MUSIC Alec Benjamin impressed an adoring audience at the 9:30 Club on Tuesday B4
FILM “Venom 2: Let There Be Carnage” flops as an absurd, weak attempt at a monster movie B6
Written in the Stars
NEW RELEASES Check out the hottest new tracks from Tame Impala, Mitski and more B8
October 15, 2021
With astrology, Georgetown students are looking to the skies, and Co-Star, for answers
Mason Leath and John Williams
Hoya Staff Writer and Special to The Hoya
ILLUSTRATION BY: DOMINIC PHAM/THE HOYA
Sun, Moon, Rising: Georgetown Students Consult the Constellations Georgetown students join the 20 million Co-Star users who look to the astrology app for insight into their personalities, lives and futures. Mason Leath and John Williams Hoya Staff Writers
Buckle up, everyone. Mercury is in retrograde. Until recently, the movements of celestial bodies could not be accessed at the push of a button. But today, fueled by social media apps like Co-Star and heaps of internet sources, astrology has seen a meteoric resurgence in popularity among young adults over the past few years. Co-Star, which allows users to see new horo-
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scopes daily based on their astrological birth charts, has been downloaded more than 20 million times since it first launched in 2017, and the average age of its users is 24 years old. For many Georgetown University students, checking CoStar is a staple of their morning routine. The app capitalizes on a growing interest in the stars — its push notifications pull people in, and suddenly its 20 million plus users can tell you that when Mercury is in retrograde, it appears to be moving backward in the sky, signify-
MASON LEATH/THE HOYA
One aspect of astrology uses people’s location and time of birth to determine potential personality traits and daily horoscopes. The practice dates back to ancient civilizations and today appears on popular apps like Co-Star and The Pattern.
ing an era of poor communication. Studying the stars has a rich global history, and modern apps are not the only way to observe astrology. With the zodiac suddenly at the fingertips of many young people, astrology has gained a growing group of young followers who are interested in observing cosmic movements.
Historical Roots
The astrology that Co-Star has adapted for modern audiences has a long history, built upon
THEHOYA.COM | FRIDAY, OCTOBER 15, 2021
Babylonian, Egyptian, Greek, Roman and Muslim tradition and discovery. For astrologers before the 17th century, there was no clear distinction between scientific astronomy and the more speculative astrology. Instead, for most involved in the field at the time, the study of the heavens was a hazy spectrum between certainty and surmise. The basis of astrology revolves around the time and location of birth that uses the present astral patterns to determine personality attributes common to people born around that time. These astrological birth charts use current constellations and their movements to determine how birth sky traits are coming and in and out of play with other factors attributed to celestial movements. Georgetown University history and Catholic studies professor Fr. David Collins, S.J., has taught a class on outer space called “Outer Space: Plato to Pluto,” where he taught students about natal charts, a common astrological tool. Well versed in the histories of astrology and astronomy, Collins said ancient astrologers were scientifically and mathematically focused on the stars. “They knew that the mathematical side of astrology had more certainty than the influence of the heavenly bodies. Within the influences, they knew they could be more certain about the influence on the seasons than on personality types,” Collins said in a Zoom interview with the Hoya. During the 16th and 17th centuries, astrology and astronomy became distinct studies, according to Collins. As scientific techniques improved, astronomers like Galileo concluded the solar system was heliocentric and thus celestial events like eclipses did not indicate impending any supernatural ramifications, rather they were just normal movements of the planets. Yet even after German mathematician Christopher Clavius separated speculative astrology from more scientific astronomy, interpretive astrological traditions persisted. “It was standard practice to ask astrologers if it was a good time to sign a business contract, wage war or make peace,” Collins said. “It was self-evident that celestial bodies influence the world and society.”
