The Hoya: The Guide: March 15, 2024

Arrakis Awaits in ‘Dune: Part Two’

Denis Villeneuve’s latest science fiction epic is a visual and storytelling marvel.

Andre Albrecht Hoya Staff Writer

TV SHOW “Avatar: The Last Airbender” can’t beat the original, Tanvi Gorripati (CAS ’27) said. B2

FILM Jasmine Criqui (CAS ’26) talks to John Cena and Zac Efron about “Ricky Stanicky.” B4

FILM The “Kung Fu Panda 4” movie is surprisingly solid, according to Ethan Hill (SCS ’25). B6

TV SHOW

Netflix’s ‘Avatar: The Last Airbender’ Fails To Capture the Magic, Comedy of the Original

Tanvi Gorripati Hoya Staff Writer

A cheap copy of Nickelodeon’s childhood classic, Netflix’s “Avatar: The Last Airbender” is a tragedy. Netflix’s live-action adaptation of the beloved graphic novels and animated series portrays a world with four nations: air, water, earth and fire. These nations have been at war for 100 years since the fire nation attacked and wiped out the airbenders. Despite boasting excellent production design and special effects, the adaptation struggles to develop its main characters.

Both versions tell the story of Aang (Gordon Cormier), the titular Last Airbender and Avatar, who has been frozen in an ice sphere for 100 years. He is discovered by two water tribe siblings, Katara (Kiawentiio Tarbell) and Sokka (Ian Ousley). The three teenagers set off on a journey to help Aang master all four elements and defeat the fire nation, bringing peace and harmony to

the world once again. The trio, dubbed “Team Avatar,” is hunted by Prince Zuko (Dallas Liu) of the Fire Nation, who has been tasked with finding the Avatar by his father, Fire Lord Ozai (Daniel Dae Kim). Prince Zuko is joined by his uncle (Paul Sun-Hyung Lee) and is occasionally challenged by his sister, Princess Azula (Elizabeth Yu).

The Netflix series aims to condense a 20-episode season into only eight episodes. The result is a story that is cobbled together with elements from later seasons, rather than sticking to the source material. The live-action adaptation attempts to transform the story from a children’s show to one more relevant to an older audience, achieved by adding a traumatizing and bloody backstory alongside a reduction in humorous moments.

Some of these changes help viewers understand the complex motivations behind the actions of the villains and the heroes alike. For example, the scene introducing Azula’s character profiles her as a manipulative villain while showcasing her ability to

act as an innocent bystander. However, too many of these added scenes leave little room for the series to develop the characters within Team Avatar. In the Nickelodeon epic, these characters’ personalities are fashioned through numerous comedic and dialogue-heavy scenes. By forgoing many actionless moments, the Netflix series has difficulty in the characterization of Team Avatar.

The original animated series is especially successful in its ability to portray challenging themes like war, refugees and poor parenting in a form accessible to children. It balances serious topics with humor, action and romance, providing something to appeal to every kind of audience. However, despite attempts to include comedy in the live-action, the scattered jokes are not enough to thoroughly undercut the heavy themes, giving the show a darker feeling overall and therefore making it harder for a varied audience to absorb.

Even so, the adaptation does thrive in its production design and effects. The show creates

IMDB

Kiawentiio Tarbell plays the waterbender Katara in Netflix’s new live-action adaptation of the beloved animated show.

an immersive world with colorful costumes that draw in viewers, keeping them entertained through a masterful combination of live-action computer-generated imagery (CGI) and practical special effects. The flying lemur that joins the team, Momo, perfectly showcases the ability of CGI to create and portray a high-spirited character. The depiction of bending is mesmerizing and creates a captivating experience for viewers.

Prince Zuko and Princess Azula stand out in their adherence to their characters from the animated series. Liu stunningly portrays Zuko, the angsty teenager who will do anything to regain his honor and his place in the family. Meanwhile, Yu perfectly teeters between both sides of Azula, the calculating and manipulative heir to the throne and the little girl who just wants to impress her father. While the actors may not totally resemble their animated counterparts, Dallas Liu and Elizabeth Yu truly embody their characters’ personalities, bringing animated scenes to life.

On the other hand, the depiction of Katara falls flat. Katara has consistently limited reactions, a stark contrast from her character in the source material. The live-action has stripped Katara of the passion and anger that are some of her defining characteristics. The chemistry between the characters is what made the animated series so beloved — by profoundly altering the disposition of one of the main characters, this chemistry is thoroughly thrown off.

While the show lacks the original comedy that drew viewers in, it has tantalizing action sequences and successfully portrays dark themes by showcasing villains with complex motivations and the impacts of their actions on bystanders. Ultimately, though, the live-action adaptation lacks the spark that the animated series contained. While the animated series spliced heavy themes with humorous moments, creating a lighthearted show that presents serious topics in an easily digestible way, the adaptation fails in this aspect, leaving viewers with a heavy heart after finishing the season despite telling a children’s epic.

