Arts

Arts

Better Off Ted' may be better off the air

March 30

    The workplace comedy has become a staple of television over the past few years. Some these shows are wildly successful, but many try to be "The Office" and fail miserably. Even though there are some funny jokes and even a few memorable ones, "Better Off Ted" is yet another one of these dismal wannabes.     The titular Ted, played by Jay Harrington, runs the research and development section of Veridian Dynamics. The company is always inventing new things, from weapons to food to food that can be used as a weapon. Often the inventions are less than ethical or safe for the public, but Ted's boss, Veronica (Portia de Rossi), thinks that making money is more important than keeping the public safe.     Working in the lab to develop all of these fascinating new projects are Phil (Jonathan Slavin) and Lem (Malcolm Barrett), two brilliant and nerdy scientists. The conflict begins when Veronica asks Phil to cryogenically freeze himself for the company in the name of technology advancement. When he agrees and is accidentally thawed out a few days later, there are some bizarre side effects that worry the company.     The other important player in the cast is Ted's crush, Linda (Andrea Anders). But because he slept with Veronica, he refuses to have another office affair. Ted tries to ignore his feelings for her even as they grow stronger every time he sees her.     The plot of "Better Off Ted" is inanely simple. There are only five characters of interest, and most of them aren't really that interesting, especially the protagonist. While Harrington is not a bad actor, the character of Ted is too boring to hold any viewer's interest. He isn't funny, but he isn't serious, either, since he works for a company that produces dangerous consumer goods on a daily basis. He mostly just serves as a mirror for the insanity of Veridian Dynamics.     The supporting characters are not much better. Phil and Lem's awkward interactions are supposed to be funny, but never are, due to the childish dialogue they are given in the show's script. Their fights are reminiscent of Spanky and Alfalfa from "The Little Rascals" without the cute-child factor. Ted's love interest Linda is incredibly boring, and it is very difficult to believe that intelligent and handsome Ted would ever fall in love with her.     The only saving grace of this show is the comedic brilliance that is Portia de Rossi. Her portrayal of the ice queen Veronica is highly off-putting and incredibly funny. From the way her hair is always pulled back into a ridiculously tight bun to her inability to effectively make small talk, Veronica is the epitome of a stuck-up, no-nonsense boss.     One aspect of the show that has potential to be funny is the ridiculous inventions that Phil and Lem are forced to design. They have to grow cow-less meat in the lab but must avoid naming the slab of meat so as not to become attached to it. They build a moldy pumpkin that can be utilized as a weapon of mass destruction by rotting people from the inside out. Veronica also worries about a killer cyborg that has been having problems distinguishing between soldiers and children.     Possibly the funniest part of the show is the opening sequence, which shows a Veridian Dynamics commercial that documents the important discoveries the company has recently made. Narrated by de Rossi, the commercials showcase the absurdity of Veridian Dynamics. The company's inventions are designed to make a quick profit until the public realizes the worthlessness of the product and then move on to the next one.     While the actors' skills are largely impressive, they are not given much to work with, and much of the show's dialogue falls flat. All in all, the show has a few good elements, but it really is not worth watching as an up-and-coming comedy show.

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Arts

Graphic violence and tragedy propel dramatic but unoriginal 'Sin Nombre'

March 30

    If the recent news coverage of violence and brutality in Mexico has not yet impacted Americans' perceptions of Latin America, then the tragic, intense film "Sin Nombre" certainly will.     In his feature debut, writer/director Cary Fukunaga intertwines the story of Sayra (played by Paulina Gaitan), a Honduran teenager taking a bold step to change her future, and El Casper (Edgar Flores), a gang member looking for a way out. On the long and treacherous road to the United States, Sayra and Casper unite through loss and heart-wrenching drama to help each other survive.     Filmed across several locations in Mexico and Honduras, "Sin Nombre" begins as Sayra and her formerly estranged father prepare to make the weeklong journey to a new life in far-away New Jersey. Meanwhile, Casper pals around the streets with 12-year-old "Smiley" (Kristian Ferrer), looking for trouble. His secret girlfriend from another town soon proves to be a liability, and Casper must abandon everything to save himself. With a target on his head, Casper meets Sayra under dire circumstances on the train and their fates become inextricably linked.     The primary goal of "Sin Nombre" is to recreate an accurate representation of the struggles and motivations of these travelers. This is reflected through rich cinematography, which differs from other films like "City of God" (2002) and "Slumdog Millionaire" (2008), but depicts similarly poor and hopeless communities. The director's insistence upon on-location shooting and inexperienced, local casting gives the film a feeling of reality. Through weeks of research on Mexican prisons and shelters and riding the train on three occasions as unprotected as other passengers, Fukunaga experienced directly or was told about many of the moments he later chose to include in his script.     "Sin Nombre" is notable for its raw performances. Fukunaga's efforts to convince Focus Features executives to cast local actors with limited or no acting experience proved worthwhile; his casting team produced the breakout stars Gaitan and Ferrer. Gaitan fashions a Casper that redeems himself with believable grace in spite of the danger lurking behind every corner. Ferrer, too, delivers with dark humor and frightening resilience. Cary Fukunaga underscores these actors with a suspenseful pulse that drives the film to its dramatic end and keeps the audience on its feet.     It is hard to divert one's eyes from the graphic violence portrayed on screen, even though it is especially disturbing. The violence is so effective because it is often observed, and in some instances instigated, by the film's youngest, most vulnerable character, Smiley. Eerily, Smiley has an equal, if not greater indifference to human suffering as the rest of the gang. He is even forced to bring the one who betrayed him and the rest of the Mara gang to justice, or he himself will have a price on his head. Smiley's mission represents the film's core: the depressing, inescapable fates of many impoverished Latin Americans. Although the plot does take some unexpected turns and develops believable characters, the film's conclusion is relatively predictable. Despite its emotional merit, "Sin Nombre" consistently lacks an original vision, however realistic and visually spectacular it may be.     After being recognized at Sundance for his dramatic short on a related subject, "Victoria Para Chino" (2004), Fukunaga was admitted to the Sundance Film Institute, which sponsored a workshop for the script of "Sin Nombre." Fukunaga's work also drew the attention of Focus Features and Canana, the production company managed by Gael García Bernal and Diego Luna, which produced the film for a mere $5,000. Having won in both the directing and cinematography categories at 2009's Sundance Film Festival, "Sin Nombre" is a remarkable and incredibly ambitious first film. It's worth keeping an eye on Fukunaga and the Latin American actors whom he discovered.

