The Ithacan

On a dreary Sunday afternoon, approximately 3,400 brightly colored rubber ducks tumbled over Cascadilla Falls, racing to reach the end of their long journey along Cascadilla Creek.

“Her Smell,” an indie drama from writer and director Alex Ross Perry, is painfully slow in spite of the pure chaos it depicts.

Cage the Elephant’s “Social Cues,” the American rock band’s fifth studio album, might appeal to its veteran fans, whose die-hard attitude toward the group will keep them listening if only out of loyalty.

It’s a spring day and students are out lounging in their hammocks, balancing on their tightropes and sitting on blankets or benches.

As students shuffle into room 302 in Friends Hall, Powerpoint slides referencing the “hiragana,” or Japanese writing, of the week are screened on to the projector.

“Little” opens with obligatory narration — “Allow me to introduce myself” — but there is nobody going to see “Little” who won’t realize immediately where it’s headed.

Neil Marshall’s “Hellboy” (2019) has the aesthetic sensibility of a Hot Topic: It’s cheap, insincere and reminds you of other places you’d rather be and other films you’d rather see.

Four young women stand together firmly in front of hundreds of trumpets as brass blares in the background.

With the wisdom of Solomon, the strength of Hercules, the stamina of Atlas, the power of Zeus, the courage of Achilles and the speed of Mercury, “Shazam!” is one of DC’s best big screen adaptations in the past six years.

Cyndy Scheibe, professor in the Department of Psychology, said that when observing move-in day, it is always interesting for her to observe the relationships between parents and their kids.

Khalid’s new album, “Free Spirit,” is the record of the summer, made for wind-whipped midnight car rides, relaxing in bed on an easy Sunday afternoon with a cup of coffee or for a gloomy, rainy day with thunder rolling by.

“After” takes a problematic fanfiction and turns it into a frustrating and predictable movie.