Move Over ‘Star Wars;’ Denis Villeneuve’s ‘Dune: Part Two’ Has Arrived in Theaters

Andre Albrecht

Hoya Staff Writer

Forget Anakin Skywalker, the “Chosen One,” and meet Paul Atreides, the enigmatic “Kwisatz Haderach.” Directed by Denis Villeneuve, “Dune: Part Two” seamlessly continues the story of Paul (Timothée Chalamet) as he navigates the perilous political terrain of Arrakis, the desert planet that is the sole producer of the universe’s most valuable substance that powers interstellar travel, the spice melange. Paul and his formidable mother, Lady Jessica (Rebecca Ferguson), immerse themselves with the Fremen, the indigenous people of Arrakis, forging alliances and challenging the oppressive rule of Paul’s sworn enemies, those of the House Harkonnen, a powerful rival family.

As Paul’s bond with the Fremen strengthens, his prophesied role as the “Kwisatz Haderach” becomes increasingly apparent, ushering in increasingly potent and troubling visions of the future. Alongside Chani (Zendaya), a Fremen warrior and Paul’s love interest, and Stil-

gar (Javier Bardem), a Fremen tribe leader, Paul embarks on a path of vengeance and liberation.

“Dune: Part Two” is a cinematic masterpiece, brimming with stellar performances, awe-inspiring visuals, exhilarating action sequences and immersive sound design, setting up the series to become the “Star Wars” of our generation.

“Dune: Part Two” features a constellation of rising stars and veterans. Chalamet and Zendaya, two of Hollywood’s hottest Gen Z actors, light up the screen and anchor the expansive narrative with their tender romance. Bardem entertains viewers with moments of comic relief to balance the film’s intense pace. Austin Butler stands out with an exceptionally menacing performance as House Harkonen’s most lethal psychopath, Feyd-Rautha Harkonnen. Butler infuses each of his scenes with chilling tension and is arguably one of the most disturbing supervillains since Heath Ledger’s Joker.

Perhaps the strongest aspect of “Dune: Part Two” is its jaw-dropping visuals, elevating the movie into one of the most captivating cinemat-

ic experiences of recent times. Villeneuve transports the audience to diverse planets, showcasing intricately detailed environments brought to life through the expert use of color, architectural forms and costume design.

Giedi Prime, the ominous stronghold of House Harkonnen, is starkly rendered in ghostly grays and Stygian blacks, embodying the essence of death and destruction. The Harkonnens’ glossy black armor resembles arachnid exoskeletons, subconsciously triggering the audience’s fear and disgust. Here, dazzling pyrotechnics are reimagined into inky spectacles that bloom and unfurl in mesmerizing designs.

Arrakis, the film’s focal point, is a stunning tableau of brutal beauty filled with ochre dunes and sienna ridges. The architecture of the Fremen, influenced by ancient Mesopotamian ziggurats and Egyptian pyramids, imbues the arid landscape with a sense of antiquity.

Throughout the film, Villeneuve masterfully displays the filmmaking principle of “show, don’t tell.” Rather than narrating the harsh desert con-

ditions, Villeneuve plunges the audience into searing visuals of undulating heat waves. Intimate close-ups of sand trickling through the characters’ fingers enhance the gritty, immersive feel of the film. Similarly, instead of burdening audiences with an overt exposition of Fremen culture, Villeneuve weaves in scenes that emphasize the Fremen’s reverence for water, vividly demonstrated in moments where characters are admonished for shedding tears and are shown reclaiming water from the deceased.

In addition, the action sequences in “Dune: Part Two” are executed with exceptional finesse. Paul Atreides’ first ride atop a giant sandworm is electrifying. A striking shot captures Paul’s determination as he teeters on the fearsome serpent. The music crescendos as Paul triumphantly finds his balance, fulfilling part of the Fremen prophecy.

The climatic duel between Paul and Feyd-Rautha is another masterclass in action. The sequence eschews music in favor of the raw, unadulterated cacophony of battle. The expert cinematography closely tracks the combatants’ crisp choreography while the film’s adept editing strikes a balance between its breakneck pace and coherence. The outcome is a thrilling fight scene that showcases the climax of the movie.

Hans Zimmer’s accompanying score is predictably brilliant, incorporating custom-made ballasts and contrabass duduk not found in Western orchestras to evoke an otherworldly allure. Zimmer adeptly tailors specific sound designs for each planet for maximum sonic contrast: a chilling, metallic suite for the Harkonnens to capture their icy brutality and a warm yet haunting choral motif for the Fremen to reflect their resilience and desert affinity.

While the film boasts considerable strengths, it navigates inherent challenges as well. Devotees of Frank Herbert’s seminal 1965 novel, “Dune,” may lament the simplification of its intricate plot and deviations from the original storyline. However, such distillation is essential, considering the runtime and the goal of making the film approachable for those unacquainted with the Dune saga.

Lastly, the film’s abrupt cliffhanger ending may frustrate some viewers. While this technique effectively builds anticipation for future installments, it may also create a sense of incompletion. Nonetheless, this choice faithfully mirrors the original novel, wrapping up storylines and character arcs and setting the stage for the galactic war in Herbert’s second novel.

