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Movies
Mini Movie Reviews • “Contraband” — Yes, this follows the tried-andtrue One Last Job formula. Yes, Mark Wahlberg is nestled deep within his comfort zone as a former master criminal who’s lived a dangerous life and gone straight. Still, this is a solid genre picture that knows exactly what it is, has no delusions of grandeur and carries out its task in entertaining and occasionally even suspenseful fashion. Based on the 2008 Icelandic film “Reykjavik-Rotterdam” and directed by that movie’s star, Baltasar Kormakur, “Contraband” features Wahlberg as Chris Farraday, a onetime expert smuggler who’s now living a quiet life as a security consultant in the New Orleans suburbs with his hairstylist wife, Kate (Kate Beckinsale), and their two young sons. When Kate’s younger brother (Caleb Landry Jones) botches a run for a volatile local drug dealer (Giovanni Ribisi, tatted, high-pitched and squirrelly) while pulling into the Port of New Orleans, Chris must come out of retirement to make up the loss to this madman. His scheme involves shipping down to Panama City to bring back millions in counterfeit bills; not only does this not go according to plan, it spins wildly out of control. Meanwhile, back in the bayou, Kate and the kids increasingly become targets of the drug dealer’s wrath. Kormakur relies too heavily on shaky-cam tricks and quick, needless zooms to pump up the tension, but some of his set pieces do play out in visceral fashion. HH1/2 • “Joyful Noise” — If some incarnation of “Glee” were to be developed for the Christian Broadcasting Network, it would probably look a lot like this. You’ve got your squeaky-clean reworkings of pop tunes from various decades, which are intended to please viewers of all ages; some romance, although nothing too hot and heavy; and a large dollop of prayer, as the
characters struggle to find answers with the Lord’s help. It’s really rather canny the way writer-director Todd Graff’s film caters to these large, wholesome audiences — ones that are largely underserved in mainstream multiplex fare — all at once. But that doesn’t mean it’s effective as entertainment. Especially during the musical numbers — which theoretically should serve as the most rousing source of emotion, since the film is about a gospel choir — there’s a weird disconnect, a sense that the songs are simultaneously overproduced and hollow, and repeated cutaways to reaction shots of singers nodding and smiling further undermine their cohesion. Queen Latifah and Dolly Parton co-star as longtime enemies battling for control over a small-town Georgia church choir. Keke Palmer and Jeremy Jordan play teens sharing a forbidden love ... through song. Graff jumps around awkwardly among catfights, performances and surreptitious snuggle sessions between the two young stars. H1/2 • “We Need to Talk About Kevin” — For Lynne Ramsay, motives are vague, sometimes unknowable things. In the Scottish director’s films — “Ratcatcher,” ‘’Morvern Callar” and this one — characters act out awkwardly and unpredictably, baffled and nullified by deadly predicaments that are, in some measure, their own making. “Kevin,” Ramsay’s first film in nearly 10 years, is about a woman wracked by the trauma of having mothered a mass-murdering teenage son. Eva Khatchadourian (Tilda Swinton) is a suburban wife to a cheerful, oblivious husband, Franklin (John C. Reilly), whose waking nightmare is enforced by constant flashbacks, mulling over her mothering of Kevin (as a teen, played by Ezra Miller) from infancy and up until the fateful high school massacre. It is, to be sure, a
parent’s horror story. The origin of this real-life demon is traced back to birth and even earlier, a pondering of the arrival of a bad seed and his subsequent nurturing. The script by Ramsay and Rory Stewart Kinnear, adapting Lionel Shriver’s acclaimed novel, artfully blends these two timelines evoking Eva’s interior consciousness, where every moment recalls a precursor to the tragedy, and a debate of her role in it. But the film fails to grasp the “why.” Perhaps this is as it should be: The formation of such a monster can only be a mystery. But this thoroughly well-crafted if rigidly conceived film could use a little more talking — or at least some therapy — about Kevin. HH1/2 • “Pariah” — Writer-director Dee Rees’ feature debut achieves a difficult, intriguing balance. It’s at once raw and dreamlike, specific to a particular, personal rite of passage yet relatable in its message of being true to oneself. Adepero Oduye gives a subtly natural performance as Alike (pronounced ah-lee-kay), a 17year-old Brooklyn girl who’s struggling to come out as a lesbian. Each day at school, she dresses the way that makes her feel comfortable in baggy T-shirts and baseball caps, and she pals around with her brash best friend, Laura (Pernell Walker), who’s already happily out. But on the bus ride home, she must transform herself into the young lady her mother, Audrey (Kim Wayans), approves of and loves. Audrey hopes arranging a new friendship with a colleague’s daughter, Bina (Aasha Davis), will set Alike down a traditionally straight, female path, but this budding relationship only complicates matters further. Simultaneously, Alike’s home life is deteriorating, as her police officer father (Charles Parnell) begins keeping suspiciously late hours; it’s a subplot that bogs things down and feels like a distraction from Alike’s journey,
a device to add tension. But Alike’s story is inspiring to see: Oduye is both melancholy and radiant in the role, and she makes you long for her character to finally find peace. And Bradford Young’s award-winning cinematography gives “Pariah” the gauzy, gorgeous feel of an urban fairy tale. HHH • “A Separation” — The title is an apt encapsulation of the film as a whole: It may sound simple, but its results are devastating. Writer-director Asghar Farhadi’s tale begins as a domestic disagreement in contemporary Iran and morphs into a legal thriller, one that will have you questioning the characters — and your own perception of them — again and again. This transformation occurs intimately, organically and seemingly so effortlessly that you may not recognize it right before your eyes. But the lasting effect will linger; while this story is incredibly detailed in the specificity of its setting, its themes resonate universally. Farhadi sets the tense tone right off the top with a long, single take in which middle-class husband and wife Simin (Leila Hatami) and Nader (Peyman Moadi) sit before a judge to explain their dispute. She wants the family to leave Tehran to provide their studious daughter, Termeh (the director’s daughter, Sarina Farhadi), with better educational opportunities. He wants to stay and care for his aging father, who’s suffering from Alzheimer’s disease. When Simin’s divorce request is rejected, she moves out; while the daughter stays, Nader still needs help watching his father. This leads to one fateful decision, and then another and another, until finally, serious criminal charges are at stake. “A Separation” honestly addresses the notions of trust and respect, loyalty and religious devotion. HHH1/2 — Associated Press
Open Stage puts on “Ma Rainey’s Black Bottom.”
A
ALIVE Entertainment in the heart of the midstate
Movies • Continued from D10
D12 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
of those directors who can get just about anybody he that (1) Carano can hold her wants to act in his movies. own, and (2) like Woody I call the plot nonsense. Allen, Soderbergh is one Ask yourself this: How
Books
• Continued from D8
than consuming it in fire. The Beast is dead, but so is Alice and one other student. Quentin lapses into unconsciousness, from which he awakens only six months later, now fully healed from his injuries sustained while fighting with the others. He makes his way back to earth, forswears magic,
gets a boring desk job that doesn’t actually require any real work, and swears he doesn’t miss the magic. The novel concludes with his friends — who had escaped Fillory, leaving him behind because the centaurs told them he was unlikely to live — finding him and asking him to come back to Fillory with them to take the fourth throne and be king alongside them. Of course
could any organization or “contractor” survive for long with the death rate we see here? At the end of a year no one would be left
alive except a few mail room clerks. Soderbergh seems to be amusing himself with the variety of his locations; we visit Barcelona,
Dublin, New Mexico, New York State and executive offices in unnamed cities. A film like “Haywire” has no lasting significance, but
it’s a pleasure to see an Alist director taking the care to make a first-rare genre thriller. HHH
he does.
behind in Fillory. Quentin thinks that he wants to be Martin, that living in this magical enchanted kingdom will solve all his problems. He finds, though, that having stayed in Fillory when he wasn’t wanted has corrupted Martin and pushed him over to the dark side (though, again, the sides of light and dark aren’t at all well-defined in Grossman’s novel). Once he
meets Martin, Quentin realizes he doesn’t really want that after all. There was enormous potential for Grossman to develop that line of thought, which he just wasted. There was potential for him to develop something one of the residents of Fillory said — “We have reached the point where ignorance and neglect are the best we can hope for in a ruler” — and
he wastes that, too. The benefit of coming after Lewis and Rowling would be to take the parts of their novels that were successful and add his own twist to it. What Mr. Grossman has done is to take their original plots, mash them together, add sex, drugs and alcohol, and call it original, when it is sadly merely a poor man’s version of either.
Concepts Although blatantly lifted from other, better, works, Grossman raises one interesting concept in his 402pages of otherwise uninspired prose. For the whole of the book, Quentin envies Martin Chatwin, the one sibling in the Fillory novels by Plover who manages to stay
2012 film preview first steps
The Sentinel www.cumberlink.com
D TheSection Sentinel ‘Hunger Games,’ ‘Dark Knight’ and ‘Hobbit’ are all highly anticipated movies January 19, 2012
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CPYB’s student choreographers to present work
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Special Events
Theater
Music
• Country line dance exercise classes are being offered 7-8:30 p.m. Fridays, Jan. 20-Feb. 17, at Silver Spring Presbyterian Church, 444 Silver Spring Road, Mechanicsburg. Open to ages 7 and older. Email ellen@linedancefun. vpweb.com.
• The Popcorn Hat Players will present “Rumpelstiltskin” at 10:15 a.m. Wednesdays and Thursdays and 1 p.m. Saturdays, Jan. 18-Feb. 4, at Gamut Classic Theatre, third floor, Strawberry Square, Harrisburg. Tickets are $5-$8. Visit www.gamutplays. org or call 238-4111.
