Inside Beat 2011-10-20

OCTOBER 20, 2011 • VOL. 29, NO. 17

INSIDEBEAT THE WEEKLY ENTERTAINMENT MAGAZINE OF THE DAILY TARGUM

NEW YORK COMIC CON The Ultimate Nerdgasm

KARMIN • • I IB B A H E ARTIST• H T • S IE S 20 • NEW PEARL JAM

REVIEW P D E E R C ASSASSIN’S

Page 2 • Inside Beat

October 20, 2011

EDITOR’S RANT

Comic Con Survival Guide

BY RYAN SURUJNATH ASSOCIATE EDITOR

This weekend’s Comic Con was my very first, and I had the good fortune of attending with a “seasoned” Comic Con veteran.

Not everyone will have this luxury, however, so I’ve used my experience this year to give three crucial pieces of advice to newcomers hoping to survive Comic Con. My first piece of advice is to stay away from the outskirts of the show floor. The floor on the whole was truly something to behold; I had never before encountered such an awesome display of geek culture in one place. As I journeyed toward its limits, though, I

felt the crowds thin and watched as the booth displays became increasingly seedy.

Alone and afraid, I desperately began searching for my friends, when I stumbled upon the grungiest booth of them all. This particular booth sold full body pillows that featured lolicon hentai. I wondered what kinds of depraved people would buy this sort of merchandise. I then watched as several shadylooking men promptly answered that question.

As I dealt with my own crisis, my friends wandered into one of the many booths selling real swords and knives. Naturally, the shiny, pointed display items attracted the attention of Inside

Beat’s intrepid TV Editor, who nearly skewered herself twice on two different days — with the same knife.

My second piece of advice involves prize giveaways; stay away if you value your hygiene. The environment during Marvel’s giveaway hours was similar to those of bread lines during the Great Depression. The mob of yelling, sweaty people stood shoulder to shoulder with outstretched arms, hoping to walk away with a handout. In the place of volunteers distributing food, however, was an irritating man who received offers of sex and money from members of the crowd in exchange for T-shirts and action figures.

The third, and most crucial, piece of advice I have for any person attending Comic Con is as follows: be prepared to wait in line, and start waiting many hours before major events. My point is best illustrated in my experience waiting in line for a panel on The Avengers, where Inside Beat’s staff found itself in the middle of a minor riot. We had arrived three hours before the Avengers panel was scheduled to assemble. The line was long, but manageable.

Yet, the hours passed, and movement slowed to a stop. Comic Con staff was inept and confused, so despite being members of the press, we, and hundreds of people, were shafted. Tensions built,

EDITORIAL BOARD Z OË S ZATHMARY .................................................... EDITOR RYAN SURUJNATH.....................................................ASSOCIATE ASHLEY PARK...................................................ASSISTANT

EDITOR EDITOR

THIS WEEK’S CONTRIBUTORS TO INSIDE BEAT :

FREDDIE MORGAN............................................................................TV EDITOR Spence Blazak, Tammie Chiou, EMILY GABRIELE.......................................................................MUSIC EDITOR Ciara Copell, Elena Georgopoulos, HEATHER TEDESCO................................................................THEATER EDITOR Josh Kelly,Ashley Lagizal, Erik Ludwig, Lisa-Anna Migliore ZOË SZATHMARY....................................................................FASHION EDITOR Jason Pearl, Adam Rosengarten JILLIAN PASON..........................................................................COPY EDITOR Josh Singleton KEITH FREEMAN.........................................................................PHOTO EDITOR ALEX NATANZON............................................................................FILM EDITOR DIANA CHOLANKERIL...............................................................ONLINE EDITOR Cover Photo Courtesy of RYAN SURUJNATH...........................................................VIDEO GAMES EDITOR Marvel

and the disgruntled fans and members of the media gathered their collective nerd rage and descended into vulgar and erratic chants. Eventually, the mob forced its way past security and seemed to be on the verge of breaking down the doors to the IGN Theater. The entire experience ended with a man on the ground and a 911 call by one of our writers. Fortunately, Inside Beat managed to acquire a press recording of the event.

Comic Con can be a hostile place for newcomers, but by following a few easy steps and using a bit of common sense, it can be an enjoyable experience for anyone.

Here’s to next year.

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Inside Beat • Page 3

October 20, 2011

TV & Fashion

NYCC: Nikita Panel

BY FREDDIE MORGAN TV EDITOR

At Comic Con on Oct. 15, IGN TV's executive editor Eric Goldman sat down with Nikita stars Maggie Q and Shane West, as well as producer Albert Kim, to discuss the new season of the hit CW show. The panel was primarily for those who have seen the show’s first season. Nikita, played by Maggie Q, was once an assassin of a black ops team called Division who went rogue after her fiancé was killed. In the first season, she emerges from a three-year hiatus with plans to bring down the organization (think The Bride in Kill Bill). The previous season chronicled her alliance with several moles, a budding relationship and hierarchal shifts within the organization.

During the question-andanswer, the panel talked about how the show has already taken completely different turns from where it began a mere year ago.

Not only has it changed in terms of character development, but it also differs as far as who is still in the show and who is not. Primarily a film actress, Q mentioned that she is not used to the characters morphing so dramatically at such a quick pace and is always surprised by a new script.