Enter Co-Star
Apps like Co-Star and The Pattern have bolstered the popularity of astrology by bringing astrology to the world of social media. These platforms use algorithms and artificial intelligence to feed users personalized content. When users open the Co-Star app, they are greeted by a page featuring their own profile picture, an inspirational saying like “Learn to give yourself a tattoo,” and some suggestions for people they have “friended” on the app whom they ought to interact with on that day, based on the stars. There is also a tab for users to view their full birth charts in the app. Similarly, The Pattern displays charts and even a Tinder-like feature to connect users to one another based on their star signs. Laissa Aw (NHS ’22) said in an interview with The Hoya that the app’s appeal is in the social aspect, allowing younger people to connect through astrology. “This is the age of social media where we’re all about connecting to people. Being able to connect
to your friends through astrology — like Co-Star for example — tells you, ‘Oh you and your friend like this, and whoever you’re friends with like COURTESY AMANDA ESTEVEZ that,’” Aw said. “I think people love to connect beRevolving around constelcause that’s what our generation is literally about.” lation patterns and celestial Apps like Co-Star provide an accessible movements, people have used platform for even the most novice astrologers, astrology through history to according to Estevez. “It’s a lot of fun if you want to connect with your make decisions about their friends, so I’m always down for people getting to day-to-day lives — from busiknow each other more and trying to communicate ness contracts to relationships. based on little archetypes they are given,” Amanda Estevez (COL ’23) said in an interview with The Hoya. “I would always love it if people went deeper into it, as astrology is one of my passions. This is what I do when I’m by myself, and it feels really nice to know that other people appreciate it as much as you do.” Throughout the platform, Co-Star employs modern verbiage in its features meant to express the user’s habits through their birth chart. Sections on the app and random notification features impart sayings like, “Your definition of love is adding them to a group chat of all your boos from across the world” or “What keeps you alive is the fact that you aren’t famous yet.” These quotes have been criticized as being “slightly robotic.” The app’s features can have a negative impact on its users through some of its features however, according to Magdalena Paz (SFS ’23). “There’s two separate issues with Co-Star. First, they don’t have amazing astrologers on staff,” Paz said. “The other one is that the way it works is really bad and can be super threatening to people’s mental health because of these random notifications.” Co-Star has faced criticism because of its accuracy and notification system that can upset users through edgy messages. Charts have been reportedly inconsistent, and the app sends out mysterious messages every day that can instill paranoia or confusion. For instance, one Co-Star reminder reads, “If you feel like someone is taking advantage of you, they probably are,” which can prompt negative responses from users. Even despite these due to being a theology major.” drawbacks though, the app continues to play a Regarding astrology’s predictive power, Collins role in the spread of modern astrology. also highlighted a societal shift in these astrological prophecies, where historical astrological Astrology Today ambiguities tended to irk individuals, while now Just as stargazers of the past sought answers to they seem to be boosting astrology’s popularity. their earthly questions through mathematical and “The interesting thing about the way astrolscientific astronomy, present day young adults driv- ogy works now is that in the historical period ing astrology’s popularity today mimic these prac- they couldn’t be precise enough,” Collins said. tices to predict and explain their personal lives. “Now, part of the attraction is that the impreciAmanda Estevez (COL ’23) uses astrology to sion works in a way of not precisely predicting look at the major events and progression of something but with wiggle room offers meaning eras in their life and how these greater themes, to random events.” like education, might change as they get older. Other students use astrology as a way to look For example Estevez just turned 20, which inward, hoping to better understand themselves finds her in the ninth house of her astrological and their identities. Aw uses astrology to grow chart that is known for an emphasis on travel, her understanding of herself by analyzing her spirituality and education. birth signs. Aw is an Aquarius, which means she “One of my favorite things about astrology is was born in the days between Jan. 20 and Feb. 18. being able to predict the years in your life and “I have used astrology as a tool for reflection, the different themes,” Estevez said in an inter- like introspection and figuring myself out,” Aw view with The Hoya. “I find myself very much said in an interview with The Hoya. “I’m an Aquarthrowing myself into my spiritual practice and ius for example, and I show my emotions differtying in my spiritual practice with my studies ently than a lot of other people. I can be very de-
FRIDAY, OCTOBER 15, 2021 | THEHOYA.COM
tached and aloof, and because of astrology, I look at the way that I come across to people.” Combining Estevez’ and Aw’s approaches to astrology, Paz uses her charts to both look inward at her current moment of life and to be better informed about what to do in certain situations. However, Paz warned against classifying people’s personalities just using their horoscopes, which are predicated on their natal charts and star signs. “For me, I don’t necessarily do horoscopes because I think that it has a lot less to do with what astrology is actually about,” Paz said in an interview with The Hoya. “I don’t necessarily think that I am going to ask people what their sign is and base things off of that.” Regardless of astrology’s future in the next few years and beyond, it still remains as just one lens through which to observe the natural processes of the cosmos and interpersonal experiences. “When you start to learn the language of the planets and how they move, you’re going to start seeing how really everything is just a reflection of the cosmic scale but in a small sense,” Estevez said. “It’s very, very beautiful.”
