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8th annual Independent Film Festival of Boston announces lineup

Last week, the Independent Film Festival of Boston announced its official lineup for its 8th festival, happening April 21-28. Though our pre-break predictions and hopes were only slightly fulfilled ("Winter's Bone," 2010 is the only film that will actually be screening off of our previous list), the lineup still has some incredibly exciting picks that we can't wait to get in there and cover.


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Zach Drucker and Chris Poldoian | Bad Samaritans

This past weekend, the film "Hot Tub Time Machine" was released. Reviews were mixed, and the cast wasn't particularly marketable. Yet everyone we knew had heard of the movie. The reason: the title. It was so obvious, yet so ridiculous. Like a song by Ke$ha, we loved to hate on it for its superficiality, but we couldn't seem to get it out of our heads.


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Olyphant kills with charm in 'Justified'

Though Western films were a staple of cinema 50 years ago, modern takes on the genre have struggled to keep afloat. Some neo−Western films and television shows have garnered critical acclaim — "No Country for Old Men" (2007) and HBO's "Deadwood (2004−2006), to name two — yet the golden age of Western films has long since ridden into the sunset.


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Lady Day at Emerson's Bar & Grill' depicts Billie Holiday's life

It's a jazz club all right, with dim lighting and a couple of tiny tables intimately placed in front of the stage. A man hits a few keys on the piano, and then there's the calming sound of Woodrow Johnson's song "I Wonder Where Our Love Has Gone" — sung Billie Holiday−style. In the Lyric Stage Company of Boston's production of "Lady Day at Emerson's Bar & Grill" by Lanie Robertson, there's nothing else left to do but lean back, absorb the music and enjoy the ride.


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Diverse ensemble propels 'FlashForward'

What would happen if everyone simultaneously saw two minutes of their lives six months in the future? Would everyone revel in their wisdom, lash out irrationally with their knowledge or simply be utterly confused at what they saw? Well, ABC's "FlashForward" explores the repercussions of knowing what looms in the future.


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She & Him's 'Volume Two' shows off duo's cutesy country/pop sound

Anyone who watches movies knows that Zooey Deschanel has filled the quirky, cute role for quite a few years — the runaway sister in "Almost Famous" (2000), the childlike girl who works in a toy store in "Elf" (2003) and a blue−eyed heartbreaker in last year's surprise indie blockbuster "(500) Days of Summer." Less well−known by name, but an indie staple all the same, M. Ward has released solo albums and has guested for artists ranging from Bright Eyes to Norah Jones. Forming an unlikely pair in the musical duo She & Him, Deschanel and Ward have put out what sounds like a variety of vintage country/pop songs.



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Uninspired thriller 'Repo Men' disappoints

In the future, there will be no more waiting lists for kidney transplants, or any kind of organs for that matter. Instead, doctors will be able to sell people mechanical organs produced on a sterilized assembly line and branded with a barcode, ready to replace a failed body part like a new set of tires on a car. This is the world of "Repo Men," the newest installment in the dystopic sci−fi thriller genre. But in the land of synthetic livers and manufactured muscles, health care is not universal.



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White Stripes' live album all theatrics

What happens when a two−member band pushes garage rock to the very limits of listener tolerance? What happens when that very same band decides to tour, of all places, every single province and territory of Canada? The result is The White Stripes' new live album and accompanying documentary film, "Under Great White Northern Lights," based on the band's 2007 tour.


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Actor's Shakespeare Project's 'Othello' has vibrant immediacy

Nestled in a small theater space, there is a play that seems to burst with vibrant, exuberant energy. The Actor's Shakespeare Project's refreshing production of "Othello" is performed as if it weren't written in Elizabethan England, but as though it were a new play, with an unabashed force that carries its audiences through the five acts with ease.