Overall, “Dune: Part Two” cements Denis Villeneuve’s reputation as one of the greatest directors of our time, showcasing a level of craftsmanship that ranks it among the finest science fiction films ever made. Our voyage through the “Dune” universe is only beginning, and if Part Two is any indication, we’re in for an exhilarating ride.

IMDB

Paul Atreides (left) and Chani (right) fall in love as Paul embraces the Fremen ways and navigates the hostile world of Arrakis.

The Timeless Francis Ford Coppola: More Than ‘The Godfather’ Trilogy

Sophia Lu Guide Columnist

Whether it’s “Despicable Me,” “Star Wars” or “The Wolf of Wall Street,” many movies and TV shows have paid homage to “The Godfather” over the years. Helmed by Francis Ford Coppola, considered one of the greatest directors of all time, the trilogy represents filmmaking at its absolute finest — a fact that has been acknowledged time and again as creatives across generations continue to draw on it as a source of inspiration.

While Coppola is rightfully best known for his mafia masterpieces, he’s proven his range extends far beyond that. He’s experimented with gothic horror, psychological thrillers and wartime epics, among other genres, to cement his place on the Hollywood Walk of Fame.

Coppola was born into a family of artists — his father was a composer and his mother was a part-time actress. He harbored a passion for the arts from early on, creating 8mm home movies and playing the tuba to earn a musical scholarship to the New York Military Academy. After deciding to instead attend Hofstra University, Coppola

determined that his long-term calling lay in filmmaking. He later graduated from the UCLA School of Theater, Film and Television, where he honed his trademark directing and screenwriting styles that would launch his career.

The early years of Coppola’s time in Hollywood yielded mixed results. Though he did not receive immediate opportunities to direct big-time feature films, Coppola made his talent known in other ways on set. He served as a director’s assistant, dialogue director and sound man, going from one production to the next and developing a well-rounded understanding of all the different roles necessary to make a motion picture successful. Eventually, his boss — the celebrated independent filmmaker Roger Corman — gave Coppola his first shot at directing a feature film in 1963.

Coppola turned Corman’s belief in him into “Dementia 13,” a low-budget gory horror movie that turned into a cult hit. He followed up his debut with several other under-the-radar feature films that brought him acclaim in the filmmaking community. In particular, Coppola’s 1969 road drama “The Rain People” garnered positive reviews. During production, Coppola showed off the diehard

CROSSWORD

By Amber Cherry

commitment to narrative storytelling he would later become widely known for. The film was shot across 18 states with a skeleton crew of ten people over the course of five months.

From his directing experiences in the 1960s, Coppola knew that he wanted to make unconventional movies that did not always fit into the formulaic Hollywood studio system of the time. He founded the production company American Zoetrope alongside George Lucas in 1969 to create a space where he could pursue his unique vision of filmmaking unfettered by the constraints of bigger studios that had bottom lines to protect. This decision paid off handsomely for the director, who experienced incredible success in the following decade. “The Godfather” was released in 1972 as a three-hour-long adaptation of Mario Puzo’s best-selling mafia novel and netted Coppola his first Academy Award for Best Picture. Not only did it win the top prize at the Oscars, but audiences and critics alike recognized it as one of the best films of all time. To this day, “The Godfather” sits atop rankings such as the American Film Institute’s “100 Years…100 Movies.”

“The Godfather Part II” hit screens in 1974, to even more celebration. Some

This Week’s Theme: Arrogance

ACROSS

1. The best deputy guide editor The Hoya has ever seen/the thing that traps bugs as fossils

6. Orange protector

7. “It’s awfully ___ of her to put her own name in the crossword!”

9. Spanish for the fifth sign of the zodiac, often associated with confidence

10. Liquid ___s are just soy sauce for healthy people

DOWN

1. Jeramey from Love is Blind has sleep ___

2. “ ___, I only buy West ___,” said the wealthy furniture customer

3. ___n Wall

4. Descriptor for Orlando Bloom in Lord of the Rings

8. Gong ___ plays the Salesman in Squid Game

of the creatives in Coppola’s brain trust, like George Lucas, had initially criticized the movie for attempting to interweave two storylines, that of Vito Corleone’s upbringing and Michael Corleone’s reign as the godfather of the mafia family. However, audiences who saw it appreciated Coppola’s daring decision. It won six Academy Awards, giving Coppola another Best Picture win as well as a Best Director win. Though Coppola’s last movie in the trilogy, “The Godfather Part III,” did not make the same splash in 1990 that its predecessors did, the expert craftsmanship and epic storytelling in the three movies by Coppola have immortalized them in the public consciousness.

issue’s

Last 1 G 2R 3 I 4 T 5 S 6R A D L A 7A G L 8E T 9P E E L E 10E R R O R

ACROSS

1. Popular Southern dish

6. Totally tubular

7. The end of a shoelace

9. Key and _____

10. You get these kinds of messages when you have a hold on your registration.

DOWN

1. A fruit that always slaps at Epi’s

2. A party typically thrown without parental supervision

3. A habitually lazy person

5. What Grover is in the Percy Jackson series (alternate spelling)

The Hoya Sits Down with John Cena, Zac Efron to Talk New Film ‘Ricky Stanicky’

Jasmine Criqui Senior Guide Editor

The R-rated comedy “Ricky Stanicky” hit streaming March 7 on Prime Video. Directed by Peter Farrelly, the star-studded film is a bawdy delight with some surprisingly sincere moments, so long as you’re not stuck searching for the deeper meaning.