• Attend a special intimate acoustic evening with Dave Mason at 8 p.m. Friday, Jan. 20, at the Sunoco Performance Theater at Whitaker Center for Science and the Arts, Harrisburg. Tickets are $32 and $38. Visit www.whitakercenter.org or call 214-ARTS.
• The Metropolitan Area Dance Club will hold a dance 7-11 p.m. Saturday, Jan. 21, at the PA Dance Sport Ballroom, 585 E. Main St., Hummelstown. Doors open at 6:30 p.m. The Headliners will provide music. Call 774-2171.
• Pat’s Singles Dance Club will hold a dance 7:3011 p.m. Sunday, Jan. 22, at the Valencia Ballroom, 142 N. George St., York. Special Friends will provide music. Cost is $10. Visit http://NewSingles3.tripod.com or call Pat at 303-1969. • Clifford – The Big Red Dog Live!, a family musical, will have performances at 1 and 4 p.m. Saturday, Jan. 28, at the H. Ric Luhrs Performing Arts Center at Shippensburg University. Tickets are $15-$25; a very limited number of VIP seats are available, which include a character meet and greet. Visit www.luhrscenter.com or call 477-SHOW. • The Metropolitan Area Dance Club will hold a dance 7-11 p.m. Saturday, Jan. 28, at the PA Dance Sport Ballroom, 585 E. Main St., Hummelstown. Doors open at 6:30 p.m. The Dave Winter Group will provide music. Call 774-2171. • Pat’s Singles Dance Club will hold a dance 7-10:30 p.m. Saturday, Jan. 28, at the Wisehaven Ballroom, 2985 Prospect Road, York. G-Wizz will provide music. Cost is $10. Visit http://NewSingles3.tripod.com or call Pat at 3031969.
• New Dancer Square Dances will be held at 7:30 p.m. Mondays beginning Jan. 30 at Elmcroft of Shippensburg, 129 Walnut Bottom Road. These are hosted by The Shippen Squares Square Dance Club. Call Karen and Ed Shrader at 532-5483. • Pat’s Singles Dance Club will hold a Super Bowl dance 7-10:30 p.m. Saturday, Feb. 4, at the Wisehaven Ballroom, 2985 Prospect Road, York. DJ Ray Thomas will provide music. Cost is $10. Visit http://NewSingles3.tripod.com or call Pat at 303-1969.
• The Gamut Theatre Group will present “Bunny Bunny: Gilda Radner: A Sort of Love Story” at 7:30 p.m. Fridays and Saturdays and 2:30 p.m. Sundays, Jan. 20Feb. 5, at the theater, 605 Strawberry Square, Harrisburg. Tickets are $27 for adults and $17 for students and seniors. Visit www.gamutplays.org or call 238-4111. • Oyster Mill Playhouse will present “Angel Street,” a psychological thriller by Patrick Hamilton, at 8 p.m. Thursdays-Saturdays and 2 p.m. Sundays, Jan. 27-Feb. 12, at its playhouse, 1001 Oyster Mill Road, Camp Hill. Opening night tickets are $16 and include a reception. All other performances are $14. Visit www.oystermill.com or call 737-6768. • Auditions for the Popcorn Hat Players’ production of “The Jungle Book” will be held Jan. 27 and 28 at Gamut Classic Theatre in Strawberry Square in Harrisburg. Auditions for ages 8-18 will be 6-8 p.m. Jan. 27 and 4-6 p.m. Jan. 28; and ages 5-7 from 2:30-4 p.m. Jan. 28. Callbacks will be 7-9 p.m. Jan. 28. Auditioners do not need to prepare a monologue. Dress in comfortable clothes. Performances will be at 2:30 and 7:30 p.m. April 14. Auditioners must call 238-4111 to make an appointment. • The Chambersburg Ballet Theatre will perform three ballets at 2 and 7:30 p.m. Saturday, Jan. 28, at the Capitol Theatre in Chambersburg. The production will feature Stravinsky’s “The Firebird;” a light-hearted skating ballet to Strauss waltzes called “Winter Scene;” and a world premiere classical work by renowned ballet master Robert Steele called “Mozartiana.” Tickets are $15 for adults or $10 for children 12 and under. Visit www.thecapitoltheatre.org or call 263-0202. • Little Theatre of Mechanicsburg will hold auditions for “Extremities” by William Mastrosimone at 7 p.m. Jan. 29 and 30 at the theater, 915 S. York St., Mechanicsburg. Auditions are for roles of three women and one man, all between the ages of 20s-40s. All actors auditioning should be prepared to read from the script and take part in a number of trust exercises. Wear comfortable clothing. For more information on the play and characters, visit www.ltmonline.net or call 763-1864. • Oyster Mill Playhouse in Camp Hill will hold auditions for the musical “The Goodbye Girl” by Neil Simon at 7 p.m. on Jan. 29 and 30 at the playhouse, 1001 Oyster Mill Road, Camp Hill. The cast includes seven women and four men as well as ensemble. Those who audition should prepare a one-minute excerpt from a recognized musical that shows off their best vocal ranger/style. Songs should be upbeat and show off acting skills as well. Bring sheet music. Visit www.oystermill.com. • Open Stage of Harrisburg presents “Ma Rainey’s Black Bottom” Feb. 3-25 at the theater, 223 Walnut St., Harrisburg. Visit www.openstagehbg.com or call 232OPEN. • Theatre Harrisburg presents “Joseph and the Amazing Technicolor Dreamcoat” at 7:30 p.m. Thursdays, 8 p.m. Fridays and 2 p.m. Sundays, Feb. 4-19. There will also be shows at 4 p.m. Saturdays, Feb. 4 and 18, and 8 p.m. Saturday, Feb. 11. Performances are held at Whitaker Center for Science and the Arts, harrisburg. Tickets are $20-$33. Call 214-ARTS.
• The Buck-N-Chet Band will perform 8:30-11:30 p.m. Friday, Jan. 20, at the Three PInes in Mt. Holly Springs. • Third in the Burg presents Jayme Salviati and Bon Rothermel 8-10 p.m. Friday, Jan. 20, at Midtown Scholar Bookstore, 1302 N. Third St., Harrisburg. This is a free concert. Visit www.midtownscholar.com or call 236-1680. • Mazon hip-hop performance 7-9 p.m. Saturday, Jan. 21, at Midtown Scholar Bookstore, 1302 N. Third St., Harrisburg. This is a free concert for more mature audiences. Visit www.midtownscholar.com or call 236-1680. • The Rillo’s After Dark Party with the Jazz Me Band will be held 9 p.m.-midnight Saturday, Jan. 21, at Rillo’s, Carlisle. • The Buck-N-Chet Band will peform 8:30-11 p.m. Saturday, Jan. 21, at the Boiling Springs VFW Post No. 8851 in Boiling Springs. • Bryan Adams will perform an acoustic concert as part of his “The Bare Bones Tour” at 7 p.m. Sunday, Jan. 22, at the H. Ric Luhrs Performing Arts Center at Shippensburg University. Tickets are $45-$59. Visit www. luhrscenter.com or call 477-SHOW. • Soledad Barrio and Noche Flamenca will perform at 5 p.m. Monday, Jan. 23, in the Rubendall Recital Hall at Dickinson College’s Weiss Center for the Arts, Carlisle. This is a free performance. An education concert with the performers will be held at 8 p.m. Tuesday, Jan. 24, in Mathers Theatre in the Holland Union Building. Call 245-1568. • Free coffeehouse and hymn sing 7-8:30 p.m. Friday, Jan. 27, at Enola First Church of God, 9 Sherwood Drive, Enola. Refreshments will be served. Visit www. enolacog.com or call the church at 732-4253. • The Vulcans with Sarah Beth and Dani F. will perform as part of Friday Folk Cafe 8-10 p.m. Friday, Jan. 27, at Midtown Scholar Bookstore, 1302 N. Third St., Harrisburg. This is a free concert. Visit www.midtownscholar. com or call 236-1680. • Coffeehouse, sponsored by the Perry County Council of the Arts, at 7 p.m. Friday, Jan. 27, at Espresso Yourself Cafe, 8 S. Second St., Newport. Free and open to the public. Visit www.perrycountyarts.org or call 567-7023.
