Recess Summer Watchlist
(07/01/14 2:00am)
Here’s a slice of what Recess is looking forward to this summer. Check out what we will be watching, listening to, reading, visiting and otherwise ingesting in the coming months.
Use the fields below to perform an advanced search of The Chronicle's archives. This will return articles, images, and multimedia relevant to your query. You can also try a Basic search
40 items found for your search. If no results were found please broaden your search.
Here’s a slice of what Recess is looking forward to this summer. Check out what we will be watching, listening to, reading, visiting and otherwise ingesting in the coming months.
Listen to Megan's playlist on her personal Spotify account!
"Le Week-end" is a romance, but it is a painful one.
The results are astounding. They transform, physically and emotionally, in front of the camera. Their eyes glisten, often with tears, and some patients begin to sing or hum along while others dance or move. Each time music affects someone in the film, the audience changes as well, charmed by the earnestness with which the patients listen and respond. These are the best moments, but there are too many of them. Each could easily be a video on Upworthy geared to promote the Music & Memory project run by Cohen. However, they’re strung together with very little else to substantiate a film that is over an hour long.
____simple_html_dom__voku__html_wrapper____>On April 16 and 17, the Duke Colloquium, a program established in 2009, will continue its mission to inspire student leaders and provoke thoughtful discussion. With workshops, interviews and visiting scholars, the Colloquium aims to promote thought on multidisciplinary and multicultural ideas in the professional world.
The way we, as college students, consume television is seemingly contradictory. Never before has there been such an undeniable sense of urgency to keep up with TV shows. Spoilers will be on Twitter and Facebook within minutes—if not seconds—of an episode airing, followed closely by headlines on our favorite websites.
Mr. Peabody and Sherman have stayed much the same in terms of their personalities, but their originally perplexing personal relationship is fleshed out in more detail in the film. Mr. Peabody, a know-it-all who refused to conform to society’s standards of how a dog should act, was never adopted. Because of his past, he decides to adopt a boy and save him from that fate. The crux of the film (and the television show) is that Mr. Peabody designed a “wayback machine” that allows him to witness important moments in history. The plot is kicked into gear when Sherman uses the wayback machine to prove a point to his brainy nemesis from school, Penny (Ariel Winter), against Mr. Peabody’s orders. The three then travel through time on an adventure to fix the past and the future.
Dir. Scott CoffeyIFC Films4.5/5 stars
Bear with me for a moment while I gush about the carillon. A magnificent instrument sits in the center of the room, like a giant piano with wooden handles to depress instead of keys. Each of those "handles" is connected to a gargantuan bell suspended overhead by cords much thinner than I expected. As the man played the carillon, the sound surrounded me. It pressed against my feet through the floor and clamored for attention. The chimes ended arrhythmically as they bounced around in all directions, folding me into an aggressive embrace.
____simple_html_dom__voku__html_wrapper____>Dir. John Lee HancockWalt Disney Studios Motion Pictures4/5 starsP.L. Travers (Emma Thompson), author of children’s novel “Mary Poppins,” visits Los Angeles to discuss the adaptation rights to her novel with none other than Walt Disney (Tom Hanks) in "Saving Mr. Banks." The two squabble over everything, big and small. She arrives in the city (which she describes as smelling of “chlorine and sweat”) disgruntled and fussy, opposed to everything for which the city and Disney stand. Travers is adamant that “Mary Poppins” is not a musical. There will be no animation. There will be no Dick van Dyke. There will be no nonsense words. Of course, we know the ending. Spoiler alert: Travers doesn’t get her way.
Dir. Adam McKayParamount Pictures3.5/5 stars
4/5 stars
The title track gives a false impression of what is to come. "Salute" is a shoulder-swaggering jaunt that stands to replace Beyonce's "Run the World (Girls)" as my girl power anthem of choice. It seems as if Little Mix got out all their fierceness and angst in "Salute" as they shout, "Divas! Queens! We don't need no man! Salute!"
____simple_html_dom__voku__html_wrapper____>Dir. Mike Newell3/5 stars
Just over a week ago, Entertainment Weekly posted NCAA bracket-style match-ups of young adult fiction on their website for its readers to vote on. The pairings elicited from me an unexpected wave of emotion, stemming both from my anger at certain books being set up to fail ("Harry Potter" versus "Holes"—really?) and my embarrassment at the number of them that I hadn't read. I was also surprised at the wide range of books labeled as "young adult." From a sample stretching from "Twilight"—a book I’m proud to have kept a promise to my sixth grade self not to read—to "The Princess Bride," I was curious about what really constituted the genre of YA fiction. After much thought, speculation and baseless conclusion-drawing, I have discerned four simple rules for young adult fiction.
1/5 Stars
At six years old, Wednesday was my favorite day of the week. I could give some mushy reason about how my parents and I would sit in the family room and talk about my day, and though that’s half-true, I would be obscuring the more important part of my evening: watching "Survivor." There was nothing I enjoyed more than having a show to follow regularly and get excited about—especially an 'adult' program that didn’t cause my parents to roll their eyes. Every Wednesday, my grandmother would call at 8:15 p.m. in order to interrupt us. She didn’t approve of my watching such an inappropriate show. Given that the first season featured a nude, pixelated Richard Hatch strutting down the beach in every episode, she probably did have some cause for concern. Still, we let the phone ring, captivated by the allure of “the tribe has spoken.”
Delorean has broken from snappier "Subiza" (2010) with their more heavily-produced "Apar." There's an intensity that's missing from the new album, leaving the listener with little more than apathetic dance pop.
“Elysium” is nothing we haven’t seen before: a film about a dystopian future world separated into a vastly stratified upper and lower class. If you’ve seen "Gattaca" or "Blade Runner," you probably get the idea. The wealthy live on a starkly beautiful space station called Elysium, while the rest of humanity remains on Earth. The earthlings fester in sickness and work to create the robots that oppress them, if they’re lucky enough to get a job at all.
Sibyl Kempson described her upcoming play “Let Us Now Praise Susan Sontag” in an email: "When difficult situations such as the abject conditions of poverty are articulated to the wider public in a mode of high art, aesthetics and ethics collide in a way that can erase our ethical response - depending on how poetic the reporting. The reports are moving, but too beautiful to move us to action. This piece is an irrational response to that collision and its limits, with help from the journals of Symbolist painter Odilon Redon, The NEW American Machinists Handbook, and ancient Assyrian mythology, and then shoved into the strict alchemical formulae of the Broadway musical."