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Arts

Zach Drucker and Chris Poldoian | Bad Samaritans

March 30

Hollywood A-Listers (the filthy rich, philanthropic stars featured in big-budgeted, Oscar-winning films) have always reigned atop the B- and C-listers (SNL-burnouts, reality TV stars and Ron Jeremy). Yet, once upon a time, there existed a BA-list, and we don't mean Bachelor of Arts. This was a time when actors made memorable movies and lived on the wild side. Hollywood was home to hard workers and even harder partiers, but this has since changed.     In today's Tinseltown, formerly edgy actors are trading in their bad-boy images for straighter personas. Robert Downey, Jr. kicked his drug habit and Leonardo DiCaprio started making environmental documentaries. Yet those two are nothing compared to their whipped counterpart, Tobey Maguire. This teetotaler penciled in a paternity clause for his upcoming film, "Spider-Man 4" (2011), eliminating shooting at night so he could spend time with his family. Maybe Spider-Man needs to save his marriage before he saves the world.     What happened to rejoicing in the quirkiness and absurdity of actors? Behavior like that of Jack Nicholson, who was known for his legendary "sexploits" and his inability to settle down with one woman, has died out. And the Marlon Brandos of the world seem to have disappeared. Brando, who was always hungry for Pay Days, in both candy and money forms, required millions to shoot "Apocalypse Now" (1979). But this class clown never did his homework. He often showed up to set late, drunk, fat and not having read the script. Not many actors nowadays would have the gusto to pull Brando's shenanigans.     Don't forget Sean Penn's former persona, "The Paparazzi Pummeler," or Nick Nolte, whose hilarious mug shot set the bar high for all future substance-abusing thespians. How come that kind of behavior is no longer acceptable? Sure, these guys were jerks, but their colorful personalities complemented their amazing abilities. They were as interesting onscreen as they were off.     In Mickey Rourke's case, his thuggish demeanor actually helped resurrect his career. In the '90s, the tabloids chronicled Rourke's infamous downward spiral into a decade of drug and spousal abuse. Then, this past year, he overcame past battles and received universal praise for his performance in "The Wrestler" (2008). His portrayal of washed-up wrestler Randy "The Ram" Robinson wouldn't have been anywhere near poignant had viewers not watched his own struggles in life.     Straight-edged-ness has also infected the music industry. Take rock music, for instance. Once upon a time, The Rolling Stones waxed poetic about chasing jailbait and taking drugs. Now, rock music's premier artists wear purity rings and preach chastity. Curse you, Jonas Brothers! You guys have as much edge and personality as a hardboiled egg.     Others bands, like Coldplay, concern themselves with world peace. Yes, their songs may be catchy, but they are nothing more than British-based enhancements of "Kumbaya." Plus, Coldplay has a No Hard Substances policy. If we're not mistaken, the expression goes "Sex, Drugs and Rock ‘N' Roll," not "Abstinence, Tea and Schlock Rock." And don't even get us started on Nickelback.     Rappers, on the other hand, have taken to the former Rock ‘N' Roll lifestyle. Hearing Three 6 Mafia rap about "sippin' on some sizzurp" while admiring the "juiciness" of the female anatomy shows us that there is indeed a glimmer of hope for the future.     We are by no means condoning drugs or partying. We're just saying, "live a little!" In our politically correct world, it's rare to find characters as eccentric and colorful as those from the entertainment industry's days of yore. And, come on, without wild partying, we would never have "Animal House" (1978) or "Sgt. Pepper's Lonely Hearts Club Band" (1967).

