Inside Beat 2012-01-19

JANUARY 19. 2012 • VOL. 29, NO. 24

INSIDEBEAT THE WEEKLY ENTERTAINMENT MAGAZINE OF THE DAILY TARGUM

Guilty Pleasures Things You Pretend to Hate But Secretly Love MICHAELS N A W T N A MERICA • A S IS M • E WEEKND H T • E S R • WAR HO IC H C R E D SALAN

Page 2 • Inside Beat

January 19, 2011

EDITOR’S RANT

T h e F a l l o f t h e Va m p i r e

BY RYAN SURUJNATH ASSOCIATE EDITOR

On the subject of guilty pleasures, I admit that I rather like True Blood. I concede that I generally try to avoid watching the show in public places; this is partly because Anna Paquin is naked so often, that it is far too easy for an unwitting passerby to mistake True Blood for soft-core pornography. However, the primary reason why I hesitate to publically admit my like of True Blood is because of one key criticism: many believe that the show too closely resembles Twilight.

This isn’t entirely true. Because True Blood airs on HBO,

there is a certain standard of production quality that must be met.

It is evident that True Blood is better acted, better written and better directed than Twilight. Furthermore, because HBO does not need to deal with the same silly content restrictions that network television must endure, True Blood is free to explore mature concepts, thus appealing to an older target audience. Nonetheless, I cannot deny the base similarities between True Blood and Twilight. Both involve socially awkward, young women who are unable to find love among the living. Both depict vampires as a sort of oppressed minority. And, of

course, both Twilight and True Blood tell love stories that can get nauseatingly sappy at times.

Unfortunately, the similarities between True Blood and Twilight are indicative of a disturbing trend in TV and film. Whereas vampires were once bastions of terror and emissaries of death, today’s popular culture has stripped this once proud race of its pride and made them the subjects of angst-ridden teenage romances. To do some research for this column, I decided to watch an episode of The Vampire Diaries. I need not use any fancy wordplay or English major vocabulary to describe my experience: it was awful. Granted, I

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

EDITOR EDITOR

FREDDIE MORGAN............................................................................TV EDITOR EMILY GABRIELE.......................................................................MUSIC EDITOR HEATHER TEDESCO................................................................THEATER EDITOR ZOË SZATHMARY....................................................................FASHION EDITOR JILLIAN PASON..........................................................................COPY EDITOR KEITH FREEMAN.........................................................................PHOTO EDITOR ALEX NATANZON............................................................................FILM EDITOR JASON PEARL...............................................................................ONLINE EDITOR RYAN SURUJNATH...........................................................VIDEO GAMES EDITOR

THIS WEEK’S CONTRIBUTORS TO INSIDE BEAT : Mike Bither Spence Blazak Julie Chipko Ciara Copell Jessica Espinosa Joshua Kelly Ryan Lizotte Erik Ludwig Cover Photo Courtesy of fanpop.com

should have known better; when one thinks of quality television, the CW isn’t exactly the first network that comes to mind, but I digress.

The Vampire Diaries is a melodramatic, thinly-acted mess.

How could this happen? Today’s youth will grow up not knowing the dark origins of the vampire. I draw reference to the archetypical vampire, Count Dracula. First appearing in Bram Stoker’s 1897 novel, Dracula was hardly the hopeless romantic that Edward Cullen is. Instead, Dracula was a seducer, a plotter and, above all, a warrior who hid his nefarious intentions beneath a mask of civility. Perhaps even more interesting is the histor-

ical figure that Dracula is based off.

Vlad III, more commonly known as Vlad the Impaler, was a Transylvanian nobleman who reveled in torturing and killing his enemies.

I yearn for a film or TV show that properly captures the dark mystique of the pre-Twilight vampire. True Blood, in some respects, comes close. Certain characters do fit the description of the cunning, plotting warrior. I am, or course, referring to Alexander Skarsgard’s character, Eric Northman. True Blood fortunately manages to counteract an overly sappy romance with violence and intrigue. I simply hope that the reputation of the vampire is not permanently tarnished.

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Inside Beat • Page 3

January 19, 2011

THEATER & FASHION PHOTO COURTESY OF H & M

SALANDER CHIC ?

BY ZOË SZATHMARY INSIDE BEAT EDITOR

Multiple piercings, an asymmetrical haircut and tons of black and leather – Lisbeth Salander’s clothing style is not for the faint of heart. Rooney Mara most recently portrayed the fictional computer hacker/savant – and heroine of Stieg Larsson’s Millenium trilogy – in David Fincher’s English-language film adaptation of Larsson’s first novel, The Girl With the Dragon Tattoo. While Salander’s tough appearance may initially seem alienating, the fashion world has deemed her its newest darling.

Trish Summerville, costume designer for Fincher’s Dragon Tattoo, recently collaborated with Swedish mass retailer H & M to produce a limited 30-piece collection inspired by Salander’s sarto-

rial choices. Pieces, like denim jackets with faux-leather sleeves and shredded miniskirts, are tailored – and ultimately toned-down – versions of outfits worn in the film. The collection sold out quickly and is fetching a pretty penny on eBay. The imitation tribal earrings by H&M, similar to those worn by Mara in the majority of the film, fetch prices near $200…not bad for a product made of plastic and initially sold for a mere $3.95.

Not everyone is happy with the mass collaboration, however.

