Anthony Bourdain, Bobby Flay, Tom Colicchio, Mario Batali, Paula Deen, Alain Ducasse, Nobuyuki Matsuhisa, Gordon Ramsay, Wolfgang Puck, Rachael Ray.
What happens when an underground live hip-hop band hits the big time? What happens when the frontman of Fall Out Boy starts producing emo-rap tracks? Throw in some catchy hooks, appearances by Daryl Hall, Estelle, The-Dream and Busta Rhymes and guest production by Cool & Dre and out comes "The Quilt," the latest full-length studio album from Gym Class Heroes (GCH).
This year, FOX chose to premiere its new TV shows earlier than the other major networks, in part due to its need to make up the most ground against its competitors. Most new offerings won't stand a chance against big-time shows like "Lost" and "Heroes." FOX's new sitcom, "Do Not Disturb," falls into this category of "almosts," unable to keep up with not only the other sitcoms, but also the plethora of "dramadies" that have become so popular, or at least prevalent, in recent years.
An album that successfully adapts and ages the vigor, beauty and outspokenness of Joan Baez's earlier works, "Day After Tomorrow" is a concise 37 minutes of classic folk music.
The scenes on the screen flit between the orchestra and the key players in the crime. Flutes replace the sobs of a beautiful blonde by the double doors. Violin strings play the smirk of a man who readies his pistol in the shadows. His companion takes heavy breaths in time with trombones, her expression tense. Drums roll thunderously as the protagonist rushes from door to door. Pounding, pulling, pushing. All is drowned out by the crescendo of music, a tune that swirls and dips with the movement of the camera lens, following the build up and eventual collision of these moments. The barrel of the gun exposes its metal body. As the cymbals crash, viewers in Brattle Theater leap out of their seats and audibly gasp. Who says Hitchcock's suspense doesn't stack up to contemporary thrillers?
While Vin Diesel's two-year silver-screen hiatus led many to believe that Hollywood was rid of him, he returns with a vengeance to star in "Babylon A.D." Surprisingly, Diesel's performance is not the biggest flaw in this film, which is based on the novel "Babylon Babies" by Maurice Georges Dantec. Instead, the inane plot and mediocre direction corrupt this movie far beyond anything Diesel could have ever single-handedly done.
Sometimes a film's cast simply sounds too good to be true. When multiple high-profile stars get together in a film, it can go one of two ways: It can go "Butch Cassidy and the Sundance Kid" (1969), or it can go "Ocean's 12" (2004). "Righteous Kill," the new cop film starring heavyweights Robert De Niro and Al Pacino and directed by Jon Avnet, falls squarely in the latter category. Pacino and De Niro play veteran NYPD cops Rooster and Turk respectively. A flashy opening credit montage features the two men at a firing range, interspersed with each man at his pastime of choice: De Niro is hotheadedly aggressive as he yells at an umpire at a softball game, while Pacino is cool and calculating, yet no less aggressive as he rants about Bobby Fischer during back-to-back chess-game victories. The men are filmed firing their guns — from handguns to automatic assault weapons — at a variety of angles as lights flash to make certain the audience understands that both cops are good shots and enjoy using their guns. These two facts are reiterated ad nauseam throughout the film. The plot, penned by "Inside Man" (2006) scribe Russell Gewirtz, depicts a series of murders targeting lucky criminals who escaped justice. While the plot shares some points with college favorite "Boondock Saints" (1999) and Showtime's serial killer show "Dexter," it lacks a defining touch. Murder weapons and a short, rhyming poem accompany each crime. Each of the victims has some connection to Turk and Rooster; although Turk is one of the lead investigators on the case, he quickly becomes a main suspect. The story lacks complexity due to a device, revealed in the first five minutes, which manages to take the steam out of three quarters of the movie. Instead of playing it as a straight mystery, the film displays a clip of one of the detectives confessing to the murder of 14 men during his 30 years of duty, including all of the murders that occur in the film. The entire film is structured as a flashback with the confession cutting in at various points. A series of contrived twists in the last half-hour spice things up a bit, but after being heavily forecasted for most of the film, the gimmicks are not very surprising. DeNiro's Turk is best described by Pacino as a "pit bull on crack." He runs around screaming and raging and having angry sex with a fellow detective on the force (played by Carla Gugino, one of two female roles in this testosterone-heavy film). Pacino's character spends his time calming Turk down and trying to one-up his friend, wasting precious screen time as well as the audience's patience. The supporting cast is, for the most part, extremely talented and over-utilized. The usually stiff John Leguizamo pulls through as Detective Perez, and Donnie Wahlberg deftly plays Detective Riley. Gugino holds her own in a predominantly male cast, but in an odd third-act twist, she flounders as a woman out for justice. Curtis Jackson (50 Cent) is typecast as a drug dealer-turned-rapper and club owner, but stumbles over many of his lines and generally drags down his scenes. Finally, in an interesting bit of casting, Rob Dyrdek of MTV's "Rob and Big" plays the first murder victim, a skateboarding pimp (yes, seriously) named (wait for it) Rambo. While the film does have some enjoyable aspects and an exciting final quarter, it drags in the middle, and lazy cinematography and editing bring the mood down a bit too far. The beginning and various scenes throughout the film are shot in a glitzy, stylized manner, reminiscent of action films such as "Bad Boys" (1995) and most Vin Diesel vehicles, while much of the rest is shot as a straightforward drama, a style that works much better in this particular instance. "Righteous Kill," with its pedigree and star-studded cast, should have been much more than simply an average cop film. Some tweaks to the plot and a shorter running time would have helped tremendously, but that isn't to say that it isn't watchable. Still, "Righteous Kill" is most likely destined to end up no more than a somewhat entertaining footnote on the résumés of two great actors.
