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Zach Drucker and Chris Poldoian | Bad Samaritans

Last week, we recommended that all six of our loyal readers go out and see "Paranormal Activity" (2009) for a good scare. We decided to take our own advice and watch "Paranormal," making sure to go during the day so we could walk out of the theater into unthreateningly sunny skies. Despite our best efforts, we left the theater mildly impressed and thoroughly shaken. As we drowned our lingering fears in Oreo cake batter ice cream from J.P. Licks, we realized that "Paranormal" wasn't as revolutionary as we were led to believe. Film critic Owen Gleiberman had boldly stated that the film "scrapes away 30 years of encrusted nightmare clichés," but we think that the film suffers from the biggest horror cliché of all — characters with poor decision-making skills.


The Setonian
Arts

Tegan and Sara's latest album proves they are 'Saints'

Two years after the release of "The Con," (2007), Tegan and Sara have more than made up for any sins they committed in the past. Their Oct. 27 release "Sainthood" (2009) draws from their previous two works — "The Con" and "So Jealous" (2004) — but its weightier content proves the duo is still progressing.



The Setonian
Arts

Top Ten | Silver Foxes

Silver Fox (noun): 1. a male with graying or gray hair who is considered by many to be exceedingly attractive 2. a small carnivore with a pointed muzzle and bushy tail that is silver. Though we do like fuzzy animals, the Tufts Daily Arts Department has compiled a list of the 10 hottest, over-40 beefcakes around. 10. Sean Connery: He's the original James Bond and has a killer accent. Need we say more? 9. Richard Gere: Richard Gere has been too old for us for about thirty years now. He's super silvery and foxy. Plus, the Buddhist thing is so hot right now. Om. 8. Bill Clinton: Dude could get a twenty-something intern when he was gray and working long hours in the Oval Office. If that doesn't make him a stud, we don't know what does. 7. Alex Trebek: He's like grandpa: knows everything, is condescending to the young ones and gives out a lot of money as a reward for learning things. Why is he a silver fox? Because, unlike grandpa, Alex's appearance never changes. Oh, and we're not related to him. 6. The Crypt Keeper: He may be frail and skeletal, but we'd like to cozy up to this dream boat any old day — emphasis on the old. 5. Harrison Ford: The dreamy star of so many adventure films, we would throw him the whip any day of the week. Assuming Indy wouldn't break a hip, that is. 4. Alec Baldwin: So he's packed on a few pounds over the years (see: "Beetlejuice," 1988), but now that he's gray, things just seem to be looking up. He's won two Emmys for his role as Jack Donaghy on "30 Rock," and he keeps the laughs coming every Thursday night. 3. Anderson Cooper: At 42, he's a little on the young side, but his grayish-white hair gives him that wise, sexy flair. Brian Williams might be alright, but Cooper is the eye-candy you want to see when you turn on the news. 2. George Clooney: George Clooney is the silver fox of silver foxes. Since his "ER" days, there's no denying that Clooney has only grown hotter with age. Clooney's speckled gray hair, boyish charm and incredibly good looks make him the man that every girl dreams of dating and that every guy only wishes he could be. 1. John Slattery: If you don't watch "Mad Men," you should. Not for the amazing costumes and sets or the subtle drama, but for this guy. His character left his wife for a hot, young, insipid secretary, which means there's still hope for us. Step into our office, Slattery.


The Setonian
Arts

Caryn Horowitz | The Cultural Culinarian

I woke up yesterday morning to find the following text message on my phone sent from three different people: "The Elves are coming to Boston tomorrow!" The wheels started turning as I began waking up, and I realized that the texts were referring to the casting call for season seven of "Top Chef" by Magical Elves production company in Boston today. After a few more minutes passed and I became fully conscious, frustration began to settle in as I remembered how miserable I've been while watching the show recently.


The Setonian
Arts

Psychedelic band drops 'Cosmic Egg'

An awe-inspiring and astonishing event took place in 2004: Australian band Wolfmother dropped out of the sky aboard a groovy, intergalactic time capsule from the late '60s. The band was immediately embraced upon landing and its self-titled album, released in 2006, garnered the group critical acclaim for its sexy, modernized-throwback, hard rock sound. A feature in the video game Guitar Hero 2 cemented Wolfmother's iconic rocker status.



The Setonian
Arts

Exhibition explores work of New York AIDS activist group

One of the posters displayed in the Harvard Art Museum's new exhibition, "ACT UP: New York: Activism, Art, and the AIDS Crisis, 1987-1993," depicts a staunch opponent of safe-sex education and gay rights, Cardinal John Joseph O'Connor, and a condom side-by-side, with text that reads "Know your scumbags." A note under the condom says, "This one prevents AIDS."