Melancholia (R) Thu. 7:30 My Week with Marilyn (R) Fri.-Sat. 7:30, Sun. 2, Wed.-Thu. 7:30
Cinema Center of Camp Hill The Adventures of Tintin 2D (PG) Thu. 8:45 Alvin and the Chipmunks: Chipwrecked (G) Thu. 11:35 a.m., 2, 4:30, 6:40, Fri.-Thu. 11:35 a.m., 2, 4:30 The Artist (PG-13) Fri.-Thu. 10:55 a.m., 1:25, 3:50, 6:55, 9:25 Beauty and the Beast 3D (G) Thu. 12:10, 2:20, 4:35, 6:50, 9, Fri.-Thu. 12:10, 2:20, 4:35, 6:45, 8:50 Contraband (R) Thu.-Thu. 12, 2:30, 5:05, 7:40, 10:05 The Descendants (R) Thu. 11 a.m., 1:25, 3:55, 6:55, 9:20 The Devil Inside (R) Thu. 1, 3:10, 5:30, 7:50, 9:55, Fri.-Thu. 11:15 a.m., 10:05 Extremely Loud & Incredibly Close (PG-13) Fri.-Thu. 10:55 a.m., 1:30, 4:15, 7, 9:55 The Girl with the Dragon Tattoo (R) Thu. 11:40 a.m., 3, 6:30, 9:40, Fri.-Thu. 4:55, 8 Haywire (R) Fri.-Thu. 10:50 a.m., 12:50, 2:50, 5:10, 7:20, 9:35 Joyful Noise (PG-13) Thu. 11:10 a.m., 1:45, 4:25, 7:10, 9:55, Fri.-Thu. 11:05 a.m., 1:40, 4:25, 7:05, 9:45 Mission: Impossible Ghost Protocol (PG-13) Thu. 11 a.m., 1:40, 4:25, 7:15, 10, Fri.-Thu. 1:25, 4:15, 7:15 Red Tails (PG-13) Fri.-Thu. 10:50 a.m., 1:30, 4:20, 7:10, 10 Sherlock Holmes: A Game of Shadows (PG-13) Thu. 1:10, 4:10, 7:20, 10:05, Fri.-Thu. 2:10, 5 Tinker Tailor Soldier Spy (R) Thu. 11:15 a.m., 2, 4:45, 7:30, 10:05, Fri.-Thu. 6:40, 9:30 Underworld: Awakening 3D (R) Fri.-Thu. 11 a.m., 1:10, 3:15, 5:20, 7:30, 9:50 War Horse (PG-13) Thu. 11:10 a.m., 2:40, 6:45, 9:50, Fri.-Thu. 11:10 a.m., 7:50 We Bought a Zoo (PG) Thu. 11 a.m., 1:35, 4:20, 7, 10:05, Fri.-Thu. 11:30 a.m., 2:15
Great Escape The Adventures of Tintin 3D (PG) Thu. 11:40 a.m., 2:10, 4:40, Fri.-Thu. 11:40 a.m., 2:10, 4:40
Continued next column Event information can be submitted via email to frontdoor@cumberlink.com, by mail, 457 E. North St., Carlisle, PA 17013 or by fax at 243-3121. For more information, visit www.cumberlink.com/entertainment
Great Escape continued
Regal Carlisle continued
Regal Harrisburg continued
Alvin and the Chipmunks: Chipwrecked (G) Thu. 11:35 a.m., 12:10, 1:45, 2:30, 4:45, 7, 9:20, Fri.-Thu. 11:50 a.m., 2, 4:20, 6:50 Beauty and the Beast 2D (G) Thu.-Thu. 12:30 Beauty and the Beast 3D (G) Thu. 11:30 a.m., 1:40, 2:40, 3:50, 4:50, 7, 9:10, Fri.-Thu. 2:40, 4:50, 7, 9:10 Contraband (R) Thu. 11:45 a.m., 2:15, 4, 5, 6:50, 7:50, 9:20, 10:20, Fri.-Thu. 11:45 a.m., 2:15, 5, 7:50, 10:20 The Darkest Hour 3D (PG-13) Thu. 7:20, 10 The Devil Inside (R) Thu. 12:20, 2:40, 5:10, 7, 7:40, 9:15, 9:50, Fri.-Thu. 12:20, 2:40, 5:10, 7:40, 9:50 Extremely Loud and Incredibly Close (PG-13) Fri.-Thu. 12:50, 4:10, 7:10, 10 Girl with the Dragon Tattoo (R) Thu.-Thu. 12:40, 4:20, 8 Haywire (R) Fri.-Thu. 12, 2:20, 5:10, 7:40, 10 Joyful Noise (PG-13) Thu. 11:30 a.m., 12:40, 2:10, 4:50, 6:30, 7:30, 10:10, Fri.-Thu. 11:30 a.m., 2:10, 4:50, 7:30, 10:10 Mission: Impossible Ghost Protocol (PG-13) Thu. 12, 4:10, 7:10, 10:10, Fri.-Thu. 3:45, 9:55 New Year’s Eve (PG-13) Thu. 3:30, 9:15 Red Tails (PG-13) Fri.-Thu. 11:30 a.m., 12:40, 2:50, 4, 6:30, 7:30, 9:15, 10:15 Sherlock Holmes: Game of Shadows (PG-13) Thu.-Thu. 12:20, 3:40, 6:40, 9:40 Underworld: Awakening 2D (R) Fri.-Thu. 12 Underworld: Awakening 3D (R) Fri.-Thu. 2, 4:30, 7:20, 8:10, 9:30, 10:15 War Horse (PG-13) Thu. 12:30, 3:45, 6:50, 9:55, Fri.-Thu. 12:10, 6:50 We Bought a Zoo (PG) Thu. 12:10, 3:30, 6:40, 9:30, Fri.-Thu. 9
Extremely Loud & Incredibly Close (PG-13) Fri. 4:20, 7:20, 10:20, Sat.-Sun. 1:20, 4:20, 7:20, 10:20, Mon.-Thu. 4:20, 7:20, 10:20 Haywire (R) Fri. 5, 7:30, 9:50, Sat.-Sun. 12:20, 2:40, 5, 7:30, 9:50, Mon.-Thu. 5, 7:30, 9:50 Joyful Noise (PG-13) Thu.-Fri. 4, 7, 9:40, Sat.-Sun. 1, 4, 7, 9:40, Mon.Thu. 4, 7, 9:40 Mission: Impossible - Ghost Protocol (PG-13) Thu. 4:20, 7:20, 10:20 Red Tails (PG-13) Fri. 4:10, 7:10, 10, Sat.-Sun. 1:10, 4:10, 7:10, 10, Mon.-Thu. 4:10, 7:10, 10 Sherlock Holmes: A Game of Shadows (PG13) Thu. 4:10, 7:10, 10:10, Fri. 9:55, Sat.-Sun. 3:40, 9:55, Mon.-Thu. 9:55 Underworld: Awakening 3D (R) Fri. 4:50, 7:50, 10:10, Sat.-Sun. 12:10, 2:30, 4:50, 7:50, 10:10, Mon.-Thu. 4:50, 7:50, 10:10 War Horse (PG-13) Thu. 3:40, 6:50, 10, Fri. 3:30, 6:40, Sat.-Sun. 12:30, 6:40, Mon.-Thu. 3:30, 6:40 We Bought a Zoo (PG) Thu. 6:40, 9:30
The Iron Lady (PG-13) Thu. 2, 4:30, 7:30, 10:05, Fri.-Thu. 1:30, 4:30, 7, 9:40 Joyful Noise (PG-13) Thu. 1:40, 4:40, 7:40, 10:20, Fri.-Thu. 1:10, 4:10, 6:50, 9:50 The Metropolitan Opera: The Enchanted Island (NR) Sat. 12:55 Mission: Impossible - Ghost Protocol (PG-13) Thu. 12:50, 4:20, 7:25, 10:25, Fri. 1:25, 4:25, 7:25, 10:25, Sat. 7:25, 10:25, Sun.-Thu. 1:25, 4:25, 7:25, 10:25 Red Tails (PG-13) Fri.-Thu. 1:20, 4:20, 7:30, 10:20 Sherlock Holmes: A Game of Shadows (PG-13) Thu. 1:20, 4:10, 7:10, 10, Fri. 3:40, 6:30, 9:20, Sat.-Sun. 12:50, 3:40, 6:30, 9:20, Mon.-Thu. 3:40, 6:30, 9:20 Tinker Tailor Soldier Spy (R) Thu. 1, 3:50, 7, 9:50 Underworld Awakening 3D (R) Fri. 3, 5:20, 7:40, 10:30, Sat.-Sun. 12:30, 3, 5:20, 7:40, 10:30, Mon.-Thu. 3, 5:20, 7:40, 10:30 War Horse (PG-13) Thu. 12:30, 3:45, 7:05, 10:15, Fri. 3:30, 6:45, 9:55, Sat.-Sun. 12:15, 3:30, 6:45, 9:55, Mon.-Thu. 3:30, 6:45, 9:55 We Bought a Zoo (PG) Thu. 12:40, 3:40, 6:30, 9:20, Fri.-Thu. 6:20, 9:10
Regal Carlisle Commons 8 Alvin and the Chipmunks: Chipwrecked (G) Thu. 4:30 Beauty and the Beast 3D (G) Thu. 5, 7:30, 9:50, Fri. 4:30, 6:50, 9:10, Sat.Sun. 12, 2:15, 4:30, 6:50, 9:10, Mon.-Thu. 4:30, 6:50, 9:10 Contraband (R) Thu. 5:10, 7:50, 10:30, Fri. 4:40, 7:40, 10:30, Sat.-Sun. 1:30, 4:40, 7:40, 10:30, Mon.-Thu. 4:40, 7:40, 10:30 The Devil Inside (R) Thu. 4:45, 7:40, 10:05
Continued next column
Regal Harrisburg The Adventures of Tintin 2D (PG) Thu. 4:05, Fri. 2:50, 5:30, Sat.-Sun. 12:20, 2:50, 5:30, Mon.-Thu. 2:50, 5:30 The Adventures of Tintin 3D (PG) Thu. 1:15, 6:40, 9:30 Alvin and the Chipmunks: Chipwrecked (G) Thu. 1:30, 4, 6:10, 8:30, Fri.-Thu. 1:40, 3:50 Beauty and the Beast 3D (G) Thu. 12:20, 2:40, 5, 7:20, 9:40, Fri. 2:30, 4:50, 7:10, 9:30, Sat.-Sun. 12:10, 2:30, 4:50, 7:10, 9:30, Mon.-Thu. 2:30, 4:50, 7:10, 9:30 Contraband (R) Thu. 1:50, 4:50, 7:50, 10:30, Fri.-Thu. 1:50, 4:40, 7:50, 10:40 The Descendants (R) Thu. 12:45, 3:25, 6:20, 9:10 The Devil Inside (R) Thu. 1:10, 3:20, 5:30, 8, 10:40, Fri.-Thu. 8:10, 10:35 Extremely Loud & Incredibly Close (PG-13) Fri.-Thu. 1, 4, 7:20, 10:10 The Girl with the Dragon Tattoo (R) Thu. 12:10, 3:30, 6:50, 10:10, Fri. 3:20, 6:40, 10, Sat.-Sun. 12, 3:20, 6:40, 10, Mon.-Thu. 3:20, 6:40, 10 Haywire (R) Fri. 3:10, 5:40, 8, 10:15, Sat.-Sun. 12:40, 3:10, 5:40, 8, 10:15, Mon.-Thu. 3:10, 5:40, 8, 10:15
Continued next column
Select Medical IMAX Theatre Born to Be Wild 3D Thu. 12, Fri.-Sat. 11 a.m., Sun. 2, Mon.-Thu. 11 a.m. Legends of Flight 3D Thu. 11 a.m., Fri.-Sat. 1, 2, Sun. 12, Mon.-Thu. 1, 2 Lewis and Clark: Great Journey West Thu. 1, Fri.-Sat. 12, 3, Sun. 1, 3, Mon.-Thu. 12, 3 Mission: Impossible – Ghost Protocol The IMAX Experience (PG-13) Thu. 2, 4:35, 7:10, Fri.-Thu. 4, 6:35
West Shore Theater The Adventures of Tintin (PG) Fri.-Thu. 7 Happy Feet Two (PG) Sat.-Sun. 2 The Sitter (R) Fri.-Thu. 9 Twilight: Breaking Dawn Part 1 (PG-13) Thu. 9 Young Adult (R) Thu. 7
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• Pat’s Singles Dance Club will hold a dance 7:30-11 p.m. Sunday, Jan. 29, at the Valencia Ballroom, 142 N. George St., York. Solid Gold will provide music. Cost is $10. Visit http:// NewSingles3.tripod.com or call Pat at 303-1969.