To avoid getting into trouble, childhood friends Dean (Zac Efron), Wes (Jermaine Fowler) and JT (Andrew Santino) invent a fourth member of their group, christened “Ricky Stanicky,” to take the blame. Over the years, the imaginary Ricky goes from a fall guy for mischief to a repeated excuse for the three men to spend time away from their partners, but their story begins to unravel when JT’s wife goes into labor six weeks early and forces the trio to cut their latest trip short.

At a Feb. 12 press conference with student papers, including TheHoya , stars John Cena and Efron discussed their takeaways from the film and shared some behind-the-scenes details.

Efron explained how the premise added an extra layer of difficulty to making the main

trio sympathetic.

“These guys are really telling a rather big lie, and it’s hard to pull that off and still like the characters and root for them at the end,” Efron said. “And I think that’s what Pete Farrley does so well in this movie, is he toes the line where these guys are doing it out of loyalty and love for one another and to protect each other.”

Whether his motives stem from loyalty or fear, Dean is unwilling to fess up when given the opportunity. Instead, he doubles down on the lie and hires X-rated rock ’n’ roll impersonator “Rock Hard Rod” (Cena), whom he met in a casino bar, to pretend to be Ricky at the new baby’s bris. But when Rod ultimately takes to the role like a duck to water, the entire ruse threatens to come crumbling down.

Standing between Rod, the alcoholic aspiring actor, and Ricky, the supposed world-class humanitarian, is a rocky adjustment period that makes up the most entertaining stretch of the film. Though Rod’s act is only shown briefly, his adult impersonations of celebrities like Billy Idol, Boy George and Britney Spears mean that Cena shows off a variety of outfits and voices in quick succession.

“When he does that line of impressions, we were off camera just losing it,” Efron said. “My

favorite one is just from the time you put on that Britney Spears outfit and everything that transpires in that moment.”

Cena said he agreed that the Spears impression was a highlight.

“Thank goodness I didn’t have to do the entire dance number from ‘Baby One More Time,’ but I could rock the schoolgirl outfit,” he joked.

The script had several other moments where the actors said they found it hard to keep a straight face, including Dean’s protracted scuffle with an irate duck in a golf course pond.

“It was hard to fight that duck,” Efron said.

(He clarified that no animals were harmed in the making of the movie.)

In another scene, the trio goes to the airport to meet Rod, who’s sweating profusely from alcohol withdrawal and appears to start urinating in his sweatpants. “Don’t worry, it’s not what you think,” he assures the horrified onlookers. “It’s just piss.”

Cena said the line was difficult to deliver without breaking, and Efron agreed.

“It was hard for us too, because he just improvised it,” Efron said.

When I expressed my delight with the shirt Rod wears in that scene, a black tee with white

JASMINE CRIQUI/THE HOYA John Cena and Zac Efron reflected on their time filming the movie.

text reading “I DON’T TRUST SOUP,” the actors told me it was directly inspired by Farrelly.

“That’s Pete’s real shirt,” Efron said.

“He wears it all the time,” Cena added. “That is taken from his wardrobe.”

From Wes’s ridiculous earflap beanie/grandma robe combo to Rod’s ivory slouch hat, the wardrobe is one area where the film excels, fully leaning into its silly premise. It looks like a movie where the costume department had a blast, and I told Cena so when I asked about his favorite looks.

“My takeaway from your question is that old phrase, ‘it takes a village,’” Cena said, making sure to credit the movie’s whole team. “I really appreciate you identifying and showing respect to our makeup department and our costume department and our hair department, because without that effort, the impressions are just me trying my best to contort my face.”

Despite its humorous absurdities, the film scrapes together some surprisingly touching story beats. Rod’s journey is an entertaining exploration of truth, identity and second chances that’s bolstered by Cena’s total commitment to the bit, while Dean’s arc of learning to finally be honest with those he loves makes for a satisfying B plot.

“The story of the transformation from Rod to Ricky is one that is very close to my heart because my life is just a serendipitous bunch of happy accidents,” Cena said. “I wasn’t supposed to be a wrestler. I certainly wasn’t supposed to be here. I didn’t train my whole life for these things.”

Cena also spoke to the importance of acknowledging areas of growth and working toward self-improvement.

“I still have a lot to learn, I still seek out wisdom every day, I still know I’m not perfect,” Cena said. “But the takeaway I’d love you to have is: If you’re loving what you do, just mix it with a whole lot of perseverance and you never know what can happen.”

Oscars in Step With the Cinematic Monolith’s Decline

Preston Shirazi Columnist

The lackluster ratings for this year’s Academy Awards, despite having hugely popular Best Picture nominees like “Barbie” and “Oppenheimer” to support the viewership, underscore an unavoidable reality: The steady decline of the Academy Awards is a reflection of movies’ diminishing stature as a dominant cultural force. For much of the 20th century, the Oscars represented the pinnacle of mainstream American entertainment. A healthy chunk of the American population would faithfully tune in, united by an understanding that the movies and personalities being honored held tremendous significance in popular culture. Oscar night was akin to a national holiday celebrating an art form that served as a binding social force.

