When it comes to live theater, performances can go one of two directions. Most commonly, productions take a straightforward approach, one featuring well-stocked sets, costumed performers and a linear plot.
The joie de vivre embodied by French filmmakers — especially during the silent era and the dawn of the New Wave — has profoundly altered the course of cinematic history.
Let’s be honest. It’s pretty difficult to point to a film, play or television show centered around high school that doesn’t present what is colloquially known as “our turbulent years” in a melodramatic, angst-ridden way — looking at you, Perks of Being a Wallflower.
I had no idea what to expect when I first attended a performance of The Vagina Monologues, a collection of monologues dedicated completely to — you guessed it — vaginas.
Slopping through the trash-heap that is action cinema, 1988‘s Die Hard is one of the very few precious jewels that can be found.
When I walked into newly released romance film Safe Haven I didn’t have high expectations by any standard, so I wasn’t surprised when the film turned out to be exactly like every other Nicholas Sparks inspired movie — ridden with clichés and marked by low-quality plot development.
Life Is But a Dream, a new HBO documentary exploring the journey of Beyoncé Knowles-Carter as an artist, wife and mother, is a rousing and inspiring success story sure to appeal to both die-hard fans and new converts.
Even in a crowd of so-called hipsters, I entered the floor of the Jefferson Theater Feb. 4 with a sense of smugness unparalleled by any other concertgoer there.
When Ben Thornewill, the vocalist for the Philadelphia-born, Brooklyn-based trio Jukebox the Ghost, abruptly stopped playing piano mid-song during the group’s Feb.
As a general rule, it’s safe to say acoustic albums are a bad idea. Whether you’re a mainstream chart-topper or a soulful indie crooner, you’re bound to have something to gain from an instrumental or electronic arrangement that consists of more than the endless strumming of guitar strings.
Arts & Entertainment is back again with our new series, U.Va. Faculty Go to the Movies, where we get exclusive interviews with your favorite faculty members about the movies you care about the most.
This is 40 is the sequel to 2007’s Knocked Up, except, this time, Pete (Paul Rudd) and Debbie (Leslie Mann) try to navigate the complications of turning 40, years after the events of Knocked Up. In pop culture today, the mid-life crisis has become an accepted reality, and sometimes even an indulgence or a moment of spiritual transition.
Carleigh Nesbit, a fourth-year College student and Charlottesville native, has finally come of age in the local music scene.
I sometimes find it astounding that a few short minutes of deliberately placed melodic notes and well-chosen words can so easily capture emotions universal to mankind.
Zombie movies are overdone. You can only take a zombie premise so far, and lately this tired genre, like its antagonists, has been a largely brain-dead affair.
Few films grab my attention for a full two hours, but The Impossible accomplishes this feat with ease.
Once upon a time, musicals were the bread and butter of Hollywood filmmaking. With massive box-office figures and sturdy critical appeal, song-and-dance spectacles such as Anchors Aweigh and Kiss Me Kate lit up the big screen throughout the ‘40s and ‘50s. That said, when rock-and-roll music took over the airwaves and the so-called “New Hollywood era” of the late 1960s and ‘70s began, traditional movie musicals seemed outmoded and irrelevant.
After a full day of boutique hopping, I settled down in my friend’s trendy New York apartment, winding down while browsing the BBC on my laptop.
Until last Wednesday night, I thought I was the only one raised on Citizen Cope’s “Sideways.” It was the first track on the first mixed CD that my first boyfriend gave to me.
If you were expecting to hear new material — or even beloved classics — on Destiny’s Child’s 2013 compilation album, Love Songs, you will be sorely disappointed.
