FEBRUARY 23, 2012 • VOL. 30, NO. 2
INSIDEBEAT THE WEEKLY ENTERTAINMENT MAGAZINE OF THE DAILY TARGUM
The Academy Awards Oscar nominees vs.
Oscar ought-to-be’s • IMPACT O IT R R U C • • GRIMES IN IE T S P E K • MITCH C A L B IN E WOMAN H T • R E Z RA YUKSEK •
Page 2 • Inside Beat
February 23, 2012
ART COURTESY OF MAURICIO LIMA
ART
OF THE
BY ELENA GEORGOPOULOS STAFF WRITER
When hearing the term “graffiti,” most people think of bubble letters and thin scrawls spelling out names and obscenities. However, in recent years graffiti has not only become accepted as legitimate artwork meant for large public display, but also used to demonstrate political activism. The latest example comes from São Paulo, Brazil where class warfare has resulted in people expressing
themselves in paint, not words. While political or social messages in the works are not usually explicit, their frequent use as of late is a response to the current environment where there is a clear divide between the haves and have-nots. These graffiti artists respond to the destruction that gentrification has brought on Brazil’s urban areas by decorating the city’s tallest and wealthiest buildings with words and images, thus drawing attention to the increasing disparity in the government’s pro-
RYAN SURUJNATH.....................................................ASSOCIATE ASHLEY PARK...................................................ASSISTANT
EDITOR EDITOR
FREDDIE MORGAN............................................................................TV EDITOR EMILY GABRIELE.......................................................................MUSIC EDITOR HEATHER TEDESCO................................................................THEATER EDITOR ZOË SZATHMARY....................................................................FASHION EDITOR SASKIA KUSNECOV..................................................................ART EDITOR JILLIAN PASON..........................................................................COPY EDITOR NOAH WHITTENBURG.................................................................PHOTO EDITOR ALEX NATANZON............................................................................FILM EDITOR JASON PEARL.............................................................................ONLINE EDITOR RYAN SURUJNATH...........................................................VIDEO GAMES EDITOR
grams. Even if Brazil’s government chooses to ignore these public pleas, other groups, such as the Berlin Biennale for Contemporary Art have taken notice, asking one of the acting gangs to attend its seventh incarnation. No matter how big or small it is, it is art and no amount of oppression or contempt can erase that. These graffitists should be called artists, for they are unabashedly being part of the human experience of reacting and creating.
INSIDEBEAT
EDITORIAL BOARD Z OË S ZATHMARY .................................................... EDITOR
PEOPLE
THIS WEEK’S CONTRIBUTORS TO INSIDE BEAT : Mike Bither Tammy Chiou, Jessica Espinosa Elena Georgopoulos, Josh Kelly, Ryan Lizotte, Emily Maas, Rebecca Makulowich,Lisa-Anna Migliore, Shani Pleasants, Kevin Ray Javier Salvador
Cover Photo Courtesy of Allmoviephoto.com
Rutgers Student Center 126 College Avenue, Suite 431 New Brunswick, NJ 08901 Phone (732) 932-2013 Fax (732) 246-7299 Email beat@dailytargum.com Web www.inside-beat.com Advertising in Inside Beat, Call (732) 932-7051 Monday through Friday, 8:30 a.m. to 4:30 p.m.
Inside Beat • Page 3
February 23, 2012
ART & THEATER COURTESY OF MITCH EPSTEIN
Mitch Epstein: Tree Photography BY SHANI PLEASANTS STAFF WRITER
Photographer Mitch Epstein has taken a turn away from modern, digitally-edited pop-culture-machine photography and has reverted to the ghostly romanticism of black and white pictures. His pictures of nature are dramatically appealing to the eye, as they are a cooling relief from a world of color. Additionally, the
gray scale brings out the depth of the trees in contrast with the pale sky behind them. By capturing the tree as the center of the composition, Epstein dramatically adds an appeal to the entire piece. It is as if he invites viewers into the photograph; the centered composition really contributes to the experience the viewer has when engaging with his work. His trees have a universal sentimentality. The eye smoothly travels up
the coarse tree trunks, gets lost in the entanglement of contorted branches and explodes over masses of leaves. His photography brings viewers back to nature; the stillness and fragility seem to hold a message of power and boldness that have seemingly been forgotten. Perhaps Epstein just wanted us to take time to mark the way these trees climb toward the sky and demand to be noticed.
COURTESY OF CAROL ROSEGG
FIDDLER ON THE ROOF Matchmaker Touring, LLC| B+
BY ASHLEY PARK ASSISTANT EDITOR
When is the time to abandon tradition in favor of change? This is certainly a question of concern in Fiddler on the Roof. Now on tour, Matchmaker Touring, LLC presented the musical at the State Theater last Friday and Saturday to packed audiences. Set in twentieth century Tsarist Russia in the small village of Anatevka, the plot circles around Tevye (John Preece), a Jewish father in a situation similar to Mr. Bennett’s in Pride and Prejudice – stuck with the responsibility of marrying off his five daughters to “good men” despite his poverty and low social standing. One by one, his oldest COURTESY OF LARRY LEVANTI
three daughters defy his wishes and long-standing Jewish marriage traditions. They force Tevye to choose between his love for them and his beliefs. Meanwhile, the Russian government threatens the constancy of Anatevka. Such serious subject matter is well balanced by a large helping of comedic relief, especially from the interactions between henpecked Tevye and his nagging wife, Golde (Gerri Weagraff). Throughout the play, pious Tevye misquotes “the good book” and shrill Golde, tired of his silly sayings snaps, “The good book can wait, it's time for Sabbath.” Additional lighthearted songs like “Matchmaker” and “If I Were a Rich Man,” the precedent for
Gwen Stefani’s “Rich Girl,” are full of laughter. The play plot, based on the book written by Joseph Stein, is rather fast-paced and rushes through the love stories of Tevye’s three oldest daughters: Tzeitel (Brooke Hills), Hodel (Sarah Sesler) and Chava (Chelsey LeBel). Unlike Pride and Prejudice, in which the romance between Elizabeth and Darcy is the driving force of the plot, the ardors of the daughters of Tevye are given equal attention, denying their potential to become more rounded and moving. For example, in one scene, Tevye rejects the love between Motel (Andrew Boza), the poor tailor, and Tzeital, and in the next, he gives them his
approval to be married. There is little time to explore the pain of denied love for each of the couples. Therefore, it is relatively easy to sit through the play dry-eyed. If not the lovers, the dr ying force is Tevye himself. In his whimsical soliloquies, the audience watches him seesaw in an internal battle between tradition and change. However, peoplepleasing Tevye is too quick to acquiesce to the side of change in some of these struggles, making him seem more silly and capricious than pensive. Despite the stor yline’s faults, the actors, with their singing, clapping, stomping and dancing, injected it with life and cultural flair. Between the crashing cym-
bals, whining of violins, Golde’s shrill soprano and Tevye’s operalike projection, Fiddler is definitely a loud and in-your-face kind of play. The variety of musical numbers ranges from the solemn “Sunrise, Sunset” to the sweet “Do You Love Me?” to the joyful song, “To Life.” Fiddler on the Roof is a play about transition and change and its effects on identity. With such powerful external forces, like politics and love, Tevye must reevaluate his hardened beliefs in order to be a good father. The play seems to leave its audience with the question, “What happens to our identity when our beliefs no longer concord with the happenings in our lives?”
