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Disclaimer: While this review does not contain spoilers for Steven Universe: The Movie, it contains spoilers for the events of Steven Universe.
Mitchell Carter is a sophomore journalism major and writes “MitchSlap" for The Daily News. His views do not necessarily agree with those of the newspaper. Write to Mitchell at macarter@bsu.edu.
Blake Williamson is a senior journalism major who writes "Blake’s Beats" for The Daily News. His views do not necessarily agree with those of the newspaper. Write to Blake at bdwilliamson@bsu.edu.
The new Travis Scott documentary—produced by the man himself—was a great cinematic reflection of Scott’s progression as one of the most individualized and ingenious artists of our generation. The documentary highlights some of the most pivotal moments of his career and what he did to get to where he is today. Aside from minor production details that I personally would have liked to see, this new documentary did an amazing job connecting its audience to Scott’s personalized story. Through clips of his shows, interviews of his fans and highlights of his day-to-day experiences, it perfectly showcases the raw talent, hard work and dedication that fuels Scott’s creative vision.
At the time of its original release, IT (1990) became one of the most famous adaptations of a Stephen King literary property. Though the two-part television mini-series may not have had the positive critical reception like Carrie, Stand by Me or Misery, it was memorable for a different reason. The portrayal of the titular villain, Pennywise the clown by Tim Curry, was not terrifying, but the hilarity that he weaved into every mannerism and piece of dialogue made it one of his most famous performances. The dreadful writing, subpar special effects and awful acting by the rest of the cast kept the potential of this supernatural horror trapped in the 20th century.
Sophia Carson is a freshman public relations major who writes "Brutally Honest” for The Daily News. Her views do not necessarily agree with those of the newspaper. Write to Sophia at secarson@bsu.edu
Fear Inoculum just might be the most anticipated album release of all time. The alternative metal masters, Tool, have not only returned to the music scene but entered the streaming era for the first time. Fans of the band have been waiting 13 years for a new release (about the length of Taylor Swift’s entire career) and have finally been given a 90-minute epic consisting of seven tracks and three interludes. But the question remains: Is Fear Inoculum worth the 13-year wait? The answer is: It’s complicated.
A big aspect that has made Lana Del Rey’s music her own since Born to Die has been the selling a fantasy. The character that Del Rey has created within her records of the innocent, demure girl always looking for dangerous men has always been the most alluring quality to her fans and the biggest annoyance to her detractors. Music that sounds as grounded and personal as hers coming from an artificial persona, an unashamedly feminine persona at that, was unlikely to receive unanimous acclaim from a predominantly male music media press.
Joshua Smith is a freshman graphic design major and writes “Jimbo-laya” for The Daily News. His views do not necessarily agree with those of the newspaper. Write to Joshua at jhsmith2@bsu.edu.
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.
Australian auteur Jennifer Kent has made a name for herself in recent years. She rose to prominence with her 2014 directorial debut The Babadook. The film was about a single mother who must protect her son from a supernatural threat that escaped a children’s book and now lurks within their home. It was fantastic in how it created horror through its atmosphere, as well as making the audience feel unsettled and frightened. The Babadook received critical acclaim, including praise from The Exorcist director William Friedkin. Now, Kent brings her first feature film in five years with the excellent period thriller, The Nightingale.
Disclaimer: This review is of the PC version and was conducted on a PC with an Intel Core i7-6700, 16 GBs of RAM. This review contains spoilers for the game Life is Strange 2.
King Gizzard & the Lizard Wizard have been one of the hardest working bands since their start in 2011. So far, they have released 15 records, with five records coming out in 2017 alone. On their new album, Infest the Rat’s Nest, Gizzard has made the exact opposite of their April album, Fishing for Fishies. Infest the Rat’s Nest finds the band at a whole new level. The songs are short, sweet, and to-the-point; the drums are using double bass, the guitars are chugging, and the vocals are menacing. Yes, Gizzard has made a metal album. The album tells stories of planet Earth burning to a crisp, superbugs being made out of bacteria and antibiotics, and humans colonizing space, all with ferocious riffs and a wide variety of metal subgenres. While not being their most eccentric album to date, there is still plenty to unpack in what’s certainly their heaviest album yet.
Chloe Fellwock is a sophomore 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.
Blake Chapman is a sophomore journalism major and writes “Odds and Ends” for The Daily News. His views do not necessarily agree with those of the newspaper. Write to Blake at bachapman@bsu.edu.
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.
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.
As I have stated in past reviews, August through September is usually seen as a dumping ground for movies that studios don’t know what to do with. Thus, the quality varies significantly with movies that are released during this time. However, one of these films, The Peanut Butter Falcon, has proven to be a pleasant surprise. Directed by first-time directors Tyler Nilson and Michael Schwartz, the film is a sweet and funny modern retelling of Huckleberry Finn.
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.
