Arts

Arts

Merriweather Post Pavillion" rains on dedicated fans' parade

January 27

                From deep in the jungle of Baltimore, Maryland, the members of Animal Collective have been the leaders of the neo-psychedelic scene for nearly a decade. Now, one year after they received national recognition on "Late Night with Conan O'Brien," these weathered noisemakers have released their ninth LP, "Merriweather Post Pavillion" (2009).     Years ago, Animal Collective produced lo-fi sounds that fell under the banner of "freak folk." After collaborating with folk legend Vashti Bunyan on an EP in 2005, however, Animal Collective blossomed within the still-small arena of experimental folk. Their style was sparse and often tedious, but included a happily serene demeanor.     Soon, Animal Collective began experimenting with samplers, synthesizers and lots of delay. The result was 2007's masterpiece "Strawberry Jam," which left fans wondering how the band could possibly live up to its own standard. The answer, it appears, was to do it again.     One element of Animal Collective's mysticism was its ability to create a new, unheard genre with each release. But "Merriweather Post Pavillion," while still a musical success, does not do anything drastically new and sounds like a mellower extension of "Strawberry Jam." Only long-term fans will be disappointed, though; for other listeners, the album will still represent the musical fringe.     However, despite its "fringe" status, "Merriweather Post Pavillion" is suspiciously easy to swallow. There is not a harsh note in the entire album, and layered vocals glide over wet, bass-heavy beats — one surprising new element in Animal Collective's repertoire. Nearly every song on the album is grounded by deep trip-hop rhythms, which make them almost palpable for the listener.      These beats reveal Animal Collective's true pop sensibilities, which will no doubt earn perky new followers and anger those who love them for their earlier spaced-out, fly-away sounds. But both new and old enthusiasts won't be able to deny the satisfaction of hearing these blissfully danceable songs.     In "Merriweather Post Pavilion's" single, "My Girls," Animal Collective seems to take a preemptive strike against critical fans who may charge the band with selling out. The lyrics make a frank statement to the listener and justify why the band cares about material things. Vocalists Avey Tare and Panda Bear explain in billowing sing-song, "With a little girl and by my spouse/ I only want a proper house."     Avey Tare and Panda Bear's families are directly referenced in several other songs, which illuminates the overall feeling of joy and love in the album. At least half of the tracks are love songs, but they are so genuinely festive and light that no cold-hearted hipster can complain.     With the themes of peace and love at the forefront of the album, Animal Collective proves itself to be a psychedelic band. The album's cover art produces an illusion of movement an unmistakable ode to LSD and the echo and warping effects make vocal and instrumental sound bites disorienting. However, such distortion tricks are old hat for the band, which makes this album seem less remarkable than Animal Collective's more freshly eclectic work.     The highlight of the album is its closer, "Brothersport." As usual, the band's vocals become indecipherable between lucid chants of "Open up your throat," a nod to the pleasure of, ahem, singing.     Other songs on the album are a celebration of the band's independence from mainstream expectations. Each track reliably offers creative structure mixed with steady pop- and hip-hop-inspired beats, but it is this reliability that blurs the distinctness of each song as well as the album's unique place in Animal Collective's discography.     Once spacey weirdoes filling songs with grunts and caws, Animal Collective has settled down to make music suitable for Earth. Who can blame them? As explicitly presented in the album's lyrics, the band members have wives and a few kids between them. If there was ever a time for Animal Collective to forgo ten-minute jams for snappier hooks, it's now.     "Merriweather Post Pavilion" is a contagious, inspiring musical work on its own. Even so, given Animal Collective's groundbreaking musical history, this album is unlikely to live up to long-time fans' expectations.

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Arts

Notorious' takes a superficial look at a rap legend

January 26

    A film destined for the big screen, "Notorious" is a biopic about the ‘90s rapper, Notorious B.I.G. Though the production value can't touch that of its Hitchcockian predecessor of the same name, "Notorious" nonetheless has its own unique, fast-paced style. Newcomer Jamal Woolard — himself a Brooklyn rapper — does a great job capturing Biggie's style, from his swagger to his music, and the film actually benefits from his inexperience.     Christopher Wallace, aka Biggie Wallace, aka Notorious B.I.G., is widely considered one of the greatest rappers of all time. Originally a drug dealer in Brooklyn, Biggie lived for 24 years before his murder, which remains unsolved. He became one of the most important figures in East Coast hip hop and was entangled in East Coast/West Coast hip-hop battles, assault charges and many problematic relationships. In this way, Biggie embodied all the glamour and violence of the '90s rap scene.     The cast plays off of the confidence Woolard brings to the screen. Two supporting actresses, Antonique Smith and Naturi Naughton, portray two of his failed romances with spunk and fire. Angela Bassett does a great job in the role of his mother, and the whole cast adds level of richness and character to the film.     The cast fails, however, when it comes to examining Biggie's character: The movie skips through the details of his biography and gives a superficial, cartoonish portrayal of his life rather than an in-depth look at the real Notorious B.I.G. Watching "Notorious" is almost like reading Wikipedia.org: It is interesting, even entertaining, but the information seems trivial and slightly biased.     Much of the time, the movie's lack of biographical depth doesn't matter because the story is so much fun. The scene when Biggie records "Juicy," for example, is especially entertaining because the movie does not need to dive too deep for hilarious material. The actors do all the work and manage to communicate the crazed, drug-infused state of affairs.     While some scenes are funny and help to develop Biggie's character, at other points, the plot seems to take the film away from the story of who Biggie was and into what he did. The narration of "Notorious" is partly to blame. Although Woolard's acting is great, his voiceovers are not, and when he narrates, the movie feels rushed and a little sloppy, simply going through the motions of a standard biopic rather than experimenting with or trying anything new.     Unlike its subject matter, "Notorious"-the-movie will not have a major impact on anything because of its superficial treatment  of the titular character. Biggie comes off as a stereotypical heroic figure instead of an actual person with flaws, as the film actively ignores the rougher aspects of his life. For example, the movie skims over the details of his atrocious treatment of his girlfriends, which may have to do with the fact that one of the producers is Biggie's mother, Voletta Wallace. It is her mark, not the rapper's, which dominates many of the scenes, leading the audience to see Biggie's temper in curious ways. He is shown getting angry over badly sized shoes, but not many other, more personal issues.     If the movie were more willing to take an unbiased approach to the main character, viewers would have found a more interesting, multi-layered person.     "Notorious" is certainly a good movie that captures the spirit, excitement and drama of '90s rap. It fails, however, to take the risks needed to get inside the real Notorious B.I.G., ultimately keeping this movie from becoming great.