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The Bounty Hunter' fails to track down charm

It seems reasonable to expect a romantic comedy to provide either romance or comedy, and preferably both at the same time. But director Andy Tennant's jaundiced and charmless "The Bounty Hunter" is a paragon of rom−com, minus both the "rom" and the "com" — and the resulting picture is not pretty.



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Adding Machine' explores expressionism through theater

The first line of "Adding Machine: A Musical" asserts, "In numbers, all truth can be revealed." While the play does more to alter the audience's perception of how the world works than to actually answer any questions of truth, SpeakEasy Stage Company's production of this contemporary musical offers an exploration of expressionist drama as well as a reevaluation of the American dream.


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Looking ahead to the Boston Independent Film Festival in April

For those who don't know, Somerville has hosted the Boston Independent Film Festival (IFFBoston) for the past seven years, and on April 21, the eighth festival will begin. Just last week, Adam Roffman, program director of IFFBoston, announced that "The Extra Man" would open the festival this year right in Davis Square at the Somerville Theatre. Last year the Daily got to see many of last year's indie hits — like "(500) Days of Summer" and "The Brothers Bloom" — months before they came out in theaters. Looking at major festival hits coming out of Sundance and South by Southwest (SXSW) has us anticipating what the lineup for this year's IFFBoston will be when it's finally announced in the coming weeks. Though we can't know for sure that these films will make it to Boston early for the festival, we've got our fingers crossed for these select few: "Winter's Bone:" Coming off winning the Grand Jury Prize for dramatic film at Sundance in January, this film looks to be one of those small, sleeper hits (like last year's "Precious," which won the same award) that can go the distance through awards season. A young girl, Ree Dolly (Jennifer Lawrence), goes searching for her bail-jumping father after he puts up his family's house as collateral in Ozark Mountain territory. Part detective story, part white-trash survival tale, "Winter's Bone" would be one of the films to see at the festival should it make it into the lineup (and word on the street is that it will). "Blue Valentine:" Michelle Williams and Ryan Gosling star as a couple who fall in love and then fall apart, as Williams turns into a nagging, chubby wife and Gosling a lazy loser of a husband. The film opened to rave reviews at Sundance, despite the fact that it walked away empty-handed in terms of awards. Plus, these two actors together should provide for a tension-filled story about the perils of young love. "Hesher:" Here's to hoping we get a Joseph Gordon-Levitt film two years in a row. Here, instead of playing a lovesick puppy dog, Gordon-Levitt is a loafing hippie with long hair and tattoos — quite a stretch for this normally clean-shaven pretty boy. The critics were divided about the actual merit of the film, but there are a select few who passionately asserted that this film was the one to see at Sundance. "Restrepo:" Another award winner at Sundance — this time the Grand Jury Prize for documentary — this film follows one platoon in Afghanistan for a year. While documentaries are often ignored by the movie-going crowd, IFFBoston often features many amazing nonfiction films (sometimes better than its dramatic offerings). This year's Sundance came out with a few stand-out documentaries, including "Catfish," a film about Facebook stalking, and "Waiting for Superman," an in-depth look at America's public education system — any of which would be welcome at IFFBoston. "Micmacs à Tire-Larigot:"  Independent film festivals are some of the only places where American viewers can see foreign films. This new film from Jean-Pierre Jeunet (best know for directing "Le fabuleux destin d'Amélie Poulain" (2001), aka "Amélie") has been making the rounds and received highly favorable reviews at this past week's SXSW festival. We at the Daily think the more foreign films, the better (just look at last semester's Best of the Decade list). 


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SMFA alumna creates deeply personal film following deported family member

When Monika Navarro was in her second year at the School of the Museum of Fine Arts (SMFA), two of her uncles were deported back to Mexico after living their entire lives in the United States. One died shortly after reaching Mexico; the other, her Uncle Augie, struggled to survive as he faced displacement from his home and a lifelong drug addiction that had taken him away from his family numerous times.