Kim then discussed the natural back and forth between certain characters. He realized that the an-

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Watch Out

BY DIVYA PATIBANDLA STAFF WRITER

As the fall semester draws to a close, why not slide on a wristwatch and get ready to watch the time fly by? Inside Beat takes a look at some stylish alternatives to the ever-so-obvious cell phone on your desk.

For Him This season, it’s all about being bold and making a statement. Bright watch faces and silicon bands are becoming very popular on campus. Stick to a neutral like black or white for a more modern vibe, or go all out with neon to spice up a plain tee and jeans.

Unlisted White Silicon Strap Watch $29.98, macys.com Nixon Time Teller P Watch $60, pacsun.com For Her: Who said larger watches are just for men? The heavy accessories are being seen on the wrists of fearless trendsetters all across campus.With features such as mother-of-pearl dials, crystal embellishments, leather bands and gold plating, you can show some edge and glam too!

Urban Outfitters Woven Leather Watch $38, urbanoutfitters.com Michael Kors ‘Runway’ Grey Mother-of-Pearl Watch $225, Nordstrom.com

ticipated romance between Nikita and Michael (Shane West) came quickly, but felt it was necessary for Michael’s character to grow.

He assures viewers that the dynamic between the two will not grow stale. Q then promises that there are some “adult” problems coming up for them. The show will also introduce a new character that will rock the foundation of the couple’s relationship.

The cast and writers are most excited to explore Nikita’s past, especially because it is so ambiguous. Flashbacks will show a frustrated Nikita when she first joined Division, but the writers wish to go even further back when all the trouble began. Kim then noted that it would be hard to discover Nikita’s background without slowing the momentum of present-day episodes. “Everybody loves origin stories,” he said, “but you just don’t want to do them for the sake of doing them.”

And then there was an onslaught of audience questions.

One questioner asked about Q’s martial arts background. Another asked if there are any big action scenes coming up. But many of the questions were within the vein of discussing the cast members’ beauty; one notable giddy female pleaded with West to take his shirt off, to which he chuckled and responded, “You don’t want to see that. I’m very white.”

Nikita airs on The CW, Fridays at 8 p.m.

Page 4 • Inside Beat

October 20, 2011

BOOKS & THEATER

H A B I B I Craig Thompson | A

BY ELENA GEORGOPOULOS STAFF WRITER

In Arabic, “habibi” means “my beloved” and used as a term of affection for a male. Craig Thompson’s latest graphic novel Habibi is a story of love and its multiple and evolving forms — between a parent and a child, siblings, soulmates, God and his followers. The tale is set in a brutal yet beautifully detailed fictional Middle Eastern land.

One of the main characters, Dodola, is first seen being sold into marriage to a scribe. However, she is stolen and expectsed to be sold, but instead ends up finding the person who would shape her life more than anyone: a black child named Zam, or “habibi” as Dodola calls him. After narrowly escaping imprisonment, they live together for many years in the desert — Dodola teaching Zam stories from Islam, showing its commonalities with Christian-

ity and prostituting herself to passing caravans for food. Eventually, the two are separated, only to meet years later in the Sultan’s palace and once again to escape with not much but their lives and each other.

This epic, though set in a never-named area, at first glance appears to be full of the caricatures the Arabic world is known for: caravans, crowded street bazaars, harems, eunuchs, droughts and filth that grows along with progress and opulence. Some would argue that the cruelties the characters face in their environment does little to help the U.S. view of a culture that has frequently been exaggerated and vilified, and continues to be. However, Thompson’s detailed figurative and visual weaving of religious and cultural stories within, and the evolution of the relationship of the two characters that goes from mother-son, to sister-brother, to

finally lovers makes this story so much more than the stereotypical view of the Arabic world.

The incorporation of calligraphy and intricate Oriental patterns work incredibly well with Thompson’s style of flowing panels, revealing the connections between past and present, religious love and erotic love and mythology and science. It allows us to understand that despite human flaws and disagreements which bring about unspeakable atrocities against one another, we are all people of Earth, and we all have a story that brings us closer together. And while humans are capable of evil, together they can also create something beautiful, such as the pure devotion between two people.

Even if you are not particularly religious, the last lines of Habibi are absolutely moving: “God’s followers worship not out of hope for reward nor fear of punishment, but out of love.”

NEWSIES: NOW IS THE TIME TO SEIZE THE DAY

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BY ERIK LUDWIG STAFF WRITER

When Walt Disney Pictures released the live action musical film Newsies in 1992, it was not met with as nearly much fanfare as the studio had hoped for. To put it bluntly, it was a critical and commercial failure that many had predicted would fade into relative obscurity with the passing years.

Conversely, due to the fact that it starred a teenage, pre-Batman Christian Bale and thanks to VHS home video, the film has gained quite a large, dedicated cult following over the years. In fact, the fan base has grown so strong during the last decade that Disney Theatrical Licensing claims that Newsies is the “most requested

title” among schools and community theaters. This is a fascinating statement, considering an official stage adaptation of the film did not exist until last month.

On September 25th , Newsies: The Musical opened at Paper Mill Playhouse in Millburn, N.J., as the first official stage adaptation. The heavily-revised story includes music by Grammy winner Allen Menken (Little Shop of Horrors), lyrics by Jack Feldman (Thumbelina) and book by the Tony winner Harvey Fierstein (Hairspray).