Rape victim Natalie Karmeef recently wrote a blog post that went viral, in which she condemned H & M for “chic, consumerist fetish” and glamorizing rape victims. In an official statement, H & M countered Karmeef’s comments, saying of its products, “We do not view this collection as provocative

– it contains pieces that are staples in many people’s wardrobes: jeans, biker jackets and t-shirts. It’s all about how you wear them.”

Throughout all of this, it’s important to remember the original Swedish title of Larsson’s first novel, which is largely ignored in the United States: Men Who Hate Women. The text features brutal sexual acts of violence against women, including two separate incidents against Salander, who already comes from an abusive and unhappy childhood. The fact that Salander manages to overcome severe personal demons – as well as help to solve a 40-year-old missing persons case – is the real triumph of the novel. If trendy “armor” is sold by mass-market retailers to thousands of women, is it really a problem if they feel more secure with themselves? Outsiders, it seems, are in.

PHOTO COURTESY OF PLAYBILL.COM

The Book of Mormon Eugene O’Neill Theater| A

BY ERIK LUDWIG STAFF WRITER

Ever y now and then a new musical comes around that generates a massive amount of hype and manages to spread its word beyond the “theater crowd” and earn a coveted place in popular culture. The untold tale of the witches of Oz, the saga of a lion cub destined to be king and the stor y of a bunch of puppets living in a building managed by Gar y Coleman are all examples of this phenomenon. The Book of Mormon, with music by Bobby Lopez (Avenue Q) and book and lyrics by Trey Parker (South Park) Matt Stone (South Park) and Lopez, is perhaps the most

hyped-up musical to grace Broadway in several years... and it more than warrants this press buzz.

At its heart, The Book of Mormon is a traditional book musical complete with flashy dance numbers, awe-inspiring sets and even some tap dancing. But, as anyone who has ever caught an episode of South Park may guess, it also contains ver y healthy doses of profanity, explicit dialogue and most importantly, biting satire and wit. To simply chalk up the show’s success to the novelty of this juxtapositionwould be a grave injustice. While having a tribe of Ugandans per form some ver y “Broadway” choreography while

singing lyrics laden with profanities may have been enough to bring in the crowds, the show also is blessed with an incredibly touching and poignant stor y, lovable characters and charm.

The production opens in Salt Lake City, Utah at the Mormon missionar y training center where several young do-gooders are about to find out where they will be sent on their twoyear long missions. Orlando Elder Price (Andrew Rannells, Jersey Boys) is paired with the less-than-godly Elder Cunningham (Josh Gad, ...Spelling Bee) and is sent to Uganda to baptize the natives into the church.

Upon arrival, the pair meets Elder McKinley (Ror y O’Mal-

ley, ...Spelling Bee) and some other missionaries and learns they have yet to conver t a single person. Using this as inspiration, Elder Price sets out to baptize ever y last Ugandan by asser ting that “a Mormon just believes” and explaining the teachings of the Book to the mostly unresponsive tribe members. Elder Cunningham, on the other hand, takes a more creative approach to the whole conversion thing and “adapts” the biblical stories to fit the tribulations of the modern-day Africans. What follows is a quirky, enter taining romp that examines some weighty issues such as religion, life in an impoverished countr y and finding

one’s true self … all while never losing sight of the musical’s main goal: To of fer audiences a hilariously joyous experience.

Undeniably, The Book of Mormon is the most successful hit that Broadway has seen in a number of years. With nine Tony Awards and tickets sold out for the next eight months the show is cer tainly the “big thing” at the moment. However, despite the pull caused by its South Park ties and the media frenzy surrounding the production, it is not crazy to propose that once the hype dies down that the show will sustain its popularity based solely on its own merit. After all, with Him on your side, how can you lose?

Page 4 • Inside Beat

January 19, 2011

TV & VIDEOGAMES PHOTO COURTESY OF MISS AMERICA ORGANIZATION

MISS AMERICA: VERSION 2012 FREDDIE MORGAN TV EDITOR

On Jan. 14, ABC hosted its annual live telecast of 2012’s 91st Miss America pageant. Fifty-three pageant queens once again looked to prove they’ve got the winning combination of beauty, talent and intellect. This year, no amount of double-sided tape could contain the pageant’s flagrant attempts to remain culturally relevant.

The Miss America pageant has no doubt been struggling the past few years. Feeling its age, the pageant has made more of an effort recently to appeal to the current generation. Both the brand and the winners now promote science, technology, engineering and math education to women through the

country as the field has become more attractive to females in the last 10 years. Surely this is a way to bring the pageant’s thesis back to its global responsibility rather than ultimate beauty and grace.

In addition to revamping its mantra, Miss America is looking to modernize its image in other ways. The selected judges know hardly anything about pageantry but are certainly veterans of reality television, this generation’s fad du jour. Mark Ballas of Dancing with the Stars, Mike Fleiss, creator of The Bachelor and socialite/TV personality Kris Kardashian-Jenner were obviously selected to appeal to a younger crowd.

Small subtleties throughout the evening also hinted at the pageant’s desire to be contemporary. Miss

New Jersey made a reference to Jersey Shore early in the evening.

Several ballet dancers performed to pieces from “Swan Lake,” one even emulating the formation from Black Swan. Rules also changed and curveballs were thrown to keep the beauty queens on their toes. Like contestants on a game show, pageant finalists were instructed to vote for the “wild card” of each round who would move ahead with the rest of the pack.