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@WORKOFJAR/TWITTER, ALEC BENJAMIN/FACEBOOK
Emotions ran deep at the 9:30 Club. Through somber tracks expressing heartbreak and fears, Alec Benjamin resonated with his audience confirming he is one to be watched.
MUSIC
Singer-Songwriter-Storyteller Alec Benjamin Strikes a Chord With Fans ‘These Two Windows’ — Alec Benjamin
Drew Lent
Special to The Hoya
The pop music multi-instrumentalist is not dead, and Alec Benjamin is here to prove that. On Tuesday night, Benjamin took to Washington, D.C.’s 9:30 Club stage for the first time, in an impressive live debut that drove fans wild. The singer attracted a largely teenage audience, all of whom were ready to sing their hearts out to Benjamin’s songs about misery and heartbreak. Benjamin released this album, “These Two Windows,” in the middle of the COVID-19 lockdown. His biggest hit, “Let Me Down Slowly,” was released in 2018 and boasts almost 900 million streams on Spotify alone. After a thirty-minute wait filled with shrieks of excitement, Benjamin made a magnificent appearance with his newest song, “Older,” which expresses his fears of growing up and growing old. Anson Seabra perfectly set the mood of the concert when opening for Benjamin. His somber music, especially the song “Domi-
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noes,” reflected the heartbreak that Benjamin writes about in his own discography. Although Seabra’s vocals did flat a few times throughout his performance, his humor and interaction with the crowd created an anticipatory atmosphere leading up to Benjamin’s entrance. Red lighting immersed the crowd during the performance, reflecting Benjamin’s music’s common theme of angst and anxiety. Chaotic strobe lights often struck during upbeat poprock tracks like “If We Have Each Other” and “Boy in a Bubble,” while solid colors appeared during his somber and emotional tracks. At the beginning of the concert, Benjamin admitted that he recently got sick, joking with the crowd that “sometimes my voice will crack, if it does, just delete the video.” In spite of this claim, Benjamin kept vocally strong the entire time. Not one vocal flaw was apparent despite his sickness, speaking further to his musical talent. For most of the show, Benjamin played the guitar alongside the rest of his band, who reflected Benjamin’s energy with enthusiastic
playing of their own, jamming out with him during songs like “The Way You Felt.” The most exhilarating moments of the show, however, were when Benjamin sang on stage alone. Benjamin’s struggles with mental illness and heartbreak are major themes in the lyrics of “Demons” and “The Book of You & I,” making for an impactful performance as he belted them out on stage alone with his guitar. When the singer switched to playing piano during “Water Fountain,” his musical talent became undeniable. Benjamin is a multi-instrumentalist, a qualification that most pop artists today cannot claim. Although his time playing the piano was short, the intimacy and raw emotion of the moment made it remarkable. Additionally, Benjamin’s use of his guitar in almost every song confirmed both his talent in songwriting and chord progression. The singer’s interaction with the audience made the show even more special for fans. Fans were obsessed with Benjamin; a few even screamed how beautiful his eyes were
throughout the show. He debuted a new track at the show, “Devil Doesn’t Bargain,” as a treat to the audience. The ambient, heartbreaking track about fighting inner demons received widespread acclaim from the crowd, which will hopefully prompt Benjamin to release it in the future. For his closing song, Benjamin sang “Change My Clothes,” a recently released track with YouTube sensation Dream. The regretful song about wanting to live a productive and impactful life was the perfect close to the night, as bright lights covered the cheering audience while Benjamin sang with a guitar and a thumping beat. As he left the stage, the singer thanked the crowd, concluding the night on an optimistic note. Alec Benjamin is an undeniable talent. His concert at 9:30 Club confirmed that he is the full package, with vocals, artistry and fan connection. Given his performance, there is no doubt that Alec Benjamin will rock the District again in the future.
