I am not a vegetarian by any means. I always go for a beef patty over a veggie patty, or a chicken Caesar salad over a regular Caesar salad. Back at home, I honestly don’t think I’ve ever stepped foot into a vegetarian restaurant. But, so I’ve been told, college is “the time to try new things,” and so I’ve started to venture into the world of meatless restaurants.
For many, IAP is a time to learn the invaluable life skill of cooking. But IAP is also a great time to explore the restaurants that Cambridge has to offer, especially those near campus. A brief walk down Massachusetts Avenue yields Shalimar of India, a mid-size restaurant in Central Square.
What could be more innocent than a musical that takes place in a flower shop? Well, a flesh-eating Venus flytrap, a psychotic dentist, and a name like “Little Shop of Horrors” certainly rules out any hope for a light-hearted show. The musical, based on the film by Roger Corman, follows a florist named Seymour, who tries to revive his flower shop by raising a Venus flytrap that lives off human blood.
On the corner of Newbury and Gloucester Street, Back Bay restaurant Cafeteria offers a classy interpretation of a typical cafeteria menu. Dinner prices range from $12 to $18, and the polished, upscale atmosphere resembles nothing of a stereotypical cafeteria. The menu includes a few quirky selections, like Cheeseburger Spring Rolls and a Boston Cream Burger, but there are also a variety of traditional American comforts like grilled cheese and macaroni and cheese.
Like so many elementary school children, I read The Giver for the first time in fifth grade. In 11th grade, I picked up the book again, but I found myself reading through a much more intricate book than I had remembered. Its concise yet terrifyingly vivid portrait of a dystopian community left me wrestling with complex questions about society and modern culture.
With a gang of Russians, a fair amount of blood, and shot after shot of Denzel Washington in slow motion, The Equalizer checks off every stereotype for the action movie genre. Washington stars as McCall, a man with a mysterious past trying to return to a quiet life. When he finds out that a young girl, Teri (Chloë Grace Moretz), is brutally controlled by a Russian gang, McCall seeks justice in the form of violence. He must once again take up his role as “The Equalizer,” punishing those who do harm.
With plenty of dark humor strung throughout the film, St. Vincent narrates the touching relationship between a grumpy, old alcoholic named Vincent (Bill Murray) and his young neighbor Oliver (Jaeden Lieberher). As Oliver tags along with Vincent during his daily routine, Vincent quickly takes Oliver under his wing, showing him the local race track, protecting him from a gang of bullies, and teaching him how to fight. As their relationship develops, Oliver realizes that despite Vincent’s miserable outward appearance, the old man’s heart is still in the right place.
From Snow White and Mulan to Ratatouille and Frozen, I have always associated animated movies with Disney and Pixar — movies with bold colors and characters with big eyes. These movies’ characters shared a distinctive cartoonish look that practically begged to be placed into a coloring book complete with a pack of crayons. I have been so used to this style of mainstream animation that when I watched Song of the Sea, I was taken aback by the mesmerizing watercolor animation that filled the screen with beautiful gradients and intricate Celtic patterns. Not only did the plot engage me until the end, but the film was simply gorgeous. No coloring book could do this justice.
Evil stepsisters, a pumpkin-turned-carriage, and a lost glass slipper? It’s a fairy tale we all know and love. While watching Disney’s latest film, Cinderella, a warm hug of nostalgia wrapped around me as I recalled my fond memories of the animated version I popped into the VHS player as a child. This live-action film followed the original Disney plot with a couple of twists. Not only is there a beautiful prologue introducing Cinderella as a cheerful child with a perfect family, but there is also some added romantic tension, where Cinderella and the prince encounter each other before the ball. Despite these modifications, the plot was evenly paced, and aside from a few uncomfortably drawn-out romantic stares, the scenes efficiently captured the essence of the classic fairy tale.
From now until June 14, Boston’s Museum of Fine Arts is featuring an exhibit on Leonardo da Vinci’s drawings. In a more refined way, the exhibit is analogous to the behind-the-scenes reel of a movie — you won’t find his most famous paintings like the Mona Lisa or The Last Supper. Instead, the exhibit features an intimate series of sketches and drawings, ranging from portraits of women to the anatomy of a bird. Many of the featured works are loans from Italian collections, including the Uffizi Museum in Florence, and the Biblioteca Reale in Turin.
When I first saw the theatrical release poster for The Intern, starring Robert De Niro and Anne Hathaway, I thought that I was in for a Devil Wears Prada part two — but I was only partially right. While The Intern is vaguely reminiscent of Hathaway’s breakout film, the roles are reversed. Hathaway plays the role of Jules Ostin, the hard working CEO and founder of an online clothing retail site, About The Fit. De Niro plays Ben Whittaker, a 70-year-old widow who joins the company as a senior intern after deciding that retirement was not for him.