It is truly astonishing that this seemingly outdated tradition has lasted for so long. But as the Miss America pageant clings to pop culture to stay afloat, is it connecting with our youth more successfully than ever before, or does it seem that it is trying too hard to remain relevant?

PHOTO COURTESY OF BIOWARE

Star Wars: The Old Republic BioWare | C+

BY RYAN SURUJNATH ASSOCIATE EDITOR

Star Wars: The Old Republic is BioWare's first venture into the realm of massively multiplayer games. Despite lofty promises and the more than $1 million poured into The Old Republic’s production, BioWare has only managed to create a game that comes across as mediocre.

There is certainly fun to be had in The Old Republic, but there are too many instances when playing the game becomes more tedious than fun.

The game’s graphical style is somewhat reminiscent of that of the Clone Wars animated series.

Coupled with brilliant voice acting and a great soundtrack, The

Old Republic certainly has the proper Star Wars ambience.

There are graphical issues though, especially with level design, which feels inconsistent.

While there is certainly some interesting scener y to take in, playable areas can sometimes be ver y bland. Nar Shadaa, Korriban and Coruscant are some of the worst offenders; the levels on these planets come across as linear, repetitive and enclosed. By contrast, however, the levels on other planets, like Alderaan and Tatooine, are open and spacious.

These levels are a breath of fresh air, but are not immune to some of the boring level design choices that inhibit other areas.

Questing is the primar y means by which players advance

levels and make their character stronger. Quests are divided into several categories: class quests must be completed to advance the story, side quests are optional but provide valuable experience and items, heroic quests are challenging quests that may require several players and flashpoints are narrative driven dungeon crawls against tough enemies. Class quests are interesting enough and provide a solid narrative to keep players' attentions. Unfortunately, the main problem has to do with side missions, which quickly descend into the tedious fetch-and-kill monotony that plagues other MMOs. Along with the linear level design, these missions make the game feel like a bit of a grind. Players who only

complete class missions will find themselves falling behind the game's level cur ve, and thus, enemy encounters will become more difficult. Even though Flashpoints and Heroic quests can be repeated once a day, they are not reliable sources of experience. Unfortunately, doing at least some of these repetitive side quests is necessary.

Players who tire of defeating computer controlled opponents can try their hand at player vs. player combat in areas called Warzones. Players can enter a Warzone from any location, and can be sent into one of three maps: Alderaan, a sort of capture the flag scenario, the Voidstar, an objective based map or Huttball, which is a Star Wars version of rugby. PvP

maps provide an interesting challenge, but there are a few execution problems. First, despite multiple, distinct game modes, there is no way for players to choose what map they want to play. Second, the lack of a matchmaking system means that players can be matched against opponents from across all levels. Though low level players are afforded a generous stat handicap, higher level players nonetheless benefit from superior gear and more abilities.

The Old Republic certainly has flaws. It is important to note, though, that the game is far from complete. BioWare says that they will remain committed to updating The Old Republic and will hopefully work to rectify some of the game's issues.

Inside Beat • Page 5

January 19, 2011

FILM

PHOTO COURTESY OF ALLMOVIEPHOTO.COM

Beauty and the Beast 3D Gary Trousdale and Kirk Wise | A

BY JESSICA ESPINOSA STAFF WRITER

Whether you are revisiting this timeless Disney classic or you’re watching it for the first time ever, Beauty and the Beast 3D is surely a timeless, fantastic film. The 3D effects are managed so smoothly that you will almost forget you are wearing those big clunky glasses, as you embark on a journey with the characters of this oddly romantic, funny and

sometimes sad masterpiece of an animated film.

The first scene of the film alone amazes. What was once a simple scene of narration with a view of a few trees, flowers and a waterfall becomes something much more interactive and beautiful. This scene with the help of the 3D effects make it feel as though the viewer is truly walking through the forest instead of just watching it on a big screen.

The 3D animation in Beauty and the Beast differs from traditional ef-

fects, which fly in your face. The effects in this film are much more delicate and subtle. It takes scenes and expands them, almost like a pop-up storybook expands a regular story.

The effects in scenes such as “Be Our Guest” are really quite impressive. The magic of the Disney movies is not lost in this version, it is just enhanced to show more than the original footage ever would have.

For those who have already viewed and loved the film, it is well worth the price to go to the theaters

and revisit this it. From the very first instant to the last scene of the movie, the audience will feel as though they are watching something new as opposed to a film that was originally released in 1991. The colors themselves felt more vibrant and fresh. The overall outlook of the film was different and less cloudy than the original footage.

Beauty and the Beast 3D is truly an ageless classic that can be enjoyed by all. For college aged students viewing these classic Disney

films that are being brought back and put into 3D such as The Lion King 3D, it may bring back childhood memories. As well as for children who are viewing them for the very first time, it can be a very influential experience.

These classic Disney films, such as Beauty and the Beast, never seem to disappoint. Remastering them with these refined 3D effects only makes them better and more satisfying to the eye. It is truly a worthwhile film to watch.

PHOTO COURTESY OF ALLMOVIEPHOTO.COM

We Bought A Zoo Cameron Crowe | B

BY JULIE CHIPKO STAFF WRITER

Cameron Crowe manages to bring a kind of sentimentality to his films that makes them worth seeing, even if the concept seems rather lame, like in We Bought a Zoo. Although the film doesn’t come anywhere near the brilliance of some of Crowe’s previous films, like Almost Famous, it does succeed in producing a real connection between the audience and the characters mainly due to the exceptional ensemble and heartfelt performances.