THEHOYA.COM | FRIDAY, OCTOBER 15, 2021
HOYA HORROR
James Wan’s ‘Malignant’ Is a Camp Breath of Fresh Air Lucia Pieto Columnist
James Wan has solidified his work in the horror canon as a creator and director of three major horror franchises: The Conjuring, Insidious and Saw. Having proved himself again and again to be a master of horror, Wan had room to experiment with the newest addition to his filmography: “Malignant.” “Malignant” follows Madison Mitchell, a woman who has experienced multiple miscarriages and suffers a traumatic head injury at the hands of her abusive husband. After these horrifying events, she begins to see violent visions of people being gruesomely murdered — visions which ultimately turn out to be reality. Throughout the film, Madison is also haunted
by a mysterious figure from her past who possesses a supernatural power that allows him to communicate through electronic devices. “Malignant” borrows the template for this villain, Gabriel, from the Italian horror and crime book and film genre called “giallo.” Giallo, the Italian word for yellow, refers to pulpy crime paperbacks with yellow covers that were popular in Italy during the early 20th century. Many of these novels were adapted into films in the 1960s and 1970s, popularizing giallo as a movie genre. The centerpiece of a typical giallo film is a mysterious, black-coated and gloved killer whose identity is not revealed until the end of the film, which also describes the character of Gabriel through his tall and dark, mysterious figure— essentially making him a supernatural giallo villain. Giallo is a slightly obscure genre for a modern mainstream horror film to pull from, so I was excited to see a popular horror director like Wan taking inspiration from this nearly forgotten genre from horror film history. Since I have some background knowledge
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on the giallo genre, I will admit that I went into “Malignant” already knowing the twist of the film. Though I would have preferred to go into the viewing experience completely unaware, I have to say that knowing the spoilers did not detract from the film. I thought “Malignant” was completely insane in the best way possible. As a longtime horror fan, I was offered something by the movie that I had not had from a mainstream horror release in a long time: “Malignant” did not take itself seriously. Though it had a fair amount of good scares and a thoughtful core message about control over one’s own mind and body, the film was first and foremost, for lack of a better word, stupid. Everything from the hokey dialogue to the overthe-top acting and kills, “Malignant” was difficult to find genuinely terrifying and grotesque, mainly because it does not seem like it was meant to be taken seriously in the first place. Mainstream horror films, as of late, have tended to steer in a more sophisticated direction, generally with deeper meaning and critiques
of a given subject that audiences can read into. Some popular examples of this are Ari Aster’s “Hereditary” and “Midsommar,” which represent modern family and relationship dynamics through the context of cults, as well as Jordan Peele’s “Us,” which is an amazing critique of class tension in the United States. Though I don’t take issue with these films themselves, they just do not have the elements of absurdity and cheesiness that make a horror movie fun to watch. These more intellectual horror movies have tended to dominate the genre recently, leaving little room for melodramatic romps to take up space. “Malignant” takes risks to be fun and genuinely bizarre. For example, the film makes frequent use of dramatic close-ups and genuinely bizarre CGI violence and gore that is reminiscent of trashy horror films from the ’80s. I hope that because of Wan’s status as a prominent horror director, other filmmakers will create more campy films like “Malignant” — that is, films that are only really spooky in their more playful portrayal of the horror genre.