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Arts

Young talent and imagery not enough to keep 'Paris' afloat

March 30

    The Paris neighborhood of Faubourg in "Paris 36" (2009) is one that American audiences know well. Similar to the setting of "Amélie" (2001), it's a slightly tamer version of the romanticized, magical-reality location from "Moulin Rouge" (2001). Unfortunately, despite its setting, "Paris 36" blends conventional plot devices and all-too-familiar characters to create an entirely bland film.     When the curtains of the Chansonia vaudeville theater are set to fall for the last time, stage manager Pigoil (played by Gérard Jugnot) and his friends are determined not to give up the place where they earn a living and have found so much happiness. Pigoil is at the center of a battle with Monsieur Galapiat (Bernard-Pierre Donnadieu), the evil, wealthy politician who bought the theater property and refuses to back down from his decision to close it. In his personal life, Pigoil also faces hardship. Custody of his son, Jojo (Maxence Perrin), has been relinquished to his wife who recently left him because he lacks a steady source of income. Pigoil, however, enlists his buddies Jacky (Kad Merad) and Milou (Clovis Cornillac), and together they set out to reclaim the Chansonia by occupying the theater and proving to Galapiat that they can produce something profitable.     Prospects are bleak until a young woman, Douce (Nora Arnezeder), performs for the first time on the empty stage with commanding presence and flair. Douce's charm and sweet-tempered nature are evident from the start (and even obvious in her name). As the film continues, a love triangle develops and more conflict occurs between the Chansonia owners and Pigoil's group. All of this drama is glossed over through song, dance and comedy.     Unfortunately, whatever potential the plot of "Paris 36" has is lost in overly contrived and predictable attempts to move the story along. It doesn't help that the movie's characters lack substance and may give audiences a feeling of déjà vu, as they are so familiar that they seem to have been taken directly from other films. Only the actors' talent keeps the characters interesting.     Yet "Paris 36" does make for an interesting comparison to the real world. While the small neighborhood of pre-World War II France depicted in the film could be described as dreamlike, the struggle of Faubourg's desperate residents to stay afloat is very timely considering past and present economic turmoil. That said, the film's social and historical relevance is greatly overshadowed by its over-the-top, colorful, saccharine production values, its cinematography and its fast-paced editing. The lush sequences of "Paris 36" and its impressive opening (a two-minute crane shot descending from the sky into the theater) were executed by none other than Tom Stern, Clint Eastwood's preferred cinematographer.     The film's near-flawless technical aspects only draw greater attention to the cast. Jugnot, who worked with writer/director Christophe Barratier on "Les Choristes" (2004), gives just as good a performance in this film, but the character, Pigoil, is not very memorable. Nonetheless, Jugnot is fortunate to be among great company, especially that of newcomer Nora Arnezeder.     It is rare to watch a movie for the first time and see the birth of a star. But, from the moment Douce enters the Chansonia, it's clear that this adorable, 19-year-old actress is here to stay. And, as her character begins to open up and mature as a performer, her transformation is similar to Marion Cotillard's portrayal of Edith Piaf in "La Vie En Rose" (2007).     Barratier was inspired to write "Paris 36" after hearing some records from the 1930s era, and he sought out Reinhardt Wagner and Frank Thomas to helm the film's musical numbers. Most of the cast manages to sing fairly well. The few songs performed, including the great sequence inspired by Busby Berkeley's films, provide relief from the movie's otherwise heavy plot, and it's a shame it doesn't include more.     "Paris 36" tries very hard to be a lot of different things. It floats between being a comedy, drama, musical and the community-getting-together-to-do-something-important genre, but never settles on one. Aside from finding Arnezeder at an open casting call and its superb cinematography, the film is far from a home run for Barratier.

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Arts

Panel meets to discuss 'The Value of Art'

March 29

    In the wake of Brandeis University's decision to close The Rose Art Museum, a debate about the role of art in university education has perhaps never been more timely. A panel entitled "The Value of Art: The Place of Art in the University Today,"  moderated by Eva Hoffman, an associate professor of art history, took place last Thursday evening in the Remis Sculpture Court at the Tufts University Art Gallery. Panelists included professors and administrators from Tufts University, and an artist and professor from the School of the Museum of Fine Arts, Boston (SMFA).

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Arts

Miss March' fails as a fresh teen sex comedy

March 29

Funny-men Trevor Moore and Zach Cregger of sketch-comedy group The Whitest Kids U Know fame debuted on the silver screen with a sex-comedy road-trip romp. As expected from this genre, the film is filled with predictable banal banter between the two best friends, locker-room humor and a healthy dose of shock value. But while "Miss March" as a whole is doomed to join the catalog of formulaic films aimed toward male teenagers, Moore and Cregger deliver flickers of comedic gold that will, at the very least, amuse audiences.

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Arts

Torn Ticket II's major production 'Into The Woods' opens tonight

March 26

Torn Ticket II's major spring production, "Into the Woods," opens tonight in Cohen Auditorium. One of musical genius Stephen Sondheim's most popular plays, "Into the Woods" presents well-known fairy tales, such as Little Red Riding Hood and Cinderella, geared toward a more adult audience.     Producer Samantha Kindler, a sophomore, explained that "Into the Woods" isn't just a fairy tale, as some might assume.     "We wanted to approach the show in a darker, more adult way," Kindler said. "You can definitely see that in the set and the costumes, [and] also in interactions between certain characters."     Senior Ansley Fones is directing the play in her last semester here at Tufts. She chose "Into the Woods" because of the universal themes found in fairy tales. Fones hopes that students will be interested in seeing their old favorite fairy tales with a new spin.     "This is a show about storytelling," Fones said. "It takes the stories out of the realm of children's tales. It also reminds adults about the importance of ambiguous morals."     If the first act of the "Into the Woods" reminds the audience of all its favorite fairy tales, then the second act reminds viewers that there is life after ‘happily ever after.' The play deals with themes of insanity and adultery, but mainly, "Into the Woods" is about the complicated relationships between a parent and a child.     Mixed in with old favorites is a more original story about the Baker and the Baker's wife, loosely based on the "Rapunzel" fairy tale, which ties in with the rest of the traditional stories. The couple's marital troubles are explored alongside those of two obnoxiously charming princes and their inability to stay faithful to their princesses. All of the characters come together at one point or another in an intricate, original fairy tale.     "Into the Woods" runs tonight and Saturday at 8 p.m. and Sunday at 2 p.m. in Cohen Auditorium. Tickets are being sold at the Balch Arena Theater Box Office for $7.

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Arts

Landed' in Somerville

March 26

Check out the Arts Department's blog, "The Scene," on TuftsDaily.com for more photos of Ben Folds' performance at the Somerville Theatre on Tuesday night.