Matt Damon (Good Will Hunting) heads the cast as Benjamin Mee, a recently widowed reporter with two children. As the film opens, the family battles their grief for the deceased Mrs. Mee; Benjamin quits his job and his son, Dylan (Colin Ford), gets expelled from school. For a fresh start, Benjamin moves the family to a house with an adjoining zoo, hence the title. After months of lying in disrepair, the ramshackle zoo must be repaired and reopened in order for Benjamin to keep the property. He is helped by a few members of the previous staff, which includes a likeable yet not entirely memorable Scarlett Johansson (Lost in Translation) as well as Patrick Fugit (Almost Famous), looking fairly ridiculous and hilarious with a monkey perched on his shoulder throughout the film. Other notable cast members include Thomas Hayden Church (Sideways), providing mainly comic relief as Benjamin’s brother, Duncan, and Elle Fanning

(Super 8), who delivers an endearing performance as the lonely yet overly talkative adolescent love interest for Benjamin’s son.

Allowing a zoo filled with dangerous animals to fall into disrepair, only to be bought by a man with no experience in the business seems far-fetched, even though the film is based on a true story.

The expectation that a lion will maul the young daughter is never far from the viewer’s mind (luckily she isn’t), but, if given a chance, the film will cast all reservations aside. Crowe’s films work because they subtly persuade the audience that they hold the key to figuring out life, a secret that can be unlocked just by watching them, We Bought a Zoo included.

This film works precisely because of Matt Damon, who possesses such a likeable charm and brings so much heart to the story that the audience can’t help but to feel for him. Damon portrays Benjamin’s grief for his wife with a subtlety that allows for the audience to sympathize with the character without becoming overwhelmingly sad. This relationship, as well as his relationship with his children, is infused with an irresistible sweetness and hopefulness. Despite some weaknesses in the plot, you have no choice but to root for him and admire his philosophy on life, that all a person needs is “twenty seconds of insane courage” to get what they want. At times sad, funny, nostalgic and inspirational, We Bought a Zoo may not be worth the price of a movie ticket, but it is definitely worth catching on DVD.

Pop Culture Trial: Innocent or Guilty?

Like a wolf in sheep’s clothing, guilty pleasures, such as Jersey Shore or Justin Bieber, lurk on our DVRs and playlists. One deliquent iPod shuffle or deviant ticket purchase, if discovered, could lead to ridicule and embarrassment from our social circles. So we keep them tucked away even though on some level, we really enjoy these pop culture fetishes. However, not all guilty pleasures were created equal. Some are more benign then others. This week, Inside Beat has rounded up prime suspects and either brandished them with a scarlet letter or acquitted them of their crimes.

TLC’s Toddlers & Tiaras v. Inside Beat This culture is fascinated with lifestyles very different from its own — other’s obsessions with vanity at the expense of substance, family dysfunction and, grossly, child sexualization.

That’s why it’s uncomfortable to admit an addiction to TV’s Toddler’s & Tiaras, TLC’s reality series about child beauty pageants. It is undeniably funny, albeit disturbing, to watch children squeal as their parents apply false lashes and hair extensions to their infant spawn. In order to fully appreciate the show, you have to ignore that it is inevitably documenting the decline of the human race and take the show completely at face value. You won’t regret it. Toddlers & Tiaras airs Wednesdays at 10 p.m. on TLC.

—Freddie Morgan, TV Editor COURTESY OF DISCOVERY.COM

Cracked Out Online Cracked is a comedy website that provides the perfect combination of highbrow fact-based humor with pop culture references and crude absurdity. Featuring articles covering everything from “Cooking For Your Nemesis” (by University alumnus Dan O’Brien) to “4 Tips for Properly Attacking Animals with a Bicycle Chain,” this hilarious site’s variety is only exceeded by its vulgarity. With countless columns revolving around humanity’s baser pursuits, along with enough doctored photos to earn a PhD, reading Cracked in public can lead to many a disapproving glance or awkward explanation. Also included on the site are several ongoing web series, such as the internet-trotting Does Not Compute and the ridiculous look into the Cracked offices that is Agents of Cracked.

—Jason Pearl, Online Editor COURTESY OF CRACKED.COM

Confessions of an Awkward iPod 1. LMFAO So maybe this electro-hip-pop duo isn’t very musically “complex,” but their music makes for some catchy, feel-good tunes. Though they missed their scheduled visit to the University due to SkyBlu’s back injury, that didn’t stop us from blasting “Sexy And I Know It” on repeat. Their songs, “Party Rock Anthem,” “Shots” and “Sexy And I Know It” may suffer from incessant radio-play, but that makes finding pleasure in their music all the more guilty. Sorry for party rocking.

2. Selena Gomez Her music career stemmed from The Disney Channel; yep, Selena Gomez’s music is definitely a guilty-pleasure listen. Can she actually sing well? Who knows, but her uplifting yet slightly corny track, “Who Says,” sure is encouraging, even if it’s targeted audience is pre-teen girls. Next up on the Selena playlist is her most recent radio hit, “Love You Like A Love Song.” Can’t help but bob your head to this transcendent beat.