The Arthur M. Sackler Museum at 485 Broadway in Cambridge will be opening its doors tomorrow after a summer-long hibernation. The Sackler's closing and reopening is part of a larger scheme: plans for a massive renovation of the Harvard University Art Museums, which in addition to the Sackler includes the Fogg and Busch-Reisinger collections. The renovations are predicted to take five years, and all of the artwork will be moved out of the Fogg and Busch-Reisinger complex on 32 Quincy St. and put away in storage facilities or put on loan to other museums. The ultimate concept for the renovations is the construction of a new building, designed by acclaimed Italian architect Renzo Piano, who has designed other museums such as the Morgan Library and Museum in New York. The structure will house all three collections under one roof, consolidating them and promoting easier access and dialogue. For those who will miss the Fogg and Busch-Reisinger Museums in these next five years, the Sackler is a savior as it features "Re-View," an exhibition of works from all three collections, to be shown together for the first time. The Sackler, which previously housed ancient, Islamic, Asian and late-Indian art, will now meet the West, showing European and American art previously on display in the other museums. Having been separated before by different buildings and rooms, the interplay between ancient and modern, continents and cultures, should make for an interesting display. The works, which include favorites and "greatest hits" as well as valuable pieces from the collections brought out of storage in this moment of flux, were chosen by curators from the three museums. Part of the reason behind the closings is that the buildings are decrepit and not fully up to code, lacking both climate control and space for the collections. By having this ongoing exhibition across the street from construction and demolition, the mission of teaching and scholarship at the Harvard University Art Museums can continue, though on a much smaller scale. It is an example of the interplay between objects and collections predicted for the new facility when it opens to the public in 2013. The exhibitions of "Re-View" are divided into themes. On the ground floor is European and American art since 1900, connecting the Fogg and Busch-Reisinger collections through the theme of modern reinterpretations of traditional subjects in art. Works will include Max Beckmann's "Self-Portrait in Tuxedo" (1927) and Glenn Ligon's "Untitled (Negro Sunshine)" (2005). The second floor shows the Sackler's Asian and Islamic Art dating from 5,000 B.C. to now, emphasizing the relationship between ceramic works and the evolution of religious expression throughout Asia and Europe. On view here is the Sackler's distinguished collection of ritual bronze vessels and archaic jades, both great draws for visitors. The fourth floor, organized chronologically, exhibits primarily Western works from antiquity to the late 19th century, but the occasional contrast to other styles or time periods is expected to shake up the walls. Comparisons include works from different cultures hung side by side, meant to represent historic moments of international communication when Europe encountered other societies, including Egyptian, Asian, Islamic, indigenous American, African and Near Eastern. Favorites from the beloved Maurice Wertheim Collection from the Fogg Museum are also on view, including significant works by impressionists and post-impressionists like Monet, Picasso, Cézanne and van Gogh. Specifically, Picasso's iconic "Mother and Child" (1901) from his Blue Period are hanging. Certain works on paper sensitive to light will be rotated, and a teaching gallery on the fourth floor will also house four temporary installations each year. In this period of removal and loss in the Boston art community, the Sackler's multi-cultural, multi-technical and multi-stylistic "Re-View" is expected to offer some consolation to devoted community members and visitors.