While fans of the original are assured that all of their favorite songs have endured the transfer from screen to stage, Fierstein has made a fair amount of changes to the plot with the hopes of making the story work better on stage.

The “re-imagined” tale takes place in New York City around 1900 and follows runaway Jack Kelley (Jeremy Jordan) and other orphaned “newsies” as they assemble a strike to protest a price increase on the newspapers they sell as their only source of income. The newsies include David (Ben Fankhauser) and his younger brother, Les (Vincent Agnello), who need to start working after their father loses his job. In this new version, Jack longs to eventually get away from the city and move to Santa Fe. Fierstein has also added a female reporter, Katherine, as a love interest for Jack, a concept almost entirely absent from the movie’s script.

Director Jeff Calhoun (Bonnie and Clyde) and choreographer Christopher Gattelli (Altar Boyz)

have imagined New York City as a stage-filling collection of moving steel columns which represent buildings, fire escapes and other city fixtures. The show’s choreography takes full advantage of this design having actors jumping and swinging off steel platforms. Gattelli has succeeded in making the show’s cast of around 30 seem like twice that amount during ensemble songs. Tying the awe-inspiring dance sequences and dramatic action of the show together are wellplaced projections.

After opening to extremely positive reviews from both critics and audience members, many sources are speculating on what Disney will do next with Newsies; a Broadway run or a national tour are among the immediate options. In

regards to this, Disney is keeping quiet at the moment with their last statement maintaining that the project was an “experiment” and their ultimate goal was to have a show to license to schools and community theaters.

With the original film available on DVD and this new stage version having a definite future somewhere, the story’s inspiring “against all odds” messages as well as Allen Menken’s rousing anthems are sure to continue to incite feelings of hope and change among many future generations.

In the words of the newsies, “Now is the time to seize the day.”

Newsies: The Musical closed on Oct. 16 at the Paper Mill Playhouse and it is speculated that a Broadway run will be announced shortly.

Inside Beat • Page 5

October 20, 2011

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Assassin’s Creed: Revelations Preview

BY ALEX NATANZON FILM EDITOR

Entering Comic Con was like entering an intriguingly mythical world with various sub-cultures in it; the lights, the sounds, the crowds, all fusing together and working in synch, concocting a sweet mixture of different pop-culture elements. It was fascinating to walk through the crowd of diverse individuals; some dressed casually, others sporting cat ears or spiked shoulders pads, or even full suits of Fallout armor. Like an exodus through an unpredictable wonderland, just roaming through COURTESY OF ALLMOVIEPHOTO.COM

Comic Con was an experience in and of itself. To the left there are booths with the latest new video games, to the right a man selling real, homemade chainmail armor.

While dodging people dressed like Jawas from Star Wars, you could stop and read some vintage Spiderman comic, or possibly turn around and fiddle with some exotic blades (just make sure the hidden knife within the knife doesn’t slip out). Turn a corner and you find booth after booth. Some booths have various differentfeature various authors; others have famed internet personalities, while many allow you to play the soon to

be released video games before any of your friends can.

Amid all the wonder one stops dead in their tracks in front of the Assassin’s Creed booth. There is an opportunity to try out the new multiplayer game mode for Ubisoft Montreal’s upcoming game, Assassin’s Creed: Revelations. The player may select from an array of different characters (each with unique appearances, moves, and weapons). After selecting the persona, the player is dropped in to a beautifully designed environment. As the game will be set in Istanbul, the location is of a Middle Eastern flavor. In

the game mode, each player must use his or her wits to navigate their character across the map, scale rooftops and jump from building to building in search of their designated target. Upon finding the target, the player must successfully assassinate them without the other real player noticing. Oh how aggressively delightful is each kill and successful assassination! The player will be infused with a sense of victor y knowing that their meticulous stalking of prey has paid off. If that wasn’t enough each player is simultaneously being hunted, so while searching for your own tar-

get, you must be careful by hiding in shadows, blending in with the crowd or just plain running for your life to avoid evade your pursuer. Like the multiplayer mode in the previous game Assassin’s Creed: Brotherhood, there is an emphasis on stealth. However this new game has slightly improved graphics and animations, a whole new array of characters to choose from, and beautiful scenic maps to explore. The online mode for Assassin’s Creed: Revelations did not disappoint. Like the patient assassins, players fans await the release of this ver y promising title.

FOOTLOOSE Craig Brewer | A

BY CIARA COPELL STAFF WRITER

Footloose will give ever y ’80s fanatic — and anyone who sees it, for that matter — hope that all these remakes we’re being inundated with will actually be wor th our time. Plain and simple, it’s the way a remake should be done.

The new version of the classic 1984 film is the perfect modernization of a movie. It features all the iconic aspects that made the first Footloose amazing — the same beat-up yellow VW Bug, same big city vs. small town drama and of course the same epic solo dance scene in an abandoned warehouse — but with a modern update on fashion, music and dance that makes it relatable to a whole new generation.

The actors in Footloose are mostly composed of relative newcomers, but the quality performances scream breakout role for

many of them. Footloose marks the arrival of leading man Kenny Wormald. After a number of appearances as a backup dancer in films like You Got Served and Clerks II, he stands out in every way as the main character. As expected, Wormald’s dance moves are incredible, but he also manages to live up to Kevin Bacon’s original acting performance, which is not an easy feat.