Much Ado About Nothing The Rutgers Theater Company| C+ BY REBECCA MAKULOWICH STAFF WRITER
Has Shakespeare been overdone? On Feb. 3, The Rutgers Theater Company debuted Shakespeare’s comedy Much Ado About Nothing at the Philip J. Levin Theater. Directed by Chris O’Connor (A Midsummer Night’s Dream), The Rutgers Theater Company put on a traditional Shakespearian play with an ambitious (but at points inappropriate) modern twist. Much Ado is a quirky comedy with parallel plot lines that tells the story of two vastly different couples who find love and suffer the effects of a betrayal. The cast members, in many ways complement one another, but also re-
vealed their difficulty with diction, making the play difficult to understand from purely listening. The occasional awkward mix of modernity and traditional Shakespeare created a fairly confusing setting. The play, set shortly after the end of World War I, is full of late 1920s jazz-esque music and dancing inappropriate to the time period set by the stage and costumes. The production showed the ambition on the parts of the director and cast, but in some ways falls short. Although not perfect, Much Ado About Nothing can make you laugh chuckling from start to finish. Full of slapstick humor and a tremendous amount of physical comedy, Much Ado succeeded in properly entertaining the audience. RTC performed
the play as Shakespeare wrote it. What the cast lacks in articulation was made up for in stage direction. The body language and physical comedy of the actors distracted the audience from the actors’ poor diction and contributed in making the play easy to follow. The level of acting far surpassed that of an unprofessionally trained theater company. With a tremendously detailed set and an impressive costume collection, it’seasy to be drawn into Much Ado About Nothing. Overlooking the few complications, this production was very much worth seeing; it makes for a relaxing night out away from the books with some laughs thrown in. Much Ado is littered with talent and proves to be an entertaining production.
Page 4 • Inside Beat
February 23, 2012
FOOD & FASHION COURTESY OF RACHAEL HARRIS
CURRITO 126 College Avenue| B+
BY LISA-ANNA MIGLIORE STAFF WRITER
Currito, the newest hot spot in the Rutgers Student Center’s food court, is dishing out healthy Mexican-inspired cuisine. According to owner Sanjay Reddy, students can work with the chefs to create their own unique meal out of produce and meat raised in the Central New Jersey area. “There is a lot of work we put into the ingredients,” Reddy said. Known for their “burritos without borders,” Currito also serves quesadillas, salads and chips with their freshly made salsa or guacamole. One can either bite into seven signa-
ture burritos or come up with their own creative concoction. One of their most popular dishes is the Summer Burrito, which is composed of a flour tortilla, cilantro lime rice, mango salsa, black beans, Colby jack cheese, sour cream, salsa or guacamole as an additive. The tortillas are a bit tough at first, but soften with each bite. The sour cream makes the dish creamy, the moist chicken adds some spice and the mango salsa adds a pleasantly sweet touch. The mango salsa, composed of nice bite-size pieces of chewy mango, balances nicely on the palate, especially against the zesty
chicken. According to Reddy, the chicken is marinated overnight in pepper and other secret ingredients to give it a kicking flavor. A large burrito can easily be split between two people looking for a light lunch. The Currito House Salad is gratifying both to the eyes and taste buds. The hefty salad, which can also be split by two, is composed of lettuce, chicken, feta cheese, pico de gallo, corn salsa, scallions and Currito’s signature creamy lime dressing. For the dressing, salt, lime juice, cilantro, jalapenos, chipotle puree, ranch dressing, honey, red onions and sour cream are
all blended to create its smooth yet potent taste. The presentation pops with beautiful reds, greens, yellows, purples and whites, which makes the dish even more tempting. In reference to their burritos, the ingredients could be better mixed. Because the ingredients are layered on top of a foundation of rice, one bite can be filled with salsa while another may only get only chicken and rice. Subsequently, on one side there is a heavy layer of rice while the other is composed of all the chicken, beans and salsa. Nibblers should beware, but those who take big bites should have
no problem. Their spiciness of their medium and hot salsa is also lacking and could pack a more powerful punch. Nonetheless, Currito reliably serves exactly what they promise: tasty, Mexican-inspired dishes with an extra healthy zing. If one is not craving Mexican food, there are other ethnic options to choose from: Thai-style Bangkok, Teriyaki, Cajun, Buffalo and Mediterranean. They also offer brown rice as an even healthier replacement for their cilantro lime rice and tofu. Currito will be sure to satisfy the urges of those hoping for something other than an average burrito.