3. Taylor Swift T-swift, yes, we’ve reviewed her album, and yes, she makes our list. She is indeed a great songwriter, even if all her songs seem to have virtually the same topic: Some shade of heartbreak. Well, what else is she supposed to do with all of her pent-up boy trouble emotions? “All you are is mean and a liar/And pathetic and a lonely life and mean.” Her lyrics are pretty girlish and straightforward — it’s hard to not sometimes sing along (or all the time).

4. Rihanna Is Rihanna’s music really a guilty pleasure? It has to be, considering some of her song lyrics are, ahem, rather risqué. With songs like “S & M” and “Rude Boy,” it’s hard not to feel slightly abashed when listening along. Her most recent single, “We Found Love” can also be categorized as a sinful song, simply because it’s near impossible to not want to dance to its beat produced by Calvin Harris.

5. Bruno Mars This guy has a killer voice, but his songs are pretty sugary. Not only are they sugary, but also, his lyrical content can be a little overbearing sometimes. He sings about catching grenades for the one he loves, about girls being perfect “just the way they are” and how it will rain everyday without that special someone in his life. We get it Bruno, you don’t just like a girl — you become infatuated. Lyrics aside, his songwriting abilities are inarguable and again, that voice of his is spot-on.

6. Random Mix Here’s some singles that are ridiculously tuneful, but we may not always admit to tapping our feet or singing along to them.

“Blackout” – Breathe Carolina “Good Feeling” – Flo Rida “If I Die Young” – The Band Perry “I Like It Like That” – Hot Chelle Rae feat The New Boyz “You Make Me Feel…” – Cobra Starship feat Sabi

—Emily Gabriele, Music Editor

Bringing Our Inner Child Out to Play If ever there was a reason to get in tune with your inner child and embrace the age-old saying, “You’re never too young,” it would be for animated films. Who doesn’t feel overcome with nostalgia when absorbed by the magical allure of childhood favorites like Toy Story and The Aristocats when they see them on television after many years? As a child it is entirely justifiable to opt to see the new Disney or DreamWorks flick when it is in movie theatres, but once you’re in your 20s, phrases like, “Let’s watch Kung Fu Panda 2 instead of the new Pirates of the Caribbean!” may warrant some questionable glances. However, as we get older and are increasingly burdened with the responsibilities of adult life, the captivating storylines, ever-improving visuals and charmingly self-aware naïveté of animated films may be just what we need to balance our lives.

Pixar’s Ratatouille is arguably one of the best animated features to date. Like the numerous mouth-watering delicatessens that are marvelously brought to life on the screen, this movie is a bone fide guilty pleasure. Initially an adult will sit there and think, “Talking rats, how childish and unoriginal.” However as the film progresses and you immerse yourself in the devilishly charming plotline and are overtaken by the high-caliber animation, you soon find yourself rooting for the main characters and saying, “Oh damn, that little rat better get the credit he deserves.”

—Alex Natanzon, Film Editor

COURTESY OF ALLMOVIEPHOTO.COM

Page 8• Inside Beat

January 19, 2012

FILM

New Jersey Film Festival: Spring 2012 Preview COURTESY OF NEW JERSEY FILM FESTIVAL

BY ALEX NATANZON FILM EDITOR

As we welcome the new semester, so too we welcome the return of the New Jersey International Film Festival. This spring, the festival is dishing out an arsenal of engaging feature films, intriguingly informative documentaries, delightful shorts, eye-catching animations and mind-bending experimental movies.

Running from Jan. 20 to March 1, the festival will be showing a collection of unique feature films. In the dark, roman-

tic comedy Calendar Girl, the main character suspects that an infamous Calender Girl Killer, notorious for murdering beautiful women monthly, to be following her. Another feature to watch out for is the hauntingly mesmerizing, It’s in the Blood. This frightening journey explores elements of the “creature” through the blending of psychological thrillers and mysticism.

If documentaries are your cup of tea, the NJIFF is far from short of them. The Bull Runners of Pamplona tracks the stories of a group of dedicated individuals who com-

mit their lives to running with the bulls of Pamplona, Spain. These men put their lives in harm’s way in order to fulfill a personal, spiritual exodus. This informative documentary highlights the devotion that people exhibit when taking on daring feats. In addition, the documentary Dog Poo illuminates the history and facts of dog poo around the world The variety only gets better. A number of animated movies are screening at the festival, like the surreal animated short film, Intermission Time, in which a concession clerk at a movie theatre

decides to put on his very own show when everyone is away. Another short film is Less than Nothing. This movie follows a man named Kevin, who has a great job, loving wife and seemingly perfect life. However things change when he falls in love with an old flame of his and is forced to choose. Don’t miss Ghost of Old Highways, a surreal short film set during the Civil War, in which a man must hunt down and kills previous versions of himself as a sort of coming to terms with the past.

In addition, on March 1 the festival will be screening the clasCOURTESY OF NEW JERSEY FILM FESTIVAL

NJFF: Calendar Girl

BY ALEX NATANZON FILM EDITOR

It’s an age old tale — girl is lonely and unsatisfied with life, girl meets guy, infamous serial killer on the loose, infamous serial killer stalks girl, girl must fight for her life ... and it’s ever so romantic. Derek Lindeman’s Calendar Girl is a romantic comedy at its ver y heart, but manages to successfully inject aspects of the typical slasher film into it which ultimately gives it quite a unique flavor.