Wormald is not the only dancer who impresses with acting chops. Dancing with the Stars pro Julianne Hough (Burlesque) also wows with an impressive per formance. The defining moment for her character is a monologue in her father’s church after her boyfriend bloodies her face; her raw emotion and passion in that scene encapsulates her entire character. Perhaps the most entertaining of all, Miles Teller, who plays Willard, makes ever y scene he is in. His comedic timing and

lovable awkwardness make him a joy to watch. Veterans Dennis Quaid (The Big Easy) and Andie MacDowell (Groundhog Day) also deliver solid performances as the reverend and his wife.

One of the most exciting things about Footloose is the way they were able to incorporate the famous soundtrack to the new film without being dated.

New recordings of the most recognizable songs give a new spin on the classics at just the right moment. Best of all is Ren’s little cousins singing “Let’s Hear It For the Boy” on Barbie karaoke while Willard learns to dance.

With the per fect mix of throwbacks to the original and modern touches, Footloose does not disappoint. The dance moves are just as great as ever and, like the original, the new movie has something for ever yone. The audience may already know the stor y, but watching it unfold is 100 percent worth it.

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NEW YORK COMIC CON Last week, New York City played host to the largestpop-culture event on the East Coast. With celebrities, comic books and, of course, cosplayers, NYCC has it all!

The Avengers

BY JASON PEARL STAFF WRITER

The Avengers’s movie panel was easily the most anticipated and least accessible (see this week’s column) at this year’s New York Comic Con. Luckily, the event’s lack of seating room and noteworthy revelations was made up for by its sheer entertainment value.

The panel was introduced and hosted by the always-enjoyable Chris Hardwick of G4’s Web Soup, and featured stars Chris Evans (Captain America), Tom Hiddleston (Loki), Cobie Smulders (Maria Hill), Clark Gregg (Agent Coulson), Mark Ruffalo (Hulk) and Mar vel Studios head Kevin Feige. After engaging in the usual trivial banter about experiences on set and the like, the discussion moved towards some new information. Feige confirmed that Ruffalo will not only be portraying Bruce Banner (Hulk’s alter ego) but will also be doing the motion capture for the Jade Giant himself.

Questions from the fans yielded few results, as seemingly dozens of teenage girls spent the day in the theater to get the chance to speak to Tom Hiddleston. The other panelists didn’t get to contribute as much as the spotlight-stealing God of Mischief, and in some cases, it was for the best. Chris Evans looked like he had been dragged off the floor backstage and propped up in front of the crowd.

He was wearing a black cap pulled low over his face, sat with his head in his hands, and when he did

speak, it was in a language of slurs and gurgles. Basically, he had either been subjected to another experimental serum, or he was supremely hungover. On the other hand, Cobie Smulders was cheerful and alert enough, but appeared to know nothing about the Avengers, Mar vel or her general surroundings. Thankfully, the final True Believer to ask a question elicited the most interesting news.

When asked about the pre-production adaptations of Inhumans and Guardians of the Galaxy, Feige discussed the plans for a nebulous “Phase 2” of Marvel films, the next wave of movies that would culminate in The Avengers 2. Feige further commented that the Inhumans and Guardians characters would not be getting solo films as the Avengers did and instead will have their individual origins told in team films.

As for the footage screened, none of it revealed anything new or important. In addition to the trailer released last week, two exclusive clips were presented. In the first scene, the Black Widow attempts to recruit Bruce Banner for his gamma radiation expertise, not for his…other talents. The second scene showed the seeds of friction being sown between Captain America and Iron Man after the Armored Avenger tries to force Banner to change into the Hulk and was a classic representation of their relationship.

While The Avengers is clearly going to be the film to beat next summer, the panel, while amusing, still left something to be desired. The Avengers assemble in theaters May 4, 2012.

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The Walking Dead

BY FREDDIE MORGAN TV EDITOR

There was not an empty seat in sight during AMC’s The Walking Dead panel at New York Comic Con. Moderated by Chris Hardwick, the host of the spinoff talk show The Talking Dead, it was kicked off with creator Robert Kirkman, executive producer Gale Ann Hurd and special effects supervisor/writer/director Greg Nicotero.

Hurd began the event by touching upon Kirkman’s increased involvement in the show’s second season, explaining, “We lured Robert from Kentucky to the wilds of Los Angeles, so he can participate in the writers’ room every day.”

Kirkman noted that it was interesting to revisit his graphic novel, especially since the first season deviated a bit from his stories. At this point in the comic, Jon Bemthal’s character Shane was already dead. “His character existing in this world changes those storylines and makes them richer and adds different levels.” This portion of the panel made Kirkman fans squeal with delight upon the knowledge of his place in the series.

The scale of the production was a reoccurring topic of conversation. Nicotero mentioned that on any given day there were around 150 zombie actors that would rotate throughout scenes.

As you can imagine, then, Nicotero’s special effects team is very busy, endlessly making latex and silicon zombie decals for all of the extras. The scenes within the upcoming season have upped the ante as well,

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many of which involved shutting down an entire section of a major highway in Atlanta.

The cast members were then brought out one-by-one, with Norman Reedus (who plays Daryl Dixon) as the clear crowd favorite.

