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Articles by Cole Fowler
Associated Students concludes town hall series on Student Center renaming
The student government’s ad hoc committee to rename the San Francisco State University Student Center spent two days hearing from the campus community to determine a new identity for the student life hub. Associated Students of San Francisco State University wrapped up its second day of town halls on the ground level of the SFSU Student Center Wednesday afternoon.
Associated Students concludes town hall series on Student Center renaming
Associated Students of San Francisco State University wrapped up its second day of town halls on the ground level of the SFSU Student Center Wednesday afternoon. The student government invited the campus community to discuss potential new names for the student center formerly named after disgraced labor rights activist Cesar Chavez.
Faculty heads raise concerns over changes to department chair time base policy
Office of Academic Affairs provosts updated budget committee members on an incoming policy for determining chair workloads based on department size, leaving some to wonder about how accurately it reflects the realities of their jobs.
Cole Fowler Tops Stat Leader Rankings
Skip to stories Breaking •Trump Holds Wild Cards as Election Year Enters Final Stretch•US Envoys Head to Kyiv After Putin Talks•Iran Claims Strike On US Ship In Hormuz Strait•Railing Collapse Injures Students at Vikings Training Facility•Trump Holds Wild Cards as Election Year Enters Final Stretch•US Envoys Head to Kyiv After Putin Talks•Iran Claims Strike On US Ship In Hormuz Strait•Railing Collapse Injures Students at Vikings Training Facility Trump Holds Wild Cards as Election Year Enters...
SFSU community weighs in on a new name for the Student Center
Associated Students at San Francisco State University began to solicit feedback from campus community members via an online survey. The renaming comes as the student government’s latest push to rename the Student Center, formerly named after disgraced labor rights activist Cesar Chavez. The survey is open to all SFSU students, faculty, staff and alumni through Sept.
‘Everything’s so dystopian’: Students reckon with digital burnout
As Gen Z clocks in record screen times, some search for ways to unplug When second-year art major Amy Arevalo broke her iPhone last summer, it turned out to be a blessing in disguise. Fed up with the performative nature of social media that she’d grown accustomed to in high school, Arevalo realized how much it was hindering her ability to form meaningful connections as a college freshman.
EROS throws drag show at sexuality resource fair
The Education & Referral Organization for Sexuality invited students to Malcolm X Plaza Tuesday afternoon to explore a slew of sexual health resources, headlined by performances from SF-based drag artist and dubbed “Narcan Queen” Kochina Rude and first-time drag performer Danni Blackman’s emo-inspired persona, Romeo ResErection.
Transit advocates call for measure to avoid severe cuts
San Francisco Mayor Daniel Lurie joined a coalition of Bay Area transit, business and labor advocates in Dolores Park Tuesday afternoon, kicking off a campaign to qualify a parcel tax measure for November’s ballot. The campaign that proponents are calling “Stronger Muni For All” joins a regional sales tax push of two prospective sources for long-term Muni funding.
Gen Z’s vinyl obsession prevails. Are DVDs next?
In the age of media consumption dominated by streaming, a perceived notion of infinite choice has prevailed: No matter how eclectic your tastes or how deep you wish to dive into a particular artist or genre, anything and everything your heart desires is a tap or a click away. But as any vinyl record seller in San Francisco will tell you, that is simply not always the case, even with mainstream artists.
How Netflix screwed over ‘Cuties’
I am not completely sure where to start with this one. So I guess I will make my point 100-percent clear from the beginning. Netflix sucks. Netflix acquired Maïmouna Doucouré’s beautifully poignant, coming-of-age film “Cuties” after its widely successful premier at the 2020 Sundance Film Festival. I remember walking out of the “Cuties” screening at the cozy Egyptian Theatre and breathing in that cold, overwhelmingly fresh Utah air after speaking to Doucouré about her film.
Fowler’s favorite films of the 2010s
While much of the American cinema scene in the 2010s was filled with comic book movies breaking box office records and Disney’s monopolistic tendencies slowly turning its overwhelming monetary success into a tight control on blockbuster films, a boom among independent films took place in the shadows.
Fowler’s favorite films of 2019
Although cinema in 2018, and across the latter half of the past decade, was dominated by women and people of color masterclass directors from across the world, 2019 featured significantly less diversity across the international cinema stage.
Best of the fest: Sundance 2020
PARK CITY, UTAH — This past week, I was given the special opportunity to attend the pinnacle of the American independent film circuit, the 2020 Sundance Film Festival. Since 1985, the Sundance Film Festival has represented diversity in American filmmaking and serves as the heartbeat of American Independent Cinema.