COURTESY OF STYLE.COM
Impact Collision BY ZOË SZATHMARY INSIDE BEAT EDITOR
The month, the Fashion Institute of Technology (FIT) is honoring the largest fashion trade organization, the Council of Fashion Designers of America (CFDA), with a special exhibit. Titled Impact: 50 Years of the CFDA, the show features 100 pieces made by top designers from the last 50 years — these include Halston, Tom Ford and Ralph Lauren. In recent years, the CFDA has been essential in raising awareness of up-and-coming designers — its annual partnership with VOGUE Magazine provides financial support for new talent. However, it must be noted that the CFDA has also played a critical role in stressing the importance of “brand names” to American consumers. Regardless of financial motivations, the pieces offered at FIT’s new exhibit are exquisite. Impact: 50 Years of the CFDA runs until April 17. Admission is free to the public.
Inside Beat • Page 5
February 23, 2012
VIDEO GAMES COURTESY OF SONY
BlazBlue: Continuum Shift Extend Arc System Works| BBY KEVIN RAY JAVIER SALVADOR STAFF WRITER
Originally conceived in 2008, BlazBlue has become Arc System Work’s new franchise, practically taking place of the company’s famous Guilty Gear series. Since then, BlazBlue has become a more mainstream fighter on par with those of Capcom’s. Unlike Capcom’s fighting games, Arc System Works does not simply rerelease the same fighters over and over, as was the case with Ultimate Marvel vs. Capcom 3. In fact, BlazBlue: Continuum Shift was able to extend the life of the game by adding new DLC characters that were not already on the game’s disc. However, is the latest game in the franchise, BlazBlue: Continuum Shift Extend, simply another rerelease? Unlike the original BlazBlue: Continuum Shift, this game already comes with all of the latest DLC
characters, specifically Valkenhain, Makoto and Platinum, while introducing a new character: Relius Clover, the father of Carl Clover. Even though Relius Clover is the only new character and appears to be a clone of Carl Clover, he is, in actuality, considerably different. Unlike Carl Clover, his assist character appears and disappears on command, whereas Carl Clover’s assist character was always present and required specific commands merely to move. As an added surprise, Relius Clover’s Astral Heat attack varies from each character and in some cases, he has special dialogues with the likes of Hazama and his own son. Aside from the new character, the game not only incorporates a new storyline but also allows players to play the storylines of the past two games without the annoyance of having to purposely lose matches for a full completion On the downside, the fact remains that, unlike Ultimate Mar-
vel vs. Capcom 3, Relius Clover is the only new character introduced whereas Capcom’s fighter took the time to create 12 new characters for the re-release. Even though this game has more single player content, the multiplayer aspect of the game is barely affected, seeing as diehard fans would have probably shelled out the cash for the DLC characters months before this game was released. That is not to say that there is anything wrong with the multiplayer aspect, but it merely seems to be the case of “if it ain’t broke, don’t fix it.” If you are new to the series or if you missed any of the previous BlazBlue games, this is definitely the game to get and remains a solid game. However, those who already have the previous games and don’t feel like spending money for one more character and storyline, have no reason to buy this game.
Tec h Spotlight : The Razer Switc hblade COURTESY OF RAZER
BY RYAN SURUJNATH ASSOCIATE EDITOR
With the PlayStation Vita’s U.S. launch well under way, the Internet is saturated with articles attempting to predict the future of handheld gaming. Unfortunately, the numbers don’t look promising for Sony’s fancy new device; sales in Japan have all but stagnated, and the figures appear to get worse with each passing week. Things look better at the Nintendo camp; despite the fact that the company is hemorrhaging money, first year 3DS sales are now projected to surpass those achieved by the original DS. Despite the un-
certainty surrounding handheld gaming, there is a third portable system that is currently under development: the Razer Switchblade. The Switchblade first debuted at last year’s Consumer Electronics Show, where it wowed audiences and took home the Best of CES People’s Voice award. The Switchblade is a sleek piece of hardware, measuring at 175x115x25 millimeters when folded shut; it is only slightly larger than a standard Nintendo DS. When opened, the Switchblade sports a 7” LCD touch screen and an OLED keyboard. Razer hopes that its experimental portable gaming solution will help make PC gaming more acces-
sible and mobile. Indeed, upon first glance, the Switchblade could be mistaken for a netbook. It, however, is much more powerful and sports a number of interesting features. First and foremost, Razer is intent on having the Switchblade run on a full version of Windows 7. While the hardware specifications are tentative, Razer has stated that their system will include Wi-Fi and 3G capabilities, an internet browser, a built-in webcam, a 128 gigabyte solid state hard drive and USB and HDMI slots. The Switchblade will apparently be powered by a customized Intel Atom processor that promises gaming-level performance. There is currently no
information of what type of GPU the Switchblade will use. The Switchblade’s trademarked feature is its unique keyboard. Each key has a small OLED screen underneath it, and the keyboard will dynamically adapt to the player’s current game. For example, if a player were to be playing World of Warcraft, he or she could change the keyboard from a standard QWERTY format to a format that emulates the in-game HUD. With the Switchblade, Razer promises a remedy two of the problems that have plagued PC gaming: portability and price point. Almost all current netbooks are horrendously under-
powered and are incapable of playing relatively new games. Alienware has perhaps come the closest to creating a small, gaming-caliber laptop with its M11x. Unfortunately, the M11x is still heavier than other computers of comparable size and comes at a rather hefty price. While the company is yet to release an official figure, Razer has hinted that the Switchblade will be priced to compete with netbooks. Hopefully, the Switchblade will see the light of day. As of now, it is only a concept model, but with all the features it promises to bring to the table, gamers should definitely be on the lookout.
BY ASHLEY PARK
money raining from the sky, keep track of the sneaky thief Jailbird Jake and power their hotels with the Electric Company. It’s so incredibly engaging that players might as well open a real hotel. The compulsion to collect tips every three minutes might be too strong for some. If EA readjusted the game to work on more time-management-friendly schedule, it would be perfect. Easily addicted gamers should avoid MONOPOLY Hotels at all costs and stick to more non-committal apps like Temple Run and Words with Friends.