For those who missed out on marathon summer concerts like Lollapalooza and Bonnaroo and still need their fix of live performances, the Boston Music Festival, which wraps up this Sunday with a grand finale, features more bands than you can count. The festival, a set of week-long concerts at a variety of venues in the Greater Boston area, is currently celebrating its second year running. The event draws some 8,000 people to local restaurants, bars and clubs to hear an impressive range of local musicians , including rock, Latin, classical, jazz, hip hop and folk. According to the festival's promotional material, the Boston Music Festival involves "putting rock bands against string quartets, jazz trios against singer-songwriters, popstars against hip-hopsters." The brainchild of a local music school near Inman Square called School of Groove, the Boston Music Festival presents its wide range of genres only from unsigned local talent. School of Groove is an institution focused on education and exposure for up-and-coming musicians, eager to raise awareness and provide exposure to bands that haven't made it big just yet but show promise. The range of genres allows for artists like jazz pianist Yoko Miwa, from Kobe, Japan, to mix with the likes of spoken-word extraordinaire London Bridgez, who creates "bridgez" between poetry and R&B. Former Berklee students in groups like Same Mistake Twice, who play a variety of updated pop and rock songs, are a testament to Boston-based musicianship. Part extended concert and part "Battle of the Bands," the Boston Music Festival began on Sept. 8 and plays through this weekend. Though you may have missed the first part of the series, you can catch Friday and Saturday night acts, before the festival wraps up at the Boston City Hall Plaza on Sunday. The top five bands from the week will be showcased at the Plaza during a seven-hour outdoor extravaganza beginning at 2 p.m. Catch the next few acts before Sunday and you can support your favorites by voting American Idol-style: via text message or online through OurStage.com, one of the festival's sponsors. In addition to presenting their music to thousands of viewers at the final concert, the top five artists win a whole host of prizes: airplay and interviews with a number of radio stations, coverage in local entertainment publications, free gear, 20 hours of rehearsal space, studio time and exclusive interviews in Boston Music Spotlight. Johnny D's in Davis Square, a popular food-and-music joint well-known among Tufts students, is just one of the venues hosting the festival's emerging artists. The other eleven include Icarus, Hennessey's, Ned Devine's, The Harp, Wonder Bar, Church, Lily Pad, The Fireplace and Mojitos. With big-name sponsors like Fender, Comcast and the Boston Herald, the Boston Music Festival certainly provides a unique opportunity for emerging performers to market their talents. Tonight's performances include an eclectic mix that take place at Icarus and The Harp. You'll hear the saxophone quartet 154 Sax, its members hailing originally from Scotland, Sweden and Germany. On the other end of the spectrum is Daria Musk, who leads a trio with her soulful vocals and heartfelt rhythmic tunes. Tickets come either as day passes, available for $10, or week passes costing $15. In addition to the bargain price, full-week tickets give its holders access to the festival after-party, which takes place from 9 p.m. to 12 a.m. at Ned Devine's on Sunday night. Featured guest performers Parker House and Theory are scheduled to make an appearance. Visit bostonmusicfestival.org to purchase tickets.
A blooming flower, a butterfly spreading its wings and a beautiful young woman are transient symbols with their energy and youthfulness doomed to wane in the future. When these images are incorporated into jewelry, however, they become transfixed in time. These symbols of the brevity of life are the main focus of the Museum of Fine Art's (MFA) current jewelry exhibit. "Imperishable Beauty: Art Nouveau Jewelry" is a compilation of more than 120 pieces by several different artists. It brings together the stunning skills and the luminescent jewels of the late nineteenth and early twentieth centuries into two rooms. Colorful and exquisite, this exhibit is surely a feast for the eyes. A highly imaginative style, Art Nouveau is a reaction to the naturalistic and perhaps boring decorative style present during previous periods of time. Art Nouveau is exciting and organic and "choos[es] to interpret nature rather than imitate it," according to the wall text. The rainbow of colors used creates a decadent and rich feeling. As a result, the jewelry, with its attention to minute details, is extravagant yet creative. An artistic conversation about the juxtaposition of ostensibly opposite concepts persists throughout the exhibit. Ideas such as delicateness, strength, permanence and transience are prevalent. Many Art Nouveau artists borrowed Japanese symbols and images and gave them Western significance. For example, the peacock, which traditionally stands for divinity and power, has become a study of detail. Stripping it of its Asian meaning, the artists explored new ways to bring out color, shine and features in the feathers. The artists take these transformations one step further when they challenge our conceptions of preciousness. Using mainly semi-precious stones and gold and silver, the artists forwent more rare elements such as diamonds. The thistle necklace by René Lalique, a renowned Art Nouveau jeweler who has several works in the show, is a perfect example of the theme of opposites. Crafted from gold enamel, pearls and cast glass from 1904 to 1905, the necklace is formed from many