He described his character as a man who needs a hug, “but if you try to hug him, he will stab you.”

He undoubtedly earned the wildest applause every time he spoke or gestured whatsoever.

Chandler Riggs (who plays Rick’s son Carl) is the youngest member of the cast, but perhaps the most articulate and insightful. He noted that he felt like he was playing a completely different character this season, a Carl who gets in the middle of the action rather than standing idly by.

He also mentioned that he felt he has grown as an actor because of the level of talent and commitment of his fellow cast mates. He has also perfected the ability to cry on cue.

Answers to the audience’s questions were informative, but did not really give anything away aside from a few comments. One particular panel guest had not been in the previous season, so the character had to be defined, but nothing said was really a dead giveaway as far as plot development.

The audience, as expected, asked both thoughtful and less serious questions. When an audience member asked the cast what kind of weapon they’d prefer in a zombie apocalypse, answers varied, but the best answer was when Riggs quipped, “A flamethrower with a bayonet.”

The Walking Dead airs on AMC, Sundays at 9 p.m.

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Star Wars: THE OLD REPUBLIC

BY RYAN SURUJNATH ASSOCIATE EDITOR

One of the most anticipated titles of the year is Bioware's upcoming MMORPG, Star Wars: The Old Republic. Last weekend at New York Comic Con, mmorpg.com hosted a panel that consisted of several of the game's directors and producers.

Taking place more than 3,900 years before the events of the original trilogy, The Old Republic places the player in the center of a Galactic Cold War between the Republic and Sith Empire. Over the years, Bioware has repeatedly stressed

the importance of infusing story with traditional MMO elements.

Game director James Ohlen furthered this point by promising players that they will not see a single duplicate mission between classes.

Each playable class will have its own distinct story, making for several hundred hours of gameplay.

The panel specifically focused on some of the player versus player aspects that will be implemented in The Old Republic. At launch, there will be three PVP Warzones: Alderaan, Hutt Ball and the Voidstar. Butler showed the audience a video detailing gameplay in the Voidstar Warzone. The premise is that the

Republic seeks to claim and old piece of Imperial technology. Players are divided into teams and will alternate playing attacker and defender. The attacking team must set explosives at four key points, while the defenders aim to thwart them.

In addition to the confirmed warzones, Butler made reference to an “open-world warzone,” though he refused to go into further detail.

Though the panel was informative, Comic Con guests had the opportunity to get a hands-on demo of The Old Republic on the show floor. Players had the option of taking part in a local PVP match or playing a small part of the single

player campaign. I chose the latter, and decided to familiarize myself with the Sith Inquisitor. The Inquisitor, one of four Imperial character classes, has a distinct focus on lightsaber play and damage dealing force powers. For the sake of time, Bioware pre-chose character races; this Inquisitor was a Zabrak (like Darth Maul from The Phantom Menace) who, given Imperial prejudices against aliens, arrived at the Sith academy as a slave. The Inquisitor was tasked with completing some sort of initiation test, in which he was required to slay his classmates.

Since the demo took place to-

ward the beginning of the game, the characters were lowered to level one, and were only given their most basic abilities.

Nonetheless, combat felt rather satisfying, as the Inquisitor used a combination of melee moves and Force Lightning that subdued the early game opponents.

The Old Republic boasts an interface that is very similar to that found in World of Warcraft. As of now, The Old Republic has a few problems with camera control and some of the animations feel rough. These issues will surely be rectified by launch day, which is slated worldwide for Dec. 20.

Page 8 • Inside Beat

October 20, 2011

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The Artist Michael Hazanavicius | A

BY LISA-ANNA MIGLIORE STAFF WRITER

French director Michael Hazanavicius’ 2011 black-and white silent film The Artist both parodies and revives the American film era of the 1920s for modern audiences.

This romantic comedy focuses around George Valentin (Jean Dujardin), a debonair and proud movie star at the top of his game.

Sporting the classic John Gilbert look, complete with dark slicked hair and a well-groomed mustache, both the camera and the ladies love him. He soon becomes friends with love-struck beauty Peppy Miller (Bérénice Bejo), a struggling actress whom Valentin himself requests to star alongside in his new picture. Come 1929, the tables are turned when cigar-inhaling boss Al

Zimmer (John Goodman) introduces Valentin to a new innovation in the business: sound. These talkies consequently leave “old news” Valentin in the dust. Not willing to give in, Valentin slowly starts to lose those things closest to him: his wife (Penelope Ann Miller), his home and his mind. It is through his friendship with Peppy Miller and her willingness to uphold him as a great artist that the two are able to rip Valentin out of his depression and find a creative collectivity between the old and new in the film world.

Hazanavicius has written and directed a jocular and inventive film that rigorously adheres to silent film conventions yet leaves modern audiences applauding in standing ovation. There’s great fun with these conventions while parodying

1920s acting techniques. The comedy of the film also lies within the ideologies of the modern audience which understands that silent film principles are out-of-date. The romantic wardrobe, dramatic makeup and stock characters are still present in modern films, but the exaggerated pantomime is not, leaving spectators to view it as abnormal and therefore amusing.

The artistic quality of the film is almost as brilliant as the comedy behind it. While many films rely heavily on a spectator’s auditory and visual senses to grasp the narrative, the umbilical cord between dialogue and ear is cut in this film.

