The Industrial Age left us with refuse too vast to bury and impossible to ignore. Earth's resources are finite, yet after serving their short-lived purpose, our cars, appliances and electronics takes centuries to decay. These rusting skeletal remains, especially machines that shaped the landscape and our ability to move within it, are valued objects for those willing to reclaim them. A South Dakota farmer transforms oxidized agricultural machinery into beautiful sculptures that reflect the natural world, while across the ocean, British phone booths are painstakingly restored to their former glory. Whether it be living in abandoned aircraft husks on Bangkok's outskirts or transforming freighter ships into architectural wonders, the human capacity to revitalize obsolete artifacts is inspiring.
The history of Hollywood is as ugly as it is beautiful. Most notably absent from Hollywood history are Black-produced films. “They’ve Gotta Have Us” explores the rise of Black cinema.
Netflix’s new comedy drama, Don’t Say Good Luck, is a heartwarming tearjerker as well as a love letter to the transformative power of being a theater kid. Directed by Julia Hart, Don’t Say Good Luck follows Sophie (Sunny Sandler), a theater kid who finally gets the lead role in her school’s production of Waitress - just as she finds out her mom Elizabeth (Melanie Lynskey) is dying of cancer. While the singing is by no means spectacular and Sandler’s acting is stiff, the film is grounded in the moving performance of Lynskey as a mother who wants nothing more than for her daughter to achieve her dreams, even if she can’t be there to see them.
I'm bad, and that's good. I will never be good, and that's not bad. There's no one I'd rather be than me.
Overall, 18 Presents feels more like a soap opera than a drama, and I feel bad for saying that since the concept is based off a tragic story (even though it’s loosely). I’m sure other people will find this film emotional for them, but as for me, it’s bland and forgettable.
James Cameron’s The Terminator (1984) marks the beginning of a wonderful two-part arc, brimming with style and substance. The film follows Sarah Connor, a waitress living in Los Angeles. One night, a cybernetic organism (Arnold Schwarzenegger) is sent back in time to kill Sarah. A human resistance fighter (Michael Biehn) is also sent back in time, with the intent of saving Sarah from this deadly foe.
He’s a nine-time Oscar host and a revered comedy legend. He’s an up-and-coming comedy star who was a voice in the biggest animated movie of all time. So what happens when these two are forced to work together?