By Ishaan Rai
MITSKI
JUSTIN BIEBER FEAT. TROYBOI
‘WORKING FOR THE KNIFE’
‘RED EYE’
Acclaimed alternative artist Mitski returns with her first new single after three years, “Working for the Knife.” Short but sweet, Mitski plays to her strengths on this track, combining evocative, melancholy lyrics with blaring synths and subtle guitars to produce a euphoric harmony.
Everyone’s favorite Canadian singer Justin Bieber brings on British DJ TroyBoi to produce this unique track for the complete edition of Bieber’s most recent album, “Justice,” which dropped on Friday. “Red Eye” will likely rank as one of the stronger songs on the expanded tracklist, with an addicting beat laced with xylophones and smooth vocals from Bieber.
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@MITSKILEAKS/TWITTER
ARCA FEAT. SIA
TAME IMPALA FEAT. LIL YACHTY
‘BREATHE DEEPER’ (REMIX)
‘BORN YESTERDAY’
In anticipation of the deluxe edition of his 2020 album “The Slow Rush,” famed Australian alternative artist Tame Impala remixed one of the album’s best songs, the groovy piano-based “Breathe Deeper.” The main addition is the unexpected feature of rapper Lil Yachty, whose new lyrics and hypnotizing flow create an enjoyable albeit slightly inferior track to the original.
This lead single off of Venezuelan singer-producer Arca’s upcoming album, “KICK ii,” recruits one of pop’s biggest and most controversial names, Sia, to sing this track. Sia’s vocals are stunning, but the song is bland otherwise, with unoriginal instruments and derivative lyrics that lack the individuality that has made Arca so acclaimed by critics in the past.
FRIDAY, OCTOBER 15, 2021 | THEHOYA.COM
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MUSIC
@THISISLANY/TWITTER
LANY Inspires an Emotional Audience At The Anthem on ‘gg bb xx’ Tour
With high-energy songs and heartfelt audience interaction, LANY’s performance at The Anthem was a musical triumph, supported by stellar opening acts and adoring fans. Pop artists Jake Scott and keshi opened for the group.
‘gg bb xx’ — LANY
Soo Min Lee
Hoya Staff Writer
After setting off the fire alarm during their Philadelphia performance the previous night, LANY was ready to bring the same energy to their performance at Washington, D.C.’s The Anthem. The Los Angeles-based band hit the stage on Saturday to perform their most recent album, “gg bb xx,” which was released Sept. 3, 2021. LANY’s 2014 track “ILYSB” launched the group to stardom, placing them squarely in the center of romance and breakup-themed pop music throughout the 2010s. The “gg bb xx” tour has been making its way through the United States, United Kingdom and Canada, with pop openers Jake Scott and keshi. The tour’s final stop will be San Francisco in November. Rising Los Angeles-based pop singer Jake Scott opened the night of festivities with hit songs like “Off” and “CWJBHN.” The dimming lights signaled the singer’s entrance, and the crowd roared with excitement. On stage with nothing but a guitar and one strobe light, Scott’s silhouette was the
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only illuminated figure in the venue. From the guitar then came the sweet strumming melody of the song, “Tuesdays.” The intimate lyrics paired with its simple guitar progression quickly turned the bustling audience silent. After performing his final song, “Favorite T-Shirt,” Scott left the stage, motioning on the second opener of the night: keshi. Also known as Casey Luong, the 26-year-old R&B artist is known for his euphonious instrumentals and smooth vocals. Simply put, keshi’s performance did not disappoint. Onstage with four standing lights, keshi swayed his body to the beat as he performed his funky hits “beside you,” “somebody” and “talk.” Dispersed throughout these songs were moments of cheeky interaction with the fans, in which he took selfies and accepted song requests. As keshi walked off stage, the LED light panels were suddenly lit up with red numbers, a sort of countdown clock that culminated with Paul Klein, the main singer of LANY, running onto the stage. Klein’s silky voice during his opening track, “get away,” filled the venue with warmth and anticipa-