This 98-minute film is almost void of spoken dialogue and sound, minus the wonderfully organized score. Modern spectators must allow their ears to follow the nar-

rative through the music, reflecting the experience past theaters where there was live musical accompaniment. There is a lovely scene when Valentin, after watching his first talkie and being told that this is the future, goes to his dressing room and slams his glass on a table; the first noise, besides the underlyingaside from the music, in the film so far. He hears it; we hear it. The moment is jarring and intriguing. Sound begins to invade not only the film industry and consequently the life of the protagonist, but also the previously silent theater full of spectators.

Unlike movies of today, with 3D effects and even smell-o-vision, black-and-white silent films, including The Artist, are able to draw in audiences by throwing away superficial attributes and relying on the

“art” in “art cinema”. Though the film draws laughter from spoofing the melodrama of its predecessors, there is an intimate story beneath the comedy that focuses on a struggling actor trying to survive in the ruthless film industry. The overall creative beauty and skillfulness of Hazanavicius’ piece, looms parody with revival and the classic style of film with the latest. This echoes the plight of Valentin who is trying to find a middle ground between the two in order to endure in the business as a great “artist.”

The Artist presents a new take on the forgotten black-and-white silent picture, more than 80 years after the style was considered a vogue commodity, and transports spectators who have grown up on silent films, or have yet to see one, back in time.

The Thing Matthijs van Heijningen Jr. | C+

BY ADAM ROSENGARTEN STAFF WRITER

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In 1951, the classic The Thing from Another World was released, based on the stor y by John W. Campbell, Jr. In 1982, director John Carpenter remade the film using the same stor y, simply entitled The Thing. Almost 30 years later Hollywood has decided to push out another Thing that appears to be some sort of remake prequel hybrid of the ’82 version.

The stor y follows Kate Lloyd (Mar y Elizabeth Winstead, Death Proof), a grad student who is brought to an Antarctica research site investigating a newly discovered spaceship found underground. Once at the site, she stumbles upon what appears to be an alien frozen in the ice. The alien then breaks out releasing terror on the entire crew located at the site. With the ability to take the shape of any of themshape shift, tensions rise when it become difficult to know who to trust and who could be “The Thing.”

Frankly, this film is not as good as its 1982 counterpar t.

The movie is quite watchable, but with a subpar cast, a pretty bland script and a monster that’s just not as impressive as the original, The Thing falls flat. Our protagonist is truly nothing special, blending in too well with all the other side-characters. She does ver y little to make the audience want to get behind her.

The protagonist is not the reason people are going to see this film; it’s much more for the Thing. The real fun part to these films is finding out which person is really not who he or she says they are. Unfor tunately in this version, not nearly enough time is focused on this plot point. The myster y is there but only for a brief amount of time.

Since people viewers are going to see the film for the Thing, they may be disappointed as toby its appearance. In 1982, the makeup effects on the Thing were amazing. It was a gross monster to say the least but its realism was impressive. In this version, the monster is all CGI

and in no way scar y because it is so obviously not real.

The film is bloody and violent but not particularly terrifying. It will however hold the audience’s interest through the first two acts. The real problem with this film is its final act where our protagonist goes after the Thing. It’s a drawn-out climax that is both predictable and boring. By the end, it doesn’t seem to matter at all if she lives or dies. However the scene immediately after the climax may be the best one in the entire film and almost makes putting up with a poor 3rd third act worth it. This scene is cleverly filmed and emotional — surprising, coming from a film with absolutely no heart.

This not a terrible remake, yet it’s difficult at times to tell if this is a remake or a prequel, for the most part it tries to be both.

No matter which one it is, the subject matter has been done before and done better. The ’82 version is a more impressive achievement and is a much more captivating film. Stick to that one.

Inside Beat • Page 9

October 20, 2011

FILM & MUSIC COURTESY OF NJFF.COM

WHERE I BEGIN

BY ALEX NATANZON FILM EDITOR

On Saturday Oct. 22 The New Jersey International Film Festival will be screening the film Where I Begin. This movie is a dramatic tale of broken friendships, torn family ties and inner-personal struggle. A young man named Jacob returns to his small home town after being away for ten years. Upon his arrival, it becomes clear that the past is haunting him. The events of a terrible night many years ago plague Jacob, and the rumors of his alleged actions and his return spread through the small town like wild fire. As Jacob wanders the town and converses with a few friendly faces, he runs in to an old friend, a pretty young woman named Haddy. She seems to be one of the few people who doesn’t judge Jacob and actually admires his decision of running away 10

years ago, as this parallels her own desire to leave the town.

Throughout the film Jacob contemplates visiting his estranged mother while simultaneously avoiding his ex-best friend Tyler, the brother of the young woman who was the cause of Jacob’s departure in the first place.

Where I Begin is a beautifully filmed picture. The camera acts a character in itself as it captures -scenic shots of the run-down town in a hauntingly vivid and surreal manner. While one of the negative aspects of this film is its slow pace, this feature actually benefits the movie. The use of close-ups and the long duration of focusing on certain character’s face during scenes of intense emotions act to highlight each person’s humanity in a way that the viewer is inadvertently sucked in.

