Inside Beat 2010-03-11

INSIDEBEAT MARCH 11, 2010 • VOL. 28, NO. 7

THE WEEKLY ENTERTAINMENT MAGAZINE OF THE DAILY TARGUM

SPECIAL COLLECTOR’S EDITION

GRAPHIC CONTENT VIEWER’S DISCRETION IS HIGHLY ADVISED

Column

March 11, 2010

RANT

BY EMILY SCHACHTMAN

FROM STILLS TO THRILLS

FILM / ASSISTANT EDITOR

I can’t claim to be much of a graphic novel/comic book exper t. I loved Watchmen, have read some of my dad’s old Adventures of Tin-Tin and used to flip through my brothers’ Spiderman issues, but that’s about it. Most of what I know stems from my appreciation of adaptations. And while I spent countless Saturday mornings ruining my eyes with cartoons like the X-Men series and Batman: The Animated Series, the versions I have spent the most time — and sadly, money — on are movies. Call them comic books or call them graphic novels, but it is their film iterations that I’d rather talk about.

Side note: I can’t claim to know much about foreign language comics either. I love the manga-based Oldboy, a seriously demented revenge flick directed by Park Chan-wook. I really enjoyed Persepolis as well. There’s a lot more out there, but that’s about all I’ve seen.

As far as English-language comic book movies go, I usually categorize them in four

ways. Though these rules aren’t foolproof, it’s a good system to use in a pinch.

First, there’s the aesthetically faithful, mindlessly fun adaptation, à la Sin City, 300, Hellboy, Wanted or Tank Girl. Then you’ve got your one really impor tant superdude flicks. They’re usually pretty fun, although often not as artsy as the first bunch: Superman, Iron Man, Spiderman, Blade, The Incredible Hulk and Conan the Barbarian.

Next, you’ve got your “real serious” comic book movie, which includes Watchmen, Batman Begins, The Dark Knight, The Crow and X-Men. Unlike template superpower flicks, they have a little more gravitas and usually have darker source material. These are the ones that even get nominated for awards — and they aren’t made in someone’s basement.

Finally, there is the “wait-that’s-from-acomic?” movie. This includes the bleak Paul Giamatti indie American Splendor, Ghost World’s tale of ’90s hipster angst, Viggo Mortenson’s reluctantly returning to his hidden thug past in A History of Violence, and Tom Hanks as a morally ambiguous gangster on the run in Road to Perdition. Let it never be said comics aren’t diverse!

There is sor t of an unof ficial fifth categor y too, I suppose: the BAD ones. You know them. There are plenty, but a few prime examples are Catwoman (with Halle Berr y — so sad), the laughably stupid Sean Conner y career-killer The League of Extraordinary Gentlemen, the of fensively boring Elektra (or its originator, Daredevil), the utter disappointment that is Wolverine and style-over-substance train wreck The Spirit.

Most of these films are from the last two decades — and for good reason. Comic book movies are experiencing something of a renaissance. Not only are they more visually sophisticated as filmmaking technology advances, but their stor ytelling is becoming increasingly engaging. Their per vasiveness is undoubtedly helped by having a built-in audience, making even the worst ones fairly profitable. With upcoming projects like the ever-expanding Avengers series, another Batman from Christopher Nolan, meta-comic Kick-Ass, and anti-hero pictures like Priest and Jonah Hex, comic books movies aren’t going anywhere in 2010. I, for one, could not be happier.

Inside Beat • Page 2

EDITORIAL BOARD EDITOR

S TACY D OUEK ...

ASSOCIATE EDITOR

MICHAEL MALVASIO

...

ASSISTANT EDITOR

EMILY SCHACHTMAN

...

TV EDITOR

ARIBA ALVI

...

MUSIC EDITOR

JASON STIVES

...

FASHION EDITOR

ROSANNA VOLIS

...

THEATER EDITOR

NATALIA TAMZOKE

...

ART EDITOR

AMANDA LITCHKOWSKI

...

COPY EDITOR

ADRIENNE VOGT

...

PHOTO EDITOR

RAMON DOMPOR

...

FILM EDITOR

EMILY SCHACHTMAN

...

BOOKS EDITOR

NIDHI SARAIYA THIS WEEK’S CONTRIBUTORS TO INSIDE BEAT : Amanda Amanullah Amy Rowe Ashley Park Becca Zandstein Emily Gabriele Sabrina Strauss Shama Huq Theo Jones Cover Photo Courtesy of Wayne Nichols

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Fashion • Art

March 11, 2010

Inside Beat • Page 3

Fashion 411:

Animal Collective

Emergency Fashion Fixes

Does Modern Art

BY ROSANNA VOLIS FASHION EDITOR

COURTESY OF PITCHFORK.COM

BY AMY ROWE STAFF WRITER

In celebration of the Guggenheim’s 50th anniversary, the band Animal Collective and video artist Danny Perez joined forces yet again to produce a onenight-only exhibit, Transverse Temporal Gyrus, within the museum’s rotunda. The three-hour long exhibit featured video projections, lights, props and three cloaked figures with masks accompanied by prerecorded music and sounds.