• Avalong Playhouse will present “33 Variations” at 7:30 p.m. Fridays, Jan. 20 and 227, Saturday, Jan. 28, and Thursday, Jan. 26; and 3 p.m. Sundays, Jan. 22 and 29, at the Pullo Center, 1031 Edgecomb Ave., York. Tickets are $15 in advance, $18 at the door. Visit www.thepullocenter.com or call 505-8900.
Carlisle Theatre
Movies
Out & About
• Pat’s Singles Dance Club will hold a dance 7:30-11 p.m. Saturday, Jan. 21, at the Wisehaven Ballroom, 2985 Prospect Road, York. The Dave Winter Group will provide music. Cost is $10. Visit http://NewSingles3.tripod.com or call Pat at 303-1969.
D2 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Now showing
D11 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Out & About
D10 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Hooked Mallory is played by Gina Carano, a retired mixed martial arts fighter. Her range is suggested by having placed No. 5 on a Most Influential Women list on Yahoo! and No. 16 on Maxim’s Hot 100. On the basis of “Haywire,” I expect her to become a considerable
• Celebrate the Chinese New Year the CALC Way 11 a.m.-2 p.m. Saturday, Jan. 21, at Carlisle Arts Learning Center, 19 N. Hanover St., Carlisle. Experience a live Chinese lion dance, Kung Fu demonstration, children’s arts projects and photography and cultural display by Deborah Fingerlow. Free and open to the public. • Therese Zemlin will display her artwork Jan. 23-March 9 in the Aughinbaugh Art Gallery at Messiah College’s Climenhaga Fine Arts Center. There will be an artist’s talk and reception at 4:15 p.m. Feb. 10 in the gallery.
Associated Press
Michael Fassbender, left, and Gina Carano are shown in a scene from “Haywire.” dialogue. Lesser directors would use that as an excuse to rely entirely on action and lowball the words. Not Soderbergh and his screenwriter, Lem Dobbs, who wrote “Dark City,” is the son of the famous painter
R.B. Kitaj, and lifted his pen name from the Bogart character in “The Treasure of the Sierra Madre.” What they do is craft very precise words for a large group of supporting characters, and fill those
Grading the films
known actress co-stars with Michael Fassbender, Ewan McGregor, Bill Paxton, Channing Tatum, Antonio Banderas and Michael Douglas, and you realize
• See Movies, D12
Compiled by The Associated Press
Metacritic
Movie Review Intelligence
Rotten Tomatoes
Average
“We Need to Talk About Kevin”
71
76.2
83
76.7
“The Iron Lady”
54
58.9
54
55.6
“Contraband”
52
55.6
46
51.2
“Joyful Noise”
44
51.1
39
44.7
Crafty screenplay Soderbergh is a master craftsman whose work moves almost eagerly between genres. This is his first martial arts film, and he correctly assumes that the audience isn’t interested in hearing a lot of
roles with surprisingly big names. The result is that the film (although its plot is preposterous nonsense) has weight and heft and places Mallory at the center of a diabolical labyrinth. Consider that a relatively little-
• “Flight Lab” by Jenny K. Hager and “Intimate Duet” by Hager and D. Lance Vickery will be on display Jan. 24-Feb. 22 at the Brossman Gallery and Cora Miller Gallery, respectively, at York College of Pennsylvania. A reception will be held 6-8 p.m. Tuesday, Jan. 24, in the Wolf Hall lobby. An artist lecture will be held at 5 p.m. Tuesday, Jan. 24, in DeMeester Recital Hall. Visit http://galleries.ycp.edu. • Sculptures by Mia Feuer will be on display Tuesday, Jan. 24, through Friday, Feb. 17, in the Goodyear Gallery at Dickinson College. Call 245-1053. • Deborah L. Peters will display her works in oil, watercolor, sculpture and mixed media throughout the month of January in the Charley Krone Gallery at New Cumberland Public Library, 1 Benjamin Plaza. Call 774-7820. • Nancy Stawitz will display her mixed media works throughout the month of February in the Charley Krone Gallery at New Cumberland Public Library, 1 Benjamin Plaza. Call 774-7820. • Mechanicsburg artist Patty Toth will display her exhibition “Grandeur of Yosemite” Feb. 1-March 7 at the Perry County Council of the Arts Gallery, 1 S. Second St., Newport. An opening reception will be held 7-8:30 p.m. Friday, Feb. 3. Visit www.perrycountyarts.org or call 567-7023. • “Reflections and Undercurrents: Prints of Venice, 1900-1940” will be on display through Feb. 4 in The Trout Gallery, Weiss Center for the Arts, at Dickinson College. Call 245-1711.
10 N. Pitt St. Carlisle, 243-4151 www.alibispirits.com Friday, Jan. 20: Band night with Pocket Change, 9 p.m. Saturday, Jan. 21: DJ, 10 p.m. Monday, Jan. 23: Yuengs and Wings. Tuesday, Jan. 24: Team Trivia, 7 p.m. Wednesday, Jan. 25: Open Mic, 8 p.m.
NIGHTLIFE | D5
Harrisburg Midtown Art Center’s Stage on Herr presents a variety of acts in coming weeks.
Appalachian Brewing Company 50 N. Cameron St. Harrisburg, 221-1080 www.abcbrew.com Saturday, Jan. 21: Eilen Jewell, 7 p.m. Saturday, Jan. 28: Winterfest, 7 p.m.
THEATER | D6-7
Open Stage of Harrisburg presents “Ma Rainey’s Black Bottom,” while Central Pennsylvania Youth Ballet presents works choreographed by its students.
Gullifty’s Underground 1104 Carlisle Road Camp Hill, 761-6692 www.gulliftys.net Friday, Jan. 20: Emilys Toybox, 9 p.m. Saturday, Jan. 21: Mike Burton and DJam, 9 p.m. Monday, Jan. 23: Poker Mondays, 9 p.m. Friday, Jan. 27: Funktion Band, 9 p.m.
BOOKS | D5
“The Magicians” by Lev Grossman is a poor amalgamation of the Harry Potter and Narnia series. Also, USA Today’s Best-Sellers.
MOVIES | D10-11
Holly Inn 31 S. Baltimore Ave. Mt. Holly Springs, 486-3823 www.hollyinn.com Thursday, Jan. 19: Cek Beauty Conference, 6 p.m. Friday, Jan. 20: Klinger McFry, 9:30 p.m. Saturday, Jan. 21: DJ Don, 9 p.m. Sunday, Jan. 22: Open Mic with Roy Bennett & Friends, 6:30 p.m. Monday, Jan. 23: Ballroom dancing. Tuesday, Jan. 24: Karaoke, 9 p.m. Wednesday, Jan. 25: Line dancing, 7 p.m. • “Contraband” — Yes, this follows the tried-andtrue One Last Job formula. Yes, Mark Wahlberg is nestled deep within his comfort zone as a former master criminal who’s lived a dangerous life and gone straight. Still, this is a solid genre picture that knows exactly what it is, has no delusions of grandeur and carries out its task in entertaining and occasionally even suspenseful fashion. Based on the 2008 Icelandic film “Reykjavik-Rotterdam” and directed by that movie’s star, Baltasar Kormakur, “Contraband” features Wahlberg as Chris Farraday, a onetime expert smuggler who’s now living a quiet life as a security consultant in the New Orleans suburbs with his hairstylist wife, Kate (Kate Beckinsale), and their two young sons. When Kate’s younger brother (Caleb Landry Jones) botches a run for a volatile local drug dealer (Giovanni Ribisi, tatted, high-pitched and squirrelly) while pulling into the Port of New Orleans, Chris must come out of retirement to make up the loss to this madman. His scheme involves shipping down to Panama City to bring back millions in counterfeit bills; not only does this not go according to plan, it spins wildly out of control. Meanwhile, back in the bayou, Kate and the kids increasingly become targets of the drug dealer’s wrath. Kormakur relies too heavily on shaky-cam tricks and quick, needless zooms to pump up the tension, but some of his set pieces do play out in visceral fashion. ))1/2 • “Joyful Noise” — If some incarnation of “Glee” were to be developed for the Christian Broadcasting Network, it would probably look a lot like this. You’ve got your squeaky-clean reworkings of pop tunes from various decades, which are intended to please viewers of all ages; some romance, although nothing too hot and heavy; and a large dollop of prayer, as the
Market Cross Pub & Brewery
A look at the 2012 Sundance Film Festival and Roger Ebert reviews “Haywire.” Also, movie grades and theater listings.