What is interesting about this film is that it never tries to trick

the viewer or confuse them on the issue. The facts are simply turned over one by one like the cards in a game of black-jack until they ultimately reach 21. The matter-offact way of presenting the scenes and revealing the information to the viewer is what causes the infatuation with the plot of the story.

While Where I Begin is not a groundbreaking, astounding feature, it is a fine example of great filmmaking. Laudable acting from much of the cast, a captivating plot and good cinematography all work together to make this a movie worth watching.

Films are shown 7 p.m. in the Voorhees Hall Room 105 on the College Avenue campus. Tickets are $8 for Rutgers Film CoOp/NJMAC friends, $9 for students and seniors and $10 for general admission. For more information about tickets, times, location and the entire schedule, visit njfilmfest.com.

T WENTY YEARS GONE AND STILL JAMMIN’: PEARL JAM 20

COURTESY OF PJ20.COM

BY SPENCE BLAZAK STAFF WRITER

Cameron Crowe’s new rockumentary, Pearl Jam 20, can be embodied encapsulated in one scene specifically: the members of Seattle’s finest have sat down at the defendant’s table in the Department of Justice to fight the pricegauging “bad guys” running Ticketmaster. Jam’s bassist Jeff

Ament takes the microphone and triumphantly pleads the band’s case; he begs the board to crack down on the company so that the teenage fans can afford to see the band live. Guitarists Mike McCready and Stone Gossard are clad in backwards baseball hats for the Seattle Supersonics, red patterned flannels and graphic T-shirts.

At this point in their careers, they were probably making more

money than everyone in that room, yet they still dressed like characters from a Teenage Mutant Ninja Turtles movie. The contrast and sociological context of this moment sums up the way Pearl Jam is portrayed throughout the brilliant new film.

As one might expect, PJ 20 shows the band’s journey from rags to rock and roll mythos.

Crowe’s purpose with the film is to

show that it doesn’t matter whether or not they were “the best” grunge band, but the fact is that they made good music and remained influential for the longest amount of time.

Crowe sews together everything together from chilling interviews with Eddie Vedder at a campfire from before Jam’s first album Ten was released, to clips of everyone’s favorite 60 Minutes

curmudgeon Andy Rooney doing a monologizingue on why the band embodies America’s recent lethargy. Aside from pacing problems in the depiction of ca. 19982008 and a runtime that could have been cut short by about 25 minutes, fans will get literally everything they wanted out of the documentary. PJ20 is by a fan for the rest of the fans — the end result is a gift.

Page 10 • Inside Beat

October 20, 2011

LO O K

AT

T H E M N OW !

Y OUTUBE S ENSATION K ARMIN B RINGS THE SWAG TO R UTGERS

PHOTOS COURTESY OF BREE SOLDO

BY ASHLEY PARK ASSISTANT EDITOR

Check out our full interview with Karmin on our website!

PHO TOS COU R T ESY OF KAR M I N MU SIC .CO M

When the Youtube titans, Amy Heidemann and Nick Noonan of Karmin, stepped on the stage of the Rutgers Student Center this past Tuesday, the audience greeted them with enthusiastic cheers – it was absolutely electrifying.

Karmin is best known for their covers of popular songs, like Lil Wayne’s “6 Foot 7 Foot” and Bruno Mars’s “Grenade.” In their videos, Amy flawlessly reels off the raps while Nick supplies the instrumentals, harmonies and contagious head-boppin’ action. The Rutgers University Programming Board, which sponsored the concert, transformed the Multipurpose Room with colored spotlights and fog.

Two opening acts preceded Karmin. Jeff Leblanc, a young singer who has shared the stage with notables like Matt Nathanson and Ingrid Michaelson, quelled the Karmin-hungry crowd with his moving songs and witty impressions.

The Rutgers a capella group The OrphanSporks energized the stage with playful renditions of songs like “Chicago” and “Time of the Season.”

Not to be outdone by these scintillating acts, Karmin began the set with “Super Bass.” Known for their modest use of auto tune, the quality of the duo’s voices did not differ much from that in their videos; if anything, they may have been better live – they fed off the audience’s energy, and their vocals sounded fuller and more soulful. The whimsical couple clearly enjoyed performing and interacting with the crowd. When it came time to sing their signature cover, “Look at Me Now,” Amy remarked upon the difficulty of rapping Busta Rhymes while dancing and invited Rutgers students on the stage to boogie for her. While Amy’s the better known of the two for her breathless rapping abilities, songs like “Written in the Stars” and “Lighters,” showcased Nick’s sweet and sexy voice. In closing, Karmin surprised the audience with a mashup of “Firework” and “Party Rock Anthem.”

Although Karmin rose from nearly total obscurity, the pair definitely has potential for star power. Their originals, from the heartfelt “Carbon Copy” to the high-voltage “Take it Away,” possess a certain charm and charisma. Not only do they have an element of “danceability” and “singability” like other billboard chart-toppers, but they also have meaning and an encouraging message.

For example, the upbeat “Let it Go,” urges listeners to embrace life’s downs as well as its ups with lyrics like “And though the rain falls outta the sky/Without a rhyme or reason why/Nobody says you gotta be dry.” When asked about their originals, Amy said, “We do want to change the world by inspiring people – not in a corny way. I want people to turn on our music in the car on the way to work in the morning, and be like, ‘Yes! I’m gonna kill it today!’ Don’t feel lost just because the world’s crazy.”