The Guggenheim’s floor displayed various objects such as a patch of very large icicles pointing upwards into the rotunda and an illuminated orb with a visualizer projected onto it. Figures standing behind rocklike podiums were the most prominent part of the floor set-up. At first glance, these cloaked figures donning white, rabbit-like masks looked like statues.

However, they moved their hands and heads very slightly with the music throughout the night. It didn’t take long for the audience to figure out that these figures were members of Animal Collective: Avey Tare, Deakin and Geologist.

Throughout the night, lights in the Guggenheim grew dimmer and the visuals projected on each winding ramp of the rotunda changed. Guests were en-

couraged to see the exhibit from multiple viewpoints by starting at the top of the ramp and working their way down. The music began to build through the night with the addition of sounds and layers of samples, transforming the museum into a fantastical atmosphere. Vocal samples were scarce, yet audience members could certainly hear the distinctive voices of Avey Tare and Panda Bear -— who was not at the exhibit — playing over the track, even though it was sometimes difficult to hear over the noise of the crowd.

Although the music and visuals changed slightly throughout the night, not much else happened. One could hardly call it a performance piece because hand and head movements do not make much of a performance. After the exhibit ended at midnight, Avey, Deakin and Geologist unmasked themselves and walked off.

The strange exhibit definitely transformed the Guggenheim into an interesting atmosphere, but three hours is too excessive with absolutely nothing else occurring. It certainly was a testament to the dedication and endurance of the band members, who “performed” for a total of six hours since another exhibition time was added earlier in the day. It was different, but perhaps many attendees were expecting a bit more.

You’re running late. You realize the button on your blouse popped, there’s food in your teeth, or there’s a lovely coffee stain on your crisp white shirt. What’s a clever fashionista to do? Be prepared to fight Murphy’s law with artillery in both your handbag and your car. Check out our top 5 items no girl should ever leave the house without.

1. Tide To Go: This amazing invention is a girl’s best friend. The tiny detergent stick is small enough to fit in most handbags, eradicates stains and dries quickly enough to hide the offending blemish from your boss’s eyes.

2. Safety pins: When strategically placed, safety pins can temporarily fix a seam, substitute a button and save your look. Pick up a box at any drugstore, and you’ll never have to worry about a broken strap ruining your day again.

3. Lint roller: I know we’ve all seen our mothers and grandmothers with a lint roller in their purse. But silly as it may seem, any inter view can take a wrong turn when all the inter viewer sees is the lint and dog hair all over your expensive black suit. Appearance is ever ything.

4. Nail polish remover: Chipped nail polish is an absolute no-no unless you’re 5 years old or just want people to think you don’t care. Smart and sophisticated girls everywhere would be well advised to keep nail polish remover somewhere reachable in case of a nail emergency.

5. Floss: While floss has nothing to do with fashion, absolutely nobody — not even Megan Fox — can pull off Alexander Wang with spinach in their teeth.

Haute for Haiti

BY ASHLEY PARK STAFF WRITER

Dancing In The Zimmerli COURTESY OF SKYLAR POJEDNIC

BY AMANDA LITCHKOWSKI ART EDITOR

Last Wednesday’s “Art After Hours” trumped February’s return of the Jane Voorhees Zimmerli Art Museum’s monthly event. Its theme, Dance Within the Art, attracted throngs of students and faculty to the museum on the College Avenue campus, intrigued by the promise of interpretative dance. With a focus on contemporary movement, the event held attendees captivated as they maneuvered through the Zimmerli’s crowded galleries.

The evening started with a performance of a Whirling Der vish, defined as a dancer who represents the link between the material and spiritual worlds. Yasser Darwish introduced the unfamiliar audience to the Egyptian version of the meditative dance of continuous spinning. Evidently, the spinning is meant to induce a meditative state, which is in turn supposed to prevent dizziness. His exceptional skill and attention-grabbing outfit seemed to impress viewers.

The remainder of the evening was dedicated to Meagan Woods & Company, a dance group formed by a Mason Gross School of the Arts alumna. Three separate dance performances occurred simultaneously for nearly an hour as museum-goers were invited to drift between the artwork and choreographies. The freedom to move was nice, but the performances were even better.

Meagan Woods, the company’s founder, and dance partner Kyle Marshall, danced an interpreta-

tion of Norman Carton’s “Manhattan Triptych.” Their dance was strong and balanced as each performed various lifts and held muscle-straining positions. The beautiful choreography felt raw with occasional soft touches, which matched the abstract painting perfectly. Their heavy breathing was evidence to the dance’s demanding moves and conveyed pure physical power to the audience.

An equally laborious per formance was conducted upstairs in the Seva’s Blue Horizon galler y.

Three dancers in skintight, sweat-stained dance garb performed an abstract and slightly terrifying rendition of the underground Russian poet’s writings. As a four th company member rehearsed some of Seva Nekrasov’s poems, the three dancers combined fast-paced repetition with slow fluidity in asymmetrical synchrony. Their expressions were blank, and their zombie-like movements corresponded to the poems’ dissatisfaction with the Soviet government.

In the museum’s newest installation, Les Femmes du Maroc, a single dancer performed a tragic, entrancing choreography inspired by the exhibits serious and sensual photographs. Although less exciting than the other performances, the dramatic and striking dance flowed through audience members and targeted specific pieces with mirroring moves.