Mini Movie Reviews
characters struggle to find answers with the Lord’s help. It’s really rather canny the way writer-director Todd Graff’s film caters to these large, wholesome audiences — ones that are largely underserved in mainstream multiplex fare — all at once. But that doesn’t mean it’s effective as entertainment. Especially during the musical numbers — which theoretically should serve as the most rousing source of emotion, since the film is about a gospel choir — there’s a weird disconnect, a sense that the songs are simultaneously overproduced and hollow, and repeated cutaways to reaction shots of singers nodding and smiling further undermine their cohesion. Queen Latifah and Dolly Parton co-star as longtime enemies battling for control over a small-town Georgia church choir. Keke Palmer and Jeremy Jordan play teens sharing a forbidden love ... through song. Graff jumps around awkwardly among catfights, performances and surreptitious snuggle sessions between the two young stars. )1/2 • “We Need to Talk About Kevin” — For Lynne Ramsay, motives are vague, sometimes unknowable things. In the Scottish director’s films — “Ratcatcher,” ‘’Morvern Callar” and this one — characters act out awkwardly and unpredictably, baffled and nullified by deadly predicaments that are, in some measure, their own making. “Kevin,” Ramsay’s first film in nearly 10 years, is about a woman wracked by the trauma of having mothered a mass-murdering teenage son. Eva Khatchadourian (Tilda Swinton) is a suburban wife to a cheerful, oblivious husband, Franklin (John C. Reilly), whose waking nightmare is enforced by constant flashbacks, mulling over her mothering of Kevin (as a teen, played by Ezra Miller) from infancy and up until the fateful high school massacre. It is, to be sure, a
113 N. Hanover St. Carlisle, 258-1234 www.marketcrosspub.com Thursday, Jan. 19: Open Jam with Brad Bell, 8 p.m. SaturMovies Jan. 22: day, Jan. 21: Cormorant’s Fancy, 9 p.m. Sunday, Sunday Brunch, noon-3 p.m. Thursday, Jan. 26:Indian Books Summer Jars, 8 p.m. Friday, Jan. 27: Nate Myers & the Aces, 9:30 p.m.
parent’s horror story. The origin of this real-life demon is traced back to birth and even earlier, a pondering of the arrival of a bad seed and his subsequent nurturing. The script by Ramsay and Rory Stewart Kinnear, adapting Lionel Shriver’s acclaimed novel, artfully blends these two timelines evoking Eva’s interior consciousness, where every moment recalls a precursor to the tragedy, and a debate of her role in it. But the film fails to grasp the “why.” Perhaps this is as it should be: The formation of such a monster can only be a mystery. But this thoroughly well-crafted if rigidly conceived film could use a little more talking — or at least some therapy — about Kevin. ))1/2 • “Pariah” — Writer-director Dee Rees’ feature debut achieves a difficult, intriguing balance. It’s at once raw and dreamlike, specific to a particular, personal rite of passage yet relatable in its message of being true to oneself. Adepero Oduye gives a subtly natural performance as Alike (pronounced ah-lee-kay), a 17year-old Brooklyn girl who’s struggling to come out as a lesbian. Each day at school, she dresses the way that makes her feel comfortable in baggy T-shirts and baseball caps, and she pals around with her brash best friend, Laura (Pernell Walker), who’s already happily out. But on the bus ride home, she must transform herself into the young lady her mother, Audrey (Kim Wayans), approves of and loves. Audrey hopes arranging a new friendship with a colleague’s daughter, Bina (Aasha Davis), will set Alike down a traditionally straight, female path, but this budding relationship only complicates matters further. Simultaneously, Alike’s home life is deteriorating, as her police officer father (Charles Parnell) begins keeping suspiciously late hours; it’s a subplot that bogs things down and feels like a distraction from Alike’s journey,
a device to add tension. But Alike’s story is inspiring to see: Oduye is both melancholy and radiant in the role, and she makes you long for her character to finally find peace. And Bradford Young’s award-winning cinematography gives “Pariah” the gauzy, gorgeous feel of an urban fairy tale. ))) • “A Separation” — The title is an apt encapsulation of the film as a whole: It may sound simple, but its results are devastating. Writer-director Asghar Farhadi’s tale begins as a domestic disagreement in contemporary Iran and morphs into a legal thriller, one that will have you questioning the characters — and your own perception of them — again and again. This transformation occurs intimately, organically and seemingly so effortlessly that you may not recognize it right before your eyes. But the lasting effect will linger; while this story is incredibly detailed in the specificity of its setting, its themes resonate universally. Farhadi sets the tense tone right off the top with a long, single take in which middle-class husband and wife Simin (Leila Hatami) and Nader (Peyman Moadi) sit before a judge to explain their dispute. She wants the family to leave Tehran to provide their studious daughter, Termeh (the director’s daughter, Sarina Farhadi), with better educational opportunities. He wants to stay and care for his aging father, who’s suffering from Alzheimer’s disease. When Simin’s divorce request is rejected, she moves out; while the daughter stays, Nader still needs help watching his father. This leads to one fateful decision, and then another and another, until finally, serious criminal charges are at stake. “A Separation” honestly addresses the notions of trust and respect, loyalty and religious devotion. )))1/2 — Associated Press
Open Stage puts on “ma rainey’s Black Bottom.”
AALIVE EntErtainmEnt in thE hEart of thE midstatE
• Continued from D10 of those directors who can could any organization or alive except a few mail room Dublin, New Mexico, New it’s a pleasure to see an Aget just about anybody he “contractor” survive for clerks. Soderbergh seems York State and executive list director taking the care that (1) Carano can hold her wants to act in his movies. long with the death rate we to be amusing himself with offices in unnamed cities. to make a first-rare genre own, and (2) like Woody I call the plot nonsense. see here? At the end of a the variety of his loca- A film like “Haywire” has thriller. Allen, Soderbergh is one Ask yourself this: How year no one would be left tions; we visit Barcelona, no lasting significance, but )))
Stage on Herr
• Continued from D8
than consuming it in fire. The Beast is dead, but so is Alice and one other student. Quentin lapses into unconsciousness, from which he awakens only six months later, now fully healed from his injuries sustained while fighting with the others. He makes his way back to earth, forswears magic,
gets a boring desk job that doesn’t actually require any real work, and swears he doesn’t miss the magic. The novel concludes with his friends — who had escaped Fillory, leaving him behind because the centaurs told them he was unlikely to live — finding him and asking him to come back to Fillory with them to take the fourth throne and be king alongside them. Of course
he does.
Concepts
Although blatantly lifted from other, better, works, Grossman raises one interesting concept in his 402pages of otherwise uninspired prose. For the whole of the book, Quentin envies Martin Chatwin, the one sibling in the Fillory novels by Plover who manages to stay
268 Herr St. Harrisburg, 441-7506 www.harrisburgarts.com Thursday, Jan. 19: Jon Herrington, 9 p.m. Friday, Jan. 20: Mike Banks and friends, 8 p.m. Saturday, Jan. 21: Mark Santanna the snake oil salesman, Earl Pickens and Family, 8 p.m. Monday, Jan. 23: Karaoke, 9 p.m. Tuesday, Jan. 24: Games Night, 6 p.m. Wednesday, Jan. 25: Open Mic hosted by Mike Banks, 8 p.m. Thursday, Jan. 26: HIpE – Impressionistic Musical Art, 9 p.m.
behind in Fillory. Quentin thinks that he wants to be Martin, that living in this magical enchanted kingdom will solve all his problems. He finds, though, that having stayed in Fillory when he wasn’t wanted has corrupted Martin and pushed him over to the dark side (though, again, the sides of light and dark aren’t at all well-defined in Grossman’s novel). Once he
meets Martin, Quentin realizes he doesn’t really want that after all. There was enormous potential for Grossman to develop that line of thought, which he just wasted. There was potential for him to develop something one of the residents of Fillory said — “We have reached the point where ignorance and neglect are the best we can hope for in a ruler” — and
he wastes that, too. The benefit of coming after Lewis and Rowling would be to take the parts of their novels that were successful and add his own twist to it. What Mr. Grossman has done is to take their original plots, mash them together, add sex, drugs and alcohol, and call it original, when it is sadly merely a poor man’s version of either.
2012 film PrevieW firST STePS
The Sentinel www.cumberlink.com
D TheSection Sentinel ‘Hunger Games,’ ‘Dark Knight’ and ‘Hobbit’ are all highly anticipated movies January 19, 2012
CPYB’s student choreographers to present work
On the cover: Avalon Demetri, background left, helps Florrie Geller, 12, front left, Eniko Vaghy, 14, background right, and Emerson Dayton, 11, with dance moves. (main photo) Sharia Benn portrays Ma Rainey in Open Stage of Harrisburg’s production of “Ma Rainey’s Black Bottom.” (photo inset)
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There must be Freudian insights explaining why so many young males respond positively to superwomen as heroines. At science fiction and comics conventions, a woman wearing a fetishistic superhero costume will almost certainly be the focus of a circle of intent fanboys. Maybe there’s the prospect of an all-protecting mom. Or the promise of a cool female buddy. The possibility of sex seems to be secondary. Mallory Kane, the heroine of “Haywire,” is a splendid example of the character type. Her first name springs from a Latin root for evil, and her last name inspires associations with British pornography (“Strict instruction for naughty schoolboys. Call Miss Kane”). Steven Soderbergh’s new film is a thriller that has next to nothing to do with sex, except as an implement of distraction, but under the surface there’s an appeal coiling to that part of many men that feels kinda needy about Lara Croft.