ASSISTANT EDITOR
M ONOPOLY H OTELS EA Games| B+
On one hand, MONOPOLY Hotels is a game amped up on fresh new features for Monopoly moguls; on the other hand, it is one of those diabolically “free” apps rife with ingame purchases designed to keep players busy for hours. The concept of the game is simple: Mmake money by building hotels with familiar names, like Mediterranean and St. James. In addition to building rooms and attractions, players can collect tips from guests, tap on
The 84th Acad
On Sunday, Feb. 26, the red carpet will roll out again to grace the feet of filmmakers and celebrities. The ceremony in the film industry: The 84th Academy Awards. In honor of such a momentous occasio B Y A LEX N ATANZO
NODS MICHELLE WILLIAMS (BEST ACTRESS): MY WEEK WITH MARILYN Being the “sexiest woman in the world” is no easy feat — and Michelle Williams, as ’50s bombshell Marilyn Monroe working on the filming of The Prince and the Showgirl, reveals the insecurities and instabilities behind the famous curves and satin evening gowns. Williams nails Monroe’s girlish giggle and preening, as well as the desperation inherent in all of her actions. Williams dominates each scene she is in and serves as an object of every male character’s fantasy; of course, as she explains to production assistant Colin Clark (Eddie Redmayne), she’s simply playing “Marilyn Monroe.” The fact that Williams is able to show multiple layers of a woman’s identity, including the knowledge of self-construction, is an amazing feat. She is 2011’s Best Actress. –Zoe Szathmary, Inside Beat Editor
MONEYBALL In some of his best work to date, Brad Pitt plays Oakland Athletics’ general manager Billy Beane, who is tasked with building a competitive baseball team in a sport that is dominated by big money goliaths like the New York Yankees. The film is powerfully acted, with Pitt managing to put a lighthearted spin on the somewhat dry subject material. The writing is exemplary; the screenwriters manage to construct compelling dialogue while avoiding the complex and alienating lingo of sabermetrics. As such, Moneyball is accessible to non-baseball fans and could be considered one of the finest sports movies ever made. –Ryan Surujnath, Associate Editor
GARY OLDMAN (BEST ACTOR): TINKER TAILOR SOLDIER SPY He was once a punk-rocker, an intergalactic smuggler, a drug addicted crooked cop, a disfigured serial killer and even Count Dracula, but Gary Oldman has most recently adopted the role of British MI6 agent George Smiley in Tomas Alfredson’s masterful film adaptation of John le Carre’s classic spy novel, Tinker Tailor Soldier Spy. Gary Oldman is one of the most multi-dimensional character actors of this generation. Like a chameleon, he adapts to each new persona he portrays, completely absorbing all the mannerisms and personality traits of the character. In Tinker, Oldman plays a middle-aged Smiley, who is called out of retirement to investigate a potential mole in British Intelligence. Oldman is able to showcase Smiley’s meticulous planning, his self-assuredness, his composed strategic method and even his vulnerabilities. Gary Oldman is more than deserving of the Oscar nomination. It’s a shame he wasn’t acknowledged earlier. –Alex Natanzon, Film Editor
MICHEL HAZANAVICIUS (BEST DIRECTOR): THE ARTIST Few could make a black-and-white silent film as endearing to modern audiences with the skill that Hazanavicius does. With a natural affinity for the style of silent era cinema as well as a fantastic eye for detail, Hazanavicius makes The Artist a visual pleasure. One particular highlight of the film involves a nightmare sequence in which the main character, George Valentin (a silent film star), dreams that he is unable to speak. Up until this point in the movie, the only sounds are those of the score, but as the protagonist slowly becomes aware of his loss of speech the Foley in the scene can be heard for the first time. This surprises Valentin as well as the audience, making it one of the most memorable scenes in a film filled with them. –Jason Pearl, Online Editor
MIDNIGHT IN PARIS City dweller Woody Allen makes it to Paris in his gem, Midnight in Paris,one of this year’s Best Picture nominees. The film follows a Hollywood writer on vacation with his fiancé, where they begin to struggle with differing life views. Inez (Rachel McAdams) is content with a diamond ring and a guided tour, while Gil (Owen Wilson) is a romantic, infatuated with the life he never had — that of Lost Generation writers in 1920s Paris. This all changes when the life he desires comes to pick him up in a carriage for a midnight stroll in time. The film’s emphasis on nostalgia and appreciation for art is clearly executed in its masterful scenic design and hilarious character adaptation. If not a Globe-winner, this is a film that will surely remain in the hearts of its viewers for years to come. –Saskia Kusnecov, Art Editor
HUGO When it was announced that Martin Scorsese was directing a PG-rated film based on a children’s novel, more than a few people imagined a Boardwalk Empire-esque scenario with tame language and juice smuggling. However, his film adaptation of The Invention of Hugo Cabret is not just the best kid’s movie this year but possibly the best film overall. With stunning visuals and wonderful performances by both the child actors and Ben Kingsley, it is also a treat for movie lovers with its proper tribute to film pioneer George Méliès, showing that dreams never have to be just that. –Elena Georgopoulos, Staff Writer
GEORGE CLOONEY (BEST ACTOR): THE DESCENDANTS The Descendants is about the life of Matt King, a man who does his best to put his family back together after his wife suffers severe head trauma. George Clooney is clearly not in his usual framework of character in this film, and he does well to break new ground in his acting. Here, he is superbly genuine, both realistic and touching. Though he is usually not portrayed as a family man, his chemistry with his two daughters in the film comes off with no effort. He deserves to win Best Actor for his role in this gem of a film. –Jessica Espinosa, Staff Writer
demy Awards
e stars will all be in attendance at the Kodak Theatre in Hollywood, Calif., for the most prestigious award on, members of Inside Beat’s staff share some opinions on their favorite nods and snubs of 2011. ON , FILM EDITOR
SNUBS A DANGEROUS METHOD David Cronenberg abandons the body horror genre and explores the twisted workings of the mind in the costume drama A Dangerous Method. Michael Fassbender excels as Carl Jung, the Swiss physician intent on using "the talking cure" — psychiatry — on Sabina Spielrein, a troubled Russian Jew (Keira Knightley). Fassbender captures a wide range of emotions, including lust, curiosity, repulsion and guilt concerning his tumultuous intellectual and sexual affair with Spielrein. Knightley, unfortunately, mopes around using awkward mannerisms and a Dracula accent when Jung refuses to keep spanking her. An avuncular Viggo Mortensen sits in the shadows, happily puffing away on cigars as Sigmund Freud. Overall, the film should get more recognition for its captivating protagonist and crisp art direction showcasing 1890s Vienna.