The refreshing and engaging Dance Within the Art revived student interest in the museum. Sometimes paintings and photographs can bore the eyes, but dynamic art through dance breathes life into the still pieces lining the galleries’ walls.

The Busch Campus Center During the middle of the turned into a fashion show last show, emcee Varun Sahni interThursday — with the help of RU jected with a comical pickup line Care — to raise money for the Red game, in which male members of Cross’s relief efforts in Haiti. Al- the audience competed to woo a though the event was originally ad- pretty girl. “Damn girl, are you an vertised as a lingerie/swimwear iPod? ’Cause I’d touch,” one show featuring professional mod- clever contestant said. els from California, the models After the break, models showwalking the runway were actually cased fashions donated by Finale, Rutgers students, a local clothing making for a highly store in New amusing show.

Brunswick. Next, “We thought it there was the unwould be more expected crossfun for the audid r e s s i n g ence if they got to segment, which see their peers on was more hilaristage,” Ronak ous than haute.

Shah, an SAS The guys were junior, said. quite a sight as Spring wear they awkwardly opened the show as sashayed down DJ Rob pumped the catwalk in beats by popular spring dresses artists like Lady with Victoria’s SeGaga and David cret bags dangled Guetta. The crowd from their wrists. cheered and The crowd burst clapped as their into a roar of classmates worked laughter as a partheir looks. Floral ticularly risqué print baby dolls male model acflounced down the cepted a dollar runway paired with bill from an audiCOURTESY OF NICHOLAS BRASOWSKI gladiator heels ence member. while male models sauntered in The show came to a close as all 25 graphic tees and hip sunglasses. models took a bow on stage and The swimwear segment was met were met with much applause. with appreciative applause from “It was definitely a success,” the captivated male audience as said participating model Nadia seven sexy ladies presented a vari- Jagessar, a Livingston College junety of swim fashion ranging from ior. “I’m glad we could fundraise pastel triangle tops, a hot red and get excited for spring at the monokini and a floral one-piece. same time.”

INSIDE BEA

THE PICTURE BOOKS CAL I T I L O THE P ERKER J TEAR

BY NATALIA TAMZOKE, THEATER EDITOR

PERSEPOLIS IS NOT YOUR TYPICAL BLACK AND WHITE COMIC BOOK. ALTHOUGH THE CONTENT IS DRAWN ENTIRELY IN BLACK AND WHITE, THE CONTRASTING SHADES CAUSE THE ALLURING MUSTACHES, BUSHY BEARDS, HEAVY VEILS AND AFFECTED EYES TO POP OUT OF THE PAGE. PERSEPOLIS IS A GRAPHIC MEMOIR BASED ON THE AUTHOR MARJANE SATRAPI’S CHILDHOOD IN IRAN DURING THE ISLAMIC REVOLUTION. SATRAPI, AN IRANIAN-BORN FRENCH GRAPHIC NOVELIST AND ILLUSTRATOR, DEPICTS THEMES OF WAR, SOCIAL CHANGE, RELIGION, EDUCATION AND GOVERNMENT IN A POLITICAL COMIC BOOK. FIRST WRITTEN IN FRENCH, IT IS NOW CIRCULATING IN MORE THAN SEVEN DIFFERENT LANGUAGES. IN THE BEGINNING OF THE STORY, OUR LITTLE HEROINE IS FORCED TO WEAR A VEIL IN SCHOOL. WHILE HER PARENTS PROTEST IN THE ONGOING REVOLUTION, SHE IS CAUGHT BETWEEN SEVERAL INTERRELATIONSHIPS, INCLUDING TEACHER-TO-STUDENT, PEER-TOPEER AND CHILD-TO-PARENT. SHE ALSO HAS MYSTERIOUS CONVERSATIONS WITH GOD, WHO TELLS HER THAT SHE IS THE “BEST CHOICE” FOR A PROPHET. IN THE MIDST OF THESE COMPLEXITIES, IT IS IMPOSSIBLE TO IGNORE THE CHARACTERS’ FACIAL EXPRESSIONS BECAUSE EACH EMOTION DEPICTED HAS A SEPARATE EFFECT ON THE READER. FOR FANS OF GRAPHIC STORIES, COMIC BOOKS AND POLITICAL STORIES LIKE MAUS, THIS BILDUNGSROMAN IS NOT TO BE MISSED.