The Setonian
Arts

35 Shots' sink in softly, but pack a punch

Great American family dramas tend to climax in rowdy feuds centered on tense holiday tables. Claire Denis' delicate French film "35 Shots of Rum" reflects more on the subtle intricacies of daily interactions, quietly and slowly building the story of a father and his daughter growing apart from each other.


The Setonian
Arts

White Collar' avoids stiff character stereotypes

Viewers might be reluctant to stay in on a Friday night to watch USA's new show "White Collar," but the criminal-turned-cop story might just be engaging enough to beat out going to a frat party.


The Setonian
Arts

Sufjan Stevens surprises with 'The BQE'

Sufjan Stevens released "The BQE," a symphonic soundtrack for a film of the same name, on Oct. 20. The album defies expectations at every turn, using classical and contemporary influences in a multi-layered symphony that describes the frustrations and glories of the Brooklyn-Queens Expressway in New York City.


The Setonian
Arts

Exhibit probes Western art

Harvard's Fogg and Busch-Reisinger museums may be closed for renovations, but the Arthur M. Sackler Museum remains open. It now houses some of the most important pieces from all three collections. The Sackler's fourth floor highlights Western art from antiquity through 1900 as a part of "Re-View," a survey of the Harvard Art Museum collections. Art from around the world is shown next to Greco-Roman and European art, illustrating how Western art has drawn inspiration from other cultures.


The Setonian
Arts

Amelia' crashes and burns amid poor plot development

The classic holiday fruitcake combines ingredients like dried fruits, nuts and sugar. Alone, these items are tasty treats, but when mixed together to form a fruitcake, the seemingly scrumptious ingredients typically make for a clustered, unpleasant mess.


The Setonian
Arts

Sending up our conception of the instrument

A video playing on a wall might seem out of place in a collegiate institution. Even more so when the institution is MIT, and the video isn't about nuclear fission or astrophysics, but music.


The Setonian
Arts

Conchords take a dive on sophomore album

Flight of the Conchords' 2008 self-titled debut album presented a collection of songs that adeptly combined witty humor with memorable, catchy arrangements. Only slightly over a year later, the duo is back with their follow-up album, "I Told You I Was Freaky." This time, New Zealand's self-appointed fourth-most-popular, guitar-based, digi-bongo, a cappella-rap-funk-comedy, folk duo fails to impress.


The Setonian
Arts

Antichrist' takes on philosophical horror

    While many horror movies contain hidden, philosophical subtexts — often about gender or identity issues — their plots still tend toward the direction of tried-and-true tricks, like featuring knife-wielding killers and creepy ghost children as villains. Any deeper message is placed firmly on the back burner. Atypically, "Antichrist" brings the profound to the forefront; its horror derives directly from an examination of women, nature, sexuality and evil itself.     The film is the latest piece of provocation from Danish writer/director Lars von Trier ("Dancer in the Dark," 2000). It stars Willem Dafoe and Charlotte Gainsbourg as a couple grieving after the death of their infant son. The husband (Dafoe) believes that cognitive psychology methods and scientific detachment can cure his wife of her severe depression and guilt. Although she is resistant at first, his wife (Gainsbourg) finally agrees to quit her medication and take a therapeutic journey to their cabin in the woods (ironically named "Eden") where she previously spent time with their son. When they finally arrive, the husband begins to notice that something is not quite right, and his wife undergoes a series of increasingly traumatic and violent changes in her behavior.     Von Trier decides to frame this story in blunt allegorical terms. The characters do not have names, the wife has conveniently been doing research on witchcraft and the inherent evilness of women, and the animals they see in the woods are straight out of a child's puzzle from the film's prologue. Despite these clunky narrative devices, von Trier knows how to create memorable images and a mood of darkness and unease. The film's sound design is also quite effective, creating a world where every gust of wind might be a demonic whisper. The cinematography, at times disorienting, drains the world of color and gives the impression of decay and suffocation.     With this atmosphere of dread, von Trier transforms a story of two people trying to hold their lives together into an exercise in philosophical horror. While the wife at first seems to respond to cognitive therapy positively, she soon starts rebelling against her husband's attempts to help her. Before long, he realizes that she believes that all women are evil by nature, and that the woods surrounding their cabin are where that evil breeds. She then begins to direct her grief and anger toward him and finally onto herself. Before the film is over, both of them have endured horrific acts of sexual violence.     The film doesn't provide any easy answers as to how the story concludes, nor does it seem to feel the need to make its finale clear. This results in a somewhat muddled final section. "Antichrist" works most successfully through the sheer visceral impact of its imagery and mood rather than through any profound philosophical point.     Much of the film's power comes from the actors themselves. Dafoe mostly just reacts to Gainsbourg's ever-changing wife, but he does it convincingly. Gainsbourg won best actress at the Cannes International Film Festival earlier this year for her performance, and it's one of the main reasons to see the film. Not only does she portray an astounding range of emotions, but her performance also requires a visceral physical element. She exhibits the trauma of a severely depressed woman and an angry, violent one, and does both with complete conviction. She also has the uncanny ability to make herself look either old and beaten or young and hopeful by simply changing her facial expression, which adds another dimension to the inner turmoil her character undergoes.     The film is a fascinating visual experience with thought-provoking themes, but its ideas are somewhat underdeveloped as it favors the more sensational aspects of the story.     "Antichrist" unintentionally joins the conventional horror movie camp, especially during some of its stranger moments, using graphic violence for the sake of provocation. But strong performances and the almost physical experience the film evokes make it worth watching. Just bring a strong stomach.