Ari (Jensen Bucher) is a complicated, dark and mysterious girl. While she comes of f as a tad cold initially, her inner warmth is ever-present. Ari is stuck working a dead-end job at a local diner, run by her annoyingly corny boss, Bob (Brian Gallagher). Fed up with her excessively cheer y co-workers, dead-beat diner patrons and a dysfunctional relationship with her ex-boyfriend; Ari finds sol-

ace in hanging out with her soon to be married best friend, consuming copious amounts of hard liquor and following the news cover of the infamous Calendar Girl Killer. Ari progressively becomes more enchanted with this killer, who intricately stalks women, seduces them, murders them and then photographs them in a pin-up girl motif. However things become real as Ari’s description matches the one the Calendar Girl Killer posts in the newspaper of his upcoming December girl to complete his calendar.

Jensen Bucher deser ves a round of applause for her portrayal of Ari, the young heroine of the film. Ari’s multi-dimensional personality is fleshed out in such a gratifying manner that it would seem that the role was made for her. Ari’s character alone is strong enough to carr y the film, as the plot of Calendar Girl is amplified through her perspective. At times she is sweet, other times bitterly cold,

ever y scene of the movie carries the same tone as Ari’s mood. However the rest of the cast per forms commendably and acts to colorize the world of this film. Brian Gallagher earns credit as well, for being able to highlight Bob’s quirky characteristics and charmingly geeky outlook on life.

Calendar Girl should not be viewed as a horror film. On the contrar y, the somewhat cheesy murder sequences ser ve as a comedic engine for the movie’s plot. While aspects of the stor y may be corny and predictable at times, the genuine performances of the cast, and the dynamic relationships formed between their characters make up for this. Calendar Girl is at times suspenseful, at times sad, chiefly funny, constantly witty and a worthy addition to The New Jersey International Film Festival.

Calendar Girl will screen on Friday Jan. 20 at 7 p.m., in Voorhees Hall, room 105, on Douglass campus.

sic1966 John Frankenheimer Masterpiece, Seconds. Combining chilling music, and memorable cinematography, this psychological thriller is about a man who is offered a new face and body in order to start a new life.

Films are shown at 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.

Inside Beat • Page 9

January 19, 2012

FILM

BY SPENCE BLAZAK STAFF WRITER

Stephen Spielberg, the closest thing America has to royalty in the realm of enter tainment, released two new films this holiday season. One of those movies is War Horse, based on the play that is Broadway’s hottest nonBook of Mormon/Wicked ticket.

This film is as old-fashioned as it gets: boy gets horse, boy loses horse, horse becomes main character of the movie!

Between cinematography that makes an Ansel Adams photograph look like a picture of the back of Jason Alexander’s head, a horse so lovable that it makes Lassie look like an evil ex-girlfriend and Irish brogues so charming that they make Frank McCourt seem as homely as an IRA member, War Horse is not too shabby.

A young boy named Albie (Jeremy Ir vine, Life Bites) on the English countr yside raises a horse named Joey on his parent's farm. Tight on money, Albie sells Joey to the WWI war ef for t. Albie vows to find his friend, and Joey's adventure takes him through all of the war, showing both sides of the battlefield as well as the bourgeoisie of the French countr yside.

WAR HORSE

The first 25 minutes are just shor t of unwatchable; the sweeping vistas of the farmland are beautiful, but watching Albie tr y to feed an apple to that horse for five minutes is enough to make viewers wish that they themselves were in the trenches of WWI. However, ever ything changes when Joey goes to war.

A distraught Albie begs the militar y officer to let him keep his horse. The of ficer consoles Albie by saying he will take Joey as his personal horse, and that he will see his friend again. As utterly stupid as the beginning is, anyone with two eyes and a hear t will be sold over by the pitch-perfect emotion.

The war scenes are shot with precision that is short of the excellence that Saving Private Ryan achieved, but ahead of the scope that the majority of war movies hold. Breathtaking cinematography, performances from the old fashioned school of acting and camera shots in the style of the old John Ford movies keep Spielberg standing tall with the best directors around. Is it too corny at parts?

Without a doubt. But as distracting as it is, at a certain point it won’t matter anymore, and all you will care about is seeing Joey get home.

Stephen Spielberg|B

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The Girl With the Dragon Tattoo David Fincher| BBY JASON PEARL ONLINE EDITOR

While many years often separate one film adaptation from another, David Fincher’s version of The Girl with the Dragon Tattoo began production within a year of the Swedish-language film’s American release.

Whether due to its chronological proximity to the Swedish version or its similarly strict adherence to the plot of the novel it’s based on, The Girl with the Dragon Tattoo feels so familiar that its mere existence warrants questioning.

The story begins with disgraced journalist Mikael Blomkvist (Daniel Craig, Casino Royale) being hired by the aging and eccentric Henrik Vanger (Christopher Plummer, The Last Station) to investigate a mysterious, decades-old murder. The investigation brings him into contact with the various unscrupulous members of the Vanger clan, each as unsavory as the last. Blomkvist eventually requires assistance with his research, and brings in the enigmatic Lisbeth Salander (Rooney Mara, The Social Net-

work). Lisbeth is a masterful hacker, but her mental instability and antisocial tendencies have led her to a life of solitude. Together, the two discover a string of clues that lead them to a horrific conclusion.