BY AMANDA AMANULLAH, STAFF WRITER MANGA HAS A LONG HISTORY AS BEING ONE OF THE STRONGEST SUBDIVISIONS IN THE MARKET OF GRAPHIC NOVELS, WINNING OVER MANY FANS THROUGHOUT TIME. MANGA ARE JAPANESE GRAPHIC NOVELS, AND THE MODERN FORM OF IT THAT WE KNOW AND LOVE TODAY HAS DEVELOPED SINCE WORLD WAR II. THE MANGA NARUTO BY MASASHI KISHIMOTO HAS TRULY TAKEN THE GRAPHIC NOVEL WORLD BY STORM, BOTH IN JAPAN AND IN AMERICA. WITH A CAPTIVATING STORYLINE THAT GOES FAR BEYOND YOUR AVERAGE ACTION AND FIGHTING PLOT, KISHIMOTO HAS GAINED A STRONG AND DIVERSE FANBASE. NARUTO TELLS THE STORY OF NARUTO UZUMAKI, A YOUNG NINJA LIVING IN THE LEAF VILLAGE WITH BIG DREAMS AND AN EVEN BIGGER HEART WHO ASPIRES TO BECOME THE HOKAGE (LEADER OF THE VILLAGE) ONE DAY. NARUTO, WITH HIS CLASSMATES SASUKE AND SAKURA, FORM A TEAM LED BY THEIR SENSEI, KAKASHI HATAKE. SASUKE IS THE EXACT OPPOSITE OF NARUTO AND SERVES AS BOTH HIS BIGGEST INSPIRATION AND MAIN RIVAL. THE DEPTH OF THE CHARACTERS AND THE COMPLEXITY OF THE PLOT ARE IMPRESSIVE, CONSIDERING THAT THIS MANGA IS PRIMARILY AN ACTION-ADVENTURE STORY.

A NG ITES A M OR FAV

IF YOU ENJOY NARUTO, TRY READING INUYASHA BY RUMIKO TAKAHASHI, BLEACH BY TITE KUBO, D.N. ANGEL BY YUKIRU SUGISAKI AND RUROUNI KENSHIN BY NOBUHIRO WATSUKI. ALL OF THESE TRULY GO BEYOND FIGHTING AND BRING MUCH MORE THAN JUST ACTION TO THE TABLE; THEIR STORYLINES REVEAL COMPLEXITY, DEPTH AND OFTEN AN APPRECIABLE BEAUTY THAT YOU MIGHT NOT HAVE EXPECTED.

BY SHAMA HUQ, STAFF WRITER

FOR ANYONE SEARCHING FOR A GRAPHIC NOVEL THAT IS FUNNY, HEARTBREAKING AND REFRESHING, DANIEL CLOWES’ GHOST WORLD DESERVES A READ-THROUGH. TAKING PLACE IN THE EARLY 1990S, THE STORY FOLLOWS TWO CYNICALLY DROLL TEENAGERS, ENID COLESLAW AND REBECCA DOPPELMEYER. HAVING JUST GRADUATED FROM HIGH SCHOOL, THE TWO BEST FRIENDS ROAM THE STREETS OF THEIR UNNAMED HOMETOWN, DISPARAGING POP CULTURE AND THE RANDOM TOWNIES THEY COME ACROSS WHILE SIMULTANEOUSLY WONDERING WHERE THEIR FUTURES LIE. BENEATH THE COMEDY ALSO LIES DESPERATION FOR TRUTH, LOVE AND ACCEPTANCE. WRITTEN IN ADOLESCENT VERNACULAR, THERE IS SOMETHING VERY HONEST ABOUT THE STORY, WITH A SENSE OF BROODING BUBBLING UNDERNEATH THE SURFACE. THE ILLUSTRATED WORK SHOWS A COMICAL AND TOUCHING ROMP THROUGH THE TRANSITIONS FROM ADOLESCENCE TO ADULTHOOD. THE DRAWINGS ARE EXPRESSIVE AND REFLECT THE DARK HUMOR INHERENT IN THE WORK THROUGH THE USE OF PALE BLUE COLORING. AFTER MUCH CRITICAL ACCLAIM, GHOST WORLD WAS TRANSFORMED INTO A MOVIE IN 2001, STARRING THORA BIRCH, SCARLETT JOHANSSON AND STEVE BUSCEMI. THOUGH NOT AS FULFILLING AS THE GRAPHIC NOVEL, IT MAINTAINED MANY OF THE SAME ELEMENTS AND EVEN RECEIVED AN OSCAR NOMINATION FOR BEST ADAPTED SCREENPLAY. WHILE A GREAT FILM, THE ILLUSTRATED TEXT WILL MORE THAN SATISFY READERS’ CRAVINGS FOR LITERARY AND ARTISTIC INGENUITY.

