War has always been a favorite subject of filmmakers, both for the great stories that can arise from it and because it sells.
Britney Spears’ debut album …Baby One More Time offers up timeless songs that are perfect summertime jams.
In many ways, Cher Horowitz (Alicia Silverstone) is anything but clueless: She can put together a totally kickin’ outfit (with the help of a computerized closet organizer, of course). She knows exactly how to convince a stubborn teacher to raise her grade (help him fall in love, obviously). And she has a talent for making snarky comebacks (“Shouldn’t you go to school on the East coast?
Any self-respecting nineties kid knew and loved the compact collections of pop songs from NOW That’s What I Call Music.
The 90s were a strange decade for music. It seems the catharsis for the laughable panache of hair metal, the unmistakable sheen of shameless power-pop outfits, and the homebrewed sincerity of hip-hop’s early years split into two dominant camps.
“Don’t it always seem to go, that you don’t know what you’ve got ‘til it’s gone?” Joni Mitchell asked in her 1970 single “Big Yellow Taxi.” Mitchell may have been singing about paving paradise to put up a parking lot, but her message applies just as well to the way in which we, as a society, tend to approach pop culture.
Before the time of Facebook and Twitter, of rip-off 3-D films and BlueRay, of Miley Cyrus and Taylor Swift, there were the ’90s.
After Ben Affleck’s Argo scored big at the Oscars a few weeks ago, A&E sat down with History Prof.
The University Jazz Ensemble, directed by John D’earth, played an engaging concert Feb. 23, showcasing a unique and varied sound that showed the audience a new and exciting type of jazz.
With romantic comedy after romantic comedy promoting casual relationships, it seems that our films have crept into our real-life relationships and gotten in the way of this little thing called “love.”
If you are looking for a poorly-done college adapted version of The Hangover, then look no further and go buy your ticket for 21 and Over immediately.
If you are brave enough for the lyrical liaisons of Thom Yorke’s voice or are willing to let your ears dive into Yorke’s consciousness, AMOK is crooning your name.
Politics, intrigue, deception, and revenge are just a few of the elements which make House of Cards a must watch show this spring.
While the fantasy genre is alive and kicking, however, many of its offspring are not. Jack the Giant Slayer displays all the trappings of a engaging epic, but none of the fun or charm.
The recent Oscar winning animated short Paperman succeeds in illustrating a delightful tale about two people brought together in the most unusual of ways.
Don’t lie: whether you love her or hate her, you’ve probably seen at least one (or ten) Taylor Swift music videos. No matter how many times you’ve watched them, however, you may be missing out on some of the valuable life lessons Swift espouses through her videos.
The Paramount Theater chose the perfect lazy Sunday afternoon movie to showcase this past weekend. Rob Reiner’s classic film The Princess Bride tells a story within a story, as it opens with a grandfather reading his (somewhat) bratty grandson a fairy tale, which becomes the main plotline for the rest of the film.
Par for the course, the University’s Drama department’s most recent production proved that big emotion can spring from the smallest of stages.
If you’ve ever stowed yourself away in Clemons Library during the wee hours of the morning, writing papers or studying for finals, you know what I mean when I say that Clemons can start to look and feel a little like a tomb around 3 a.m.
The word “meme” is tossed around quite a bit these days, but most people are unaware that the term, meaning an idea that spreads from individual to individual, was originally coined as an analogy to biological units like genes that self-replicate, mutate and spread.