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Arts

Mikey Goralnik | Paint the Town Brown

March 25

One of the most amusing parts of forward-thinking electronic music is how eerily similar it seems to the most soulless and derivative sectors of social life. In some ways, cutting-edge music encourages and constitutes the new ideas that eventually blossom into new ways of living. In others, though, it would be difficult to distinguish the arrangements and mentalities of progressive electronic music culture from those "evolving" at a Hot Topic-sponsored lecture series featuring Kathy Griffin, Kevin Federline and Vincent Gallo, with a keynote address by Bono and a closing haiku by Ashton Kutcher.

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Arts

Comedy festival blossoms into benefit for Seeds of Peace

March 25

Cheap laughs can go a long way toward making a valuable contribution to one's community; at least, that's the idea behind this weekend's first annual Laughs of Love comedy festival, sponsored by Cheap Sox, Tufts' improvisational comedy troupe. The festival, which will feature performances by four Tufts comedy groups and eight groups from other schools, will last from tonight until this Saturday. All proceeds will go to Seeds of Peace, an organization that brings together youth from conflict-ridden areas across the globe in the hope that future generations will be able to coexist peacefully. Bringing comedians together

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Arts

Top Ten | Animal characters in movies, TV and literature

March 25

    In honor of spring — the season in which cute little baby critters are born — (allegedly) arriving in Boston, we at the Arts Department were suddenly seized with the desire to compile a list of our favorite animal characters, and the reasons why they are so awesome. Hopefully now People for the Ethical Treatment of Animals (PETA) will stop chucking Molotov cocktails into our Top Secret Arts Department Animal Testing Facility, whose purpose is unknown, and whose existence we routinely deny. Still, we hardly see how setting our genetically modified attack-platypus on fire is not "ethical treatment." Finally, and without further nonsensical ado, the list: 10. Cat from "Breakfast at Tiffany's" (1961): Let's face it: The only things you remember from that movie are the kiss in the rain, the screenshot that 70 percent of female undergrads have posters of, and Cat. That pet deserves mad props for being as recognizable as Audrey Hepburn. 9. King Kong: Perhaps the largest and most misunderstood animal on this list, the gargantuan ape enjoys long walks on the beach, climbing the Empire State Building and roaring loudly at the injustices of a society that will not let him be free. Our hearts go out to you, Mr. Kong. We'll send you that metric ton of bananas just as soon as we can raise the money. 8. Harry from "Harry and the Hendersons" (1991): Yes, this is a real movie, not just the subject of the b-plot from a recent "30 Rock" episode. Harry was the man, despite being a yeti, and was able to teach the Hendersons valuable lessons about caring and family and stuff. Bigfoot might not exist, and if he does he might not look quite like John Lithgow, but we can always dream. 7. Rob Schneider in "The Animal" (2001): This human actor gets an honorable mention for acting, rather convincingly, like a variety of animals. C'mon, the title pretty much says it all. 6. Wishbone: He is the most well-read and versatile dog actor in the history of TV. The dog is hardcore — he dressed as Sydney Carton from "A Tale of Two Cities" (1859) and the other actors couldn't tell the difference between him and the human Charles Darnay. That takes serious skill. 5. Hedwig from "Harry Potter" (1997): We would like to have a moment of silence for this amazing pet. Even though you were Avada Kedavra-ed to your doom, we will always remember you as the tiny bundle of white squawky feathers from the first book. No other owl will ever replace you. *Sniff* 4. Sassy from "Homeward Bound" (1993): She survived falling off of a waterfall and found her way back to her owners. How awesome is that? Plus the witty banter that occurred between her and that mangy mutt Chance is how we like to imagine animals talking to one another on a daily basis. 3. Air Bud: Air Bud was a dog who played basketball, and, really, what more could anyone want? Since his 1997 debut, there have been 9 sequels to "Air Bud," including one in which his children (the Buddies) go to space. That's a movie that actually exists. We truly are living the dream. 2. Moby Dick: There are not many animals as ferocious as this gigantic albino whale that consistently evades capture by a crazed Captain Ahab. Someday, the Arts section might actually read Herman Melville's classic, but for now, we prefer to espouse our beliefs on Moby Dick's metaphorical significance based solely on hearsay. 1. Chewbacca: Hopefully we're not offending anyone out there by classifying Chewy as an animal, but seriously, he's the most awesome pet ever. He can drive spaceships, knows a secret language, would probably do your physics homework for you, and he even cleans up after himself. —compiled by the Daily Arts Department

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Arts

Duplicity' features little more than witty dialogue, big names in an average thriller

March 25

It's no "Michael Clayton" (2007), but it would be unfair to write off director Tony Gilroy's second effort as suffering from the proverbial sophomore slump. Sure, it won't be nominated for six Academy Awards or get him a nod for Best Director. In fact, it probably won't be nominated for anything. Thankfully, "Duplicity" never tries to be an award-winner.