• Artists Scott and Penny Durbin will display watercolors and pen and ink drawings at On What Grounds coffee shop, 162 Lincoln Way East, Chambersburg, through Jan. 20. The shop is open 7 a.m.-4:30 p.m. Monday-Friday and 8 a.m.-1 p.m. Saturday. Call the Council for the Arts of Chambersburg at 264-6883.
MUSIC | D4-5
The Rock and Roll Hall of Fame opens archives to the public. Also, Music Notes and Billboard’s top music.
Out & About
Movies
Universal Press Syndicate
Art
Inside
Alibis Eatery and Spirits
Get all of your entertainment news online at www.cumberlink.com
By Roger Ebert
box office success because the fact is, within a limited range, she’s good. In the movie’s first scene she walks into a little cafe in upstate New York, sits down, sips a little tea, and had me hooked. She has the nononsense beauty of a Noomi Rapace, Linda Fiorentino or Michelle Monaghan. She plays an employee of a murky special contractor of the U.S. government, which specializes in performing dirty work on assignment. Its own agents and enemy agents, who sometimes seem interchangeable, spend a great deal of time deceiving and doublecrossing one another, and Mallory discovers during the course of the film that (spoiler, I guess) she can’t trust anyone. Why so many people want to kill her is a mystery, because she is so gifted at her job. Carano is wonderfully athletic, which is just as well because she spends most of the film being wonderfully athletic. Although you never know in this age of special effects exactly what is real in a martial arts scene, let it be said she really does seem to be personally performing some impressive fight moves; there are the same elegant moments we remember from Bruce Lee and Jackie Chan, who were blindingly fast and ingenious in the way they improvised using walls, angles, furniture and the bodies of others.
Movies
Retired mixed martial arts fighter Gina Carano holds her own with other big names. ■
D12 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Get all of your entertainment news online at www.cumberlink.com
‘Haywire’ has nonsense plot, great actors
The Scene
A guide to area events A look at local nightlife
D3 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Movie Review
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Music
Sundance time: Indie film world gathers in Utah
Members of the public can now access more than 5,170 books, audio recordings and videos of music history.
■
The 11-day film festival will feature 117 featurelength films and 64 short films.
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BY DAVID GERMAIN AP Movie Writer
Associated Press
CLEVELAND — The Rock and Roll Hall of Fame and Museum opened its new library and archives to the public on Tuesday to give scholars and fans access to the stories behind the music through such “artifacts” as personal letters from Madonna and Aretha Franklin and 1981-82 video of the Rolling Stones tour. The collection, catalogued over the last few years, includes more than 3,500 books, 1,400 audio recordings and 270 videos, and is housed in the new four-story, $12 million building. Thousands more books and recordings and hundreds of videos will be added as previously stored items and new donations are catalogued, said Andy Leach, director of the library and archives. “We hope to serve music scholars, teachers, students and the general public,” Leach said. “We hope to see all of them here.” Tuesday’s opening of the building on the Cuyahoga Community College campus in Cleveland, not far from the Rock Hall, occurred without a lot of fanfare. The low-key opening allows the public to enjoy the library before a grand opening April 9. The college funded the building, which the library and archives share with the college’s Center for Creative
Associated Press
Head archivist Jennie Thomas looks over a series of correspondence between Aretha Franklin and Clive Davis at the newly-opened Rock and Roll Hall of Fame and Museum Library and Archives in Cleveland. Arts. The Rock Hall financed construction and furnishings of the interior of its section of the building. The library also offers photos, albums and covers, oral histories and scrap books. Leach said the Rock Hall has done a great job of telling the story of rock ‘n’ roll. He said he sees the library as bringing the museum more recognition and showing “it to be a serious place of research.” The library collection also includes movie posters, photos and memorabilia related to Alan Freed, the DJ credited with coining the phrase rock ‘n’ roll; a handwritten list by Elvis Presley of songs included in one of his concerts; and personal letters from artists including Mick Jagger. Visitors will not be allowed to check out items, but anyone can use the library reading room to
browse through books, listen to audio recordings and watch videos. A smaller archives reading room allows supervised access to certain items. Steve Waksman, an associate professor of music and American studies at Smith College in Massachusetts, did research at the library prior to its opening for his book on the history of American live music. “It was very useful, with material that I haven’t
found anywhere else,” Waksman said Tuesday. “They had a lot of material regarding the stage sets of music performers from the ‘60s and the ‘70s, such as David Bowie and the Rolling Stones.” Elizabeth Papp Taylor, 53, of Shaker Heights, was at the library opening day. “I’m looking forward to coming back for a look at the archives, but my first visit was exciting,” she said in a phone interview. “It’s very impressive.”
moosehead, moosehead light & moosehead lt lime $
21.70
30pk cans SAVE $4.00 222 East High Street, Carlisle 243-2721
PARK CITY, Utah — Independent films that may have been years in the making get their first audiences at this week’s Sundance Film Festival. That could also mean careers in the making for unknown directors and actors whose movies connect with the right crowds. Robert Redford’s independent-cinema showcase was opening Thursday with 117 feature-length films, 64 short films and a lot of anxious filmmakers on the agenda during its 11-day run. Some are established directors showing their latest work, such as Spike Lee with his urban drama “Red Hook Summer,” in which he reprises the character he played in “Do the Right Thing”; Stephen Frears with his sports-wagering caper “Lay the Favorite,” starring Bruce Willis, Catherine Zeta-Jones and Rebecca Hall; documentary veteran Joe Berlinger with his Paul Simon portrait “Under African Skies”; and Julie Delpy with her relationship comedy “2 Days in New York,” in which she stars with Chris Rock. Other films are from upand-comers competing for prestigious Sundance prizes, such as Sheldon Candis’ coming-of-age story “Luv,” featuring rapper Common and Danny Glover; Ry Russo-Young’s domestic drama “Nobody Walks,” with John Krasinski, Olivia Thirlby and Rosemarie DeWitt;
and Youssef Delara and Michael D. Olmos’ hip-hop story “Filly Brown,” starring newcomer Gina Rodriguez, Lou Diamond Phillips and director Olmos’ father, Edward James Olmos. What makes Sundance the place to be for rising film talent every January? “There’s a combination of factors. First, it’s the beginning of the year. That’s a very good time to start the year with a whole variety of new films, which Sundance brings together and curates rather well,” said James Marsh, who returns to the festival for the third time with his Northern Ireland drama “Shadow Dancer,” featuring Clive Owen and Andrea Riseborough. “And Sundance has an international profile beyond North America. We know it’s a place that careers can get made and films get noticed,” said Marsh, whose Academy Award-winning “Man on Wire” premiered at the festival in 2008 and won Sundance’s top honor for world-cinema documentaries. Sundance organizers say this year’s films are all over the map in style, story and tone. Yet they see a general theme of unease and uncertainty about life that may have grown out of worldwide political, social and economic unrest of the last few years. “We’re seeing people questioning the status quo of the American dream. Like what is family, having babies, should I get married, is marriage even something I want to consider?” said festival director John Cooper. “A lot of stuff we took as status quo is being put to the test these days.”
Associated Press
Melanie Lynskey is shown in a scene from “Hello I Must Be Going,” a love story between a 19-year-old man and a 35-year-old divorcee that will be featured at the Sundance Film Festival.
short films, the festival was beginning Thursday night with one film from each of its four main competitions: • Actor-turned-director Todd Louiso’s U.S. dramatic entry “Hello I Must Be Going,” a love story between a 19-year-old man and a 35year-old divorcee that stars Melanie Lynskey. • Australian filmmaker Kieran Darcy-Smith’s world-cinema drama “Wish You Were Here,” a dark story of a vacation gone wrong featuring Joel Edgerton and Teresa Palmer. • Swedish director Malik Bendjelloul’s world-cinema documentary “Searching for Sugar Man,” a portrait of promising 1970s singersongwriter Rodriguez and his fade into obscurity. • Lauren Greenfield’s U.S. Competitions documentary “The Queen Along with a program of of Versailles,” examining the
housing boom-and-bust story of a couple trying to build a palatial 90,000square-foot mansion. The competitions, a midnight film program and Sundance’s star-laden lineup of non-competition premieres have produced many critical and commercial hits over the years, including “sex, lies and videotape,” “Precious,” “The Blair Witch Project,” “Clerks,” “Winter’s Bone” and “In the Bedroom.” Actors and filmmakers owe their careers to Sundance and the exposure they got there, among them “Super Size Me” director Morgan Spurlock, “Girlfight” star Michelle Rodriguez and “Napoleon Dynamite” star Jon Heder, who returns to the festival this year with writer-director So Yong Kim’s child-custody
tale “For Ellen,” starring two other Sundance veterans, Paul Dano (“Little Miss Sunshine”) and Jena Malone (“Donnie Darko”). “I feel like I owe Sundance everything as a filmmaker,” said “Queen of Versailles” director Greenfield, a photographer whose debut film, the eating-disorder documentary “Thin,” premiered at Sundance in 2006. “I feel like I had a really charmed entrance into the documentary world by being able to have my first film at Sundance,” he continued. “I wasn’t really looking for a second career, but Sundance allowed me to feel like a filmmaker and really get confidence in that part of my voice as an artist.” Delpy, whose Sundance premiere “2 Days in New York” is a sequel to her 2007 film “2 Days in Paris,” said
the warm and appreciative audiences at the festival help take the edge off the nerve-racking experience of showing a film for the first time. She likened filmmaking to laying an egg — not as in something she expects to bomb at the festival but as in something that cost her effort and struggle. “It was painful and it hurts, but it’s an egg, and it’s out of me,” said Delpy, who does not want to be so attached to her creation that its Sundance reception could do her harm. “I take the business very seriously, and I’m superprofessional,” Delpy said. “But at the same time, I’m not going to kill myself about it. I’m very happy with the film, and we’ll see. You never how people react until you show the film.”