There’s nothing inherently wrong with The Girl with the Dragon Tattoo, but it pales in comparison to the Swedish movie in basically every way. David Fincher (Fight Club) provides suitable direction, but his film is still so similar to Sweden’s take that it feels more like a cover version than a new interpretation. Furthermore,

Contraband Baltasar Kormakur | B

BY CIARA COPELL STAFF WRITER

With an outstanding cast featuring Mark Wahlberg (The Departed) and Kate Beckinsale (Underworld,) Contraband delivers as a solid action movie.

After former smuggler Chris Farraday’s (Wahlberg) brotherin-law, Andy (Caleb Landr y Jones, X-Men: First Class,) botches a job and gets into trouble with a drug dealer (Giovanni Rabisi, Boiler Room,) he is forced to run one last contract to save his family. The film is fast-paced, taking the audience from New Orleans to Panama and back with tons of action that will keep viewers engaged throughout.

By far the best par t of Contraband is the acting. Wahlberg and Beckinsale are great together, and much like his work in The Italian Job, Wahlberg

plays the role of the loveable con man ver y well. This film is really more of an ensemble ef for t, though. Easily one of the best per formances comes from Ben Foster (The Mechanic), who plays Farraday’s best friend and fellow smuggler, Sebastian Abney. Abney’s is the most interesting stor yline in the film. A former drug addict, the audience is desperate to see if he can keep his act together or if he will revert back to his old ways. It is baffling that Foster is not a bona fide A-list leading man by now — he has a long histor y of excellent work in other films. The same can be said for Ribisi, who offers a knock-out performance as drug dealer Tim Briggs.

Even though the acting is stellar, the storyline is only mediocre.

Contraband doesn’t offer anything viewers haven’t seen before. That being said, there are a few twists

that keep the audience interested and involved throughout the film.

In addition, there are some solid action scenes throughout and it is fun for the audience to see if and how Farraday and his crew will get away with their crime. Contraband manages to keep an air of lightness with the insertion of well-placed comedic elements.

The movie is clever and the ending ties up all loose ends very nicely, which definitely leaves viewers satisfied.

Even though the stor yline may be a bit played out, Contraband ser ves its purpose as a suspenseful action film. The audience never knows exactly what direction the stor y will go in, and seeing the creative heist is worth the watch. With A-list leads and a phenomenal ensemble, Contraband is worth the time and money for those looking for a good action film.

while both versions are of comparable lengths, Fincher’s seems to lack the same acumen for building suspense and streamlining the plot. As for the plot itself, some Americanization was considered necessary, and the absence of a few of the more brutal parts of the book has left Hollywood’s Dragon declawed.

While Daniel Craig is somewhat of a one-note actor, his one note is played well in this film, with his usual stoic persona fitting Blomkvist well. Rooney Mara gives a competent performance as Lisbeth as well, but

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still lacks the certain je ne sais quoi that Noomi Rapace (of the original) had in spades.

While The Girl with the Dragon Tattoo is not a bad movie, it just feels completely unnecessary. With almost nothing unique save for an intriguingly abstract opening sequence (which is admittedly similar to that of The World Is Not Enough), it’s difficult to recommend this version over the Swedish version. It seems as though this movie was made exclusively for moviegoers too lazy to read subtitles.

Page 10 • Inside Beat

January 19, 2012

MUSIC

The Weeknd

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Echoes Of Silence | B+

BY JOSHUA KELLY STAFF WRITER

Stepping into 2012, one should be familiar with Abel Tesfaye, or at least his moniker The Weeknd. In 2011, he set the blogosphere ablaze, self-releasing three mixtapes and collaborated with Drake on tracks “Crew Love” and “The Zone.” Listening to The Weeknd, you are met with a magnetizing irony: Tesfaye’s angelic, rich voice contrasted by the dark, grinding rhythmic music and lyrical context.

There is much hype over The Weeknd, which made it even more exciting when he announced the third and final par t of his 2011 takeover, Echoes of Silence. Echoes of Silence opens up with the song “D.D.,” a cover of Michael Jackson’s “Dir ty Diana.” Tesfaye does the song justice with his personalized rendition, which is a ver y dif ficult task to do well with Jackson’s work.

Other notable tracks on the mixtape are “The Fall,” “Initiation” and “Outside.” Tracks such as “The Fall” allow Tesfaye to collaborate with up and coming producer Clams Casino, which adds a new flavor to the mixtape that would otherwise not be present.

The track “Initiation” is seriously a trip; Tesfaye’s oscillating vocals blended with imposing rhythms gives one a sense of elation, while edged with a certain anxiety in partaking.

The Weeknd stands out as a truly unique R&B artist, with his own personality as a songwriter.

His songs are charged with energy that other mixtapes — or albums for that matter — in the arena haven’t quite met in recent years. You can grab Echoes of Silence, as well as the other two mixtapes (House of Balloons is amazing) from his Tumblr for free. Echoes of Silence is a great way to close out his 2011 reign, and with a full-length debut on the way, he may take 2012 as well.

LOCAL CORNER UP

AND C OMING A RTIST:

A NTWAN M ICHAEL @ S TUDIO 3NJ

BY EMILY GABRIELE MUSIC EDITOR

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If you haven’t heard the name Antwan Michael yet, it’s only a matter of time until you do. Hailing from Hightstown, N.J., this 21-year-old singer/songwriter is anything but traditional. He flirts with nearly every musical genre, making him a unique find. “My plan is that I want to create my own genre — which isn’t a genre. Music is an expression; so in every way shape or form I want it to be just that. I want it to be an expression of everything that’s happened to me. I just want it to be honest.”