Those days are indisputably over. While this year’s viewership of 19.5 million showed a modest 4% uptick from recent lows, it remains a far cry from the 55 million who watched in 1998 when “Titanic” swept the major awards. The fragmentation of media and the democratization of content has rendered the Oscars increasingly niche. The challenges facing the Oscars are

systemic, not an isolated problem to be solved by tweaking the broadcast or nominating more popular films — though it would help the enjoyment of those who do choose to tune in. They are, at the core, a byproduct of massive shifts in technology, audience behavior and the movie’s place in the cultural hierarchy. The dawn of streaming, social media’s endless feed of viral content and the proliferation of viable home theater systems have profoundly altered consumption habits. While going to the movies was once a communal experience and de facto social currency, viewers can now access highquality videos from virtually infinite sources at their convenience.

In this boundless digital landscape, movies have become just another option in an endless slew of choices. Their exclusivity and broader resonance have steadily eroded, settling them into more of a niche enthusiasm. The widespread interest that once allowed Oscar winners to become binding popular sensations is waning. The types of movies being celebrated have also played a role. With largely adult-oriented dramas and comedies struggling at the box office, the Academy’s top nominees now skew toward films aimed at more fragmented audiences — art-house indies, technical marvels amenable to big screens or superhero spectacles appealing to younger demographics. In 1998, three of the five nominees for Best Picture were in the top 10 highest-grossing films for that calendar

ON YOUR RADAR

EXPERIENCE IRELAND IN DC

Have you ever wondered about the roots of St. Patrick’s Day? Spend this weekend broadening your understanding of the Irish language and culture at “Ireland 101,” an interactive experience made by Profs & Pints D.C., from 2 p.m. to 4 p.m. this Sunday, March 17. The event will feature Seán Ó Coistealbha, an accomplished poet and actor, guiding audiences through topics from the origins of the Irish language to stories of ancient myth and folklore.

year, with the other two remaining in the top 50. In 2024, only two of the 10 nominees are in the top 10 highest-grossing. None of the others are even in the top 50. For an awards show to resonate with a mass audience, the celebrated works need to be films that a significant portion of the general public has actually seen and can feel a connection to; as the Oscars increasingly honor niche and esoteric movies that most people haven’t watched, it becomes harder for the average viewer to feel invested in the winners and losers.

There’s an understandable tendency to pine for some mythical “good old days” and lament the academy’s specific missteps — being too woke, too crass, too bloated, too detached from popular tastes. But the larger truth is that no reasonable tinkering can recreate the monocultural significance the Oscars once held. Hollywood’s talent and tastemakers now compete in an increasingly fragmented entertainment landscape, one where traditional broadcasting is being eclipsed and viewers’ specific interests are continuously catered to. In this ecosystem, movies simply do not occupy the same exciting, unifying space they did when film reigned as the preeminent mainstream art form. Streaming shows, YouTube personalities, video games, social media celebrities and podcasts are all forces further dispersing attention and allegiances. Even unqualified movie hits like the recent blockbusters “The Super Mario Bros. Movie” and “Guardians of the Galaxy Vol. 3” are arguably more

By Elizabethe Bogrette

IRELAND AT THE WHARF

Explore live music, dancing and more this weekend at The Wharf, with featured performances by the 19th Street Band, Poehemia and the Boyle School of Irish Dance. The Wharf will also host its annual Irish festival on Saturday, March 16, from noon to 6 p.m. to commemorate St. Patrick’s Day.

self-contained sensations than catalysts for broader cultural moments. This isn’t to lament the Oscars’ dwindling viewership, but simply to contextualize it. Cinema’s commercial and cultural primacy has been steadily eroding for decades under the related pressures of emerging media and shifting audience habits. While still honored as an esteemed art form and robust industry, movies are increasingly positioned as a buffet option among many rather than the preeminent mainstream entertainment. People can remain within their comfortable, cinematic “bubbles,” only watching films that cater to their tastes.

The Academy Awards were groundbreaking as a universal celebration of the movies back when that medium served as the nucleus of America’s popular arts. As cinema has ceded that centrality, the Oscars, through no particular fault, have drifted into more of a ceremonial niche interest. Their declining ratings aren’t evidence of Hollywood’s deterioration or public apathy, but simply the inevitable byproduct of an evolution — movies fading from their long reign as America’s cultural muse. So while it is unlikely to believe that the Oscars are going anywhere, and they do have their fair share of amazing moments — “I’m Just Ken” is one that seemed particularly salient during this year’s show — it is unlikely to expect a return to a time where more than a handful of Hollywood stars and movie fanatics tune in to watch the show.

THIS WEEK’S THEME: St. Patrick’s Day Weekend

STEP (OR RUN) INTO ST. PATTY’S

Put your best foot forward this weekend by taking part in the 2024 St. Patty’s 5K, Half-Marathon or Marathon. Runners can enjoy the scenic route alongside the Chesapeake & Ohio Canal path. Proceeds will go to the charities Semper Fi and America’s Fund. Race start times vary, so make sure to check out the website for specifics regarding your selected race.