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Top Songs 1. “Set Fire to the Rain,” ADELE 2. “Rack City,” Tyga 3. “Good Feeling,” Flo Rida 4. “Young, Wild & Free (feat. Bruno Mars),” Wiz Khalifa, Snoop Dogg 5. “Sexy and I Know It,” LMFAO 6. “Turn Me On (feat. Nicki Minaj),” Nicki Minaj, David Guetta 7. “I Won’t Give Up,” Jason Mraz 8. “We Found Love (feat. Calvin Harris),” Rihanna 9. “Ni(asterisk)(asterisk)as in Paris,” Kanye West, JAY Z 10. “What Doesn’t Kill You (Stronger),” Kelly Clarkson Top Albums 1. “21”, ADELE 2. “Give Us Rest or (A Requiem Mass in C (The Happiest of All Keys)) ,” David Crowder Band 3. “Fallen Empires,” Snow Patrol 4. “El Camino,” The Black Keys 5. “Lana Del Rey,” Lana Del Rey 6. “Take Care,” Drake 7. “Bangarang,” Skrillex 8. “Peace of Mind,” Rebelution 9. “Mylo Xyloto,” Coldplay 10. “Ceremonials,” Florence + The Machine Top Paid iPhone Apps 1. Words With Friends (Zynga) 2. Angry Birds (Clickgamer.com) 3. Fruit Ninja (Halfbrick Studios) 4. Camera+ (tap tap tap) 5. Where’s My Water? (Disney) 6. Cut the Rope (Chillingo Ltd) 7. Dot Lock Secure — Protect your Media & Files (BAI) 8. Pimp Your Screen — Your Device Never Looked Cooler (Apalon) 9. Color Texting for iMessages (Apps4Life) 10. Tiny Wings,Andreas (Illiger) Top Free iPhone Apps: 1. Temple Run (Imangi Studios, LLC) 2. Angry Gran (AceViral.com) 3. Snappers (Mikhail Eliseev) 4. Zombie Farm (The Playforge, LLC) 5. Life is Crime (Red Robot Labs Inc.) 6. Doodle Sprint! (Wivvu) 7. Egg Punch (Pixel Juice) 8. Bejeweled Blitz (PopCap) 9. Social Girl (Crowdstar Inc) 10. Tap Fish 2 (Gameview Studios) Top Paid iPad Apps: 1. Where’s My Water? (Disney) 2. Words With Friends HD (Zynga) 3. Notability (Ginger Labs) 4. Angry Birds HD (Chillingo Ltd) 5. Pages (Apple) 6. Living Earth HD — World Clock and Weather (Moshen Chan) 7. Fruit Ninja HD (Halfbrick Studios) 8. Run Roo Run HD (5TH Cell) 9. Penultimate (Cocoa Box Design LLC) 10. Angry Birds Seasons HD (Rovio Mobile Ltd.) Top Free iPad Apps 1. Temple Run (Imangi Studios, LLC) 2. Bejeweled Blitz (PopCap) 3. OnLive Desktop (OnLive, Inc.) 4. CloudOn (CloudOn, Inc.) 5. Skype for iPad (Skype Software S.a.r.l) 6. iBooks (Apple) 7. Kindle (AMZN Mobile LLC) 8. The Weather Channel for iPad (The Weather Channel Interactive) 9. Words With Friends HD Free (Zynga) 10. Netflix (Netflix, Inc.)
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D4 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
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Grossman takes “Chronicles,” “Harry Potter” and poorly blends them with drugs and sex. By Lauren McLane Sentinel Reporter lmclane@cumberlink.com
In general, I love science fiction and fantasy novels — I’m a huge fan of the Chronicles of Narnia, the Harry Potter series, and the Lord of the Rings trilogy. Therefore, when a friend of mine gave me the book “The Magicians” by Lev Grossman, it was a good guess on her part that I’d enjoy the book, given that it was described by other reviewers as, “‘The Magicians’ is to Harry Potter as a shot of Irish whiskey is to a glass of weak tea.” (George Martin). Sadly, her guess was wildly offbase. There is nothing worth reading in this book. In 402 pages, Grossman manages to have two original ideas, neither of which he uses to any appreciable benefit to the storyline and neither of which, in fact, he develops into anything meaningful.
Story An amalgamation of the best parts of both “Chronicles” and “Harry Potter,” the paper-thin plot of the novel is that its protagonist, Quentin Coldwater, is a brilliantly gifted 17year-old Brooklyn student who has the ability to do magic. After an improbable run-in with a head-hunter for the magical school Brakebills, Quentin sits an entrance examination, is admitted to the school, and leaves his old life behind forever. Early on, we learn that Quentin’s favorite books — and his refuge from the crushing intellectual demands of his rigorous private real-world high school — is a series of five novels called “Fillory and Further” written by a Christopher Plover in the 1930s. The five-book series, which was left unfinished, is described by Grossman in terms so certain as to leave the reader wondering why Grossman didn’t just call it “Narnia” and be done with it. The plot of the Fillory books is that a family of English children go
Fillory Submitted photo
through a grandfather clock and access a magical world in which they, as sons and daughters of man, must sit upon the thrones of the kingdom and rule over it. Quentin spends an inordinate amount of time wishing he were in Fillory, which is thinly prophetic; very early on in the novel it’s clear that Grossman intends to make Fillory “real” to Quentin. At Brakebills, Quentin undergoes a magical education at a fortified and magically protected castle-like building that mere mortals can’t see and can’t get to. In drawing inspiration from the works of Lewis and Rowling, Grossman would have been well-served in seeing how both of those authors developed their characters and made them relatable to the reader. Quentin’s magical education is whisked through so quickly as to leave the reader wondering whether the boy learned to do anything other than drink and fornicate wildly (fair warning: Grossman’s novel features coarse language, graphic violence, prodigious drug and alcohol use and serious sexual overtones. If this were a movie, it would warrant an “R” rating). Eventually he graduates and finds himself at loose ends — a talented and gifted magician with no responsibili-
Eventually, they discover that the world of Fillory is real, and they travel there by magic button. Once there, they find the world in total disarray, stalked by a vicious Beast who seeks to ruin Fillory forever. In Plover’s novels, as described by Grossman, Fillory has twin deities of Umber and Ember, ram gods (and ram gods appear in almost every mythology). When the Brakebills students show up, one of the gods is dead and one is old. Quentin, as portrayed by Grossman, always believed that he would know what to do once he got to Fillory. Once he gets there, he still has no idea what to do, and he and his friends stumble around, often doing more harm than good. Eventually, there’s a final cataclysmic battle between the students and the Beast, who unsurprisingly turns out to be the one sibling from the Plover novels who never left Fillory. As the students try, one by one, to kill the Beast, Quentin watches, desperate to help and unable to be at all useful. His girlfriend, Alice, ultimately makes the final sacrifice and transforms herself into something Grossman calls a “niffin” but never defines. From context, it appears to be a fire demon that consumes itself and whatever it touches, although the Alice-niffin-demon chooses instead to — rather graphically — rip the Beast’s head off its body rather
• See Books, D12
1. “The Hunger Games” by Suzanne Collins (Scholastic Press) ——— 2. “Catching Fire” by Suzanne Collins (Scholastic Press) ——— 3. “Mockingjay” by Suzanne Collins (Scholastic Press) ——— 4. “Private: Number 1 Suspect” by James Patterson, Maxine Paetro (Little, Brown) ——— 5. “The Girl with the Dragon Tattoo” by Stieg Larsson (Vintage) ——— 6. “The Help” by Kathryn Stockett (Putnam Adult) ——— 7. “The Girl Who Played with Fire” by Stieg Larsson (Vintage) ——— 8. “Heaven is for Real: A Little Boy’s Astounding Story of His Trip to Heaven and Back” by Todd Burpo, Sonja Burpo, Colton Burpo and Lynn Vincent (Thomas Nelson) ——— 9. “Love in a Nutshell” by Janet Evanovich, Dorien Kelly (St. Martin’s Press) ——— 10. “American Sniper” by Chris Kyle, Scott McEwen, Jim DeFelice (William Morrow) ——— 11. “Extremely Loud and Incredibly Close” by Jonathan Safran Foer (Houghton Mifflin Harcourt) ——— 12. “11/22/63” by Stephen King (Scribner) ——— 13. “Steve Jobs: A Biography” by Walter Isaacson (Simon & Schuster) ——— 14. “The Litigators” by John Grisham (Doubleday) ——— 15. “Diary of a Wimpy Kid: Cabin Fever” by Jeff Kinney (Amulet Books) ——— 16. “The Girl Who Kicked the Hornet’s Nest” by Stieg Larsson (Knopf) ——— 17. “Kill Alex Cross” by James Patterson (Little, Brown) ——— 18. “Witch & Wizard: The Fire” by James Patterson, Jill Dembowski (Little, Brown for Young Readers) ——— 19. “War Horse” by Michael Morpurgo (Scholastic Press) ——— 20. “Killing Lincoln: The Shocking Assassination that Changed America Forever” by Bill O’Reilly and Martin Dugard (Henry Holt and Co.) ——— 21. “Hidden Summit” by Robyn Carr (MIRA) ——— 22. “77 Shadow Street: A Novel” by Dean Koontz (Bantam) ——— 23. “The Hunger Games Trilogy Boxed Set” by Suzanne Collins (Scholastic) ——— 24. “The Best of Me” by Nicholas Sparks (Grand Central Publishing) ——— 25. “Water for Elephants” by Sara Gruen (Algonquin)
Highlights at HMAC Stage on Herr brings roots music, comedy and burlesque to the midstate. ■
by Lisa Clarke Special to The Sentinel frontdoor@cumberlink.com
The New Year is off to a chilly start, but things are heating up at the Harrisburg Midtown Arts Center’s Stage on Herr. Now well established as one of the area’s most unique entertainment venues, Stage on Herr closes out the first month of 2012 with a lineup of top notch music as well as their signature eclectic performances. Tonight, Grammy-winning artist Jon Herrington will appear with opening act, the Jeff Calvin Trio. Herrington, who is the veteran touring and recording guitarist for Steely Dan, also leads his NYC-based namesake band. Since his early days on the Jersey Shore opening for then-hometown hero Bruce Springsteen, he has also toured with heavy hitters such as Boz Scaggs, Bette Midler and Madeleine Peyroux, and more recently with the Dukes of September, a super group with Donald Fagen, Boz Scaggs and Michael McDonald. His latest solo effort, “shine,” displays his artistry as a musician through a collection of original pop-rock songs, and ESC Records has also recently released a remastered and retitled instrumental 1992 recording featuring eight of Herrington’s own compositions as well as performances by notables such as keyboardist
Submitted photo
Grammy winner Jon Herrington performs tonight at Stage on Herr. Jim Beard, bassist Victor Bailey, drummer Peter Erskine and percussionist Arto Tuncboyacian. The performance takes place on Thursday, Jan. 19, at 9 p.m. Tickets are $10.