The story of Peter Pan is as ageless as Peter himself — what began as a 1904 play by J.M. Barrie is still culturally relevant a century later. There are musicals, movies, video games, and an entire Disney franchise based on the boy who wouldn’t grow up. Maybe it’s because we’ll always cherish the idea of eternal youth, or maybe we just really like pirates.
Told from the perspective of 5-year-old Jack (Jacob Tremblay), Room, a 2010 novel by Emma Donoghue, is a captivating tale about Jack and his mother, Ma, who are confined to a small room with no exposure to the outside world. Except for the occasional nighttime visit from their captor, Old Nick (Sean Bridgers), Jack and Ma (Brie Larson) spend all of their time with each other, playing games, watching TV, and reading books. Ma knows what lies beyond the walls, but as far as Jack knows, the room is his entire world.
Fast casual eateries seem to be popping up left and right these days, and I think it’s wonderful. Bon Me and Clover are two great local ones, and I never have anything against Panera or Shake Shack, even if they are national chains. Compared to the average sit-down restaurant, they save time and money, and the quality of food isn’t too shabby either.
For their fall production, MIT Musical Theatre Guild’s (MTG) took on Into the Woods, one of Stephen Sondheim’s most treasured musicals. It’s got fairy tale characters, an endless stream of wishes, and a charming sense of humor. The musical follows a childless baker and his wife, and their quest to break a witch’s curse, where they must journey through the mysterious woods to obtain a set of items for the witch. During their adventure through the woods, their paths intertwine with those of the characters from Little Red Riding Hood, Jack and the Beanstalk, Cinderella, and Rapunzel, and the plot thickens once the characters begin arguing over questions like “What is right?” and “What should I do with this giant in my backyard?”
Weekends were made for brunch, and the recent polar-chill weekend was no exception for me and my buddies, Julia and Krystal. We ventured over to Loyal Nine in the East Cambridge area, and we were welcomed into a light-filled, rustic-themed restaurant. Our booth’s raw wooden seats looked (and felt) as if they just came out of a woodworking shop, and our napkins were what I like to call “faux washcloths” — those white square linen cloths with a single washed-out blue stripe. The water came in a pour-it-yourself tall bottle, and I could see a bit of the open kitchen on the other side of the room. The ambience was the perfect recipe for an artsy Instagram post, but their actual food recipes could have used some help.
The sandwich tasted like a typical breakfast sandwich at first, but the mustard butter definitely made it stand out — it provided the perfect tangy kick to make it immediately more memorable than any other breakfast sandwich. Gooey eggs also never hurt.
At this point, the plot turns into an avalanche of random fantastical events. We find out that the mirror has the equivalent effect of Medusa’s head (except people are turned into murderers instead of stone), goblins somehow become involved, and we even see Freya riding around on a polar bear.
Looking through a train window and wondering what’s going on in the houses that we pass — it’s something that we’ve all done. The Girl on the Train digs into this curiosity, and follows Rachel (Emily Blunt), a 30-some year-old alcoholic who rides the train everyday to do just that. She stares out the window to watch a seemingly happy couple enjoying themselves on their porch at 15 Beckett Road, narrating that “they’re everything I want to be.”
William Merritt Chase — does the name sound familiar? A late 19th century American impressionist, Chase painted everything from portraits to still life to landscapes. Right now, a collection of his work is on display at the Museum of Fine Art (MFA), and it has been over three decades since a collection of his work of this size has been presented.
Notable performances include those of Angie DeWolf and Spencer Doru Keith, who danced the powerful, sensual Arabian Variation, and Janelle Gilchrist and Junichi Fukuda, who leapt across the stage in the Russian Variation. Concluding the night was the Grand Pas de Deux with the Sugar Plum Fairy (Madeleine Bonn) and the Cavalier (Stephen James), both of whom danced with beautiful poise and strength through its multiple variations and coda.
Illumination Entertainment’s latest animated film, Sing, is jumping on the singing competition train, following the journey of theater owning koala Buster Moon (Matthew McConaughey) as he tries to revive his theater’s financial woes by staging a city-wide singing competition.
If you've recently walked up Mass Ave towards Random Hall on a weekend night, you've probably noticed the lines out the door at the new Central Square hotspot, Roxy's/A4CADE.
The concert opened with the gorgeously sultry voice of Joanna Teters, after which Collier took the stage and jumped right into an energetic performance “Don’t You Worry ‘Bout A Thing.” Of course, the Stevie Wonder cover was Jacob Collier-ified with jaw-dropping harmonies and an array of instruments from tambourine to upright bass — every single one of which he ran around playing himself.