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Arts

From the Office of the Tufts Daily

March 25

 Dear "MTV Spring Break 2009,"     There's nothing we like more than drunken flesh-fests, unless, of course, you count watching drunken flesh-fests from the safety and comfort of our parents' living-room sofas. That's why we always look forward to spring break, when we can turn to you, MTV, for our yearly dose of bump-and-grind voyeurism.     This year's spring break coverage, however, failed to arouse our curiosity in the same way that "MTV Spring Break 2008" did. Last year, it was much harder to thrust ourselves into the real world and accomplish more productive spring break activities like tanning, visiting friends, traveling or catching up on schoolwork.     We believe that this year's event, which took place at Panama City Beach, Fla., couldn't stand up to its predecessors, primarily because Ms. Tila Tequila was not involved. The featured artists, namely Lil' Wayne, Asher Roth and Jim Jones, failed to rise to the occasion in the same way that Ms. Tequila did last year. The featured shorts by The Lonely Island were also disappointing; it seemed as though the trio could never really get into the spring break mentality.     We firmly believe that Ms. Tequila embodies MTV Spring Break. She looks good in a bathing suit, she's profit-oriented and great at marketing herself, she'll have sex with just about anything that's breathing (though even that may not be a limitation), and, for God's sake, her name involves both alliteration and an alcoholic beverage.     Ms. Tequila is also a superb judge of quality relationships. Last year, she crowned a Spring Break Fantasy Couple. She moderated intense competitions in which, among other things, participants had to soap each other down and squirt toothpaste in their lovers' mouths. We applaud the fact that there were no fatties or even merely moderately attractive contestants; Ms. Tequila obviously understands the importance of superficial beauty.     So, MTV, next year we hope you include Tila Tequila in your spring break coverage. It's completely doable and easily a decision we could get behind. Yours truly, The Daily Arts Department

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Arts

Cornell and Timbaland break genre barriers

March 24

    Who could have imagined that Timbaland, one of the most sought-after hip-hop producers, and Chris Cornell, the archetypal frontman of hard rock, would join forces to create "Scream" (2009), a pop album of epic proportions? This legendary meeting of the minds is a giant step away from today's cookie-cutter pop music industry. "Scream" marks Cornell's bravest effort to date to shed labels and evade categorization. To diehard Soundgarden and Audioslave fans, this album may seem just as trite and insignificant as the run of the mill Top 40, but there are many exciting cogs turning underneath Timbaland's dependable but quirky dance beats. Cornell, for his part, has reinvigorated dance music with the raw, unbridled power he once fed into the grunge movement. Together, the pair achieves moderate success across this cohesive record.     Benefiting from the success of Nirvana, Pearl Jam and Alice in Chains, Cornell's band, Soundgarden, rose to fame in the early '90s as one of the most commercially successful acts on the Seattle grunge scene. Cornell already exhibited a vocal range and lyrical style unique in its honest portrayal of depression, loneliness and anxiety. Cornell later united with the band members of Rage Against the Machine to create Audioslave, one of the first rock supergroups of the 21st century.     The very existence of "Scream" fills a glaring hole that had developed in today's realm of popular music. With the advent of Auto-Tune, dance tracks no longer require a talented voice to find airplay. Additionally, songs often lack the emotional depth and musicality that could make them more than just something to move to.     Cornell and Timbaland attempt to deliver the whole package, mixing meaningful sounds with danceable ones. With Cornell's world-weary and often heartbreaking vocals, Timbaland's beats seem operatic and bordering on grandiose, perhaps in an attempt to match one of the strongest voices of the '90s and today. Unfortunately, the beats often mask Cornell's power, reducing his voice to one of the many computerized production elements. Despite each track's energy and driving rhythms, some beg for Cornell's unadulterated voice and his classic electric guitars. Maybe if each musician had ventured even further from his usual approach, a greater fusion of styles could have been achieved.     Though "Scream" is best listened to from start to finish, a handful of tracks stand out as strokes of two-minded genius. On the slower side, both "Long Gone" and "Scream" are beautifully crafted pop ballads with tender lyrics and sensitive production detail. "Long Gone" is especially enhanced by heavy percussion and subtle electric guitar. "Take Me Alive" is a hypnotic track with Middle-Eastern influences and haunting harmonies.     "Time" and "Get Up" are two of the better fast-paced dance tracks of the album. This is Cornell's weakest area, though, as his lyrics and vocals are strongest on the sweeping, emotionally-charged tracks. The upbeat tempos and heavy computerization mask the delicate nuances of Cornell's voice, tinged with years of alcoholic regret and drug-fueled depression.     "Scream" is a daring album guaranteed to shake up the music bubble of both pop-loving tweens and alternative aficionados. Regardless of Cornell's past and fans' widespread dismay at his partnership with Timbaland, records like "Scream" inject much-needed diversity into the flailing music industry.     In a business where trends change daily and relevance is ever elusive, Cornell continues to be a fixture of the music industry. Though his reinventions may be more subtle than those of Bowie or Madonna, Cornell's many faces and many bands have garnered him enormous respect. Hopefully, "Scream" will push Cornell further and deeper into his bottomless well of creativity.  