intertwining thistle branches. Lalique has taken a normally prickly and undesirable plant and transformed it into a delicate and wearable piece of art. The prickles have been tamed with blunt edges while small diamonds accent the branches. Worn upon a woman's neck, the necklace would appear sexy and dangerous at the same time, evoking the idea of the femme fatale. One of the most stunning pieces of the collection appears right at the entrance to the exhibit. The orchid brooch by Charles Desrosiers is a fairly large piece of jewelry. It is absolutely breathtaking, capable of stirring any girl's heart. The petals are created from gold enamel, using a technique called "plique à jour," or the backless technique. "Plique à jour" means that the viewer can see straight through the enamel. It is truly a difficult technique to master, and Desrosiers has executed it with perfection with his iridescent petals. The stamens are pearls, and tiny drops of dew are accented by miniscule diamonds. The orchid brooch definitely preserves the fragility of a blossomed flower. "Imperishable Beauty" features not only rings, bracelets and other popular forms of jewelry, but lesser known ones such as hair combs and spectacles. Lalique has created a hair comb of ivy leaves, rivaling the feather headpiece worn by Carrie Bradshaw in the film version of "Sex and the City" (2008) in luxuriousness. It is elegant and delicate with its large sapphires, gold enamel and smooth horn. The hair comb is the ultimate piece of jewelry for the most feminine of women. Though the exhibit reflects the artists' move away from precious elements, the pieces are not intended to confront ideas of socio-economic class. Indeed, the jewelry is impeccably crafted; only the elite would have been able to afford such beauty. Works by Tiffany and Co. are prominently displayed, for example. The Art Nouveau style as portrayed by the MFA is easily recognizable in many of today's trends in jewelry. Its influence is far and wide, but "Imperishable Beauty" has an invaluable selection of the richest and most beautiful pieces.
There seems to be a sort of cult surrounding producer/director J.J. Abrams that grows each time a new movie or TV show is released with his name attached. The new FOX series "Fringe" will more than likely succumb to the J.J. mania. While the premiere has its fair share of flaws, namely the mediocre acting and somewhat clichéd plot and dialogue, the exciting and fairly original premise — a government conspiracy with the world as its test lab — grabs viewers' attention and keeps them wanting more. The pilot opens with an international flight from Hamburg in which all of the passengers and crew inhale some kind of poison that melts all of the flesh off their bodies. Of course, the FBI is called, and Agent Olivia Dunham (played by Anna Torv) swoops in. Dunham insists on shoving her way onto the case, only to have her boyfriend, Agent Scott, caught up in a chemical fire started by the man they are trying to catch. Scott does not die, but he is infected with the flesh-melting chemical, giving Dunham an excuse to get the real plot rolling. She tracks down the original "fringe" scientist, Dr. Walter Bishop (John Noble), who is now residing in a mental institution, and enlists the help of his son Peter, played by Joshua Jackson of "Dawson's Creek." Together they recreate the doctor's old lab to find a cure for Dunham's boyfriend. The doctor, his son and Dunham decide the cure lies with the man who blew up the lab. They come to this conclusion during a drug-induced dream in which Dunham's mind joins together with her comatose boyfriend's. As if that storyline wasn't complicated enough, once Dunham discovers the bad guy's identity and cures Scott, the government and international corporation's conspiracy kicks in. Dunham discovers her boyfriend is in on the conspiracy, leading to his death and opening up an avenue for her to act on the sexual tension between the younger Bishop and herself in future episodes. The plot is complicated, but it contains nothing that a viewer of average intelligence can't follow. Although the inspiration for the show is exciting and new, the storyline can be fairly predictable at times. There is nothing new when it comes to car chases or witness interrogations — just the same formulas viewers have seen hundreds of times before. In the pilot, even the revealed secrets that are supposed to be shocking have a tinge of the expected, such as Agent Scott's duplicity or the mega-corporation abusing its power. The show's acting frequently falls flat, especially in the case of Torv. Her tough-cop act is almost amusing, as she tries to intimidate while keeping up her appearance as a life-sized Barbie. Jackson's acting is better with his point-on comedic timing and conflicting dramatic emotions, but that could be because the writers have given him more to work with than Torv in terms of character complexity. The star of the show is Noble as the mad scientist father who seems to be an omniscient figure while the rest of the characters run around desperately searching for solutions to problems they don't understand. The most compelling aspect of "Fringe" is its theme of losing control in the technologically advanced 21st century. The idea that technology can spiral wildly out of control if placed into the wrong hands resonates with American viewers in the world of post-9/11 uncertainty. As long as the show can keep finding new supernatural and/or technological ideas to expand upon, it might have a chance at success. "Fringe" might not be the next "Lost," but that doesn't mean it can't fill the vacant hole left by "The X-Files," which may be a little less ambitious, but necessary all the same.