‘Emma.’: A heavy-handed period piece
Autumn de Wilde, an American photographer known for her work in the music industry, recently transitioned into filmmaking by adapting Jane Austen’s internationally famous book, “Emma.” With Wilde’s inclusion of the period in the title as already an unfunny, heavy-handed jab at period pieces, “Emma.” is a clear indication Wilde, despite her natural eye for beautiful set pieces and immaculate framing, may not be quite ready for the transition into filmmaking.
Looking forward to South by Southwest Film Festival
The South by Southwest (SXSW) Film Festival in Austin may not have the international attention of larger festivals, such as the Sundance Film Festival or Festival de Cannes, but the SXSW programmers’ unique approach of selecting an equal mix of Hollywood blockbuster premieres and American independent directorial debuts creates a diverse range of film voices at the festival.
Romance as Horror: The dark side of love
While Valentine’s Day will, and arguably should, be a time of reflection on the concept and meaning of how love manifests itself within us, the corny Hallmark-holiday doesn’t capture what love is to everyone.
Best of the fest: Sundance 2020
PARK CITY, UTAH — This past week, I was given the special opportunity to attend the pinnacle of the American independent film circuit, the 2020 Sundance Film Festival. Since 1985, the Sundance Film Festival has represented diversity in American filmmaking and serves as the heartbeat of American Independent Cinema.
Fowler’s favorite films of 2019
Although cinema in 2018, and across the latter half of the past decade, was dominated by women and people of color masterclass directors from across the world, 2019 featured significantly less diversity across the international cinema stage.
Fowler’s favorite films of the 2010s
While much of the American cinema scene in the 2010s was filled with comic book movies breaking box office records and Disney’s monopolistic tendencies slowly turning its overwhelming monetary success into a tight control on blockbuster films, a boom among independent films took place in the shadows.
Cannes Film Festival delivers ground-breaking films
CANNES, FRANCE — This past week, I was given the incredible opportunity to attend the most important film festival in the world — the 2019 Cannes Film Festival. Cannes hosts the most selective film festival in the world and this year featured one of the best lineups in recent memory. Films like Robert Eggers’ “The Lighthouse,” Bong Joon-Ho’s “Parasite” and Pedro Almodóvar’s “Dolar y gloria” were just a few of the prestigious films featured.
‘A Land Imagined’ blurs our understanding of ourselves
Earlier this week, the Academy upheld its ruling regarding Oscar eligibility for Netflix-distributed films, continuing to inadvertently support Netflix’s nonchalant approach to distributing the foreign films it acquires. While it continues to prove its monetary influence at film festivals, Netflix continues to poorly advertise its festival acquisitions in favor of its high-profile transactions or original content.
'La Llorona': Yet another cash in on the ‘Conjuring’ franchise
The unfortunate truth of Hollywood filmmaking is the central importance on profit than creativity. The more that Disney continues to dominate the box office, the safer that Hollywood producers will be with their money. This trend may be most obvious with the numerous Marvel adaptations and sequels, but the more devastating effect of this cautious attitude toward creativity in Hollywood is the horror genre.
‘Pet Sematary’ needed to stay buried
Mary Lambert’s 1989 adaptation of Stephen King’s novel “Pet Sematary” is equally as bizarre as it is unintentionally corny. Yet, since its general unfavorable feelings original reception, the film has found a dedicated group of fans that praise the film for its memorable horror images and exploration of grief in the face of a family tragedy.
‘The Beach Bum’ is a perfect hangout movie
Harmony Korine has represented the boundary-pushing spirit of American independent cinema since the 90s, famous for his distinctive, trailblazing depiction of the lost voices of the United States. His latest work, “The Beach Bum,” provides a sharp critique of American culture’s obsession with searching for meaning in an arbitrary world, while providing a lifeline to creativity within American cinema.
'The Highwaymen' is tedious
In 1967, Arthur Penn’s film “Bonnie and Clyde” captured the American obsession with the infamous lovers on the run and cemented the cultural narrative of their legacy. Bonnie and Clyde’s youthful freedom depicted on the big screen resonated with Americans across the country and has placed Penn’s film among the classics of the era.
‘Dumbo’ is an uninspired cash grab
With Disney’s recent acquisition of 20th Century Fox, they have solidified their corporate influence over America’s pop culture. With this control, they continue to prove they have no problem with recycling old content to sedate their audiences into monetary submission.
‘Us’ struggles to find its voice
After his widely popular 2017 film, “Get Out,” Jordan Peele’s sophomore film, “Us,” continues Peele’s dissection of American culture. Even after its first weekend at the box office, “Us” has proven that Peele is established at the forefront of pop culture, and his creativity will continue to thrive within Hollywood. While Peele’s creativity is reassuring to the future of Hollywood, each of his films — “Us” especially — lack the necessary poignancy to depict the nature of his social commentary.