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New Titus Andronicus album fills void in indie rock

Titus Andronicus is still a mostly unheard of band. They neither sell out arenas nor perform at any large summer festivals — but what they lack in recognition, they make up for in their well-defined identity. Their first album, "The Airing of Grievances" (2007), came onto the shelves with overwhelmingly positive reviews and brought a much-needed dose of energy to indie rock. Their sophomore attempt, "Monitor," employs the same high-powered, fuzz-covered indie rock as their first with an even greater degree of success.


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Tufts' own Smoking Jackets digitally releases debut EP

This past Monday, the all-Tufts piano rock band The Smoking Jackets digitally released its debut EP, "Wolves in Cheap Clothing." The five-track sampler displays the band's versatility, with songs that range in feel from the adult contemporary jazz of Jamie Cullum to ironic piano-punk a la Ben Folds. The Daily decided to take an in-depth look this eclectic group of musicians to learn more about the band's formation, songwriting process and sound, its debut EP and the group's plans for the future.


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Spring Break Reading List | Professors' Recommendations

Because Spring Break is tangibly close, we asked our favorite professors for their book recommendations. Their suggestions were as varied as the departments in which they teach, but we hope you'll enjoy these ideas wherever your travels may take you.     "Suite Française" (2006) by Irène Némirovsky and "Shadow Tag" (2010) by Louise Erdrich Claire Schub, Lecturer Department of Romance Languages "Suite Française:" "Reading it for the second time with my class, I've been drawn into this text in unexpected ways. This is the long-lost novel written by a Russian/French/Jewish woman writer, describing first the exodus from Paris in June 1940, and then a French village during the beginning of the Occupation. Némirovsky was deported and killed in Auschwitz. She wrote her novel as the events were happening. Her writing is fascinating and deeply moving." "Shadow Tag:" "Anything by Erdrich is worth reading, as her writing is intensely beautiful and poetic, and her books reveal a world of mid-western Native Americans and characters with connections to that world, with a sort of magic realism and attention to startling inner and outer landscapes. It is one of the most troubling novels about the destruction human beings can bring upon each other that I have ever read." "The Three Musketeers" (1844) by Alexandre Dumas Anne-Christine Rice, Lecturer Department of Romance Languages "I recommend ‘The Three Musketeers' by Alexandre Dumas for the adventures, the fun and the intrigues. You will not be able to put the book down!" "Walt Longmire Mysteries" (2004-10) by Craig Johnson Nan Levinson, Lecturer Department of English "Johnson has written six books about Wyoming Sheriff Walt Longmire that you won't be able to put down." "The Conversations: Walter Murch and the Art of Editing Film" (2002) by Michael Ondaatje and "Walden"(1854) by Henry David Thoreau Jeanne Dillon, Associate Dean of Undergraduate  Education, Senior Lecturer American Studies Program "For students who love film, try Michael Ondaatje's ‘The Conversations: Walter Murch and the Art of Editing Film.' It sucks you in, and you eat it up fast. And for the best wrangler of the English language after Shakespeare, go with Henry David Thoreau's ‘Walden.' We are the tools of our tools, dudes!" "The Years of Lyndon Johnson: The Path to Power" (1990) by Robert Caro John Fyler, Professor Department of English "Last summer I finally got around to reading the first volume of Robert Caro's three-volume biography of [Lyndon B. Johnson], ‘The Years of Lyndon Johnson: The Path to Power.' It's an extraordinarily interesting look at Texas politics, the Great Depression and LBJ's enormous energy, with his equally outsized moral virtues and moral failings. Caro also explains the complex workings of Congress with great clarity. Time after time, I was surprised by how often the political and economic arguments of the last few years have repeated the arguments of the ‘30s."