The Setonian
Arts

Paranormal' director discusses smash hit

                What goes on while you're asleep? "Paranormal Activity" gives us the terrifying answer. The film centers on a young couple who hear strange noises in their house at night and decide to set up a handheld camera in their bedroom to see what goes on while they sleep. What begins as a series of seemingly forgettable coincidences soon becomes a nightmare.     The movie was written, produced and directed four years ago by first-time filmmaker Oren Peli using only a handheld camera and $15,000 from his pocket.     After years of trying to get the film distributed, Paramount finally agreed to support the film. Hundreds of sold-out screenings in select cities later, the film is being released nationwide this weekend. The Daily got a chance to speak with Peli about his remarkable success story and ridiculously scary film. Question: The film was a spawn of your own personal experiences. Did you ever have any aspirations to be a filmmaker beforehand? Oren Peli: To some degree yes. I mean everyone loves movies, but I loved movies in a way of like, when I watch a movie, I dissect it and try to figure out why a shot was done this way and wondering, ‘Could I have done it differently?' So I always felt, in the back of my mind, it would be fun to make movies. I didn't really think it would ever become something practical until after I saw movies like "[The] Blair Witch [Project]" (1999) and "Open Water" (2003) which showed that even with virtually no budget and just a video camera, if you have a good idea, you can just shoot a movie on your own, and hopefully it turns out good. Q: The film draws a lot of comparisons to "The Blair Witch Project" stylistically. Was that your biggest influence? OP: It was definitely an influence. "Blair Witch" is the most successful movie that employed this kind of style, the [cinema-vérité] mockumentary style, but I've been a fan of that even before, since "Spinal Tap" (1984). "Blair Witch" definitely showed that if it's done right, with good acting and good writing and good editing, that type of movie can actually be very commercially successful. So that was definitely an influence. Q: Everyone I speak to says that [the movie is] scaring them to the point that they can't even sleep. While you were making it, did you know that it was going to be that scary, and was that a concern of yours? OP: It wasn't a concern. It was something I was hoping would happen. But I had no idea that it would get the kind of reaction that it did, so it definitely exceeded my expectations. I knew that by placing the setting in their bedroom, that's the one thing that you can't really escape. After people watched "The Blair Witch Project," people said, "I'm never going to go camping again." After "Jaws" (1975), people said, "I'm never going to go swim in the ocean." But if you set up the setting for all the horrific things in someone's bedroom, then that's what you're going to be thinking about when you're lying in bed trying to fall asleep. Q: Did you expect the film to grow as exponentially popular as it has in the recent months? OP: I thought that it would probably do well because we'd seen in previous screenings that it gets really good word of mouth. But I don't think anyone predicted it was going to do this well. We didn't know that the fans were going to embrace it to the level that they did, which now has put it in a whole new category as far as the studio is concerned. And we're seeing the movie expanding from one weekend to the other, and that's all thanks to the word of mouth being spread by the fans. Q: I understand that there's a little bit of controversy surrounding different endings that were shot for the film. I know you shot an original ending but then a new ending was shot for the new theatrical release. Do you have any comments on whose decision that was and whether or not you'd rather have the original ending? OP: I liked the original ending personally. A lot of people liked it, but we also had a lot of people that didn't dig it at all. So we knew it's a sticking point and we decided to experiment with a couple of different endings. One of the endings that we experimented with was the one suggested by Spielberg, and interestingly enough, he knows a thing or two about movies, and that's the ending that went so well in test screenings. People loved it, and every time when I see the movie with an audience, it gets a huge reaction. After that there was no question about which ending we were going to use. Q: I just want to know, aside from fan response and the praises that your film is receiving right now, what is your ultimate goal for this movie? OP: For now I'm just happy that the fans are getting a chance to watch the movie and that they're enjoying it. And as the movie continues to get good word of mouth and keeps expanding in more theaters, I just hope that everyone that wants to see the movie gets a chance, and hopefully they'll enjoy it and tell a friend.