tion for the rest of LANY’s songs. Klein’s singing and dancing were backdroped by his extremely talented bandmates: Jake Goss on the drums, Eric “Puff” Scarborough on the guitar and keyboards, and Kim Vi on “everything else,” according to Klein. After their opening tracks, the band played a progression of their hit songs “Thick and Thin,” “Super Far,” “cowboy in LA” and “never mind, let’s breakup” back-to-back. Like keshi, the use of LED panels in LANY’s performance was dramatically eye-catching, as lights flashed on and off during beat drops and beams of lights scanned the audience between songs, making sure that there was never a dull visual moment throughout the night. Klein interacted with his audience constantly, soaring across the stage from left to right, onto the piano and even into the crowd. His energy was reciprocated by the audience, who came with posters and flowers to throw at him. As the band flew through their repertoire, Klein took a moment to address the audience before he performed a slowed-down track, “Thru These Tears.” Reminiscing on his first performance in
D.C., Klein shared that seven years ago LANY drove from Los Angeles to The Anthem to perform for a crowd of only four people. Even in the face of such discouragement, however, Klein urged his audience to always remember their worth and how valuable their presence is on earth. “I’m not where I want to be, but I’m not where I used to be,” Klein said, reveling in the band’s progress as well as their future aspirations. After that sentimental moment, the night was reinvigorated by a few final hits. Upon concluding their final set song for the night, “Malibu Nights,” LANY left the stage. However, the audience was not ready to let them go. “Encore, encore!” “LANY, LANY, LANY!” — a plethora of chants filled The Anthem, making it impossible for the band to reject their fans’ calls for a few more songs. In the dark of the unilluminated stage, the faint shadows of Puff, Goss and Vi appeared, while the lights turned back on to reveal Klein’s return to center stage. Closing the night with their high energy encore, LANY indeed made Saturday night at The Anthem an unforgettable one.
THEHOYA.COM | FRIDAY, OCTOBER 15, 2021
IMDB
“Venom 2” continues the legacy of its predecessor with flimsy writing and farcical plot points, leaning into its own ridiculous conception with unearned confidence, failing to hit any mark of a good film.
FILM
‘Venom: Let There Be Carnage’ Revels In Absurdity, Plunges Into Stupidity James Pocchia Hoya Staff Writer
The slimy, wisecracking, extraterrestrial symbiote that came to theaters in 2018 returned Oct. 1 with similarly mixed results. The titular inky beast, Venom, wormed his way into audiences’ hearts three years ago in “Venom,” now followed by Columbia Pictures’ 2021 sequel “Venom: Let There Be Carnage.” The new film gives fans of the original everything they want — 97 minutes of a thinly scripted, humor-infused, substancedevoid plot that whirls around a predictable rivalry between two CGI monsters. Directed by prolific motion capture actor Andy Serkis, “Venom: Let There Be Carnage” is a superhero action-comedy that sees Tom
Hardy reprising his dual role as the scruffy journalist Eddie Brock and the voice of Venom, a volatile alien who inhabits Eddie’s body. The pair brawl and bicker like a married couple as they are drawn into the unhinged world of psychotic serial killer Cletus Kasady (Woody Harrelson). After Eddie’s interview with an imprisoned Kasady goes awry, the serial killer bonds with another bloodthirsty symbiote whose power rivals Venom’s, called Carnage. With San Francisco now under attack, Eddie and Venom must overcome their differences to defeat this murderous monster. To Serkis’s credit, “Let There Be Carnage” is a film that understands its own ludicrous essence. The movie wastes no time with exposition; instead, it assumes that its audience is
FRIDAY, OCTOBER 15, 2021 | THEHOYA.COM