The allure of Karmin is a combination of their super chill demeanor, refreshingly meaningful original lyrics and edgy song style, which they call “swag pop,” a fusion of pop and rap. The audience could not get enough of them – from the curl of Amy’s suicide hair roll to Nick’s keyboard spinoffs. In fact, the easygoing pair hung around afterwards to meet their fans, so don’t be surprised to see their faces pop up next to those of your friends on your Facebook newsfeed.

WWW.DAILYTARGUM.COM/INSIDE_BEAT

Inside Beat • Page 11

October 20, 2011

MUSIC

James Blake Enough Thunder | B

BY JOSH KELLY STAFF WRITER

COURTESY OF LIGHTMEETSNIGHT.COM

In Enough Thunder, James Blake’s first EP following his fulllength self-titled release, we see a different side of the bass-centric dubstep pioneer. Most songs on the EP feature his piano playing and vocals front and center.

Tracks “Once We All Agree,” his cover of Joni Mitchell’s “A Case of You” and “Enough Thunder” all follow this formula. Though the piano and vocals are primary, there is a lot of noise that cloud around each song’s centerpiece, creating a foggy sense of atmosphere to the music.

The two songs, “We Might Feel Unsound” and “Not Long Now” are the only tracks on the record that really feature Blake’s signature style of driven rhythm; this may come as a disappointment to

Mayer Hawthorne

BY TAMMIE CHIOU STAFF WRITER

It seems that old habits die hard for Mayer Hawthorne, with splicing and dicing comesing naturally to the Detroit native DJ/singer. His sophomore album, How Do You Do, showcases this propensity with a variety of genres and styles ranging from blues, funk, Motown and soul intricately laced with his signature hip-hop crooning. The album starts with a sultry, honey smooth introduction in the appropriately titled “Get To Know You.” The album quickly deviates from the lounge chair and skips onto more upbeat, strutting’-down-the-street tunes like “You Called Me” and “Hooked.”

Hawthorne even features a singing Snoop Dogg on “Can’t Stop,” a moody hip-hop ballad balanced on a flurry of orchestral strings and woodwinds. Glocks, brass and synths are all peppered throughout the album, demonstrating the wide spectrum and layers Hawthorne is able to manipulate and weld together into a cohesive form.

those who would pick up the EP primarily to hear such songs. His collaboration with Jules Vernon, AKA Bon Iver, titled “Fall Creek Boys Choir” is predictable — the paradox may fall short of an expectation for surprise.

There are plenty of different points to consider when judging this record. Although it is a full-release, it isn’t a full-length album. With only six tracks, the album reaches just about 25 minutes of playtime. The songs on the EP may not be full of the deep bass, clicking, confusing and enveloping songs that fans have become accustomed to, but it is still characteristic of James Blake as an artist.

When taken in the context that this is merely a collection of a few tracks, poignant with James Blake’s uncompromising taste in production, it is certainly an album worth getting.

COURTESY OF SEATTLETIMES.NEWSOURCE.COM

How D oY

ou His strength comes from COURTE SY OF U RISTOCR AT.COM his knack of combining flair with a bit of homespun, boynext-door goodness. However, Hawthorne does stray away from the image in the funk-inspired track, “The Walk” with a few choice words for an ex-girlfriend.

Unfor tunately Hawthorne’s vocals can get a little shaky in some spots, especially when his falsetto doesn’t seem to reflect the tone of his well-crafted melodies.

His voice in “Stick Around” seems to border on awkward as Hawthorne stumbles over lengthy notes, blurring through what should be a light and fun song while undercutting the easy-going attitude of the rest of the album has. Regardless, Hawthorne’s latest is a great hybrid of some of American music’s best genres, all in one succinct, pop-happy package.

Do | B

EVANCESCENCE Evanescence | C

BY ASHLEY L AGZIAL STAFF WRITER

“Hello, hello, remember me?” might be more than just a lyric on Evanescence’s third studio album as the band returns from its five-year hiatus. Before the release of the American rock band’s self-titled album, Evanescence’s lead singer Amy Lee might have had her doubts.

But with the album being painfully identical to Evanescence’s previous work the better question might have been: who could forget? The familiarity of the record has left a conflicting impression.

The first single off the album, “What You Want,” is an instant flashback to the early 2000s with Amy Lee’s flawless voice heard over churning metallic guitar riffs and a kicking drum.

Diehard fans of Fallen and The Open Door might be comforted to find out their favorite band has not changed a bit over the years while others might be disappointed by the lack of variety the album has to offer.

As the record progresses, a certain monotony sets in, as each track blends into the next. With the exception of “Secret Door,” which features a harp, “Lost in Paradise” and “Swimming Home,” which experiments with

electronic pulse beats, each song resonates with the sound of a gothic melodrama.

Although Lee is now well out of her young adulthood, the lyrics reflect the torment of an angst-ridden teen. Lyrics such as “I die every time I close my eyes” and “I will never find a way to heal my soul” frequent each track.

Despite Amy Lee’s strong vocals and the band’s edgy metallic instrumentals, their inability to go out on a limb makes for an undistinguished piece of work. As the world of music is constantly evolving, it would have been refreshing to see a solid yet daring record to break ground for modern rock music.