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Arts

Vietnamese-American artist explores memory and the convergence of two distinct cultures

January 26

    A great gallery won't turn bad art good, and even great art can't improve a bad gallery. The problem with the Tufts Art Gallery's first show of the year, a retrospective survey of the work of Vietnamese-American artist Dinh Q. Lê, is the dissonance between the pieces on display and the space in which they are displayed.        The survey collects mid-career pieces from the 41-year-old artist who migrated with his parents from Vietnam to the United States in 1979. He would later return to his home country in 1996. His pieces are thus  a product of globalization; he mixes the modern sheen of digital and commercial photography with traditional Vietnamese weaving techniques.     The majority of works in "A Tapestry of Memories: The Art of Dinh Q. Lê" are the artist's woven photographs, combinations of multiple images culled from television, movies and advertising meshed together into a shifting landscape of the staring faces of soldiers, religious imagery and product logos.     Lê often draws on the gap between the two cultures in which he has lived. He takes freeze frames of movies and iconic works of photojournalism from Western media that present an American view of Vietnam, often seen strictly through the lens of the Vietnam War. The artist's strongest pieces in the show engage directly with this process of Americans remembering their own past, hence this "tapestry of memories."     Making movies, taking photographs and saving images are all part of our own way of remembering ourselves. Art is often a time capsule of history; within a piece one can find the distilled essence of the time in which it was made. As such, Lê's best art reaches from the present back into the past, accessing issues that we are often not comfortable remembering ourselves — issues that are not fully integrated into our present or into our history books. Lê takes an active step toward integrating them.     "Persistence of Memory #9" and "Persistence of Memory #10" are hazy images that move in and out of comprehension. The pictures' surfaces shift uncomfortably under the viewer's gaze — heads and faces of deep blood-red against a landscape of orange shot through with white. It's a picture of fire, with flame-yellow, gun-toting soldiers marching against old photographs in gray. The rectangular units of the artist's weaving technique bring to mind the pixels of the digital age, boxes of pure color thrown together in a net that coalesces into an eye witnessing horrors.     The pictures Lê chooses are of dissolution as well as recreation as they end up disintegrating into his weave of imagery. They become blanked out with white boxes of cross-weave and disappear as they flow into and collide with other images. What they recreate is a little of the sense of the uneasiness of memory — the memory of past violence that slips away and the memory of a scar being made.     Lê's focus on viewing Vietnam both as the ‘other' and as a part of himself is a worthy topic. A few works at the exhibition's opening, however, show the artist not having settled yet, using his weaving technique to great effect but leaving the appropriated imagery vapid and empty.     "Doi Moi (Napalmed Girl)" interweaves the iconic image of girls straggling down the road after the Hiroshima bomb blast of World War II with junk food labels. Looking at it, the combination of imagery feels worse than inappropriate; it feel like the artists wanted to shock people with little regard for depth or meaning. The same emptiness is felt in the artist's appropriation of Renaissance painting; it's just playing conceptualism by the numbers.     But despite the strength of most of the work, the show is disjointed. The gallery installation is slapdash with uneven walls and strange distances. It almost entirely lacks a sense of forward momentum, save for the front gallery. Even then, the center of the first gallery is taken up by a projection screen, which is entirely too distracting and actively takes away from the work in the gallery.     This exhibition was organized by the Bellevue Arts Museum in Bellevue, WA. It shows that "A Tapestry of Memories: The Art of Dinh Q. Lê" was not developed specifically for Tufts, and that there was not enough work put into the transition. This is a failing of the gallery, not the artist. Seeing the show re-installed would do so much more for the work as well as the Tufts University Art Gallery.