SHAM-ROCK THE NIGHT AWAY

You’re not going to want to miss the inaugural VA Irish Festival, this Saturday, March 16, from 1 p.m. to 8 p.m. in Ashburn, Va. Among the performances, this festival will provide a silent disco area, a carnival and a variety of rock bands and DJs. Tickets are currently available for $25.

‘Kung Fu Panda 4’ Embraces Change, Moves Po’s Storyline in New, Refreshing Ways

Ethan Hill Hoya Staff Writer

When I walked into the theater to see this movie, I expected nothing more than a soulless cash grab from Hollywood, yet another attempt to milk one of their most beloved children’s movie franchises for every penny it’s worth. Was I wrong? Well, only partly.

Anyone who has kept up with the franchise knows that this movie was made for the sole purpose of making money. While most franchises believe in the power of three, Kung Fu Panda 4 walks the edge of repetition. Since the last installation shows Po (Jack Black) reaching the absolute pinnacle of his powers, it was hard to imagine the franchise creating a new installation that would top Kung Fu Panda 3. After all, what else is there for Po to possibly learn?

However, somehow the producers found a way. Just like at the end of the third movie, Po

is extremely powerful in Kung Fu Panda 4, but he still has much to learn about spirituality. Not only does this decision feel surprisingly natural to the continuity of the existing Kung Fu Panda universe, but it’s oddly refreshing. The shift from focusing on making Po a competent, elite fighting force to having him grapple with internal struggles was a clever way to continue his story without diminishing any of the payoffs from the previous three films.

Although it took a full three movies for Po to finally become a master at Kung Fu, he is finally called to leave that behind to try something else in the newest movie. We see him struggle and attempt to resist this change only for him to learn that change is a natural part of life. Through the thematic exploration of trying to be a jack of all trades but a master at none, the message of the movie is incredibly streamlined.

Only 94 minutes long, the movie is incredibly well-paced. It’s fast when it needs to be,

but slows down in crucial moments to emphasize character development and growth. That being said, the runtime is also a hindrance to the film at times, as the new colead, Zhen (Awkwafina), is barely developed as a character given the time limitations. Had there been more scenes explaining her backstory and moral compass, her character arc would have felt far more triumphant.

Extra runtime could have helped the movie with its villain’s backstory as well. The main antagonist, The Chameleon (Viola Davis), was not given a compelling story, making her seem like just another generic boss battle that Po had to face, causing her to seem rather bland.

Besides Davis, everyone who reprises their previous roles from the prior movies, including Jack Black as Po, Dustin Hoffman as Master Shifu and James Hong as Mr. Ping, turns out a consistently solid performance.

It was disappointing, however, that the

IMDB

Po wields the Staff of Wisdom as he squares off against his latest foe in “Kung Fu Panda 4.”

Furious Five, a team of the world’s best Kung Fu fighters (and Po’s best friends), were not in the movie, as it would have been interesting to see how the other characters that we have grown to love would react to Po’s new role.

The movie’s animation tells the story well. After viewing the trailer, which seemed somewhat unpolished and unaesthetically pleasing to viewers, I was nervous that this film wasn’t going to be high-quality. Luckily, the promo shots were clearly not the finished product, as the action set pieces looked as great as they were entertaining. As long as you don’t expect anything as breathtaking as “Spider-Man: Across the Spider-Verse” in the looks department, you will leave the theater feeling quite satisfied.

Was I wrong to think this movie was going to be a soulless cash grab? Not entirely. The decision to make the film was motivated by money, it’s also clear that there was a lot of passion put into this project. While it is slightly inhibited by its short runtime, the main issue of “Kung Fu Panda 4” is that it’s more or less the same as the other movies in the franchise. At the end of the day, it’s the same panda making the same fat jokes being taught by the same red panda and wise turtle. Unfortunately, because so many of the jokes were repeated, the humor began to feel quite stale.

The Kung Fu Panda movies will always hold a special place in our hearts, but I think the writers at DreamWorks Animation should take their own advice: Embrace change and try something new, just as Po did in Kung Fu Panda 4.

OSCARS FAVORITES: THE HOYA’S TOP PICKS FOR THE 2024 ACADEMY AWARDS

The Oscars aren’t the only highly prestigious and competitive film award given out this week — with our columnists, writers and editors covering 2023’s best movies throughout the year, it’s time to reveal The Hoya’s own picks for the year’s top films. Our staff voted on their picks for 16 Oscar categories ahead of the real awards, which aired at 7 p.m. EDT March 10.

BEST PICTURE

Move over “Moonlight” and “La La Land,” there’s a new contested Best Picture winner in town. This year, The Hoya’s vote is perfectly split between “Oppenheimer,” Christopher Nolan’s earth-shattering biographical thriller, and “Past Lives,” Celine Song’s heartbreakingly beautiful romantic drama that was her directorial film debut.