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Executive producer and comedian discuss new Comedy Central show

In anticipation of this week's premiere of Comedy Central's new animated series, "Ugly Americans," the Daily sat down with Executive Producer David M. Stern and voice talent Pete Holmes to get the scoop on the latest installment of American monster pop culture. Question: How did you come up with the idea for "Ugly Americans?" David M. Stern: Well, the idea came off a web series called "5-On" (2010). It was created by Devin Clark and Dan Powell, who was executive in charge of production at Comedy Central. Internally, he took it to a point with the basic structure and the basic concept mapped out and brought me on to execute it. I wouldn't try to take credit for it.  Pete Holmes: Yeah, I actually worked for "5-On." I did some of the voices. Horror comics are a style that I haven't really seen. We've got our own vision and our own stories to tell. We definitely have comic book elements in all of our episodes. We are going out of our way to have it that way, too. It is the vision of this show; "Family Guy" had [Seth] MacFarlane, "The Simpsons" had Matt Groening, and we have Devin Clark. DS: … And ["5-On"] was a very crude form of animation, which I happened to really like. It was basically on-street interviews with all these freaks, demons or wizards, with interviews on some topical event. I tried to carry some of that over into "Ugly Americans," which takes form in the group counseling sessions at the Department of Integrations.   Q: David, you've been in the animation business as far back as the '90s writing for "The Simpsons," which has a knack for featuring guest stars. If you could get other voice talents to be featured in your show, who would you want? DS: Well, I was going to say Bill Hader, but we already got him. Bill Hader is a great voice actor and super funny. But what's great about when we were first making "Ugly Americans," we'd say, "Oh you know who would be great to have is Jack McBrayer [Kenneth Parcel on ‘30 Rock'] or Kristen Wiig [SNL cast member]," and then they'd do it. All these people would read the script, like it and want to be a part of it, so that made it like a dream show. And a dream job. I also want Alec Baldwin. He's kind of the king of New York, right? And this is a very New York-based show. We've tapped into like half the SNL cast. I'd love to get the "30 Rock" cast. I'd also personally like Eugene Mirman, solely to play the actual role of a merman. Q: With all of the animated series already out, like the new FX series "Archer" and of course "The Simpsons," "Family Guy," "South Park" or the dozens of shows on Adult Swim, do you think "Ugly Americans" will resonate with your audience as the new kids on the block?  DS: We have a lot of horror comedy elements that I don't see anywhere else. I wrote for "The Simpsons" for a few years, and "Treehouse of Horror" was always the highlight of the year, but I always sort of wanted more of that. But because of the structure of "The Simpsons," it wasn't really possible, being it was so specifically based on this grounded family. In our show, the character lives with a zombie, dates a demon and has a wizard coworker. We have a lot of fantastical and horrific creatures, which seems to me is sort of everywhere right now. There always seems to be another werewolf or vampire movie coming out, and this is a chance to really spoof all of that. If there's a "South Park" that involves Hell, it's really a wild episode. I'm writing an episode now where they go to Hell for the holidays, and in our show it's all completely regular. It's a weird way to set the show, but it's a way that will hopefully resonate with the audience. Q: There have been suggestions that "Ugly Americans" has a hint of political commentary on immigration policies. Do you confess? PH: Any time we start to get too overtly political, it instantly feels heavy-handed and not funny. We're telling more the story of east coast immigration, coming through Ellis Island — the story of America, not so much what's going on with the new immigration along the Mexican border. We try to stay away from that; we find that that's not the richest place for comedy. Q: David, you've co-produced "Monk" during its early years, wrote for "The Simpsons" and now are starting your own project. Is this your dream come true?   DS: "Ugly Americans" is a dream job, being able to work with the funniest and sharpest writers in New York and L.A. to write a limitless show where we can make anything happen. As long as it makes us laugh and makes other people laugh, I think that really is the dream. I can do six voices and go out on the street, and no one will really bother me. If we start doing live shows, that would really be the icing on the cake for me.   Q: Are any of the ghoulish and demonic characters of the show based on people you know? DS: Yes, and that's as far as I'm going to go. PH: Leonard is an alcoholic wizard. I'm guessing that's your dad?