Use the fields below to perform an advanced search of Ball State Daily's archives. This will return articles, images, and multimedia relevant to your query. You can also try a Basic search
1000 items found for your search. If no results were found please broaden your search.
Sophie Nulph is a sophomore journalism major and writes “Open-Minded” for The Daily News. Her views do not necessarily agree with those of the newspaper. Write to Sophie at smnulph@bsu.edu.
The horror genre has been experiencing a bit of a shake up in the cinema lately. From the traditional October release calendar being flipped on its head to the creation of cinematic universes such as The Conjuring, this decade has seen a vast array of projects try to crack those sale figures and box office records. Of course, when it comes to adaptations and remakes, no section of Hollywood is safe; however, it seems this category of frightful films has garnered a boost while plenty of other series encountered stagnation.
If you grew up during the early- to mid-2000s and regularly watched Nickelodeon, chances are you’re at least somewhat familiar with Dora the Explorer. It was a show that aimed to teach the Spanish language to young children, but failed to teach viewers anything beyond the bare minimum and had virtually no respect for the audience’s intelligence. Despite this, the series went on to see major success, with it being Nick’s second-most-merchandised show behind Spongebob Squarepants for a while. Still, you’d be hard pressed to find anyone speak fondly of the show in retrospect, but that didn’t stop Viacom from seeing it as a potential nostalgic goldmine. In an era where Nick is exploiting ’90s and early-2000s nostalgia hard, they somehow saw potential in Nick Jr. nostalgia and decided to make a live action adventure film out of Dora.
Elena Stidham is a senior journalism and telecommunications major and writes “Loud and Clear” for The Daily News. Her views do not necessarily agree with those of the newspaper. Write to Elena at emstidham@bsu.edu.
Twenty years have passed since Slipknot’s debut album, Slipknot. Since then, the band has released five successful records and played hundreds of huge bombastic live shows. Slipknot became one of the biggest names in metal throughout the past 20 years with their nine members, unique sound, and pure rage and aggression. Five years have passed since their last album, .5 the Gray Chapter, and during that time, longtime percussionist Chris Fehn left the group due to a legal dispute earlier this year. All of the troubles the band have been through resonate perfectly through the record. The aggression and brutality returned along with the band’s experimental side working together perfectly. Slipknot used the same producer from the last record, Greg Fidelman. However, We Are Not Your Kind (WANYK) has a rougher edge to the production that .5 the Gray Chapter was missing. The songwriting is as strong as ever, the songs are heavy, and the album actually feels as if it were made by the entire band.
As an avid Quentin Tarantino fan who hadn’t gotten anything new from him in about four years, I was naturally very excited when I saw trailers popping up for his new film, Once Upon a Time in Hollywood. The film, starring Leonardo DiCaprio and Brad Pitt as a 1960s Hollywood actor and stunt double duo, seemed to promise a very different, more intimately emotional type of movie than is typical of Tarantino. In that aspect, it delivered.
The ‘Fast and the Furious’ franchise has had fuel in its tank since 2001, having seen the release of eight feature films. The series began rather simply, with the first film depicting Vin Diesel and Paul Walker at odds with one another over illegal drag races. This tradition continued for the next three films, before switching gears into a more action-heavy series with ‘Fast Five’ in 2011. This change has proven to be a beneficial one, as audiences had grown attracted to the ludicrous fare that this series has given them. Recent installments such as ‘Furious 7’ and ‘The Fate of the Furious’ have also grossed over a billion dollars worldwide.
Demi Lawrence is a junior 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 dnlawrence@bsu.edu.
Over the course of my career in analyzing and critiquing film, I would be lying if I said I haven’t come across many people who have questioned me and my line of work, specifically in regard to the material I tend to focus on. Questions like, “Do you only review ‘big’ movies?,” “Why do you get angry at kids’ movies?,” and “Trevor, why are you talking to yourself?!?”