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Arts

Zach Drucker and Chris Poldoian | Bad Samaritans

January 26

    We've seen it a thousand times. Some no-name, young actress with striking blue eyes and impeccable — assets? — is cautiously tiptoeing through a dark room wielding a sharp object. Next, sinister music stirs a captivated audience as a dark figure seizes the girl, who shrieks shrilly. Everyone knows what happens next: There is a struggle, and eventually the murderer becomes the murdered as he plummets to his death falling through a nearby window onto a conveniently placed metal spike or is shot and slain by a dashing male friend of the heroine who she thought was dead.     Recently, horror films have become entirely too predictable. We acknowledge that once in a while everyone wants to scream and have a little bit of thrilling fun. But we have amusement parks for that. And good horror flicks. Does anybody recall the glory days of "The Shining" (1980) and "The Silence of the Lambs" (1991)?     In the following weeks, a couple of scary movies are coming out that are sure to succeed in the box office but fail to quench our thirsts for thrills and gore. "The Unborn" may very well be the stillborn child of "The Exorcist" (1973) and "Fiddler on the Roof" (1971). The film consists of a Megan Fox double being haunted by the dybbuk, an evil spirit from Jewish folklore, of her twin brother who died during childbirth.     We have several problems with this film. First, our bible, the Sacred Scriptures of Rotten Tomatoes, gave this movie a 14 percent approval rating. That means 14 percent of surveyed reviewers gave the film favorable reviews. To put things in perspective, "Death Race" (2008) tripled the score of "The Unborn" receiving a 42 percent approval rating. That's right. A film about a hardcore British convict competing in a deadly car race got 42 percent.     Furthermore, we have problems believing the story behind "The Unborn." Of course, we understand that this is the movie business and it's not reality. Yet, we still cannot get past one fatal flaw in the plot: the discrepancy between the twins' ages. In ads for the film, the boy is pictured as a young, ten-year-old kid, whilst his twin sister is probably twenty. We could understand if the boy were a fetus — an evil fetus, obviously — or if he were twenty like his sister. Are we supposed to believe that humans age more rapidly than dybbuks? We cry foul.     Also, watch out for "My Bloody Valentine 3D" and "The Uninvited." The former is nothing special; it has the stereotypical sexy teens, parties and even death by pickaxe. But hey, it's shot in 3D.     In "The Uninvited," everyone's favorite soft-core actress, Elizabeth Banks of "Zack and Miri Make a Porno" (2008), goes loco as an evil nurse/stepmother. Not since "Misery" (1990) has any female been cast as such a menacing character, but, when played by a comedic actress, we do not expect the antagonist in "The Uninvited" to give us goose bumps.     Horror films in modern America are similar to Winona Ryder's clothes: Their ideas are usually stolen and poorly presented. Vince Vaughn as Norman Bates in "Psycho" (1998)? Come on. We do foresee, however, a glimmer of hope in "The Wolfman," set to release in November. Although it is another remake attempt, it has a star-studded cast (including Benicio Del Toro and Anthony Hopkins) and is co-written by Andrew Kevin Walker ("Se7en" (1995), "Sleepy Hollow" (1999)). Until then, we've got our worn down VHS copies of "Halloween" (1978) to keep us awake at night.

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Arts

CSI' stays strong after departure of lead actor William Peterson

January 26

    After eight and a half seasons as a series regular on one of TV's top-rated shows, William Petersen appeared in his final episode of "CSI: Crime Scene Investigation." There's no doubt that fans of the long-running crime drama will miss Petersen and his on-screen counterpart, Las Vegas crime lab night-shift supervisor Gil Grissom, but they can at least take solace in the fact that Petersen was given an excellent and well-deserved swan-song.     Before the most recent episode, Grissom and his team had been tracking down victims of the now-incarcerated Dick & Jane Killer (or DJK) after realizing there was a copycat still on the loose. Pathologist-turned-professor Dr. Raymond Langston (played by Laurence Fishburne) was also introduced as a special consultant for the case and a soon-to-be crime scene investigator (as was heavily publicized by CBS).     The newest episode picked up right where the last one left off: The latest victim of the copycat killer had been found dead, his girlfriend was missing and believed to still be alive, and the CSIs were thrown into a race against the clock to find the girl before she became victim number 20 of DJK and his copycat. This case was a great way to introduce Langston, and, although the story was a bit convoluted in part one, it was nicely tied up in the end.     Despite the plot's ultimate success, many of its intermediary steps were disappointing. An entire classroom of students is suspected in the case, but a stereotypically scary-looking actor is cast as the killer in an unoriginal and expected twist. Additionally, Grissom's use of "reverse lunar forensics" to locate a cabin on the lake is almost laughable.     In the end, however, this episode isn't about the case, which is just a backdrop for the characters to say goodbye to their beloved mentor and boss. Nick (George Eads) sums it up perfectly when he says the case is "Grissom's last big game." The killer is stopped, the girl is rescued and the final scenes are dedicated to Grissom as he takes his last walk through the hallways of the crime lab. He goes on to finally join his true love and former colleague, Sara Sidle (Jorja Fox), in the jungle of Costa Rica.     Petersen's final episode showcases the best parts of "CSI" and proves why this show stands a head above the other police procedurals. While it is a formula drama, it doesn't settle for the same boring routine week after week. It has been known for its interesting cases — one of the highlights being the Miniature Killer from season seven — and guest stars who add even more intrigue.     While Grissom will be missed, his influence will live on. If his last absence, during which Liev Schreiber came to Las Vegas as CSI Michael Keppler, is any indication, the writers and producers still know how to make a good show without him. They have already skillfully dealt with cast changes — Sara and Warrick (Gary Dourdan) both left the show in the past year — and the addition of Fishburne to the cast will undoubtedly allow for some fun storylines and character development. Just in case viewers are still apprehensive about the changes, Petersen is staying on as an executive producer and has agreed to return as a guest star eventually.     Halfway into its ninth season, "CSI" is still drawing roughly 20 million viewers a week, so it must be doing something right. Non-watchers shouldn't write it off as just another crime procedural, and those who already watch shouldn't give up just because Grissom is gone. After all, nothing keeps a police drama going quite like a twist.