The Setonian
Arts

Top Ten | zombie celebrities

    The Tufts Daily Arts Department loves it when celebrities are still celebrities even after their careers have kicked the bucket. These peeps are still making appearances in the news — or tabloids — but are dead to us. Watch out: They're always lurking around the corner waiting to suck talent from the lively and youthful. 10. Flava Flav: Just how high were you when you signed the papers to do "Flavor of Love?" Because we're pretty sure there's no way any sane person would subject himself to that. Also, what's with the clock necklace? Couldn't afford real bling? 9. Winona Ryder: Remember kids, shoplifting is a crime. And sometimes it leads to the end of your acting career. 8. Tara Reid: You disgust us. How you ever had somewhat of a film career is beyond us. Why don't you go flash some more people and snort some cocaine off of Lindsay Lohan's dashboard? 7. Jessica Simpson: This would be the ideal space to bring up food confusion after all these years, but that wouldn't be fair. You faded away. At least you still have that TV show. Oh ... Wait ... 6. Rosie O'Donnell: You used to be so fun-loving. Those Koosh balls, those spin pops, your TV show. It was all just so fun. But now you're angry. Please chill out. 5. Meg Ryan: You thought getting naked would revive your career. It didn't. Yeah, you were sweet and adorable in your younger days, but now no one cares about you and your silly, curly blonde hair. 4. Joaquin Phoenix: You had a promising film career, but decided you wanted to be a rapper. Not the smartest idea but, okay, follow your dreams. Just don't look like an actual zombie when you go on Letterman to promote the crazy flip-flop. 3. Steve Urkel: See, we don't even know your real name. Or if you still exist. You could be dead, and none of us would care, as long as "Family Matters" is still showing in re-runs. 2. M. Night Shyamalan: "The Sixth Sense" (1999) was ground-breaking and mind-blowing. You were the next big thing. But then you made "Lady in the Water" (2006) and "The Happening" (2008). You'd better step it up, or Haley Joel Osment will be the only one able to see you. 1. Carrot Top: Your recent appearance in Burger King commercials revealed to the world just how haggard and creepy you look these days. You might have been awarded Funniest Male Stand-Up Comic at the American Comedy Awards in 1994, but that was 15 years ago. News flash: Nobody cares about prop comedy anymore.


The Setonian
Arts

From the Office of the Tufts Daily

Dear Nick Jonas,     This is it, huh?     You're going to Beyoncé your brothers, is that it? Way to totally ditch out on the love. We don't want an album by your so-called new band, Nick Jonas and the Administration. We want more Jonas Brothers.     OK, so, honestly, we don't want any more Jonas Brothers either, but if the three of you can't agree to quietly leave the limelight and sink into the anonymity you deserve, we at least ask that you don't try to soar above the rest. You have no need for artistic expression outside the world of Disney.     It must be tough to be one of the JoBros. We fully understand that a group of young people cannot, regardless of what Power Rangers may have taught us, function as one cohesive unit, whether it be to fight crime or fight the pop charts and the premarital sex epidemic.     But don't go chasing your hopes and your dreams, because when push comes to shove, the Jonas Brothers is still more important than anything, including your own happiness. It's all for the greater good, Nick. For the greater good.     Also for us. Please, please, don't do it.     Don't Beyoncé us, Nick. Love, The Daily Arts Department


The Setonian
Arts

Citizen' turns protagonist into villain

The typical vengeance movie adheres to the mantra "an eye for an eye," and this adage takes a turn for the graphic in "Law Abiding Citizen." The film, directed by F. Gary Gray, follows the vigilante hero Clyde Shelton (Gerard Butler) as he exacts his calculated and gruesome revenge in a "Saw" (2004) meets "Se7en" (1995) action-thriller.


The Setonian
Arts

New book investigates fictional crime in Boston

Editor and contributor Dennis Lehane attempts to answer the question, "What is noir?" in his introduction to Boston Noir, a collection of contemporary short stories. As he describes it, noir is darkness, but with shades of light. Noir is mystery, but with conclusions. Noir is tragedy, but with heroes who do not start at greatness. As Lehane writes, "in Shakespeare, tragic heroes fall from mountaintops; in noir, they fall from curbs."


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