With honesty on his side, Michael is in the midst of putting the final touches on his debut album. However, his album is far from the first of his musical endeav-

ors — his arsenal is filled with many character-building experiences. Michael has been interested in music since middle school. He tried out for school plays and temporarily enrolled in a school that specialized in performing arts. When the school shut down, he still continued for ward with his musical pursuits.

At the young age of 16, Michael first auditioned for American Idol, and did so ever y year following. His greatest accomplishment with the show was in season nine, where he made it to the top-50 contestants. “I was 43 out of the top 50, but who’s counting?” Michael playfully comments. Not going as far as he would have hoped in the Idol competitions, he decided to cultivate his talents by his own

means. Reaching out to local recording studio Studio3NJ, headed by Richard Taylor, Michael compiled a tentative 12-track album he intends to drop within the next eight to 12 weeks.

The debut album is titled, Where I Want To Be. Michael claims, “It’s like my child — straight up — my child.” The album’s first single is set to be an R & B track titled, “Stone Cold.” Well-known producer Pete Kuzma produced this track and it’s set to be featured on the VenLabs app DimSong.

Michael’s musical future holds much potential and he feels that where he is at in his musical career is ideal right now. “Right now in my life — at this very moment, by 21 — I wanted to have a full album recorded, and I’m exactly where I want to be.”

Inside Beat • Page 11

January 19, 2012

MUSCI

Enter Shikari A Flash Flood of Colour | B+

BY RYAN LIZOTTE STAFF WRITER

After three successful albums, it’s clear that this is where Enter Shikari wants to be. Hailing from England, Enter Shikari is an electro-punk quar tet that gained notoriety in England after the release of Take to the Skies in 2007. Sophomore ef for t Common Dread boasted a dif ferent sound, straying from metal influences as well as the band’s prototypical screaming. This has not been an easy journey for Enter Shikari, but A Flash Flood of Colour impresses on many levels, and is one of the first solid releases of 2012.

What makes A Flash Flood of Colour so different from all of Enter Shikari’s material is it’s ability to be extremely flexible and user-friendly. As soon as “System…” kicks in, we all know we are in for a treat. Roughton “Rou” Reynold’s clean vocals sound better than ever, and the song builds, and builds, then drops directly into “…Meltdown.” At this point, the electronics completely take center stage and you can feel the heavy dub influence. Songs like “Gandhi Mate, Gandhi” and “Warm Smiles Do Not Make You Welcome Here” rely solely on

electronics, while featuring little to no instruments.

Of course, Enter Shikari’s success is a testament to incredible songwriting. On this album in particular, the boys have stepped it up, lyrically and musically.

“Stalemate” showcases Enter Shikari dabbling with acoustic guitars and toying with harmonies as the band so often does.

“Sssnakepit” effectively “wobbles” its way into one of the top songs of the album, as it is also instrumentally the heaviest.

“Arguing With Thermometers” takes the cake for best song here, as it demonstrates ever ything great that Enter Shikari can do in one song. Featuring catchy, backing vocals from guitarist Ror y Clewlow and bassist Chris Batten, “Arguing With Thermometers” features ever ything that Enter Shikari has, including heavy electronics, gang chants and a catchy guitar riff.

A Flash Flood of Colour is one of the better albums that electronic punk fans have heard in quite a while. Enter Shikari effectively cashes in on what they already know, and ambitiously tread new waters, musically. The result is a great album and a great listen for any fan of upbeat, heartfelt music.

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Retrospect Review: The Black Keys El Camino| A

BY MIKE BITHER STAFF WRITER

It took almost 10 years for The Black Keys to become a success, but after the blues-rock duo’s Grammy-winning 2010 album Brothers became a massive critical and commercial hit, the Akron, Ohio natives were on ever ybody’s radar. The task of producing an equally impressive follow-up might have derailed a

less seasoned rock band, but The Black Keys’ long-deser ved commercial breakthrough culminates a decade-long slow burn of a career in which they’ve continuously honed their chops and paid their dues.

Released a mere year after Brothers, El Camino is the duo’s biggest, baddest and best record yet — showcasing a band that, even at seven albums deep, is showing no signs of peaking.

Danger Mouse, who produced the band’s 2008 record Attack & Release and the 2010 chart-topper “Tighten Up,” returns for El Camino and does just that; turning the screws to create a tighter, more cohesive record. In contrast to the murky soulfulness that characterized much of Brothers, each track is steeped in classicrock riffs and rhythms. Album opener and lead single “Lonely Boy” lays down the fast-paced,

hook-heavy and hard rocking template for the rest of the album.

“Little Black Submarines” is the band’s most epic and ambitious song to date. It has a “Stairway to Heaven”-esque acoustic buildup that explodes into a full-on rock assault that might just make it the best song in the band’s catalog.

El Camino is not just The Black Keys’ best album; it represents a new direction for the band while simultaneously sounding

like a perfectly natural fit. Guitarist, Dan Auerbach and drummer, Pat Carney are no strangers to change and have continued to update their sound from the pure guitar-drums minimalism of their early work to an arena-ready rockers of late. The Black Keys do not sound nearly ready to coast on their recent wave of success. Rather, it sounds like the duo is ready to become one of the biggest bands in the world.