acquainted with the antagonistic chemistry of its main characters and launches straight into its central plotline. The film seems to relish its own lunacy, as Serkis piles fantastical imagery and laugh-a-minute gags (like Venom and Eddie’s hilarious arguments over chickens) upon each other, milking the movie’s brief runtime for all it’s worth in terms of cheap lines and fight scenes. But there remains one inevitable truth at the heart of this absurd film — if audience members were to analyze “Let There Be Carnage” for just a second, they would realize that, when held to any reasonable standard of filmmaking, this movie fails in almost every single way. “Let There Be Carnage” is an absolute mess, and the central plot is frustratingly predictable and adds little to the canon of the Venom
universe. The script, while it displays marginal improvement as compared to its 2018 predecessor, fails to flesh out most supporting characters and undercuts the film’s few emotional moments with campy jokes. The cinematography is generally weak, as it foolishly resorts to replicating its predecessor’s propensity for poorly-lighted shots and a murky, dull aesthetic, reminiscent of 2016’s “Batman V Superman: Dawn of Justice.” The film’s final act, though it displays an agreeably thrilling CGI-driven battle, resorts to a dated damsel-in-distress format that exemplifies the film’s lack of originality and taste. A lot of the film’s problems also come from the mishandling of its central villain. Though Woody Harrelson manages to imbue Cletus Kasady with a reasonably menacing screen presence, Kasady is so poorly written that even the undeniably talented Harrelson cannot fully compensate for the lack of character substance. And the character of Carnage, the symbiote that bonds with Kasady, is a disappointment. The red monster, while intimidating in appearance, is ultimately a one-dimensional antagonist devoid of any motivation beyond wanton destruction. The film is not entirely without merit, however, as the pugnacious chemistry between Eddie and Venom gives this otherwise disastrous piece of cinema an action-comedy aspect that relies on the odd dynamic of its central characters. Hardy, in fact, delivers a deliciously overthe-top performance, executing his lines with erratic, vein-popping enthusiasm. Regardless, there is little to celebrate in “Venom: Let There Be Carnage,” and though many might characterize the film as innocuous, dumb fun, the movie is, in a way, quite dangerous for cinema. “Let There Be Carnage” made more money in its opening weekend than any other film released during the pandemic besides the latest James Bond installment, “No Time To Die,” and it boasts a laudable audience score of 84% on Rotten Tomatoes. As this film and others like it continue to produce such large sums of money, more serious and well-made dramas may lose the ability to obtain widescreen releases. If films like “Venom: Let There Be Carnage” have their way, cinema will become a strictly mindless affair.
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FILM
‘No Time To Die’ is a Bitter End to Daniel Craig’s Stint as 007 “No Time to Die,” the finale to Daniel Craig’s James Bond pentalogy, was released Oct. 8 to much anticipation after more than a year’s postponement. The movie, directed by Cary Joji Fukunaga, begins with a terrific title sequence, paired perfectly with the eponymous song by Billie Eilish. The subsequent three hours of the film contain great action and smooth direction, but several garbled plot points and underwhelming characters sour the overall experience, making for a fitting conclusion to the overall inconsistency of Craig’s era as 007. Those who grew up watching Craig in his first Bond performance in 2006 will recognize the lasting impact the actor has had on the Bond character and the future of Bond films. From “Casino Royale” to “No Time to Die,” Craig has imbued Bond with classic witty confidence and extraordinary competence paired with a fascinating emotional core. Craig’s vulnerability
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WHAT TO DO IN DC
“ALL THINGS GO”
Merriweather Post Pavilion
Want to sneak in one last outdoor concert before autumn kicks in? The “All Things Go” music festival at Merriweather Post Pavilion is the place to go. Hard-rocking trio Haim is slated to headline the show, and with acts like Charli XCX and Tai Verdes in the lineup, the audience is bound to be entertained. On top of the music, the amphitheater will be packed with plenty of food and activities.