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Arts

Umphrey's McGee's 'Mantis' mixes it up with different styles

January 25

    From epic solos that Guitar Hero enthusiasts can only dream of to '80s dance beats and "Dark Side of the Moon"(1973)-inspired jams, "Mantis"(2009) has it all. The latest album by the Midwest-based Umphrey's McGee demonstrates the band's trademark diversity in songwriting. It also has some of the best tunes the band has ever assembled.     For those unfamiliar with the group, imagine if Phish, Pink Floyd, Incubus and a slew of other progressive rock, metal and jam bands all came together. Although the album is definitely of the rock variety, it's impossible to fit it into one sub-genre. Progressive, experimental and improvisational rock come closest but don't fully describe everything the band has to offer.     Unlike some of the band's earlier releases, the songs on "Mantis" were all written in the studio, and it shows. Each of the 10 meticulously crafted songs feature fantastically layered arrangements. The level of forethought, polish and overall musicianship is far greater than most other modern rock bands. For an album with as many different movements and sub-genres as "Mantis" contains, the overall flow and coherence is quite impressive.     The opening track, "Made to Measure," is a concise, catchy tune with the word "single" written all over it. The song is full of Umphrey's famous syncopated rhythms and chord-changes, but the overall driving melodies are surprisingly catchy. Ending with a brief "Breathe in the Air"-style jam with slide guitar aplenty, "Made to Measure" is in itself a perfect summary of everything the band can and will do in the following 50 or so minutes.     The brief and aptly-titled "Premable" separates the opening song from the first of many epic tracks. The third song, "Mantis," at nearly 12 minutes in length, is a testament to Umphrey's skill as songwriters in that the eponymous track never stays interesting all the way through. It captures the spirit of the band's usual improvisational approach to songwriting and live performance with all the fixings of a well-produced studio cut.     This is a different Umphrey's McGee than one might find in copies of its many bootlegged live shows, but it is ultimately better. However, the album, like the band itself, may not be for everyone. Half the songs are over five minutes in length, but in the case of "Mantis," the ending is often well worth the wait. Despite the energy that drives the record, it occasionally gets bogged down in the complexity of what it is trying to accomplish.     Another frustrating trend in Umphrey's earlier work resurfaces here as well, and that is the relative weakness of the vocals. This weakness may result from mixing, not singer, guitarist and songwriter Brandon Bayliss' ability. The vocals don't ever pack the same punch and distinction as the other instruments. This track is an outlier, as Bayliss established earlier that he can carry a tune, and the rest of the album has such a stellar and well- mixed production.     Sparse and effective strings are woven throughout the album. The fourth song, "Cemetery Walk," features some brilliant and complex layering. Diverse guitars growl over a basic rhythm of piano, drums and bass. Each repetition of the closing phrase brings in a new layer of white noise that adds to the piece's powerful atmosphere.     Unfortunately, the only song that lacks the same level of atmosphere and excitement is the closer, "1348." With a 12-minute epic like the third track, one expects something truly grandiose to finish off the album. Instead, uninspiring "1348" leans more towards metal. Umphrey's McGee leaves a fairly disappointing taste in the mouth after "1348" ends with some guitar and drum work that immediately and regrettably calls to mind Dragonforce.     Aside from "1348," each of the tracks on "Mantis" is interesting in its own way. More often than not, the songs hold a wealth of unpredictable movements, some truly epic instrumentals and an overriding confirmation that Umphrey's McGee is a master of its trade.

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Arts

Chelsea Handler brings the sass back to late night TV

January 25

Rarely does television break new ground, and when it does, the last place one might look for an innovative show would be E! Network. However, the network's late-night talk show, "Chelsea Lately," effectively makes fun of celebrity-obsessed culture with its brash, big-mouthed host Chelsea Handler at the wheel.

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Arts

Popular artist creates mural on campus

January 25

World-renowned street artist Shepard Fairey left his distinctive mark at Tufts on Saturday, braving the cold weather and high winds to put up a mural on campus. The visit was part of the 2009 EPIIC International Symposium on Global Cities and coincided with the artist's upcoming gallery show at the Institute of Contemporary Art/Boston (ICA).