Underoath is one of the premier acts in the current rock world, yet it has never had a real "hit," or a platinum record. It would follow that the band's so-called "metalcore" sound has never sat well with the general public. Among those with a penchant for the more intense genres, however, the band has generated a massive following. With their newest release, "Lost in the Sound of Separation," the band assures fans that it has no intention of changing its style to reach the mainstream. Right off the bat, the band makes no attempt to ease newer listeners into the Underoath sound. The first track, "Breathing in a New Mentality," barely has a chorus and immediately begins changing tempos and time signatures with reckless abandon. Drummer and vocalist Aaron Gillespie makes it all seem far too easy. One thing is certainly clear by the end of the three-minute track: This record is going to be heavy. "Anyone Can Dig a Hole But it Takes a Real Man to Call it Home," the second track, kicks in almost immediately after the end of the first cut, and could even be interpreted as a continuation of the first song. The first softer moments of the album are seen in "Anyone," with Gillespie lending his cleaner vocals to the track to bring some contrast to the harsh sound. Though a band such as Underoath doesn't care much about singles, the first from the record is "Desperate Times, Desperate Measures." The distinguishing aspect of the song is that it has a discernable chorus, one of the few on the album. Gillespie's singing plays a relatively larger role in the song, making the tune a bit more listenable for those not yet immune to the earthy screams of the hardcore genre. Arguably the most surprising cut on the album comes in the form of "Too Bright to See Too Loud to Hear," a ballad-esque softer number that is sung almost exclusively by Gillespie, though screamer Spencer Chamberlain lends some spot-on clean vocals. The song disintegrates into a clap-track-driven chant of "Good God/ Can you still get us home?" with marching-band percussion slowly pumping up the adrenaline until the big rock crescendo, which sees some of Gillespie's best vocal work on the album. Track-by-track dissection aside, the album is a huge step in the right direction for a band that is so easily misunderstood or written off as just another screamo act. Though this may seem like an impossible comparison, listening to an Underoath album — especially anything after their more pop-friendly "They're Only Chasing Safety" (2004) — is much like listening to an exceptionally good jazz artist, say Miles Davis, for example. While Davis' classic "Birth of the Cool" (1957) certainly has snippets that almost anyone can recognize (take a listen to "Boplicity," it will sound familiar), the album as a whole tends to blend together into one beautifully intricate tapestry of sound. In much the same way, "Lost in the Sound of Separation" is not so much a collection of 11 songs as it is an interweaving of multiple movements and themes. None of the tracks stands incredibly well on its own, but in the context of the album, they each fulfill a specific purpose and together create an explosively potent whole. In another change of direction, after numerous successful summer stints on the Vans Warped Tour, the band chose to go an alternate route and toured with Disturbed and Slipknot on the Rockstar Mayhem Tour this summer. While this seems like a risky move, the bold sounds of "Separation," make it clear why the band wanted to open its doors to a heavier audience, not to mention one that stands apart from the mass of emo, screamo or whatever else Vans & Co. thinks resonates with young angsty audiences these days. With "Separation," Underoath takes an important step in finding its own unique sound, a sure sign that the band will be a mainstay in their niche market for years to come.