THE AR ON TSY E

T PRESENTS

FOR GROWN UP KIDS BELOVED DC CLASSIC

BY AMANDA LITCHKOWSKI, ARTS EDITOR

WATCHMEN IS PROFOUND. IN ITS CREATION OF AN ALTERNATE HISTORICAL WORLD, THE FAMED GRAPHIC NOVEL ENVISIONS A BELIEVABLE DYSTOPIA WHERE POLITICS CLASH WITH HUMAN MORALS. IT DRAWS A BLEAK AMERICA, BUT IT LOOKS AWESOME DOING IT. WRITTEN BY V FOR VENDETTA AUTHOR ALAN MOORE, WATCHMEN TRANSPIRES IN A SOCIETY WHERE SUPERHEROES BURN OUT. AS THE PUBLIC GROWS TO HATE THEM, THE ONCE ADORED MASKED VIGILANTES WHO HELP BRING THE NATION TO VICTORY IN THE VIETNAM WAR RETREAT TO THE DISMAL LIVES OF EVERYDAY CITIZENS. THERE IS, HOWEVER, A ROGUE HERO WHO SIMPLY REFUSES TO RETIRE. ALTHOUGH UNDENIABLY PSYCHOTIC, HE UNITES HIS FORMER COHORTS IN A QUEST TO FIND THE MURDERER OF ONE OF THEIR OWN. NOT ONLY DOES WATCHMEN BOAST AN ENTICING AND INTELLIGENT PLOT, IT ALSO IS JAM PACKED WITH SUPERIOR GRAPHIC NOVEL SKILL. MOORE CREATED A PARALLEL COMIC BOOK STORY THAT HE INTERWOVE PERFECTLY INTO THE WATCHMEN SCRIPT. THE NOVEL’S TIMELINE IS WITTILY NONLINEAR: IT SKIPS BACKWARDS, OVERLAYS SIMULTANEOUS EVENTS AND EVEN FLASHES FORWARD WITH A GIANT BLUE NUCLEAR MAN AS A SPACE-TRAVELING VEHICLE.

UNFORTUNATELY, NO ONE CAN DISCUSS WATCHMEN WITHOUT MENTIONING HOLLYWOOD’S DESPICABLE TRANSLATION OF THE NOVEL INTO FILM. LET’S JUST SAY THAT ALAN MOORE WANTED NOTHING TO DO WITH IT (HE FELT THE SAME WAY ABOUT HOLLYWOOD SWIPING V FOR VENDETTA). WHEN THE AUTHOR REFUSES TO HOP ON BOARD WITH FILM PRODUCTION, IT’S A CLEAR SIGN TO STAY AWAY.

SUNNYDALE WAS A GIANT CRATER IN THE MIDDLE OF CALIFORNIA. LOS ANGELES WAS BEING OVERRUN BY DEMONS. JOSS WHEDON LEFT HIS TWO MOST FAMOUS SHOWS ON CLIFFHANGERS THAT HAD MANY PEOPLE WANTING TO KNOW: WHAT’S NEXT? THE COMIC BOOKS OF BUFFY THE VAMPIRE SLAYER AND ANGEL BECAME THE ANSWER TO THAT QUESTION.

FOR THOSE THAT REMEMBER THE END OF TV SERIES, ANGEL’S TEAM WAS LAST SEEN CHARGING TOWARD A HOARD OF DEMONS, OUT FOR THEIR BLOOD. THE COMIC PICKS UP WHERE THE SHOW LEFT OFF, REVEALING THE FATE OF THE TIGHT-KNIT GROUP AND ALL OF LOS ANGELES, WHICH WOLFRAM & HART HAS PLUNGED INTO A HELL DIMENSION. THE NEW STORIES TAKE THE DARK TONE UTILIZED THROUGHOUT THE FIVE SEASON RUN AND MAGNIFICENTLY DOT IT WITH BOTH HUMOROUS AND TOUCHING MOMENTS, FROM WESLEY’S RETURN TO THE UNEXPECTED AND PAINFUL SHIFT OF ABILITIES BETWEEN GUNN AND ANGEL.

BY SABRINA STRAUSS, STAFF WRITER

TV THE OFFS SPIN

THE EIGHTH SEASON OF THE BUFFY COMIC BOOK FOLLOWS THE CANON OF THE SHOW, PICKING UP A YEAR AFTER THE SEVENTH SEASON FINALE, WITH A NEW VILLAIN DU JOUR AND A NEW BIG BAD. WHAT THE SEVENTH SEASON LACKED IN FLUIDITY — AND OVERALL BUFFY SPIRIT — IS MORE THAN MADE UP IN THE NEW COMICS, WHICH BUILD SOMETHING GLORIOUS UPON THE TATTERS OF THE LAST TELEVISION SEASON. WITH SOME TIME TRAVELING MINDBENDERS AND THE SLAYERS NOW “PUBLIC ENEMY NUMBER ONE,” WHEDON HAS MASTERFULLY BROUGHT BUFFY BACK TO THE GLORY IT HAD BEFORE SHE DIED (THE SECOND TIME).

USING THESE TWO COMICS, WHEDON CONTINUED THE STORYLINES OF THE BUFFY-VERSE WITH GREAT SKILL. IF YOU STILL AREN’T CONVINCED OF HIS STORYTELLING ABILITY, READ FRAY, A CONSUMMATE ONE-SHOT GRAPHIC NOVEL SET 200 YEARS IN THE FUTURE WHERE DEMONS AND SLAYERS ARE EXTINCT — UNTIL ONE GIRL BECOMES CHOSEN. CONCEPT BY NIDHI SARAIYA. PHOTOS COURTESY OF BARNES AND NOBLE.

Page 6 • Inside Beat

March 11, 2010

Film • Theater • TV COURTESY OF ALLMOVIEPHOTO.COM

Shutter Island

Martin Scorsese | B+

BY THEO JONES STAFF WRITER

Martin Scorsese’s Shutter Island is a genre film that doesn’t necessarily confine itself to any one genre, least of all horror. Instead, this is a modernized noir thriller wrapped up in a whodunit that gets better as it moves along — even if it seems to be trying too hard the entire time. Daunting music accompanies the opening title sequence and then continues, until the atmospheric embellishments become their own cliché.