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Arts

There is much to 'Love' in successful, bromantic comedy

March 24

                The premise of "I Love You, Man" is simultaneously extremely simple and very clever. Take decades of rom-coms (heck, centuries if you go back before film) where a guy/girl and his/her friend work together to get the love interest of his/her dreams. Then, switch around "friend" and "love interest." Suddenly, you have a whole new type of film and a rather enjoyable one at that. Where the Apatow crew (though Apatow himself is not attached to this project) has previously written stories of guy-love cloaked in other comedy genres (teen sex, romantic and drug), "I Love You, Man" finally tackles it with no pretenses.     The movie begins as Peter (played by Paul Rudd) proposes to Zooey (Rashida Jones). She accepts and immediately calls her BFFs. Peter doesn't because, well, he has no BFFs. He gets along quite fine with the ladies (he's every girl's gay-best-friend-turned-straight), but not the fellas. After about 30 years of living sans-bromance, he realizes that maybe something is missing from his life.     What follows in the first act are a series of terrible "first dates" as Peter tries to find the best friend of his dreams. "Guy-love" hilariously becomes so conflated that it would be great to re-watch this movie with a few gender studies professors. And yet, none of it seems forced. In fact, if anything, the awkward pauses on the "dates" and rejections during the "asking-outs" only go to show that there really is a fine line between wanting to be someone's friend and wanting to be their significant other. The movie is well aware that questions like "Do they like me that way? Am I cool enough? Do we have enough in common?" apply equally well to both situations.     Finally, enter Sydney (Jason Segel). He's  the opposite of the upper-middle-class Peter, and yet their relationship works and not in that typical, cliché, "opposites-attract" way. The two have genuine chemistry. Their "flirtation" dispels any initial eye-rolling one might expect at the pairing.     This is really the overall strength of the movie: Wherever you think it could stumble into a cliché, the actors and script manage to swerve away from that pitfall. Rudd works both as a straight man who is dealing with the madness around him and as the awkward-slang-dropping guy who just wants to be liked. Segel is simultaneously the guy we would all want as our best friend and who would scare us to death that he might ruin our lives.     As for Jones, one might be hesitant about her character at first. Maybe it's difficult to not project her character, Karen, from "The Office" onto Zooey, but it seems as though the audience can see exactly where Zooey is going. She sort of goes there, but in a different, far more graceful way than predicted. The supporting characters all hit it out of the park, particularly Peter's brother and dad, who is played by the great J.K. Simmons.     As for the script, again, there's a lot to love. John Hamburg really nails a lot of those scenes from life that we've all experienced but which we never think about. In a tux-shopping session, for example, Sydney obsesses over getting the right pose from Peter for a goofy photo. It later becomes a more important plot point, but at the moment, audiences can all smile and know they've had the friend who cares a bit too much about the results of a day out with the digital camera.     Probably the strangest compliment this film earns is for its perfect use of the F-word. It doesn't use it too sparingly, but doesn't slather the script in it either. Every time it's used, it perfectly punctuates the scene.     Sadly, "I Love You, Man" is not perfect. It does have its contrived bits. The character of Tevin, while amusing for the first few minutes, soon wears out his welcome and feels shoe-horned into the film for a portrait of the "bad-bro." Furthermore, the whole third-act conflict is forced and predictable. The film seems aware of its limits, however, and ultimately, not too much is made this conflict.     Of course, these are ultimately minor complaints. The film is a strong two hours of enjoyment, and viewers will walk out feeling all warm and fuzzy, just wanting to hang out with their best friends.  

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Arts

Devin Toohey | Pop Culture Gone Bad

March 24

We interrupt our regularly scheduled programming for this important announcement: Asher Roth? Really? For the love of crumbcake, Concert Board, what did I ever do to you to deserve such treatment? Are you all "Dark Knight" (2008) fanatics or something?     Early this semester I became familiar with the horrible dirge entitled "I Love College." Well, it's not really a dirge, though it does make me wish I was at my own funeral whenever I hear it. Let's disregard the fact that the guy can't rap; his attempts at stringing words together into semi-coherent statements are so pathetic that they border on the parody of a white rapper. Let's ignore the fact that the track has the production quality of something I might have made in my basement in high school. Let's ignore the fact that that his voice sounds like that of a pampered eunuch who has just finished gargling sour milk for two hours.     Go look up the lyrics. Or listen to it. Or, if you are brave (or mindless enough), watch the video (personally, I think "2 Girls, 1 Cup" is more watchable than this). If your eyes and ears don't recoil in pain not imagined since Marquis de Sade wrote "The 120 Days of Sodom" (1785), keep those "lyrics" in mind as you read the rest of this column.     So this is what college is to this guy? Bad pizza, worse beer and getting girls "completely naked?" (Lucky, dude, my friend can never get that left sock off.) While I enjoy hedonistic indulgences as much as the next guy, that's not college. Maybe to someone who rhymes "two, um" with "shoes on" and most likely flunked "Rocks for Jocks," it is, but let's show some standards, people. To this monstrous parody of a bro, college boils down to drinking and women. I'm pretty sure you can get those in many other places. I'm also pretty sure that we're not paying thousands of dollars a year so we can have the privilege of playing beer pong with Miller Lite. Asher Roth's depiction of college sounds exactly like what that naïve, aggravating prefrosh thinks college is going to be like.     What bothers me about this song? Perhaps that it's the gross celebration of the anti-intellectualization of America. God forbid that perhaps we actually care about learning. Nope. Classes are to be skipped and ignored. We "party!" and that's it. We will revel in being dumb, drunk, fat, horny slobs who are compelled by nothing more than our stomachs and genitals.     I know I sound Puritanical right now. I know you all like your stomach and genitals. Can't we include the brain in that trinity? Come to think of it, I'm not asking, I'm telling. Anyone who says "no" can get off of my campus right now.     I can't believe that my money is going to pay Asher Roth. That mindless, talentless, conceited [insert obscenity so horrible it defies imagination] is going to get thousands of dollars for his performance, some of which will be mine. I suddenly understand the cries for endowment transparency. I want to know where my money is going before they make the choice.     That my last spring fling will be stained by his act makes me simultaneously despise college, rap, music and the English language. I feel violated. I feel enraged. I thirst for justice. And you can bet your lit-theory reading, Vergil-quoting, Marlowe-analyzing keister that I'll be heckling him come Fling, loud and for everyone to hear.     "Do something stupid?" You already did that, Concert Board. --