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Arts

Defiance' gives a different perspective on the Holocaust

January 25

    Most viewers go into a Holocaust-themed film expecting to see a group of Jews sent complacently into ghettos or death camps, where they survive trials of the body and soul only to triumph in spirit over their oppressors. Now, as the many Holocaust-themed films of the past year have shown, viewers can also appreciate stories about the Nazi with the heart of gold — the Germans who were trapped into joining the radical party but really were disgusted by (or ignorant of) the atrocities Hitler and his government were committing.     "Defiance" (2008) breaks both of these paradigms. The film is about Jews, but they are a far cry from those typically shown in cinema. While most Jews across Europe ignored the rumors about the German Final Solution, the three Bielski brothers (played by Daniel Craig, Liev Schreiber and Jamie Bell) escaped into the Belarusian forest and helped hundreds of other Jews to do the same. The brothers sought vengeance against the German Nazis and the local officers who slaughtered their family and friends. Yet, as the eldest Bielski is quick to point out, the group's true revenge is merely surviving.     The most rewarding aspect of "Defiance" is the catharsis it provides for the viewer. In most other Holocaust stories, hindsight makes us exceedingly frustrated. Why do the Jews do nothing? Why don't they fight back? The Bielskis are the Jews we wish existed in all the stories, in all the cities and all the camps. The brothers' fear of the Nazis and faith in God propelled them to do something. Their story is almost a fairytale, but the kicker is that it is true.     Jewish resistance is obviously not the first aspect of the Holocaust that comes to mind for American audiences. However, there was significant armed resistance against the Nazis across occupied Poland and the Soviet Union. The Bielski Otriad, or partisan detachment, was one of the most venerable elements of the Jewish resistance. While they did act with force on many occasions, their legacy was an emphasis on community. By cultivating a safe haven within the forests, more than 1,200 Jews survived the war.     In spite of its historical themes, "Defiance" is an action movie. From Edward Zwick, the director of such defining war movies as "Glory" (1989) and "The Last Samurai" (2003), the film is a technical beauty. The special effects, sound mixing and general blocking of the battle scenes are exquisite. Zwick does not gloss over the sacrifices of war; the characters get dirty, go hungry and get killed. These hardships bring a semblance of reality to an otherwise hard-to-believe story.     The tense action sequences also work to even out the pacing of the film, which tends to drag during the disappointing character-driven segments. The viewer roots for the Bielski clan, but he isn't emotionally attached or interested in the film's characters. Tuvia (Craig) is the de facto leader, literally riding around on his white horse as the group's savior. Asael (Bell) is his deputy, which the viewer realizes only after the character is finally given personality halfway through the film.     The final brother, Zus (Schreiber), is arguably the only one with any depth. He is not an unrelenting beacon of hope, as Tuvia seems to be, but is instead bitter and pragmatic about the situation and the chances of survival. Zus competes with his brothers for power and makes no apologies for his belief that war is the time for offense, not defense.     Serving as a counterpoint to the fighters are the intellectual Jews, the so-called malbushim. These characters offer an interesting perspective on the differences between violent partisans like the Bielskis and the non-resistant Jews that are more commonly discussed in the pages of history.     In "Defiance," the only thing that separates the two groups is the resources each possesses. Many Jews had enough social capital or financial clout to doubt that the Nazis could seriously threaten them. On the other hand, the Bielskis were poor, uneducated farmers, armed only with the knowledge of the forest. Neither group was more passive or active than the other. The intellectuals believed their ability to be diplomatic would ensure survival, while partisans trusted in their survival instincts.     While the brothers' story of resistance is not wholly unique, it is exciting in the face of more common historical narratives that tell of Jews being shipped off to Auschwitz and Treblinka. The Bielskis fought back in the only way they knew how, and for their bravery, generations are proud.