It’s 1954, and Leonardo DiCaprio stars as U.S. marshal Teddy Daniels. Teddy and his partner Chuck (Mark Ruffalo, Zodiac, 13 Going on 30) are making their way to Ashecliffe mental hospital, located on the ominously foggy Shutter Island. A patient has escaped, and Teddy and Chuck are here to get to the bottom of things, though

the deeper they look, the more suspicious the situation becomes.

DiCaprio, as per usual when collaborating with Scorsese, is excellent. He plays the role with a combination of subtlety and intensity that if overdone or underplayed would have ruined the film.

Ben Kingsley’s Dr. Cawley, Michelle Williams’ Dolores (Brokeback Mountain) and Ruffalo’s Chuck are the backbones of the film. While Kingsley definitely gives a “look-at-me” performance, without Ruffalo’s trusty sidekick or Williams’ strong turn in the third act, the film would be simply sub-par. Jackie Earle Haley and Patricia Heaton also have scenes that are excellent and are too short for their own good, given how great the acting is in this film.

What is not sub-par is the directing. While Martin Scorsese’s résumé may precede him, Shutter Island has an artistic quality that

cannot be ignored. By using the noir-mystery theme to drive the film rather than scare tactics, every shot has meaning, every line has a purpose and overall, everything onscreen is thoroughly thought out.

Shutter Island moves along at a comfortable but rather frantic pace from flashbacks to dream sequences to the actual mystery. As a viewer, you come to realize that it’s not so much about figuring out the mystery behind Shutter Island, but in appreciating how it’s presented.

In the way that our parents are able to talk about how they saw the famous Robert De Niro and Scorsese collaborations in theaters, we will be able to brag about how we saw all the DiCaprio and Scorsese movies to the next generation. While it’s no The Departed, Raging Bull or Goodfellas, with Shutter Island, Scorsese has definitely cemented his place in a league all his own.

There’s No Business like Show Business

BY ASHLEY PARK STAFF WRITER

It’s a blustery evening in New York City as zealous theatergoers stand under the marquees lining Times Square. Broadway productions continue to draw in millions of people every year. Even during the recession, there was only a slight decrease in audience members. Yet, in times of such an economic turndown, why are so many people willing to shell out their hard-earned dollars?

The secret lies in Broadway’s latest marketing strategies.

Broadway adapts to the new economic climate by combining its traditional quality of moving performances with up-to-date star power and ticket deals.

This season, shows are drawing in even the sourest penny-pinchers by featuring celebrities who normally grace the silver screen. Who could possibly resist watching the sexy Scar-

Theatre Development Fund, offer lett Johansson debut on Broadway in A View from the Bridge? The equally various deals for avid stage spectators. TDF recently opened a new sensuous Catherine Zeta-Jones stars in A Little Night Musical a few blocks TKTS discount booth in Brooklyn, reaching out to the most populated away. Abigail Breslin, the darling pagborough of New York City. eant oddity from Little Miss Sunshine (2006), plays Helen Keller in The The newest box office baconmaker for the 2009Miracle Worker.

Celebrities are also taking a fi2010 season, Next to Normal, offers a difnancial interest in Broadway producferent tune in sync tions. Contemporary CATHERINE ZETA-JONES artists Jay-Z, Will with the somber resSmith and Jada Pinkett Smith onance of hard times.

Some shows have manrecently invested in the show Fela! U2’s Bono and the Edge aged to survive purely upon have spent the past six years unmitigated popularity. The composing the music to Spider- ultimate Broadway classic, Phantom of the man. Elton John recently joined Opera, opened in 1988 and does not seem to FELA! the Next Fall producing team, be stopping anytime soon. It is a beloved musical that does not boast a celebrity pedigree. giving the show great media coverage.

As if Broadway’s star-studded season is Instead, its worldwide popularity is due to its not dazzling enough, ticket discount organ- enchanting love story and haunting songs. izations, like TheaterMania.com and the In an industry in which only 30 percent of

the shows will actually make a profit, Wicked has been an uncontested sensation. With more than 2,600 performances in the course of seven years, it has delighted more than two million people with its dazzling stage set, addictive soundtrack and delightful tale.

Some productions have not fared so well.

Ragtime closed last January after only 65 performances. Despite its high critical acclaims, the show’s large orchestra and cast considerably burdened the budget. 9 to 5, directed by Joe Mantello (Wicked) and with a score composed by WICKED Dolly Parton, has also struggled to stay afloat.

So, what makes for a successful show? In these times, even the best production cannot stand alone without popularity and press coverage. With celebrity castings and new market expansion strategies in their arsenals, producers are going to gear up to hold their ground for the seasons ahead.

COURTESY OF SCREENCRAVE.COM

VINTAGE FILM:

Once Upon a Time in the West

BY EMILY SCHACHTMAN

quickly as possible since Morton’s time is running out. Bullets fly when Cheyenne and Harmonica swear to protect Jill, and Frank vows to take the The American tagline for director Sergio now valuable land for his own.

