life, but sadly many children are denied a normal childhood due to the debilitating disease. Medical advances have greatly increased the survival rate for those afflicted, but there is still a limit to what modern medicine can do. When all else fails, we turn to other alternative measures.
Dawnland is a documentary that tackles an important subject that is sadly not often discussed: the forcible removal of Native American children from their parents by the American government in an effort to assimilate them to white American society. In an effort to distance Native American children from their culture, they were placed in white households, some whom were extremely racist or abusive towards their foster children. Schools specifically tailored to teach these Native American children punished the use of Native languages and taught them to be ashamed of their heritage. Effectively, these children lost a massive part of their identity and were often subject to abuse by their foster parents. Dawnland focuses on the first official truth and reconciliation commission (TRC) in the United States as they travel to the various Wabanaki tribes in Maine to collect testimonies and conduct research on the impact of the peoples’ histories.
Stephanie Amador is a senior photojournalism major and writes “Café con Leche” for The Daily News. Her views do not necessarily agree with those of the newspaper. Write to Stephanie at email@example.com.