For all the new Jumbos out there, consider this your very own comprehensive list of Boston's movie theaters. This will come in handy if a) you are a movie buff, b) you can't find anything to do some Friday night, or c) you need something to keep you occupied in between long nights at Tisch. The following theaters have been rated, for your convenience, by the 4 P's system: Proximity (how close they are to Tufts), Price (self-explanatory), Physiognomy (the only synonym for "appearance" starting with the letter P) and Picture Selection (movie offerings). Lights, camera, action! Somerville Theatre Proximity: Very close. The Joey will drop you off right in front of it on those dreaded wintry nights. For when temperatures are above freezing, J.P. Licks offers Davis Square's best ice cream right across the street. Price: One of the lowest. Tickets range from $5 for a Monday-Friday matinee to $8 for an evening movie during the weekend. Physiognomy: Unique. The Somerville Theatre isn't exactly sleek and new, but it has its own charm. You'll find lots of interesting odds and ends, like a small owl statue, the original theater sign (over 65 years old) and a marquee outside fit for Broadway. The theater boasts one large auditorium with lots of stadium-style seating. Picture Selection: Although Somerville only plays a few flicks at once, it gets high marks for hosting the Independent Film Festival and doubling as a concert venue. Keep an eye out for movies that you just missed in theaters, because you might be able to catch them here a little later. Kendall Square Cinema Proximity: Not too far. Hop over several stops on the red line to Kendall/MIT and it's a bit of a walk from there. Helpful tip: take the shortcut through the Marriot Hotel. Price: Regular admission tickets cost $9.75. Physiognomy: For being situated among the drab MIT cement, the Kendall theater is nicely decorated. Nothing spectacular, but it's comfortable. Picture Selection: Hipsters and indie kids, rejoice! Kendall offers a plethora of independent and off-beat films. You can bet they'll pick up anything artistic, unusual, foreign or noticed by Sundance. Movies cycle through here fast though, so catch them while you can. AMC Loews Boston Common 19 Proximity: It's a hike. You've got to head all the way to the Green Line. Our suggestion? Make a night of your outing and find a good restaurant for dinner while you're in the area. Price: High. On a regular night, tickets are $10.50 each. Bring your Tufts ID on Thursdays for a discount. We also recommend that you purchase online to avoid long lines and sold-out films on opening nights. You can also purchase tickets for AMC Loews theaters at the Campus Center Info Booth for $8 ahead of time. This is convenient and a little more reasonable on a college budget. Physiognomy: Impressive. The theater is gigantic, with a spacious lobby, enormous columns, stadium seating — the works. Take a look at the old movie posters lining the walls and the famous cinematic quotes which illuminate the ceilings upstairs. Picture Selection: Extensive. Boston Common presents the newest releases, mostly mainstream blockbusters. Barnum Hall Proximity: Ridiculously close, especially if you live uphill. Price: FREE. Physiognomy: Shabby, unless you count the statue of Jumbo outside. After all, it's just a small auditorium in one of the academic buildings. Picture Selection: Student-run and flexible. You'll sometimes see movies that are out of theaters but yet to be released on DVD. If there's something you're dying to see, the Tufts Film Series is always open to suggestions and new members. "Dr. Strangelove" and "No Country for Old Men" are the plan for this weekend; check TuftsLife.com for more information. AMC Loews Harvard Square Proximity: Close. Two T stops hardly constitute a long trip, and Harvard Square is an excellent place to eat and shop. Pair your movie with dinner at Fire and Ice — Monday nights are all-you-can-eat for a discounted student price. Price: Similar to Kendall, at almost $10 a pop. Physiognomy: Average. The theater is clean, with stadium seating, but nothing noteworthy. Picture Selection: Harvard doesn't offer a large number nor variety of films. What it does have, however, is the Rocky Horror Picture Show, as the theater is the site of the very first live U.S. performance. Don your fishnets and red lipstick every Saturday night at midnight.