Leone’s 1968 masterpiece Once Upon a Time in From the opening showdown between Harthe West reads, “There were monica and three of Frank’s three men in her life. One to men to the dizzying final guntake her … One to love her … fight, Once Upon a Time in the And one to kill her.” Even West is tense, visually thrilling after multiple viewings, it’s filmmaking at its best. It’s obvinot entirely clear which man ous that after completing the is which — not that it matMan with No Name trilogy (Fistters. It is the heightened level ful of Dollars, Few Dollars More, of epic stor ytelling and clasand The Good the Bad and the sic performances that make Ugly), Leone was at the top of his this “Spaghetti Western” game. The reach of the story is quintessential viewing. ambitious, thoughtfully explorReformed prostitute Jill ing themes of redemption, McBain (Claudia Cardinale, death, avengement, love, beThe Pink Panther, 8 ½) has trayal and the slow ebb of Wild journeyed west to join her kind West lawlessness in order to new husband on his infertile make way for civilization. farm, Sweetwater. Problems The acting is equally suarise almost immediately for Jill perb. Bronson is especially when she arrives to discover perfect as the unnamed outthat McBain and his children sider, Fonda obviously enjoys have been murdered. Several himself while playing against COURTESY OF CINEMAMASTERPIECES.COM questionable characters are type as a cruel murderer, and also lurking about the farm. Among them are re- Cardinale is a perfect blend of self-interest, emcently released criminal Cheyenne (Jason Robards, pathy and lonely desperation.

All the President’s Men, Magnolia) and a mystery Supposedly, Leone was inspired by Akira man known simply as Harmonica (Charles Bron- Kurosawa’s Sanshiro Sugata, as well as countson, The Dirty Dozen, The Great Escape). less Westerns; he even went so far as to make Meanwhile, crippled and dying railroad tycoon the film entirely from references to predecesMorton (Gabriele Ferzetti, L’avventura, On Her sors. The result, however, is something sort of Majesty’s Secret Service) urges his unscrupulous unique and magical. Once Upon a Time in the employee, Frank (Henry Fonda, The Grapes of West may owe its existence to those that came Wrath, 12 Angry Men), to lay tracks through before it, but it is still an undeniably fantastic Sweetwater and all the way to Pacific Ocean as Western in its own right.

ASSISTANT/FILM EDITOR

The Office Baby

BY JASON STIVES MUSIC EDITOR

For many fans of The Of fice, Pam and Jim’s wedding was six well-deser ved years in the making. The eventual birth of their child, first revealed at the end of season five, has been fleeting and rushed in terms of stor ytelling.

The overall arc of the hour-long episode wrote itself: Jim and Pam finally bring their little bundle of joy, a girl named Cecilia Marie, into the paperfilled world of Dunder Mifflin. What surrounded that story was a mishmosh of hit or miss subplots, including Andy finally asking out receptionist Erin and Dwight’s sudden desire to birth a child sooner than later.

The Office works best when multiple storylines aren’t trying to compete for the viewer’s love. In this episode, the two sub-storylines seemed to stray away from the Beesly-Halpert baby love fest, but the writers enforce the main focus of the episode by always bringing us back to the newlyweds. As seen throughout this season, Michael is in fine form while trying to be the center of attention but masking it with the compassionate and overbearing nature he has presented during past seasons.

The episode, titled “The Delivery,” may be the high point of a rather back-and-forth season. After starting off on a high with Jim and Pam’s wedding, the show is teetering between a rather dull story involving Dunder Mifflin’s bankruptcy and subsequent takeover by another company.

This is not to say that the season has been short on laughs, but that any future punches the show’s producers could possibly dish out seem poised to fail. “The Delivery” was chock-full of laughs and a rather straightforward story for a show that revels in over-the-top storylines. But for the rest of the season, viewers must anxiously ask, “Is this as good as it gets?”

Music

March 11, 2010

Inside Beat • Page 7

Jaguar Love Hologram Jams | A-

COURTESY OF FANPOP.COM

In Case You Missed It:

Nick Jonas and the Administration Who I Am | B

BY ARIBA ALVI TV EDITOR

COURTESY OF RHAPSODY.COM

BY JASON STIVES MUSIC EDITOR

Jaguar Love singer Johnny Whitney definitely has the benefit of having a voice that sounds like his band’s name. The former Blood Brothers co-founder, along with ex-Pretty Girls Make Graves member Cody Votolato, took the best elements of their respective bands and released an indie-rock fused album in 2008’s Take Me to the Sea. Two

years later — and minus several members — the band’s sound has changed drastically for their second release for Matador Records, Hologram Jams.

Right out of the gate, it’s obvious the boys in Jaguar Love were not looking to sound like just another indie-rock band.

The opening squeal of Whitney’s vocals on “I Started a Fire” dives into a techno-fused pop anthem. The album is laced with drum machine beats, giving a catchy if not artificial feel to the album. The intentionally ’80s sound and production tracks like “Cherr y Soda” and “Sad Pa-

The Rocket Summer

rade” is unapologetic. Other tracks like “Jaguar Warriors” and “Piece of my Hear t,” however, are exceedingly repetitive and don’t offer much more than the bulk of the tracks.