SENNA (BEST DOCUMENTARY) For many, Ayrton Senna was more than a mere Formula One driver; his on-the-track success and off-the-track philanthropic work made him one of the sport’s most admired figures. Asif Kapadia’s masterful documentary tells a raw and emotional story that accurately portrays the intensity of Senna’s character. Though it has received numerous accolades at the 2012 BAFTAs, including a nomination for Outstanding British Film, the Academy chose not to nominate Senna for Best Documentary, perhaps reflecting American disinterest toward Formula One and robbing this story of the recognition it deserves. –Ryan Surujnath, Associate Editor
COURTESY OF CLUBSPORTIVA.COM
–Zoe Szathmary, Inside Beat Editor
DRIVE Nicolas Winding Refn’s highly stylized thrill ride Drive steers away from the typical Hollywood blockbuster in the best possible way. Ryan Gosling unearths another layer of his acting talent as the silent protagonist simply referred to as the Driver, who is reminiscent of Clint Eastwood’s, Man with No Name. The Driver takes on various odd jobs involving dangerous driving missions until his routine lifestyle is interrupted when he takes a liking to his beautiful neighbor Irene (Carey Mulligan). The film is a breath of fresh air, as the unneeded, generic dialogue typical of blockbuster films is avoided and replaced by exquisite visuals. The story is simple yet embraces and excels in its simplicity. The cinematography in this film is unique, comprised of intense graphic visuals and sharply effective angles, as in a memorable scene in which Gosling and Mulligan’s characters share a passionate kiss in an elevator. –Alex Natanzon, Film Editor
50/50 This semi-autobiographical comedy penned by newcomer Will Reiser features the perfect combination of levity and sentimentality. 50/50 stars Joseph Gordon-Levitt as a radio journalist diagnosed with a rare form of spinal cancer. Throughout his ordeal, his best friend, played by Seth Rogen, provides some of the most hilariously obscene lines heard in a movie theater this past year. The break-up scene between Levitt and an unscrupulous girlfriend is one of the best in recent memory, mainly because it consists of Rogen unleashing a tirade of comical insults at the offending woman while a mostly dumbfounded Levitt watches on. Unfortunately the Academy’s failure to recognize 50/50’s sharp and witty screenplay, or any other component of the film for that matter, is one of the most egregious snubs of this year’s nominations. –Jason Pearl, Online Editor
JOSEPH GORDON-LEVITT (BEST ACTOR): 50/50 In 1999, Joseph Gordon-Levitt entered our hearts with his performance as the endearingly awkward teenager in 10 Things I Hate About You. In 2005, he challenged our wits as the teenage detective in the bizarre mystery Brick. He grew up in 2009 to break hearts all across the country as sappy and romantic cardmaker Tom, in 500 Days of Summer. By 2011, Joseph Gordon-Levitt’s sad-puppy presence inherently brought us all to tears in the dark comedy, 50/50. It’s good to have actors who can make you swoon, scream and swear, but it’s very rare to have a male actor that can make you cry — every time. While not a nominee, Levitt is a gem that will haunt our teenage hearts forever. –Saskia Kusnecov, Art Editor
X-MEN: FIRST CLASS X-Men: First Class follows the lives of mutants and the struggles they face trying to fit in with human society. This is a prequel to the other films in the series and does an amazing job at giving new insight to the already extensive mythology of the X-Men movies. First Class takes place during the Cuban Missile Crisis and focuses on the very important relationship between Erik and Charles before they became Magneto and Professor X, respectively. The star-studded cast does not disappoint in this exciting, informative prequel. –Jessica Espinosa, Staff Writer
ARTHUR CHRISTMAS Christmas movies come and go and usually audiences don’t bat an eye, yet Aardman Animations’ latest endeavor sticks with its viewers long after the Christmas decorations have come down. Arthur Christmas follows one of Santa’s sons as he tries to deliver a toy that was forgotten at the North Pole before Christmas morning arrives. It’s an astounding movie in nearly every way: It has personal voice acting, beautiful animation, themes that are heartwarming but not vomit-inducing and a satirical hilarity that portrays Christmas as so commercial that even Santa struggles to make it through the holidays. –Spence Blazak, Staff Writer
For more nods and snubs, check out our website: www.dailytargum.com/inside_beat!
PHOTOS COURTESY OF ALLMOVIEPHOTO.COM
Page 8 • Inside Beat
February 23, 2012
FILM COURTESY OF ALLMOVIEPHOTO.COM
GHOST RIDER: SPIRIT
OF
VENGEANCE
Mark Neveldine and Brian Taylor | D+ BY JASON PEARL ONLINE EDITOR
The reason that a sequel to the critically panned Ghost Rider was made is simple: so that Sony could prevent the character’s licensing rights from reverting back to Marvel. This slipshod film should be condemned for that reason alone, but even with corporate skullduggery set aside, Spirit of Vengeance is a cinematic failure in nearly every conceivable way. The story picks up roughly eight years after the original Ghost Rider
film, with Johnny Blaze, aka Ghost Rider (Nicolas Cage, National Treasure), sulking around in Eastern Europe. When approached with an offer to have his curse lifted by a mysterious monk (Idris Elba, Thor), Blaze begrudgingly accepts. His mission is to safeguard the Devil’s heir and to prevent that scion of Hell from falling into his father’s clutches. Along the way, Ghost Rider must contend with an assortment of what must have been budget-priced mercenaries, one of whom is turned into the demonic Blackout (Johnny Whitworth, CSI: Miami).