What could make for better TV than snobby teenagers, gigantic mansions and drama-filled lives of sex, drugs and designer clothes? No, this article is not about "Gossip Girl." Last Tuesday, The CW unveiled the first two episodes of its revamped version of the '90s phenomenon "Beverly Hills, 90210," now shortened to simply "90210." The producers got the ingredients for a successful TV show right the first time, so it will come as no surprise that the premise of its new incarnation does not differ greatly from the original. Annie Wilson, born and bred in Kansas and played by cute newcomer Shenae Grimes, moves with her family to chic Beverly Hills to live with her grandmother; drama ensues as she and her adopted brother Dixon (played by Tristan Wilds) attend their new high school. Annie's father Harry (Rob Estes) is the school's new principal, and her mother Debbie, played by Lori Loughlin of "Full House," brings home the bacon as a set director. A slew of supporting characters have gotten some early screen time, including Ethan (Dustin Milligan), Annie's summer love interest; his girlfriend Naomi (AnnaLynne McCord), the princess of the school and owner of the Brattiest Teenager Alive award; and Silver (Jessica Stroup), a strange, embittered girl who befriends Annie. Rounding out the cast are Jennie Garth and Shannen Doherty reprising their old roles as Kelly Taylor and Brenda Walsh, respectively. Taylor is now the guidance counselor at her old school and has a four-year-old fatherless son. Old fans can only hope to eventually see a return of Luke Perry's old character, Dylan, traditionally the key instigator of on-screen catfights between Taylor and Walsh. Walsh, on the other hand, has come back to Beverly Hills for a short time to direct a play at the school and catch up with Taylor at their old haunt, the Peach Pit. The temptations of the rich and fabulous world of Beverly Hills quickly prove to be too much for both Annie and Dixon, who begin jetting off to San Francisco without permission, picking fights at school, cheating in class and pranking rival schools. The formulaic subplots, if you haven't guessed already, include Silver's blog war against Naomi, Ethan's crush on Annie and subsequent breakup with Naomi, Naomi's inconsequential friend's drug problem, and Kelly's relationship with the hottie English teacher. While the script is quite witty, the acting solid and the plot packed full of drama, the question remains whether "90210" relates to its audience the way the original did. While the old "Beverly Hills" tried to deal with issues (cliques, sex, first love, pregnancy, etc.) that actually affect teenagers, the new "90210" seems to concern itself only with creating juicy, dramatic sequences between the main characters. This tactic might have worked for a new TV show geared towards the 18-24 age group — if the East Coast version of "90210," namely the deliciously controversial "Gossip Girl" hadn't already aired last year, shaking up the teenage TV world with its blatant disregard for parental standards and its love for handing 15-year-old girls a different designer wardrobe each episode. So far, "90210" fails to live up to the scandal "Gossip Girl" causes on a regular basis; the show opts for a PG-13 approach, showing only kissing and a brief, veiled implication of oral sex. Another problem with "90210" lies in the fact that today's average young adult is more active in his or her community than his 90's counterpart. With rising college attendance rates, the number of those who regularly watch programs such as "90210" diminishes, and those who do watch these intellectually vacant shows do so simply as a guilty pleasure or indulgence. But, since the show is new, and the actors seem to be fresh-faced enough to produce at least a couple of new stars, "90210" may find its niche as a sort of West Coast companion piece to its challenger "Gossip Girl," riding the coattails of its success until producers decide it's time to think of an original idea for a change.
The scene opens with gigantic explosions in the Vietnamese jungle and debris sailing into the sky, while a pack of soldiers rushes wildly about firing bullets at surrounding enemies. Men yell at each other over the chaos, and blood from injured soldiers sprays them, as if emitted from a garden hose. Suddenly we recognize Jack Black in uniform, screaming at another soldier whose stomach has been blown open to reveal bursting entrails that look like they may have come with a kiddie doctor kit from Fisher Price. Ben Stiller appears in all his heroic, slow-motion glory only to be shot down soon thereafter. His fellow soldier, an African American who looks suspiciously like the face of "Iron Man" (2008), grasps Stiller's stumpy hands dangling with rubber-like flesh and manages a few pathetic sobs. Just as you're beginning to say "This can't possibly be for real," someone yells, "Can we cut?!" "Tropic Thunder" is a Hollywood war epic, done Stiller-style, which can only mean parody. In the movie, a group of four actors set out to create a Vietnam War movie, until a four million dollar accidental explosion puts them way behind schedule. Their frustrated and desperate director takes the advice of an actual war veteran and places his actors in the jungle for some real-life danger. Hidden cameras capture what the director hopes will be "real fear in their eyes, real emotion!" The cast soon realizes that they've been dropped off in the Golden Triangle and are running from a drug warlord and his gang. The foursome includes critically-acclaimed method actor Kirk Lazarus (played by Robert Downey Jr.), who has undergone a controversial skin pigmentation treatment in order to play an African American soldier and is always in character. Rap star Alpa Chino (Brandon T. Jackson) chimes in by calling Lazarus out on his blatant racism. Comedian Jeff Portnoy (Black) joins them, as well as Tugg Speedman (Stiller), a washed up action star whose career is on the line after his latest portrayal of a mentally retarded man. Stiller packs a star-studded cast into his first directing attempt since "Zoolander" (2001), featuring Downey Jr., Black, Tom Cruise and Matthew McConaughey, to name a few. Even Tyra Banks makes a quick cameo. Downey hit his stride this summer, bringing his undeniable presence and wit to the superhero flick "Iron Man" and now hitting the silver screen posing as a man of another race. In "Tropic Thunder," he arguably steals most of Stiller's … well … thunder. Black is the typical, wild tabloid celeb with a drug problem, and crazy suits him well. Cruise is sure to shock in his cameo, but his scenes are memorable, which is exactly what he needs to boost his career. The question remains: Is Stiller finally back in action? We haven't seen anything noteworthy from him since "Zoolander," so the pressure is on as a performer in this self-directed film. His usual silliness fits his role as fading actor Speedman, though the crude jokes tend to get repetitive. The plot occasionally loses itself so that Stiller can pull off ridiculous stunts. Far from politically correct, Stiller takes the "South Park" approach and lampoons just about every group of people. If you are obese, disabled, Asian, black, a war veteran or fall into a number of other categories, expect offensive jokes galore. Yet the success of Stiller's satire comes from his ability to mock everyone including the actors themselves. The best jokes poke fun at special effects, actors who take themselves too seriously and the overblown war epic genre. The self-awareness of Stiller's action-comedy is what keeps it from being another forgettable and ludicrous 90 minutes. The bottom line is that, although the humor is typically over-the-top and monotonous, Stiller's stellar cast and bold wisecracks at his own profession make "Tropic Thunder" a genuinely funny movie to end the summer season.