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Arts

Dan Deacon's newest album, 'Bromst,' allows for freedom of interpretation

March 24

    The word "Bromst," the name of the latest album by electronic musician Dan Deacon, doesn't appear in the Oxford English Dictionary. Nor does it appear in the Merriam-Webster Dictionary or on UrbanDictionary.com. There are just under 100 thousand Google hits for "Bromst," but no definitions of the word. It takes about an hour to get a rough idea of what "Bromst" means, and far longer to begin to comprehend it, but this is time well spent.     Deacon trained in electronic and computer music composition at SUNY Purchase and is a founding member of the Wham City music collective based in Baltimore. He first came to the attention of the music world with the 2007's "Spiderman of the Rings."     After gaining a dedicated following with "Spiderman" and his live shows, which are usually joyous, sweaty dance parties, Deacon went to Montana to work on something more mature. It's hard to listen to "Bromst" and, not having any point of reference, call it mature, but the word fits when compared to its predecessor.     "Bromst" is, for the most part, fully realized, beautiful nonsense. Deacon's music combines instruments and distorted vocals with electronically-produced sounds to create something wholly unique and wonderful. The sine waves he experiments with and the bleeps, boops and distortion may upset some ears not fully prepared for the aural party, but those who can open their minds won't be disappointed.     On its best tracks "Bromst" is reminiscent of some illegitimate child of LCD Soundsystem, trading in James Murphy's too-cool hipster-snark for Deacon's childlike wonder. All of the tracks are more polished than Deacon's previous material due to his collaboration with the talented producers from SnowGhost Studios in Montana.     "Snookered," easily the best track on the album, is also the longest. Coming in at just over eight minutes, it is equivalent to "Spiderman's" "Wham City," that album's centerpiece (though "Wham City" was nearly five minutes longer). The song moves in waves from a series of chimes at the beginning which set the pace for the song. Next up comes a chattering of voices that fade into a buzzing synth section and slow percussion, which builds for two minutes until the singing finally kicks in. Most of the vocals on "Bromst" are highly distorted, but on "Snookered," the main vocal track is clear, though the backing parts are echoed, whispy and sped up, all played together for great effect. Halfway through, the song changes drastically as the clear vocals are replaced by a beat made from various vocal samples. The latter half slowly fades back into the harmony. By the end, all elements previously heard come together for a dizzying effect that few artists can attain.     Other standout tracks include "Of The Mountains," a tribal-sounding, upbeat tune; "Woof Woof," which sounds like Alvin and the Chipmunks rapping backwards (which works way better than one might think); and "Build Voice," probably the most mature (musically, at least) track on the album.     Not all of these daring tracks succeed, however: "West Wings" is nearly unlistenable. It consists of a single vocal sample of a woman soulfully wailing, looped over and over to create what, if it wasn't so grating, might be considered haunting. "West Wings" is completely out of place on "Bromst." One could chalk it up to Deacon just doing his thing, experimenting and pushing boundaries, but that does not excuse the song from standing out as a glaring smudge on an otherwise near-mint work.     It is imperative to understand that "Bromst" is not for everyone, and it will be a long, long time before Dan Deacon will get Top 40 radio play. That said, it is easy to tell that Dan Deacon is a man who enjoys his craft. The love that he pours into his music transforms what could be half-baked ideas in the hands of lesser madmen into fully-formed eargasms. "Bromst" begs to be played loudly on speakers and shared with the world. It is impossible to listen to "Bromst" without smiling, and even listeners who believe whole-heartedly that they have no rhythm whatsoever will find themselves tapping their toes along with the frantic beats.     Maybe there's a reason that there is no definition for "Bromst" on the Internet or in any book. Without sounding too lofty, if "Bromst" the album defines "Bromst" the word, it makes sense that it couldn't be defined in concrete terms. It means whatever one wants it to mean, but most assuredly, it is a good thing.

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Arts

Zach Drucker and Chris Poldoian | Bad Samaritans

March 23

We recently set out to answer the age-old question: what makes a good movie? People of America, we are trying to tackle the important subjects in life. We think President Barack Obama could take a page out of our book and stop discussing bracketology with ESPN or making fun of the disabled on "The Tonight Show with Jay Leno."     So, after many grueling hours, we have devised a foolproof formula that precisely calculates whether or not a movie can be considered "good." Naturally, we needed a test subject and decided to use Liam Neeson's newest action thriller "Taken" (2008) as our guinea pig. Our analytic formula revealed some shocking results: "Taken" is not a good movie. It is the best movie ever made.     To satisfy our formula, a film must first have universal appeal. Just like "Apples to Apples," "Taken" appeals to an audience ranging in age from nine to 99. About 50 percent of the adult world will be able to relate to the tragic story of divorce evident in "Taken." The powerful social commentary about sex trafficking and prostitution should engage the other 50 percent. For the under 18 crowd, there is a party where a birthday girl gets a pony as well as a teenager's story about gaining independence and growing up (then being abruptly kidnapped and sold). For the young adult portion of the population, there are a huge number of action sequences in which Liam Neeson goes Jason Bourne on some corrupt foreigners. That's right, we said foreigners. The French and Albanians to be exact. This film has a patriotic vibe, too.     Not only did "Taken" earn great marks for universal appeal, but, by combining aspects from different film genres, it scored an A-plus in the versatility category. Although classified as an action/thriller, "Taken" has a steamy love interest characteristic of romance films. Of course, the love interest in this film is between a corrupt, tubby sheikh and the sexy 17-year-old American virgin he purchased for $250,000, but Cupid's arrows strike in mysterious ways.     The movie mixes in some comedy, too. For example, Jon Gries, the same guy who was pegged with an orange when he played Uncle Rico in "Napoleon Dynamite" (2004), takes on the role of an ex-CIA member in this film. Plus, "Taken" features the Irishman Neeson trying to feign an American accent. Now that's comedy.     By now it should be obvious that we love cinema. We vehemently believe that every good movie has a Hollywood feel with inexplicable plot gaps and corny one-liners. "Taken" fits the bill perfectly. For example, at the end of the film, Neeson is able to board his Delta flight from Paris and land safely in America. We guess the director omitted the scene where French customs stops, detains and imprisons Neeson for hotwiring several cars, killing dozens of people and shooting the wife of a powerful French official at point-blank range.     Also, "Taken," like every good movie, has several memorable quotes that rev our engines. When Neeson warns the men who have just abducted his daughter about his murderous skills, we feel a rush of adrenaline and get psyched up. The audience knows that Neeson is about to single-handedly lay an epic beat-down on some Albanians.     Forget "Citizen Kane" (1941), "The Godfather" (1972) and "The Shawshank Redemption" (1994). "Taken" makes those films seem like sissy Lifetime originals. Well, at least judging by our formula. The next time you want to analyze the quality of a film, try doing it our way: Check for universal appeal, versatility, plot gaps and quotes. Depending on your results, you might have another "Casablanca" (1942) on your hands, or maybe even another "Taken." Nah, that's crazy talk. --

