Last Sunday, I live tweeted the Oscars. I’m not entirely sure what compelled me to do this. Perhaps it was my duty as an entertainment journalist to provide the public with some extra-colorful color commentary. Maybe it was my main character complex — bass-boosted by the vanity of social media — convincing me that the… Continue reading Making sense of the 2021 Oscars
This week, I am tasked with writing 600 words on “Godzilla vs. Kong.” Alas, only six come to mind. So, to quote Chris Evans (and his sweater) from Rian Johnson’s “Knives Out” — “This is stupid with two O’s.” In all fairness, “Godzilla vs. Kong” seems to know that. Or at least, I was told that… Continue reading ‘Godzilla vs. Kong’ vs. my last two brain cells
The temptation when adapting a play to the screen is to preserve it precisely as it already is — to hit record on the camera and let the actors do their thing. The argument, I suppose, is that this method makes theatergoing a little more accessible. By preserving the spirit of the stage in a… Continue reading ‘The Father’: Life in erosion
On March 24, 2002, history was made. That evening, at the 74th annual Academy Awards, Halle Berry became the first (and as of this writing, only) Black woman to win the Best Actress Oscar for her performance in “Monster’s Ball.” It was also the night that Denzel Washington won the Best Actor Oscar for his… Continue reading 2021 Oscars: A moment or a movement?
I watched Chloé Zhao’s “Nomadland” on my laptop. It is an ugly sight — a Samsung I’ve had since my freshman year of high school that can no longer even be described as stainless steel, due to a variety of brown and silver splotches I’ve so graciously adorned it with. It takes approximately five minutes… Continue reading ‘Nomadland’ and the road not taken