Directorial duo Mark Neveldine and Brian Taylor already have more than a few skeletons in their closet (Crank, Gamer, Jonah Hex), and their style in this film can only be described as epileptic. The choppiness of the movie’s cuts is only exceeded by the shakiness of its cameras. Further subtracting from Spirit of Vengeance’s quality is the surprisingly inferior screenplay from Dark Knight scribe David S. Goyer. The script is predictable, clichéd, uninteresting, inaccurately adapted and filled with generic dialogue. Worst of all,
there are three points in Spirit of Vengeance in which the film cuts away to a poorly animated sequence simply for the purpose of heavy-handed exposition. Nicolas Cage returns to the role in which he was inexplicably cast with his usual outrageous persona. Regardless of the fact that Cage looks and acts nothing like the Johnny Blaze of the comics, the way he plays Ghost Rider is worse. As the titular Spirit of Vengeance, Cage acts like the unholy spawn of the Hulk and a drugaddled sparrow; his entire
performance as the Rider is made up of grunts, twitches and shouts. For the most part the other actors give half-hearted efforts as well, with the exception of Johnny Whitworth, who clearly knows he’s in a terrible movie and gives an especially over-the-top portrayal of the villain Blackout. Despite several moments of unintentional hilarity throughout, Ghost Rider: Spirit of Vengeance is a complete travesty that should be avoided by all but the most diehard B-movie fans. For anyone else, they’d be wishing that their skulls were on fire.
The Vow Michael Sucsy | BBY JESSICA ESPINOSA STAFF WRITER
The Vow, starring Rachel McAdams (The Notebook) and Channing Tatum (Dear John) as couple Paige and Leo, is roughly based on the true story of a newlywed couple who went through a tragic car accident, after which the wife woke up and couldn’t remember the last 18 months of her life. This film handles the subject matter well and the actors perform wonderfully, though the director misses many opportunities to make this movie so much more. The Vow begins with the aforementioned accident, which could have been more emotionally troubling for the audience had it been shown after a few minutes of getting to know the couple and their relationship more intimately. Showing the accident, which drives the story so early on, takes away from its intended effect. The director chooses to show glimpses of how Leo (Tatum) and Paige’s (McAdams) relationship used to be, but these moments fail to fully capture all the intricacies of their intimate and rich relationship. Fleshing out their love story before the accident would truly strengthen the loss of their relationship in the following scenes of the film and would also balance the effect the accident had on their lives. What drives this movie and separates it from typical romantic motion pictures are the charac-
ters. The screenplay is very wellwritten and has a realistic tone to it. There are many moments where the viewer will feel frustrated because of the way Leo suffers, trying so hard to get his wife to love him again. Though he tries his best to be patient and help her remember the life they built together, he is constantly faced with obstacles. Paige is an almost unlikeable character because of the way she treats her husband, who in her eyes is a complete stranger. Director Michael Sucsy does a fine job of defining the struggles between the characters and showing how people can interact when put into impossible situations. The two characters go through highs and lows, but what could make this story better would be for the director to show more, instead of having Leo’s character constantly recount how things “used to be.” Tatum plays his character well, coming off as both very loving and assertive. McAdams has been in many romantic comedies, and she never seems to fail or disappoint. Her line delivery and facial expressions are very graceful and enjoyable to watch. The Vow is about a couple who have to decide whether their love can survive a second chance — a stor y of perser verance. The basis of the underlying stor y is what makes this film feel more relatable and gives it a new sense of realism not seen in most movies of its kind.
Inside Beat • Page 9
February 23, 2012
FILM
This Means War McG | B
COURTESY OF ALLMOVIEPHOTO.COM
BY JESSICA ESPINOSA STAFF WRITER
The idea of two men fighting over the affections of an unbeknownst woman has been portrayed numerous times, but This Means War manages to make it uniquely entertaining and humorous. Tuck (Tom Hardy, Inception) and FDR (Chris Pine, Star Trek) are not only partners in the CIA but also best friends, which ups the ante in a deal they make to fight for the attention of Lauren Scott (Reese Witherspoon, Legally Blonde). What begins as a “gentlemen’s agreement” to stay out of each other’s way leads to hilarity when the two can’t help themselves and end up using the CIA’s high-tech resources to ruin each other’s romantic plans. Chelsea Handler (Chelsea Lately) stars as Lauren’s confidante and best friend. Handler is a well-known comedian, and as many comedians starring in films before her, this movie role does does not do her comedic abilities justice. For the most part, her character does well but there are certain lines and scenes that are cringe-worthy at best. This could have been avoided by either choosing more natural-sounding lines or through better direction from McG. Her line delivery feels very forced at times and takes away from the comedy.