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Arts

Zach Drucker and Chris Poldoian | Bad Samaritans

March 23

We recently set out to answer the age-old question: what makes a good movie? People of America, we are trying to tackle the important subjects in life. We think President Barack Obama could take a page out of our book and stop discussing bracketology with ESPN or making fun of the disabled on "The Tonight Show with Jay Leno."

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Arts

The Decemberists give fans plenty of good reasons to 'Love' their epic latest album

March 23

    Indie darlings the Decemberists released their fifth full-length studio album on March 24, a sprawling alt-rock opus titled "The Hazards of Love." Billed as a ‘rock opera' in the vein of such progressive-rock classics as The Who's "Tommy" (1969) and Pink Floyd's "The Wall" (1979), the album sees usual frontman Colin Meloy joined by fellow crooners Becky Stark of Lavender Diamond and Shara Worden of My Brightest Diamond in leading roles and undertakes to tell a story far broader in scope and detail than anything else the band has produced to date.     Storytelling has always been Meloy's strongest and most distinguishing talent, and he is in top form here. The album's plot does not disappoint: The main character, William, having been abandoned as a baby in an enchanted forest, is adopted by the fairy queen, who desires a son of her own. To ensure that William will never forsake his forest home, the queen places a spell upon the young man that changes him into a fawn by day and returns him to his human form each evening. Some years later, William, now a grown man, meets Margaret, a woman from the nearby village. A romance blooms, and Margaret soon finds herself pregnant.     Ousted from her parents' home in shame, Margaret seeks out William in hopes of settling down and leaving the forest altogether. The queen, fearful that her son may be tempted to rejoin the world of men and leave her alone, turns to a violent assassin, sending him to kidnap and defile Margaret as punishment. This prompts William to embark on a quest to rescue his true love.     This plot, reminiscent of both Disney fairytales and Shakespearean dramas, is narrated alternately in first and third person by the three lead singers. Master lyricist Meloy sings about enchanted lovers and sadistic rapists with equal — and sometimes discomforting — ease and flair.     Musically, the "The Hazards of Love" is possibly the Decemberists' strongest work to date. The album unfolds like a theatrical soundtrack, with no pauses between songs and each tune's endpoint sliding smoothly into its successor's opening. The first four tracks introduce the melodic and harmonic themes that characterize 80 percent or more of the entire work, yet at no point does the music feel stale as the band continually finds new and more psychedelic ways to combine motifs, rotate instrumentation and expound upon ingenious thematic variations in ways that would make even Beethoven proud.     The album's sound is lush and full; harpsichord and heavily distorted electric guitar are given equal treatment as the driving instruments, although "Hazards" still artfully includes the band's familiar litany of acoustic guitars, mandolin, banjo, organ, accordion, strings and basses, both upright and electric.     Individual songs draw on such diverse musical inspirations as classical orchestral overtures, riff-driven blues, power chord-based heavy metal, traditional acoustic bluegrass and old-time banjo and fiddle music. While the album continues the band's shift toward a more hard-edged sound that began with their last album, "The Crane Wife" (2006), it manages to retain the distinctive nu-folk flair that characterized most of the band's early work. This blend of inspirations and sounds means that to characterize "Hazards" in genre terms is an impossible undertaking.     Unfortunately, while it is a wonderful achievement, "The Hazards of Love" is not perfect. The Decemberists keep up the musical and lyrical momentum for almost the entire album, but the story's ending — and the album's final song in particular — turns out to be profoundly disappointing. The murderous rogue, who is introduced with a song describing in gleefully gruesome detail the untimely deaths of his three children, is ultimately defeated at the critical moment by the vengeful wraiths of his slaughtered progeny, sparing Margaret's life and dignity. This ending completely circumvents any final showdown with William, rendering the entire preceding quest and the implied subsequent romantic deaths of the protagonists somewhat superfluous.     On the whole, however, these few gripes don't diminish the overall appeal of the album. Anyone who has previously fallen under the Decemberists' spell should feel right at home with this latest outing. First time Decemberists listeners would perhaps do better to explore the band's previous albums, though, if only to become accustomed to Meloy's notoriously distinctive voice. The album is certainly not for everyone, but anybody willing to devote a solid hour to a close listening of the CD in its entirety will surely find "The Hazards of Love" a rewarding musical experience, with a story so dense and intricately constructed that the album merits and rewards repeat plays.

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