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Arts

New MFA exhibit links Boston with Kyoto

January 22

     Long considered one of Japan's preeminent cities in terms of cultural heritage, Kyoto is home to some of Japan's most celebrated temples, gardens and works of art. While the works in "Celebrating Kyoto: Modern Arts from Boston's Sister City" are modern and perhaps not what Kyoto is best known for, they skillfully demonstrate the ability of contemporary artists to reinterpret elements of the past in an innovative way.     "Celebrating Kyoto: Modern Arts from Boston's Sister City" runs until Aug. 9 at the Museum of Fine Arts, Boston (MFA). The exhibit is laid out in a quietly elegant room that recalls Japanese décor and features ceramics, stoneware, textiles and prints from the famed city. While many of these pieces are decidedly contemporary, they "are bound together by an active engagement with history and tradition rather than a blind reverence for it," as stated by the text at the entrance to the exhibition.     The introduction to the exhibition further explains that Boston and Kyoto became sister cities in 1959, and this show is meant to celebrate the anniversary of the two cities' affiliation. The idea of sister cities came about during the Eisenhower administration as a way for cities in different countries to share their culture, ideas and technology. It is fitting that Boston and Kyoto should share this relationship because of the immense cultural significance each city holds within its respective country.     While the pieces in this exhibition reference the historic themes of Kyoto, most of the allusions are decidedly subtle. However, through their clean lines and graceful simplicity, it is possible to see a great deal of Japanese artistic and cultural history through the works in the exhibition.     One piece in particular, a porcelain sculpture by artist Fukami Sueharu entitled "Seascape" (2007), pulls nicely on these historic themes. The turquoise porcelain sculpture depicts, with sharp lines and a relatively simple shape, a modern take on Japan's fascination with the sea that is manifest in its artistic legacy. The piece is enhanced by its location in a glass case in the middle of the gallery because it takes on increased depth when it is viewed from multiple angles.     Another piece that reinterprets ideas from the past in a new way is the stone carving "Footprints of the Buddha" (1979) by Kondo Yutaka. In early Buddhist art, the Buddha was rarely depicted, so artists used images such as footprints to represent his sacred presence. The footprints were traditionally decorated with markings, for which Yutaka has substituted words including the names of cities and countries (such as Tokyo, Osaka and Finland) "that … [he] favored," according to the sculpture's label.     Sakurai Yasuko's "Vertical Flower" (2007), located across the gallery from "Seascape," is another standout piece. The sculpture's dramatic, multi-pronged rim is reminiscent of Japanese architecture while still showing the artist's ability to incorporate another culture into her works. As the label indicates, Yasuko had "an artist's residency in the French porcelain-producing region of Limoges from 1999 to 2001 [that] transformed her artistic vision."     Finally, the woodblock prints by Matsubara Naoko, including "Old North Church in Boston" (1967), and "Boston Public Library" (1960s), fit nicely into the exhibition because they demonstrate, perhaps most obviously, the link between Kyoto and Boston. Naoko's woodblock prints are not overly colorful, but they interpret, with an interesting style, the pointed light fixtures of the Boston Public Library and the spire of The Old North Church to present expressive images of these celebrated landmarks.     The artists whose pieces comprise "Celebrating Kyoto: Modern Arts from Boston's Sister City," are clearly rooted in traditional Japanese art. They have reinterpreted classic themes in inventive, if overly sensational ways in their works. In this excellent exhibition, it is interesting to observe these Kyoto artists bringing the legacy of Japanese art into the modern age.

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Arts

Quirky 'New Century' successfully mixes comedy and sorrow

January 22

    Playwright Paul Rudnick's latest work opens at a meeting of the Massapequa chapter of the P.L.G.B.T.Q.C.C.C & O, or the Parents of Lesbians, Gays, Bisexuals, the Transgendered, the Questioning, the Curious, the Creatively Concerned and Others. For the next two hours, the audience sits through a play that can only be called an "experience."     "The New Century" is a collection of four hilarious gay-centric short plays set in post-Sept. 11 America. The first three plays use extended monologues and sparse dialogue to introduce the audience to the work's main characters: the self-labeled most loving, accepting mother of all time, the über-flamboyant host of a late night public-access television show named "Too Gay" and a rotund Mid-western mother of an AIDS victim who spends her spare time making sock monkeys and crocheted tissue box covers. The fourth and final play links all of the characters' stories, bringing them together in the maternity ward of a New York hospital.     "Pride and Joy," the first short play, is the story of Helene Nadler (played by Paula Plum). She is a middle-aged Jewish mother of a lesbian, a transvestite and a gay scatologist with a leather fetish. Although Nadler's situation is tough, she combats it with an acerbic wit. For instance, when Nadler's oldest daughter comes out to her, Nadler is not really surprised and tells her that with her Amish-boy haircut, "Helen Keller would know you were a lesbian."     Yet Nadler still comes across as a loving and caring mother. Plum does a wonderful job of interspersing Rudnick's cutting one-liners with moments of tenderness and compassion. Nadler's jokes would sound homophobic coming from most people, but Plum is able to turn them into a tribute to the character's love for her children.     The second play, "Mr. Charles, Currently of Palm Beach," is set at a 4 a.m. public access television show hosted by the flamboyant Mr. Charles (Robert Saoud), who was kicked out of New York for being "too gay." This is the funniest and most entertaining short play, from Mr. Charles asking, "When an English person comes out is anyone really surprised? Did anyone say, ‘Oh no, not Ian McKellen?,'" to his guide on how to identify a gay man in the audience ("He's saving his playbill and he's awake"). This story also has the most to say.     Mr. Charles is a product of his anger at the kind of political correctness that demands that gay men hide their sexuality if they want to be seen as equal citizens. Although Mr. Charles can, at times, be a little heavy-handed, such as when he says, "We can hold jobs, go to church and raise children, just like everyone else," he is an eccentric, lovable character, and Saoud is a pleasure to watch in the role.     The third and most poignant of the vignettes, "Crafty," features Barbara Ellen Diggs (Kerry Dowling), a Midwesterner who spends her time making crafts that others might just label as junk. Although the character initially comes off as a stale and cliché representation of a Midwesterner, annoyance turns to sympathy when the audience finds out that she has lost a son to AIDS. Barbara Ellen's dialogue about her son's death exemplifies Rudnick's ability to interweave the comic with the sad.     The final play, "The New Century," is the most disappointing of the show. When Rudnick unites the characters in the hospital ward of a New York hospital, it feels a bit contrived. Furthermore, his attempt to explain post-Sept. 11 America with an analogy to Century 21, a New York discount store and the origin of the play's title, feels a little  too forced.     Despite the shortcomings of the final play, as a whole, "The New Century" is a fun, uproarious show and a great way to spend two hours.