BEST ACTOR

No surprises here. Cillian Murphy has The Hoya’s vote for Best Actor for his titular role in “Oppenheimer.” Murphy, a recurring face in past Nolan movies, plays J. Robert Oppenheimer with a captivating intensity that captures one of history’s most controversial geniuses, a man made of equal parts charisma and staggering hubris.

BEST ACTRESS

The Hoya votes Lily Gladstone for Best Actress for her grounded, magnetic performance as Mollie in “Killers of the Flower Moon.” The first Native American woman to be nominated in the category, Gladstone was considering quitting acting in 2020 when she received a Zoom invite from director Martin Scorcese. That call clearly went well.

BEST SUPPORTING ACTOR

As Cliff, the main character’s estranged brother in the biting satirical drama “American Fiction,” Sterling K. Brown’s spirited performance earns him The Hoya’s vote for Best Supporting Actor. Cliff, whose exuberance masks his rapid spiral, acts as not only an excellent foil to his brother but a deeply compelling character in his own right.

BEST SUPPORTING ACTRESS

“The Holdovers” bucks the saccharine inclinations of many a holiday classic to deliver a nuanced portrayal of grief and loneliness, in large part due to Da’Vine Joy Randolph’s performance as bereaved head cook Mary Lamb. Balancing out the film’s main trio with humor and heart, Randolph is The Hoya’s pick for Best Supporting Actress.

BEST DIRECTOR

The three-hour “Oppenheimer” was produced on a staggering scale, weaving together two separate timelines, dozens of characters and deceptively dense exposition to become one of the most highly acclaimed films of the year. For his role at the helm of this improbably tight production, The Hoya selects Christopher Nolan for Best Director.

BEST INTERNATIONAL FEATURE FILM

Another toss-up, this time between “Society of the Snow” and “The Zone of Interest,” two contenders for Best International Feature Film representing Spain and the United Kingdom, respectively. One is a harrowing tale of survival, the other a nauseating examination of the mundanity of evil; both are horrifyingly well-executed films that have more than earned their acclaim.

BEST ANIMATED FEATURE FILM

Narrowly beating out Studio Ghibli’s “The Boy and the Heron,” Sony Pictures Animation’s “Spider-Man: Across the Spider-Verse” is The Hoya’s pick for Best Animated Feature Film. Though it only tells half of a larger story, the film’s groundbreakingly dynamic animation style and colorful ensemble of characters make it a force to be reckoned with.

BEST ORIGINAL SCREENPLAY

For their work on the French drama “Anatomy of a Fall,” The Hoya selects Justine Triet and Arthur Harari for Best Original Screenplay. With a tightly-woven story that delights in uncertainty and moral ambiguity, the film focuses on a writer who claims innocence in her husband’s death.

BEST MAKEUP AND HAIRSTYLING

From Willem Dafoe’s patchwork face to Emma Stone’s cascading raven locks, “Poor Things” delivers striking visual designs for its characters, earning it The Hoya’s vote for Best Makeup and Hairstyling.

BEST COSTUME DESIGN

With their widespread popularity as Halloween costumes this past year, it should come as no surprise that the outfits in Greta Gerwig’s “Barbie” have won The Hoya’s vote for Best Costume Design. From Margot Robbie’s hot pink cowgirl look to Ryan Gosling’s Mojo Dojo Casa House attire, the costumes in “Barbie” are iconic interpretations of the classic dolls.

BEST VISUAL EFFECTS

For bringing to life the beloved characters and sprawling alien landscapes of “Guardians of the Galaxy Vol. 3,” The Hoya selects Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek as the winners for Best Visual Effects.

BEST ORIGINAL SCORE

The relentless, string-heavy soundtrack of “Oppenheimer” wins Ludwig Göransson The Hoya’s pick for Best Original Score. Göransson’s orchestra highlights the most tension-filled scenes of the film, shifting between sentimental and spine-chilling at the drop of a widebrimmed hat.

BEST ORIGINAL SONG

The Hoya votes Billie Eilish’s breathy ballad “What Was I Made For?” as this year’s Best Original Song. Co-written with Eilish’s brother Finneas O’Connell, the track plays during a climatic moment of “Barbie” and contrasts with the rest of the film’s more upbeat soundtrack.

BEST SOUND

The audio plays a critical role in “The Zone of Interest,” The Hoya’s pick for Best Sound. Contrasting with the film’s bucolic visuals, the nightmarish sound effects that puncture the illusion of tranquility are one of the only windows into the true horror of the Auschwitz death camp, which operates just beyond the film’s main narrative.

BEST CINEMATOGRAPHY

Closing out the list where it began, The Hoya selects “Oppenheimer” for Best Cinematography. Overseen by Dutch-Swedish cinematographer Hoyte van Hoytema and split between sequences in color and monochrome, the film delivers jaw-dropping visuals that capture the unprecedented power of the atomic bomb.

BONUS: BIGGEST SNUB

Though critical discourse has understandably surrounded the exclusion of “Barbie” from categories like Best Director and Best Actress, The Hoya narrowly presents the invented award for Biggest Snub to Charles Melton for Best Supporting Actor in “May December.” Melton’s portrayal of Joe Yoo, a man who married the woman that had an affair with him when he was underage, provides devastating insight into generational trauma and abuse.