'Five Feet Apart' falls short
In the wake of the immensely popular 2014 film “The Fault in Our Stars” Hollywood has cranked out numerous films with lovers dealing with serious illness. “Everything, Everything,” “Midnight Sun” and “Me Before You,” are just a few titles of the subgenre that continues to grow in popularity among young audiences. This subgenre causes a very obvious shift toward a specific, identifiable and packaged mode of romantic storytelling, and “Five Feet Apart” falls right in line.
‘Triple Frontier’ runs out of steam
Unlike a majority of films recently acquired by Netflix, “Triple Frontier” was heavily advertised and anticipated by many. It seems to be a growing trend for Netflix to swipe films from production limbo and fuel the dead projects with top stars and Hollywood funding. “Triple Frontier” certainly finds itself among such company, and director J.C. Chandor can’t quite turn the once dead production into a successful project. On paper, this film should be successful without much directorial insight.
“Greta” is saved by its acting
Genre film has always existed between the ambiguity of conscious use of genre cliches and subversions. Horror films usually advance the expectations of audiences while working to try and find the balance between the familiar and unfamiliar. This directorial process is no easy task, especially in the recent rejuvenation of the horror genre. Neil Jordan’s latest film, “Greta,” relies too heavily of the familiar without adding the unfamiliar to balance the tone of the film.
‘Paddleton’ finds success in its simplicity
Assisted suicide is usually a topic that generates harsh, binary responses from politicians, so the issue is usually never discussed past the politically-charged meaning of the term. However, Alexandre Lehmann’s latest film, “Paddleton,” analyzes assisted suicide within the context of friendship. The film searches for meaning amidst the ambiguity of death, and does so with a surprising amount of success.
Academy Awards 2019: Another year of Hollywood giving awards to mediocre films
Every February, Hollywood’s biggest names get together to celebrate their films from the past year. Within the last 40 years, the politics that surround the Oscars have grown at an alarming rate. The show has created a ranking system of the categories, and true filmmaking talent usually takes a backseat to popularity.
‘Fighting with My Family’ is delightful yet predictable
Stephen Merchant’s “Fighting with My Family” is a biographical sports comedy based on the rise of World Wrestling Entertainment superstar Paige. The film is a lighthearted attempt to bridge the genre gap between sports films and family dramedy, and Merchant is mostly successful in creating a believable world inside of the scripted, fixed world of professional wrestling.
Black history through horror movies
Directed by Xavier Burgin, “Horror Noire: A History of Black Horror” is a documentary based on a 2011 book by Texas A&M Vice President and Associate Provost for Diversity Robin Means Colman. The documentary asserts the close relationship between the representation of blacks in horror films and their treatment within American culture.
“Alita” is a gorgeous dumpster fire
Texas-native Robert Rodriguez’s latest film, “Alita: Battle Angel” is the big-budget, Hollywood adaptation of the Japanese manga series, “Gunnm.” The film, which remained in production limbo for nearly 10 years, is a jumbled mess of its source material and nearly every sci-fi film of the 20th century. The film follows Alita — a cyborg who was discovered and repaired by cyborg scientist Dr. Dyson Ido — as she seeks to learn her place in this dystopian world.
‘Miss Bala:’ A hard-hitting American remake
Texan filmmaker Catherine Hardwicke is one of the most prominent female Hollywood directors currently working. Her movies “Thirteen” and “Lords of Dogtown” shaped the film aesthetic of the early 2000s, and although not entirely indicative of her prowess as a filmmaker, “Twilight” is one of the highest grossing films directed by a woman.
‘The Prodigy’ is over-reliant on its dark ending
Back in 1976, “The Omen,” directed by Richard Donner, changed the genre of horror by introducing audiences to the horrifying sub-genre of child possession. Since then, Hollywood has systematically churned out a couple of these films a year. So it was no surprise that even this early in the year, “The Prodigy” landed in theaters.
‘Velvet Buzzsaw:’ Tame, nonsensical horror
an Gilroy’s latest work, “Velvet Buzzsaw,” is an interesting new addition to his already sporadic filmography. Gilroy gained national attention with his directorial debut in 2014 with his film, “Nightcrawler,” but he followed up his box-office hit with a drab, legal drama, “Roman J. Israel, Esq.” Now, Gilroy has returned as a director and paired up with Jake Gyllenhaal once again. However, Gilroy’s latest work feels lifeless, especially within the context of its release on Netflix.
‘Conversations with a Killer’ depicts Bundy without glorifying him
In conjunction with the controversial film “Extremely Wicked, Shockingly Evil and Vile,” which premiered at the Sundance Film Festival a few weeks ago, Joe Berlinger released a new documentary miniseries on Netflix titled “Conversations with a Killer: The Ted Bundy Tapes.” The four-part documentary was built around hours of personal interviews with Bundy himself and attempted to capture a comprehensive view of his life.
