Depending on whom you ask, “Mother!” is a tragic opus detailing the destruction of the environment; “Mother!” is a minimalist retelling of both the Old and New Testaments; and “Mother!” is an intensely self-critical indictment of how artists treat their friends and families; or “Mother!” is either brilliantly feminist or deeply misogynist.
None of these interpretations are necessarily wrong.

More than anything, though, “Mother!” is about the ways in which an audience takes ownership of art, rendering the artist obsolete.

Scott Abrams, Campus Times

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“Get Out” is the social thriller that is breaking box office records for writer and director Jordan Peele of the comedy duo Key and Peele. The plot centers on the relationship of Chris (played by Daniel Kaluuya) and his girlfriend Rose (Allison Williams) as they head out of the city to visit Rose’s parents’ house in the nondescript suburbs.
This is the first time Chris is meeting Rose’s parents, and plot twist, he’s black.

My boyfriend and I saw the movie at the advanced screening at the Little Theatre (courtesy of UR Cinema Group), and it was more than what either of us were expecting. We laughed, we screamed, and as an audience we were all cheering and rooting for Chris to get, well, the fuck out.

Zeke Starling & Rachel Weitzner, Campus Times

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“Fury Road” could be described with about equal accuracy as a reboot and as a continuation of the saga. It’s a reboot in the sense that it’s the first film to feature an actor other than Mel Gibson as the titular ex-cop Max Rockatansky. And while “Fury Road” has a fresh plot, it does feature extensive reuse of elements and even entire scenes from the first three movies. The climactic chases from the second and third films are repeated here, sometimes shot-for-shot. It’s a sequel, though, in the sense that no continuity is broken; nothing from the first three films is overwritten. All four movies take place in the same terrible future (which gets progressively worse with each movie). The quasi-Bondian switch from Gibson to Tom Hardy doesn’t change a thing about Max as a character—he’s still as taciturn, haunted, and unkillable as ever.

Film technology has come a long way in the thirty years since “Mad Max 3: Beyond Thunderdome,” and so have George Miller’s finances. The gutter-punk aesthetic...

Sam Passanisi, Campus Times

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If you want to feel hopeful, watch “Hidden Figures.”
It’s a stunning story with stunning performances from Taraji P. Henson, Octavia Spencer, and Janelle Monáe. In classic “based on a true event” fashion, “Hidden Figures” offers a unique plot, artistic shots of shadows on walls, a killer soundtrack (thanks, Pharell Williams), and an unnecessary heterosexual romance, mixed in with hints of white savior complex.

Like in life, though, if you ignore everything else that’s happening and focus on the smart, hardworking women, it’s pretty cool.

Isabel Drukker, Campus Times

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