The screenwriting pair of Timothy Dowling and Simon Kinberg do did an excellent job of creating truly realistic characters. Tuck and FDR in particular have backstories, which makes them seem more human and multidimensional. Though this movie is a romantic comedy and should not be taken too seriously, the characters grow and change throughout the stor y. Having such a well-written screenplay contributes to the entire production and makes the movie feel like a real journey for the characters from beginning to end. Hilarity ensues as the film continues; on, much of that has to do with how various dates go between the three members of the love triangle. Though this romantic comedy has a predictable order of events typical of other films in the genre, the jokes and line deliver y make it so amusing that the audience will ignore this predictability. Pine’s and Hardy’s characters truly seem like best friends while they por tray a relationship akin to a sibling rivalr y. Lauren is more of a tool in the screenplay to develop Tuck and FDR. This Means War is by no means a film that will be remembered a few months from now. That does not change the fact that is enjoyably funny. COURTESY OF ALLMOVIEPHOTO.COM
T h e Wo m a n i n B l a c k James Watkins | B+
BY LISA-ANNA MIGLIORE STAFF WRITER
James Watkins’ latest horror film, The Woman in Black, successfully proves that a chilling adrenaline rush can be invoked in audience members without relying on gore or exhaustive amounts of CGI. Watkins’ ghost story focuses around young Arthur Kipps (Daniel Radcliffe, Harry Potter and the Deathly Hallows: Part 2), a widowed lawyer who journeys to a remote village with a haunting secret. Echoing the plight of Dracula’s protagonist, Jonathan Harker, the poor outsider Kipps cannot fathom why
everyone is so anxious to keep him away from the abandoned estate Eel Marsh. However, he is driven to finish handling the assets of its recently deceased owner, Alice Drablow, by thoughts of his 4-year-old son waiting for him back in London. However, he soon comes face to face with a vengeful figure dressed in black whose secret past may lend answers to the increasing deaths of children in the town. As Danielle Radcliffe’s first major acting role following the conclusion of the Harry Potter series, The Woman in Black severs the umbilical cord connecting audience members’ association with
Radcliffe and the young boy with the lightning bolt scar. Radcliffe compellingly entails the inner determination of Kipps, a father trying to stabilize his life following the death of his beloved wife, from start to finish of the film. The complexity and beauty of the film showcases the maturity of his acting style. Granted, at first it’s awkward to fathom Radcliffe as anything other than the wizard we’ve all come to know and love, but his quality performance gradually increases spectator acknowledgement and enjoyment of the actor in this new setting. The suspense that drives this film builds out of three things
modern horror films are increasingly starting to lack: visual anonymity, manipulation of sound and an anti-cliché ending. From murky swamps, shadowy hallways and foggy enveloping clouds, this film exercises its right to put both the main character and audience in the dark, unaware of what lies beyond what is visible, in many artistic ways. From screams to crow caws, Watkins’ understands when to perfectly cut a sound and introduce an unwelcome one in order to invoke a most thrilling sensation in spectators. The jarring ending of this film also heightens its tension and leaves
viewers shaking even after the credits start rolling. Though this film could have been a lot scarier, it serves as a delightful thrill into the haunted world of the woman in black. The film, which is only 90 minutes long, should have added at least one more frightening scene among moments in the narration of equilibrium. Nonetheless, The Woman in Black serves as an impressive ghost story that relies on real world elements to create a feeling of raw terror. Creaky floor boards, dancing shadows and dolls from hell all replace the trepidation that modern motion pictures generate in post-production editing.
Page 10 • Inside Beat
February 23, 2012
MUSIC
Blondes | B BY TAMMIE CHIOU STAFF WRITER
Though the Blondes are not shy as other artists who prefer complete anonymity, the two Oberlin graduates don’t seem to make a big fuss about their appearance as opposed to their compositions. The self-titled album on paper is quite short, having only eight songs. However, each song goes on for at least six-and-a-half minutes. This brings about an immersive effect, giving listeners time to experience the song without regard to any need for choruses or bridges. The songs pairs off into four couples with dichotomous names: “Lover” followed by “Hater” and “Business” preceding “Pleasure.” It’s interesting to hear the same overall melody underneath the different styles. By flipping back and forth between the couplings, listeners can pick up the contrasting images. “Wine” is album’s single and decidedly the most entrancing and hypnotic of the songs — it is a twirling, slosh-
ing, blurr y haze of flickering synthesizers and stuttering vocals. “Water” comes right after to douse the listener in stark, clear, soothing clarity. “Lover” chirps on a higher frequency than most of the other songs on the album. In the background, there are whoops and shouts of frenzied ecstasy. On the opposite side of the spectrum, “Hater” is moodier set, with strict, unforgiving drum lines. The exploratory, joyful side to “Lover” is replaced with a more calculating, controlled feel. “Business/Pleasure” plays along the same lines, lining up sharp glass bullets playing alongside the warm, liquid jam. However, the final couplet of “Gold/Amber” seems to tear down the intricate display the rest of the album has constructed. “Gold” drags on for almost a full ten minutes in a disarray of furtive, almost clammy and unsettling bleeps while “Amber” often fizzles out in a buzzing. Overall, the album is a strong start for the duo, especially for a special B-side with 11 remixes by fellow mixers.
COURTESY OF MYSPACE.COM
Band of Skulls Sweet Sour | B+ BY EMILY MAAS STAFF WRITER
Band of Skulls has gracefully sidestepped the sophomore slump with its second studio album, Sweet Sour. The trio from Southampton, United Kingdom, featuring Russel Marsden, Emma Richardson and Matt Hayward released its first album, Baby Darling Doll Face Honey, in 2009. The band’s music received various amounts of media usage, from Ford Mustang commercials to episodes of Skins, and even a place on the soundtrack for The
Twilight Saga: New Moon. It seems that this band would reach great heights. Sweet Sour certainly does not fall short of expectations. Band of Skulls stays true to the gritty rock ’n’ roll sound that makes it impossible not to tap along with, especially on the tracks “Sweet Sour” and “The Devil Takes Care of His Own.” However, toward the end of the album, the band seems to gravitate over to softer songs such as “Hometowns” and “Close to Nowhere.” The group’s last album only featured one song comparable to the acoustically,
slower-paced style of “Honest.” The addition of more contemplative songs make the album more cohesive as a whole, while also showing fans that Band of Skulls isn’t afraid to branch out and be a little sweet at times. Sweet Sour is a terrific split of songs that can really only be described by the album’s name. Marsden has summed this thought up well by claiming that the band is the “Swiss army knife of bands.” Band of Skulls is definitely a band to watch out for. Its members know what they’re good at, and so far they’ve stuck to it.