Slipknot has always been a band that exists to remind humanity that there are some things in this world that deserve to be feared. The group's latest effort, cheerfully entitled "All Hope Is Gone," however, shows the band venturing in both softer and harder directions. Somehow, in a way that only Slipknot could manage, it ends up working perfectly. The down-tuned minor-key riffing of guitarists Mick Thomson and Jim Root is at its best, and unlike the group's previous album, "The Subliminal Verses" (2004), the shredders don't feel the need to prove their soloing mettle, getting by with a few well-placed arpeggios and sweep picks. As usual, Slipknot starts the album with one of the hardest numbers on the record, "Gematria (The Killing Name)," in order to immediately scare off those who won't be able to handle the intensity of the next hour. The song differs little from the band's previous efforts, but about four minutes into the tune, a harmonized dual-guitar solo cuts through the mix, suggesting that Slipknot has more up their sleeve than just their standard formula. The first single and fourth track on the album, "Psychosocial," does its part to keep up Slipknot's excessively dark outlook on … well, just about everything. Even though the lyrics contain pretentious phrases such as "pseudo-sacrosanct perversion," singer Corey Taylor's harsh growl of a voice makes you believe that he actually does know what he's talking about. The most surprising aspect of the song is that it has a melodic and catchy chorus but doesn't trip up where other hard-rock bands have failed in making the jump to melody. Following "Psychosocial" is almost assuredly the next single from the record, "Dead Memories," another upbeat little ditty about being tortured by your past. Perhaps even catchier than "Psychosocial," the track is powered by drummer Joey Jordison's surprisingly sensitive double-bass drumming, reminding the listener that, not only is this guy incredible at drums, but that the band as a whole is, in fact, massively talented on all fronts. The two extremes of the album are seen on the cuts "Vendetta" and "Snuff," tracks that would usually be seen as polar opposites of the rock sound. While "Vendetta" begins with Jordison's mini-solo, it quickly blasts into a rapid-fire double bass drum riff that, if done by any drummer other than Jordison, would fall apart in seconds. While some might say that the beginning of this track is simply a vulgar display of speed without any real skill, the swinging triplet beat that pushes the verses creates a tension between the riffs and choruses, making each seem even more potent on its own. And if it seems impossible that a Slipknot song could have ‘swing,' this album proves the assumption wrong — it swings. The second to last track, "Snuff," is a ballad. Take a second and read that again. A ballad? Slipknot? Could this really be true? What's even worse — or better, depending on your point of view — is that it's a good ballad. The melodic push-pull of the verses and choruses rivals that of a Staind made-for-top-40 single, but the ‘je ne sais quoi' of the Slipknot touch makes it just short of cheesy. The main thrust of all this can be summed up in one sentence: Slipknot is a metal band that shows some feeling, while most other metal bands these days play with snapped-to-the-grid accuracy and prize technicality over mood, texture, weight and aura. Slipknot creates music that is simply more potent, and perhaps more human, than that of any other metal group. Not what you'd expect from a bunch of mask-wearing Iowans.
While for many on the Hill, the beginning of September marks the much-anticipated return to Tufts, class and work, the entertainment world does its best to distract us with the fall TV season. Television returns in full force this week, and all of the major television networks have worked extremely hard to rebound from last year's writers' strike fiasco.
Every once in a while, a movie comes along that balances excessive violence with a clear purpose and a poignant message. "Death Race" is not one of those movies. Besides containing enough bone-crushing action to merit the label of "torture flick," the film doesn't bring the political satire it purports to deliver.