“Glass” is a drab conclusion to a mediocre trilogy
In the saturated world of dreary superhero films, M. Night Shyamalan’s latest film “Glass” brought absolutely nothing new to the genre. For years, Shyamalan has directed multiple mystery thrillers, each more cliche than the last. In 2016, Shyamalan released a sequel, “Split,” to his immensely popular 2000 film, “Unbreakable.” In “Glass,” Shyamalan has forcibly spliced together each of the plotlines of these previous films for an uninspired trilogy conclusion.
Unveiling a dark past
The Department of Hispanic Studies presents the Hispanic Film Series, which screens Latin American films throughout the semester. The next film to be shown is “El Acompanante” (“The Companion”) which will be screened at on Monday, Feb. 4. “El Acompanante,” directed by Pavel Giroud, depicts the heartbreaking tale of the adversity that HIV and AIDS patients faced during the Cuban AIDS epidemic in the 1980s.
“On the Basis of Sex:” an underwhelming biopic
“On the Basis of Sex,” directed by Mimi Leder, depicts the early career of one of the, if not the, most famous supreme court justice, Ruth Bader Ginsburg. Ginsburg managed to win bipartisan praise for her dedicated work for female equality during her career prior to her Supreme Court appointment in 1993, but this film fails to bring any substance to this influential time period.
Jenkins’ ‘If Beale Street Could Talk’ lacks realism
Barry Jenkins gained acclaim relatively early in his career with his 2008 film “Medicine for Melancholy,” but his national recognition didn’t come until his Academy Award-winning film “Moonlight” in 2016. Jenkins has firmly established himself as one of the top American directors of the past 10 years, and this reputation will certainly continue for films in the future. However, his latest project, “If Beale Street Could Talk,” feels restrained in comparison to his previous work.
A powerful story that understates the truth
Directed by Joel Edgerton, “Boy Erased” is adapted from the memoir of the same name by Garrard Conley. The film follows Jared Eamons as he struggles through the horrors of the homosexual conversion therapy camp, Love in Action. Joel Edgerton’s adaptation certainly draws attention to this widespread issue but does not quite capture the true horrors of these camps.
Widows: An overabundance of subplots
Despite its star-studded ensemble cast and Academy Award-winning director, “Widows” is strangled by a lack of coherence. The film attempts to weave multiple characters and subplots together into one overarching narrative, but the final product leaves many unanswered questions and multiple incomplete storylines. The performances of the cast, despite their two-dimensional roles, brings a consistency that grounds the otherwise incongruous film.
“Green Book” is charming despite its flaws
Directed by Peter Farrelly, “Green Book” gets its title from “The Negro Motorist Green Book,” a travel guide that aided black travelers during the Jim Crow era. The film is based on the real friendship between black musician Dr. Don Shirley and Italian bouncer Tony Vallelonga. The film follows Tony as he drives Don throughout the deep south on a concert tour.
“The Ballad of Buster Scruggs:” A lackluster western collage
Joel and Ethan Coen are among the most influential and well-known American directors of this time period and are no strangers to the western genre. Over the course of their illustrious career, the directorial duo have directed three western films. “No Country for Old Men,” which adapted Cormac McCarthy’s novel, thrusted the western genre back the twenty first century, and “True Grit” provided a new interpretation of the classic John Wayne film.
“Outlaw King:” boring depiction of Scottish wars
David Mackenzie’s most recent film, “Outlaw King,” stars Chris Pine as Robert the Bruce. The film picks up roughly from where the equally drab “Braveheart” leaves off and lifelessly continues the epic story of Scotland’s first war for independence. Although the film contains one of the best cinematic shots of the year so far, the rest of movie was lackluster at best. The plot follows Robert the Bruce in his quest to free Scotland from the ruthless grip of England during the early 1300s.
“Beautiful Boy” Great acting saves mediocre film
The pair of memoirs written by David and Nicolas Sheff depict the heart wrenching tale of a father-son relationship as Nicolas struggles with meth addiction. Unfortunately, the film adaptation of these memoirs, “Beautiful Boy,” directed by Felix van Groeningen, struggles to adapt the emotional tales of the Scheff family successfully on the screen.
‘Suspiria’: The resurrection of giallo
Directed by Luca Guadagnino, “Suspiria” is the English-laguage remake of the famous 1977 giallo film by the same name directed by Dario Argento. However, unlike most modern remakes, Guadagnino simply draws inspiration from the original and creates his own unique film. With the directoral experience of Guadagnino and the powerhouse performances of Tilda Swinton, Guadagnino’s “Suspiria” surpasses the original. In 1977, Argento’s “Suspiria” drew American attention to the giallo genre.
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