The Timeless Francis Ford Coppola: More Than ‘The Godfather’ Trilogy

Whether it’s “Despicable Me,” “Star Wars” or “The Wolf of Wall Street,” many movies and TV shows have paid homage to “The Godfather” over the years. Helmed by Francis Ford Coppola, considered one of the greatest directors of all time, the trilogy represents filmmaking at its absolute finest — a fact that has been acknowledged time and again as creatives across generations continue to draw on it as a source of inspiration.

While Coppola is rightfully best known for his mafia masterpieces, he’s proven his range extends far beyond that. He’s experimented with gothic horror, psychological thrillers and wartime epics, among other genres, to cement his place on the Hollywood Walk of Fame.

Coppola was born into a family of artists — his father was a composer and his mother was a part-time actress. He harbored a passion for the arts from early on, creating 8mm home movies and playing the tuba to earn a musical

scholarship to the New York Military Academy. After deciding to instead attend Hofstra University, Coppola determined that his long-term calling lay in filmmaking. He later graduated from the UCLA School of Theater, Film and Television, where he honed his trademark directing and screenwriting styles that would launch his career.

The early years of Coppola’s time in Hollywood yielded mixed results. Though he did not receive immediate opportunities to direct big-time feature films, Coppola made his talent known in other ways on set. He served as a director’s assistant, dialogue director and sound man, going from one production to the next and developing a well-rounded understanding of all the different roles necessary to make a motion picture successful. Eventually, his boss — the celebrated independent filmmaker Roger Corman — gave Coppola his first shot at directing a feature film in 1963.

Coppola turned Corman’s belief in him into “Dementia 13,” a low-budget gory horror movie that turned into a cult hit. He followed up his debut with several other under-the-radar feature films that brought him acclaim in the filmmaking community. In particular, Coppola’s 1969

CROSSWORD

By Amber Cherry

road drama “The Rain People” garnered positive reviews. During production, Coppola showed off the diehard commitment to narrative storytelling he would later become widely known for. The film was shot across 18 states with a skeleton crew of ten people over the course of five months.

From his directing experiences in the 1960s, Coppola knew that he wanted to make unconventional movies that did not always fit into the formulaic Hollywood studio system of the time. He founded the production company American Zoetrope alongside George Lucas in 1969 to create a space where he could pursue his unique vision of filmmaking unfettered by the constraints of bigger studios that had bottom lines to protect. This decision paid off handsomely for the director, who experienced incredible success in the following decade. “The Godfather” was released in 1972 as a three-hour-long adaptation of Mario Puzo’s best-selling mafia novel and netted Coppola his first Academy Award for Best Picture. Not only did it win the top prize at the Oscars, but audiences and critics alike recognized it as one of the best films of all time. To this day, “The Godfather” sits atop rankings such as the American Film Institute’s

“100 Years…100 Movies.”

“The Godfather Part II” hit screens in 1974, to even more celebration. Some of the creatives in Coppola’s brain trust, like George Lucas, had initially criticized the movie for attempting to interweave two storylines, that of Vito Corleone’s upbringing and Michael Corleone’s reign as the godfather of the mafia family. However, audiences who saw it appreciated Coppola’s daring decision. It won six Academy Awards, giving Coppola another Best Picture win as well as a Best Director win. Though Coppola’s last movie in the trilogy, “The Godfather Part III,” did not make the same splash in 1990 that its predecessors did, the expert craftsmanship and epic storytelling in the three movies by Coppola have immortalized them in the public consciousness.

Coppola delivered several other monumental works, such as “Apocalypse Now,” the epic Vietnam War film in 1979, and “Bram Stoker’s Dracula,” the innovative spin on the classic vampire tale in 1992, that deserve just as much acclaim as his Godfather trilogy. Through his spectacular filmography, Coppola has proven himself to be a timeless director whose movies should be watched by everyone who professes themselves to be a cinephile.

This Week’s Theme: Arrogance

ACROSS

1. The best deputy guide editor

The Hoya has ever seen/the thing that traps bugs as fossils

6. Orange protector

7. “It’s awfully ___ of her to put her own name in the crossword!”

9. Spanish for the fifth sign of the zodiac, often associated with confidence

10. Liquid ___s are just soy sauce for healthy people

DOWN

1. Jeramey from Love is Blind has sleep ___

2. “ ___, I only buy West ___,” said the wealthy furniture customer

3. ___n Wall

4. Descriptor for Orlando Bloom in Lord of the Rings

8. Gong ___ plays the Salesman in Squid Game

Last issue’s solutions

ACROSS

1. Popular Southern dish

6. Totally tubular

7. The end of a shoelace

9. Key and _____

10. You get these kinds of messages when you have a hold on your registration.

DOWN

1. A fruit that always slaps at Epi’s

2. A party typically thrown without parental supervision

3. A habitually lazy person

5. What Grover is in the Percy Jackson series (alternate spelling)

8. English rock band who sang “Mr. Blue Sky”

Sophia Lu Guide Columnist