But it would be harsh to judge the album on two duds because Hologram Jams is such an exercise in experimentation. A bass-thumping pop song like “Polaroids and Red Wine” couldn’t be envisioned if the band had stayed the same path they had begun with Take Me to the Sea. Jams is a great signifier that both Whitney and Votolato’s days of being associated with their former bands are over.

The best way to enjoy Nick Jonas & The Administration’s debut release Who I Am is to look past the fact that Nick is one third of the Jonas Brothers.

The album is quite a depar ture for the tween pop idol, as Jonas pumps out tracks of crooning old school rock ’n roll with mellow jazz undertones.

The opener, “Rose Garden,” has an intriguing soft rock edge and tells the story of a girl with a hard life which then leads to the album’s namesake “Who I Am.” The song jumps between genres, playing as both rock and new age jazz with an electric guitar and drums combined to make up the instrumental support.

Songs like “Olive and an Arrow” and “Tonight” have lyrics that are passionate and intriguing.

The album is heavily indebted to such acts as Elvis Costello and Stevie Wonder in its overall sound, which is made obvious by the fact that the group has worked with both artists. Jonas’ falsetto voice rings out throughout the album but on “Stronger (Back On the Ground)” it’s easy to hear how hard Jonas is straining his voice to get the range of John Mayer.

The guitar riffs for “Last Time Around” are reminiscent of Jimi Hendrix’s “Purple Haze” due to its high chords and overall crunching riff. A surprising influence from Jonas, but he has no qualms in taking influences from the music of the ’60s and ’70s.

Who I Am is catchy, with great lyrics and a smooth beat, but it’s not quite at the maturity level that Nick Jonas is posing for.

Angel of Music Sophie Madeleine shows that the strange and unique can compete with the best pop music.

COURTESY OF MYSPACE.COM/SOPHIEMADELEINE

BY BECCA ZANDSTEIN COURTESY OF POPSTARSPLUS.COM

Of Men and Angels | A

BY EMILY GABRIELE STAFF WRITER

Singer/songwriter Bryce Avary has made teens shake and quiver as the voice behind The Rocket Summer. However, his newest release, Of Men and Angels, is a great display of his maturity as a musical artist. The album is Avary’s most heartfelt and substance-filled album so far.

The title in itself is a biblical allusion, and there are many more biblical references found throughout his album’s lyrics. He shows growth as an artist while still being able to bring fourth the same pop alter-

native sound that Rocket Summer fans are accustomed to. The self-titled track portrays Avary’s lyrical development, tremendous vocal abilities and musical talents on many different instruments. The album as a whole reveals a reminiscent and self-reflective side of Avary.

Through his self-reflection, he came up with optimistic and encouraging lyrics, especially in the feel-good song, “You Gotta Believe.” Avary sings, “you gotta believe/ oh, yeah/ don’t fear don’t break it/ you gotta be free,” with much passion and fervor, as he does throughout the album. At first listen, the album may sound a bit redundant, but once Avary’s ardent lyrics and standout vocals are fully appreciated, it might- become your latest obsession.

STAFF WRITER

Sophie Madeleine, the newest British artist in the mix, creates light music—without the help of producers—that will leave you coming back for more.

She could easily seduce anyone with her innocent, airy voice and ukulele in hand. While Sophie Madeleine’s music is often compared to Feist and Aimee Mann, it’s closer to a lighter Colbie Callat and Kate Nash because of her youthful lyrics and smooth voice.

A self-professed DIY enthusiast, she accomplishes all of the vocals, guitar licks, keys and percussion with finesse in addition to producing and mixing her album herself.

The ukulele is not the only instrument that sets Sophie Madeleine apart; she also plays

the glockenspiel and the organ, among others, on her first released cd, LIFE.LOVE.UKELELE. Sophie Madeleine says that her music is inspired by “beards, broken hearts, friends and stories.” Though there are no apparent “beards” anywhere in sight, it’s easy to feel something abrasive and coarse in your heart when you hear her vocalize her tragic encounters with love. Her lyrics are usually no longer than four verses, but she utilizes each verse by begging to understand “beards” — the men who think she is no longer required.

Sophie Madeleine’s music is lightweight, bubbly and can captivate anyone whose ears have room for honey. Her music is as conveyable as her ukulele. LIFE.LOVE.UKELELE. is perfectly paired with a glass of Sauvignon Blanc, laughter and freedom.

MUST DOWNLOADS • “Take Your Love With Me (The Ukelele Song)” • “The Knitting Song” • • “One Kiss Too Many” • • “I Just Can’t Stop Myself (From Writing Love Songs About You)” •

What We’re Listening To

NOW!

“3 Rounds and a Sound” by Blind Pilot Emily Schachtman

“Stare at The Sun” by Mutemath Stacy Douek

“Do Wah Doo” by Kate Nash Jason Stives

“Young Hearts Spark Fire” by Japandroids Natalia Tamzoke

“Love is my Drug” by Ke$ha Rosanna Volis

“Married Life” from Up Michael Malvasio

“Whatcha Say” by Jason Derulo Nidhi Saraiya

“Cornerstone” by Arctic Monkeys Ramon Dompor

“The Sea is a Good Place” by Los Campesinos!

Taylere Peterson