Director Ari Aster has recently proved to be an up-and-coming horror master. Starting out with short films The Strange Thing About the Johnsons (2011) and Munchausen (2013), he rose to prominence last year with his feature-length debut, Hereditary. It received a great deal of critical acclaim, with special praise going to lead actress Toni Collette’s performance. The film stood out for being a slow-burning, atmospheric horror akin to The Shining or Rosemary’s Baby, featuring personable themes about mental illness and family. Many consider Hereditary to be one of the best horror movies of 2018, if not if the decade. Now, Aster brings his second feature film, with the summertime folk horror Midsommar.
I think we’ve reached a point in this summer’s blockbuster season where it seems like everything that was supposed to go right has completely backfired in some fashion. Whether it’s good movies disappointing financially (Godzilla: King of the Monsters, Booksmart), remakes failing to hold audiences critically (Aladdin (2019), Shaft (2019)), or franchise tentpoles dropping dead on arrival (Dark Phoenix, Men In Black: International, etc.), it’s undeniable that in this post-Endgame power vacuum, nobody’s really been able to pick things back up. This is especially tough for families out there, for whom the only option short of dragging their kids into Ma is the critically reviled next entry in the Secret Life of Pets franchise. Surely, at some point this summer, someone’s got to pick up the ball again…right?
I am a huge sucker for pop music. My love for this genre may or may not have stemmed from my adolescent obsession with boybands, but that is beside the point. Regardless of how I came to love this style of music, I am always looking for fresh, new sounds on the pop scene, and Sizzy Rocket has delivered just that with her sophomore album, Grrrl.
Editor’s Note: A previous version of the article stated Cathedral High School received sponsorship money from the Archdiocese of Indianapolis without verification accompanied with an illustration. The article has since been updated to reflect only verified information.
Disclaimer: This review contains spoilers for this episode and previous episodes of Jojo’s Bizarre Adventure.
Chloe Fellwock is a freshman advertising major and writes “Full Dis-Chlo-sure" for The Daily News. Her views do not necessarily agree with those of the newspaper. Write to Chloe at cfellwock@bsu.edu.
In 2010, id Software, the video game studio behind classic first-person shooters such as Doom, Quake, and Wolfenstein, released Rage. While the game received praise for its combat mechanics, it was criticized for being bland and uninspired with its story and setting, which took elements from games such as Fallout and did nothing new with them. As time went on, Rage was forgotten about and dismissed as a footnote in id Software’s history. Since then, the studio has undergone a resurgence of popularity with their reboots of Doom and Wolfenstein. With this newfound success, they decided to give Rage a sequel. Partnering with Avalanche Studios, the developers behind the vastly underrated Mad Max game, id Software developed Rage 2, which has proven to be a fun, chaotic experience.
Going into The Hustle, my main fear was that all the best parts would be shown in the trailer and I would leave feeling slightly disappointed. This seems to be an issue that’s becoming more and more frequent in comedy movies these days. The film stars Anne Hathaway, an actress I have adored since The Princess Diaries, and Rebel Wilson, known for her role as Fat Amy in the ever-popular Pitch Perfect series. Despite my doubts, I was curious to see how these very different actresses would work together and I made my way to the theater. I found myself pleasantly surprised, for the movie had some unexpected twists and turns, and thankfully, not all the comedic bits had been previewed in the trailer.
Everyone knows the story of Superman: Kryptonian infant Kal-El was sent to Earth by his parents when his home planet was destroyed. Landing in the town of Smallville, Kansas, he was found by Jonathan and Martha Kent, who named him Clark and raised him as their own son. As Clark grew older, he discovered that he had powers and abilities beyond those of mortal men. He decided to use said powers for good and became the world’s greatest superhero.
Disclaimer: This review is of the Nintendo Switch version of the game, played in both handheld and portable mode
Back in 2014, veteran stuntmen David Leitch and Chad Stahelski collaborated together and directed John Wick. It starred Keanu Reeves as a deadly and highly skilled assassin who comes out of retirement to get revenge on the men who killed his dog. The film was both a financial and critical success and went on to become a sleeper hit. It revived Reeves’ career, as well as being the shot in the arm that the action genre needed. The film got a sequel in 2017, which was just as successful as its predecessor. Now, Reeves and Stahelski team up once again to bring the third movie in the John Wick series, to bring more adrenaline pumping, pulse-pounding action.