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Arts

Thrilling Omnimax film 'Roving Mars' provides an out-of-this-world experience

January 20

Some say that size doesn't matter. But when it comes to movie screens, bigger is certainly better, and it doesn't get much bigger than Omnimax. At the Mugar Omni Theater at the Museum of Science, Boston, New England's only Omnimax Theater, IMAX-format film is projected onto a 180-degree, five-story-tall screen, presenting something much more than a movie. "Roving Mars" (2006), which details the recent Mars rover expeditions, recently opened at the Mugar Omni Theater and is as close to a trip to Mars as anyone outside of NASA could hope for.

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Arts

Derek Trucks Band sticks to formula in 'Already Free'

January 20

Derek Trucks has accomplished a lot in his 29 years. At age 11, he began sitting in on Allman Brothers Band (ABB) concerts as a replacement for the late, great Duane Allman, and industry publications such as Rolling Stone Magazine have long lauded him as one of the greatest younger-generation guitarists in the world. In addition to his work with ABB, Trucks has led the Derek Trucks Band (DTB), whose much-hyped sixth studio album, "Already Free," was released on Jan. 13. With their latest disc, Derek Trucks Band has not broken any new ground, but it's given listeners a solid continuation of the blues-rock sound that first made them famous fifteen years ago.

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Arts

My Bloody Valentine 3-D' is a cheesy, but entertaining, thrill ride

January 20

The horror genre, despite its established place in American popular culture, has long confounded film critics. What qualifies as a horror film and what constitutes a good horror film have been up for debate for a long time. It is a safe bet to say that a "horror" movie must include a supernatural element, sex (whether graphic or subtle), a couple of screaming women and scenes that make viewers cringe and/or jump. Films that do not fit these specifications are generally "thrillers" of some sort. Keeping this in mind, "My Bloody Valentine 3-D" surprisingly succeeds as a little bit of both genres, with visually pleasing special effects and free, stylish glasses to boot.

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Arts

Chekhov's 'The Seagull' transformed at A.R.T.

January 15

                Konstantin, the angst-ridden artist in Anton Chekhov's play "The Seagull," says, "We have to show life not the way it is, or the way it should be, but the way it is in dreams." János Szász, director of the American Repertory Theatre's (A.R.T.) production of "The Seagull" presents an interpretation that is exactly that: a nightmarish descent into the beating heart of real life.     Chekhov's tragicomedy paints a rich and tumultuous portrait of society that astonished audiences when it was first produced in 1896, and Szász's rock-infused production makes the play's return to the stage as beautiful and haunting as ever.     The play opens on a dank, smoke-filled, subterranean stage with ghost-like characters dressed as punk rockers and moody goths. Brilliant, ostentatious chandeliers hang from the ceiling, and the set's juxtaposition of sparkle and smoke parallel the good and bad each character exhibits. There are no villains and no heroes. The A.R.T.'s production demonstrates that every character is flawed with an irresistible authenticity.     "The Seagull," Chekhov's most recognizable play, is about regular life turned upside down by passion. As the play opens, Konstantin (played by Mickey Solis) awaits the first performance of the drama he has written for his beloved Nina (Molly Ward). He also hopes to impress his mother, a famous but aging actress who is accompanied by her lover, the prominent writer Boris Trigorin (Brain Dykstra). When Konstantin's mother ridicules his play, he storms off in a rage. At that moment, Trigorin notices Nina and is sexually fascinated by her.     A disastrous affair follows, with a dark humor that Szász charges with a profound use of phallic imagery. What Chekhov had left unsaid in his play rises to the surface of this violently disillusioning — and slightly disturbing — production.     Lighting in the production plays a major role. The actors seem to be surrounded by darkness throughout the show, and Konstantin uses a flashlight to control the gazes of other characters, paralyzing them into a moth-like fixation.     Water plays an equally important and symbolic role, yet, like the characters, it is never clearly positive or negative. Chekhov's play takes place by a lake, but in Szász's version a giant ankle-deep puddle spreads across the stage, which the actors splash through in rubber rain boots. In the second act, water rains down and soaks the actors, but it fails to purify or free them. The overall effect is hysterically depressing — tragedy and comedy combined.     Chekhov did not like to designate main and secondary characters in his plays, and "The Seagull" is no exception. Each character's personality has an equally strong presence on stage, and the high quality of the acting aids the playwright's intent. The play stops short of being melodramatic, however, since the actors' anguish is both heart-wrenchingly real and, at times, self-mocking. Quite frequently the actors transition from an ordinary reality into a mechanical trance that comes across as both captivating and absurd. The production presents stock characters taken from melodrama and makes them infinitely more complex.     Szász's interpretation is poetic and harsh, a fitting tribute to what some have hailed as Chekhov's masterpiece, and the answer to Konstantin's passionate cry: "… new forms! We need new forms, and if we can't have them, then we're better off with no theater at all."     Szász successfully accepts Konstantin's challenge to old forms, expanding the boundaries of what theater can be. His violent, cinematic concept specifically strikes a chord with young viewers. The music of Guns N' Roses punctuates Szász's futuristic dream world, creating a departure from the text while keeping in line with Chekhov's vision.      "The Seagull" is showing at the A.R.T.'s Loeb Drama Center in Cambridge until February 1st. For a full performance schedule, log on to the A.R.T. website at amrep.org. Student tickets are $25 advance purchase and $15 on the day of performance.