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These strengths do not extend to the movie’s villains. Henchman Primo (Dali Benssalah), Logan Ash (Billy Magnussen) and evil scientist Valdo Obruchev (David Dencik) are either boring with little menace or outright cartoonish. Most notably, Rami Malek gives a thoroughly underwhelming performance as the film’s main villain Safin. Any potential for Malek’s solid acting is constrained by the limited writing of his character, who has confusing and unexplained motives. “Casino Royale” was an effective reboot of the 50-year-old franchise, and “No Time to Die” was its average but lackluster conclusion. As a standalone film, however, “No Time to Die” sprinkles great action and fun character work into puzzling, rushed plot decisions and ineffective writing of antagonists. The flawed plot in the last film highlights the challenges of ending a five-film series with five different directorial visions across fifteen years of changing Hollywood trends, especially one with such a culturally important character. Thus, the inconsistent “No Time to Die” encapsulates the problem with the series and reminds the audience of its past achievements but ultimately falls short in giving Daniel Craig’s Bond the send-off he deserves.
By Nikhil Nelson
US NATIONAL ARBORETUM
New York Avenue
Escape from the hustle and bustle of Georgetown and stroll over 400 acres of exotic, rare and beautiful plant life. With the leaves changing color and summer humidity winding down, there is no better time to stop by one of Washington, D.C.’s largest green spaces, open from 8:00 a.m. to 5:00 p.m. every day. While you’re in the area, stop by Union Market and experience one of the city’s beloved food courts.
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“VAN GOGH: THE IMMERSIVE EXPERIENCE”
Rhode Island Avenue
Access your artsy side at one of the city’s less conventional art museums. Guests will experience Van Gogh’s artwork to the fullest through two-story 360-degree projections, virtual reality tours and interactive activities. The exhibit emphasizes Van Gogh’s technique, daily life and legacy, and is suitable for people of all ages and backgrounds.
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OUTDOOR FITNESS AT CAPITOL RIVERFRONT
Navy Yard
Release all midterm stress at Navy Yard’s Canal Park this weekend, where Barre3 and 9Round fitness studios have teamed up to provide a free outdoor fitness class for all. The Navy Yard waterfront is also a beautiful place to grab a bite to eat and appreciate views of the Anacostia River. Classes are offered Saturdays at 9:00 a.m. and Tuesdays and Thursdays at 7:15 a.m. and are free with registration. @CAPITOLRIVERFRONT/INSTAGRAM
Special to The Hoya
turns too rushed: The plot hurries from setting to setting, and in several instances, seemingly dire circumstances are resolved in an unexpectedly quick fashion. Many of the scenes seem to be a means to advance the characters toward a predetermined finale, instead of relevant in themselves. It seems as though Fukunaga was only interested in the ending of his own film and threw away the lead-up. On the other hand, the cinematographic elements of “No Time to Die” hit the mark. The camera flows well throughout the movie, and the action sequences thankfully do not retain the choppy, quick-cut style of earlier films in the Bond franchise. The sound design is cleverly integrated into the plot, most notably in the muffled ambience accompanying Bond’s reaction to nearby explosions. The action sequences are adequately lit and shot, with highlights including Bond’s escapades on the villain’s island and in the misty Norwegian forest. With a star-studded cast, it is not surprising that the film’s actors excel. Lashana Lynch and Ana de Armas shine as energetic and capable additions to the franchise in the characters of CIA agent Paloma and new “00” agent Nomi, respectively.
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Luke McMahan
in the role was quite a change for a character established as a symbol of the strong, silent stereotype of masculinity. The character shift executed by Craig resulted in two of the best Bond films: “Casino Royale” and “Skyfall.” However, those triumphant performances alternated with two of the worst movies that the franchise has offered: “Quantum of Solace” and “Spectre.” Some of the more disappointing themes of these films are continued in “No Time to Die,” including the improved but still lacking chemistry between Bond and his love interest, Madeleine Swann (Léa Seydoux). While the beginning of their relationship suffered during its introduction in the disappointing “Spectre” (2015), Daniel Craig and Léa Seydoux bring new life to the film’s core couple in “No Time to Die.” Craig himself continues his fantastic turn as James Bond with great intensity, classic wit and immense depth. Although his character can at times seem a bit quippy and intentionally dismissive of serious predicaments, such moments are kept to a minimum. One of the primary issues of the film is the pacing. Though the first few action sequences were promising, the snappy pace established
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THEHOYA.COM | FRIDAY, OCTOBER 15, 2021