Burial Kindred EP | ABY MIKE BITHER STAFF WRITER
The hype surrounding London dubstep producer Burial is, to put it lightly, substantial. The Sunday night online release of Kindred nearly caused the Hyperdub label’s website to crash from the increase in traffic. The question at hand: Why has the decidedly underground Burial, aka Will Bevan, struck such a chord with so many people? While there is no definitive rhyme or reason, there is no doubt that the producer is at the forefront, both critically and commercially, of the UK garage scene. He uses his unparalleled sampling abilities and razor-sharp, syncopated rhythms to craft his own brand of ghost-step that continues to expand sonically and thematically on the stellar Kindred. The eponymous opening track of the three-song EP is also the most recognizably Burial. The track features his signature sword-clashing percussion, heavy swinging syncopation and ghostly, pitch-shifted
vocal samples. What sets the EP apart from prior releases is its ambition; at more than 11 minutes in length, the track rumbles its way through layers upon layers of sonic subtleties and dark ambiance. The swirling vocal samples emanate with a haunting facelessness that is surprisingly emotive. The next song, “Loner,” delves more into house music territory previously explored on “Raver” from Burial’s acclaimed, 2007 fulllength, Untrue. Initially, it may appear as a capitalization on the music world’s ever-growing obsession with the increasingly repetitive genres of house and techno, but in the end it twists and turns into something definitively Burial. It features arguably his catchiest synth progression, filtered to the point where it sounds as if it were recorded in solitary confinement — in turn emphasizing a distinct, wrenching sadness reflected in the song’s title. The EP concludes with “Ashtray Wasp,” which combines the ambition of “Kindred” and the house of
“Loner” to create a multi-part suite of isolated sorrow. Underneath the cloudy yet cinematic tumult, listeners can barely discern the ghostly vocal samples alternating between “I want you” and “I wish I could hurt you” before the track decays around the nine-minute mark into a sudden calm; a strikingly peaceful piano-driven coda that is arguably the most soothing moment in Burial’s repertoire. Despite its isolation, the Kindred EP is always grounded in reality, a constant feature of Burial’s music that may explain its appeal. From the background sounds of public transport to the slight patter of rainfall, the atmospheric subtleties of Kindred give the listener something to recognize and relate to. The music of Burial is steeped in otherworldly emotion. His sound is very striking considering the songs are almost wordless, but no matter how hauntingly detached they may seem at times, Burial maintains a constant, abstract connection to reality that is truly appealing and emotionally affective.
Inside Beat • Page 11
February 23, 2012
MUSIC
Yuksek Living on the Edge of Time | B BY TAMMIE CHIOU STAFF WRITER
The evolution of Yuksek, the moniker for artist Pierre-Alexandre Busson, is interesting. Playing up his explosive, gritty and callous electrotech persona in his latest release, Living on the Edge of Time, Yuksek has since drifted away from a harsh sound and opted for a more natural, encompassing one. His new album introduces a kind of vulnerability previously unseen in his works. It adds prickles of staccato keyboards and flashes of strings all over a fog of muted synths. “On A Train” displays his softer side the clearest. It starts off with Busson’s insistent, “I don’t want to be here/I don’t want to be seen/I would run and live on a train.” The stark vocals are repeated over and over throughout the song, placed firmly on a roller coaster of a lone,
looping sample. Despite the wanderlust, a bright trumpet and a backdrop of back-up singers rush in toward the end to accompany him for an almost cinematic effect. “Always on the Run” plays on this as well. The transient, devilmay-care theme embodied by coy piano runs and brash curses wedge their way into the jaunty verses. Meanwhile, for those just a little nostalgic for Yuksek’s debut chaotic blitz, “Fireworks” ramps up: It’s a dance-floor classic, with whistling, swooping synths. However, when the song winds down, the frenzied wall of sound escapes into the stratosphere, leaving a somber tone in its wake. Living on the Edge of Time proves to be strangely comforting for an album marked by solitude, independence and loneliness. The album is an embodiment of Busson turning sadness into something beautiful.
COURTESY OF QUENTIN DEBRIEY
COURTESY OF ARBUTUSRECORDS.COM
GRIMES Visions | B+ BY JOSH KELLY STAFF WRITER
Many parallels can be drawn between music and fashion. Trends fall in and out of style, and some come back around full-circle. On Grimes’ new album, Visions, released Feb. 21 through 4AD records, Claire Boucher has really done a fantastic job establishing herself as an artist to keep a watch on. The Montreal-based artist dips into the stylistic cues of the 1980s, just as other successful artists in the scene — M83, Gorillaz, Little Dragon, Twin Shadow and Gotye — have done. Visions is a dark, moody listen, combining strong, danceable grooves and vocals that may even draw comparisons to early Madonna — tinged with a sense of dream pop emergent artists.
ALEXCWEINER: ALBUM OF
This album is one that is best enjoyed at night. Synth sequences, processed drums and spacey female vocals all come together to create enjoyable and groovy music. Visions paints a picture of an underground, new-wave dance club in the mid ’80s full of crazy hair, vibrant jackets and accessories complete with bright, neon colors. “Genesis,” “Oblivion” and “Vowels = Space and Time” are easily the album’s standout tracks. Grimes' new album does not disappoint. This record is colorful, refreshing and most importantly, it’s fun. Turn the subwoofer all the way up, wait until the sun goes down, let the grinding psychedelic dance-pop make its way out and have a good time with Visions. This album is definitely a recommended listen.
THE YEAR COURTESY OF FACEBOOK.COM
BY RYAN LIZOTTE STAFF WRITER
University student and electronica artist Alex Weiner released Album of the Year this past New Year’s Eve, under the moniker Alexcweiner. While most current electronica artists, such as Skrillex and deadmau5, cash in on low bass and noisy synths, Alexcweiner does the opposite. Upon listening to the intro track “Mesh,” it is clear that Weiner does not rely on overbearing synthesizers or loud booming bass. The intro track instead starts melodically, making use of 8bit synthesizers that evoke memories of old Nintendo games.
While “Mesh” continues in a spacey, ambient manner, songs like “The Night” and “The Search” concentrate more on the beats, giving them a sound more techno-oriented than ambient. “The Job” marries both of those aspects and fits well as a centerpiece of the album. The song progresses exceptionally well from a calm, raw hip-hop beat, to an epic climax, featuring layered synths and a thick background bass. “The Book” ends Album of the Year on a great note, and stands out as the most techno-accessible song. Album of the Year stands as an impressive electronica release, showcasing many diverse modes of songwriting and beat making.