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Arts

Photos from MFA's permanent collection 'figure' into new exhibit

January 15

    Photography is compelling because everyone can relate to the essence of its images. It can forever capture and preserve some of the world's most dramatic events and can also be modified to produce works of extreme complexity and depth. However, it can also depict everyday forms with great elegance. Indeed, it is some of the simplest photographs that are the most gripping because they transform the ordinary into the extraordinary.     In "Photographic Figures," which runs until May 10 at the Museum of Fine Arts (MFA), Boston, many of the works are basic depictions of the human body. While this sounds potentially mundane, the methods employed by the artists make these everyday subjects very compelling. Hands, feet, legs, eyes, etc. are transformed into windows to the soul that, in their simplicity, are both approachable and gripping.     The theme of simplicity links nearly all of the works in the gallery and makes the exhibition an appropriate inauguration for The Herb Ritts Gallery, which will henceforth be devoted solely to photography. As part of the MFA's Building Project, large parts of the museum are being reorganized to display as much of its extensive collection as possible. However, because the campaign is being completed in phases, visitors can already enjoy this new gallery even during major construction.     Diana O'Donnell, public relations coordinator for the MFA, said that most of the pieces in this exhibition are from the museum's permanent collection. And, as the text at the entrance to the exhibition states, "The Museum of Fine Arts, Boston, was one of the first museums in the world to acquire photographs as works of art." According to O'Donnell, the museum's collection has since grown into one of considerable influence, and in this gallery, which is located directly beyond the reception desk at the West Wing Entrance, works will be rotated several times a year as a perpetual celebration of the collection.     In "Photographic Figures," most pieces in the first room of the exhibit keep with the theme of simplicity. In this space, the photographs are arranged in groups depicting faces, eyes, legs and hands. One of the pieces, "Eye" (1930) is particularly characteristic of this simple style. In this photograph, the artist, Theo Ballmer, depicts an eye and eyebrow at close range. However, in its minimalism and excellent manipulation of lighting, the piece is quietly compelling. From this simple, everyday image it is possible to learn a great deal about the person depicted as well as the artist.     Another piece, "Agnes Macphail" (1934), also fits nicely into this theme. The portrait, depicting the first woman elected to the Canadian Parliament, is a simple profile that is enhanced by "veiling it with a sheath of elegant black lace," according to the wall text. The piece is not sensational, but is very absorbing because it demonstrates photographer Yousuf Karsh's ability to transform the simple into the spectacular.     Many of the photographs in the second room are grouped in a similar way to those in the first, but there are several outliers that demonstrate simplicity of form in other ways. This room also highlights the fashion photography background of many of the artists whose works are shown.     "Back, Paris" (1938) pulls on the theme of simplicity from the first room but merges it with the sense of glamour and sophistication associated with fashion photography. Another piece in this room, "Classic Back" (1984), joins simplicity with the ideals of classical painting. Indeed, as the text next to the photograph suggests, "Michael Spano [the artist] evokes … the style of the nineteenth-century French painter Ingres."     "Photographic Figures" is an excellent introduction to the MFA's extensive photography collection. In their ability to transform the mundane into compelling pieces of great elegance, the works in this exhibition are an exciting preview of the many photographs that will occupy the walls of The Herb Ritts Gallery for years to come.

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Arts

Aronofsky's 'Wrestler' is honest and clear(ly ridiculous)

January 15

There was once a time not so long ago when professional wrestling was hugely popular. Since then, however, The Rock has hung up his apron, Hulkmania was cured, and panda bears were proven tougher than men in tights when, in 2000, the World Wildlife Federation sued the World Wrestling Federation for use of the WWF acronym and won. Darren Aronofsky's new film, "The Wrestler," does not try to relive wrestling's glory days, but rather helps the audience understand what drives this peculiar breed of men to do what they do.

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Arts

Mix of surprises and disappointments hit music scene in 2008

January 13

The year 2008 saw the election of a new president, a financial meltdown and even the conviction of O.J. Simpson. The music world also saw its share of that ever-present political buzzword, "change." The Daily will attempt to sum up the 2008 calendar year in the music scene, from the good to the bad to the ugly, and offer up a list of notable future releases and performances to check out in 2009.

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Arts

Gran Torino' holds its own with Eastwood at the helm

January 13

Clint Eastwood has been a major force in the entertainment industry for over 53 years as both an actor and a director. As a result of his acting work in such classics as "Dirty Harry" (1971) and his successful forays into directing, exemplified by the more recent thriller "Mystic River" (2003), Eastwood's latest offerings have been constantly surrounded by Hollywood buzz. After a short hiatus, the prolific actor has returned to the screen once more to provide audiences with a stellar performance in "Gran Torino."

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Arts

TV Preview | Several new programs raise expectations for TV in 2009

January 13

Change always follows the New Year, and the world of television is no exception to the rule. Old favorites finally return, and, of course, major networks air new shows.

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