Back to your roots On Friday, Jan. 21, roots music fans won’t want to miss a double bill with Mark Santanna the Snake Oil Salesman along with Earl Pickens and Family. Both are Pennsylvania-based acts that are gaining audiences in the area and beyond. Pickens recently recorded an acoustic version of the U2 album “The Joshua Tree,” and released the band’s most recent album “Gathering” late last year, containing original songs by band members Earl Pickens, Bruce W. Derr and Jessie Yamas. They have been getting press in major outlets in New York and Philadel-
phia, including alternative radio giant WXPN. Doors open at 8 p.m. for the 9:30 show, and admission is by $5 cover charge.
Burlesque and comedy Next weekend marks the return of the wildly popular vintage burlesque act, Pretty Things Peepshow, for a Friday night show on Jan. 28. Now a recurring treat in the HMAC lineup, the performance includes classic burlesque routines as well as sideshow acts and musical entertainment from Eddy Price and his one-man band. Whether you’ve been to this theatrical wonder before or not, the troupe’s show is ever-changing and always a different experience even from one night to the next. Get your tickets early, though; this show historically sells out before showtime. Tickets are $15, and the doors open at 7 p.m.
On Saturday night, the unique offerings continue with the latest installment of Max Racey Comedy Presents, offering yet another wild night of comedic fun. This time, three comedians from Baltimore will take the stage including CJ Burnie, CJ Stottuth and Tommy Sinboza along with Harrisburg’s own Justin Randall, Thomas Sanford of York, and of course, Max Racey himself. DJ Puff from local radio station 93.5 will serve as emcee, and the MadHatter Production Company will handle light and sound displays. Doors open at 7 p.m., and admission is by $5 cover. The Harrisburg Midtown Arts Center’s Stage on Herr is located at 268 Herr St. in Midtown Harrisburg. For more information as well as complete listings and online ticket purchases, visit www, harrisburgarts.com.
New paths ahead for classical music I’ve been furiously working on my part of a project that ties community and collaboration together. That project is Classical Music Connects, a multicontinent project launched by Spain-based clarinetist Marion Harrington. There is not a lack of community oriented collaboration in our area, and I’m excited to take that to the next level with this project. Working on these types of things sometimes make me wonder how much change we can expect to happen, though. For instance, take the old path of the orchestral world. Many world class orchestras are struggling and without new paths; I don’t know that we will have the abundance of elite, regional and community ensembles that we now enjoy. The New World Symphony in Miami, Fla., has been testing a new type of concert experience to appeal to a younger audience. In their Pulse concerts, patrons are allowed to walk around and mingle while listening to the orchestra and enjoy being with others. So far, they’ve been successful and will be sharing the results with other orchestras. What does change mean for independent musicians? The new path is more en-
trepreneurial than before. Determine your values and goals, and then you will find what motivates you and the pieces will fall into place with hard work. Granted, this is all easier said than done. I’m not sure what the new path or the new face of classical music is going to look like. I do know that I want to be a part of it. The teaching positions and orchestra jobs will still be there, but I think the opportunities have never been riper for those wanting to go a different route to career success. Collaboration and innovative, fresh thinking from musicians and audiences alike will keep us in the game.
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D8 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
ties and nothing to do. He and other friends of his move to an apartment in New York where they sleep by day and drink and do drugs by night. Unlike other books and series that deal with magic — again like “Harry Potter” or like the WB show “Charmed” — there appear to be no rules governing how and when people in Quentin’s magical world can use magic. Most canons put strictures on the use of magic, defining good or “white” magic from bad or “dark” magic and having consequences for using magic for personal gain or having limitations to the use of magic. None of this exists in Grossman’s world, which makes the characters even harder to relate to.
■
Compiled by The Associated Press
Music Notes
Music
Books
‘Magicians’ not worth reading
USA Today Best-Sellers
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D5 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Book Review
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‘Mother of Blues’ center of Wilson play Public invited to student-choreographed work “Ma Rainey’s Black Bottom” focuses on African-American culture in the ’20s. ■
By Barbara Trainin Blank
Five CPYB students will present their choreographed pieces Saturday.
By Barbara Trainin Blank Sentinel correspondent frontdoor@cumberlink.com
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Ava l o n De m e t r i h a s danced in George Balanchine’s “Serenade” and in the “Swan Lake” production choreographed by Central Pennsylvania Youth Ballet’s principal faculty member Laszlo Berdo. Justine Essis Gildea has been in “Raymonda Variations” and in the production of “Roseland Pictures” choreographed by CPYB’s CEO, Alan Hineline. Alexander Manning has danced in “Serenade” and in Berdo’s “Carnival of the Animals.” John (JQ) Powers has also performed in “Roseland Pictures,” “Swan Lake” and “Carnival of the Animals,” and Nadezhda Vostrikov has danced in the Opening Ceremonies of the 2010 Vancouver Olympics as well as in Balanchine’s “Who Cares?” and Hineline’s “ Coppelia.” All have, of course, appeared in George Balanchine’s “The Nutcracker” at CPYB. But at the two public performances Saturday at the Carlisle-based classical ballet school, these five students will not be visible — at least not on the dance floor. They are the choreographers of the five pieces to be performed by their fellow CPYB dancers. Being student-choreographers is something Demetri, Essis Gildea, Manning, Powers and Vostrikov have been given the opportunity to do
In Focus FirstSteps in-studio public performances will take place Saturday, Jan. 21, at 3 and 5 p.m. at the CPYB Warehouse Studios, 5 N. Orange St., Suite 3, Carlisle. Tickets are $5 and can be obtained by calling 2451190.
through FirstSteps, a new student choreographic workshop taking place since Jan. 12 and culminating in the performances. They were selected by a committee in a competitive process, which required them to submit a proposal about the musical pieces they would be choreographing to and performance details.
Eclectic music Although they must choreograph in classical style, the music they chose was diverse. Demetri picked Vivaldi’s “Andante from Concerto in B Major for Violin and Strings.” “I’m a big fan of classical music,” she says. “I happened upon this piece from one of his concertos and was enchanted; it has all the timid and subtle melodies of a first love.” Philip Glass’s “String Quartet No. 3 Misima” inspired Essis Gildea. “I think part of choreographing is really studying the music and all the instruments that create the beautiful sound,” she notes. “Flint,” a “sporadic saxophone quartet” by Michael Torke, is the composition Manning chose. “I stumbled across when I saw Christopher Wheeldon do a piece to his ‘Ash,’” he said. “I loved the way he juxtaposed the contemporary music to the classical steps.”
Photos by Michael Bupp/The Sentinel
Above: Alexander Manning leads a rehearsal as part of Central Pennsylvania Youth Ballet’s FirstSteps program. Below: John Powers keeps a close eye on students while they rehearse his piece for the FirstSteps program. Powers found himself being drawn back to George Whitefield Chadwick’s “Jubilee” from his “Symphonic Sketches” time and time again. “It felt natural to me,” he says. Part of the score for the movie “The Royal Tenenbaums” by Mark Mothersbaugh — the piece she chose — is “an upbeat and eclectic work that I find intriguing and inspiring,” says Vostrikov.
‘Music is of the essence’ Learning how to pay attention to music is one of the components of choreography, according to Barbara Weisberger, founder of the Pennsylvania Ballet and of The Carlisle Project, who worked with the First-
Steps student-choreographers and will attend the performances. “We don’t expect ‘Swan Lake,’” she says. “Choreographers have to be moved by their culture and by the music they hear. Music is of the essence — not music theory but hearing what’s in it.” FirstSteps allows the student-choreographers to develop skills and interest in the creative process but also an understanding of interacting with their peers in a leadership level, says Berdo. “They also learn the kinds of obstacles choreographers might deal with beyond the creative ones, such as studio space that’s smaller” than their vision would optimally require.
Get all of your entertainment news online at www.cumberlink.com
Sharia Benn approached try-outs for Open Stage’s “Ma Rainey’s Black Bottom” with some hesitation. “In love” with playwright August Wilson, she had appeared in his “The Piano Lesson” and in other productions at the professional theater. But she differed in a few key ways from “Ma Rainey’s” title character. The African-American singer, known as Mother of the Blues, was a contralto, as opposed to the actor’s soprano. She also was heavyset, even if some pictures and cartoons of her were apparently exaggerated. Benn asked Donald Alsedek, Open Stage’s executive artistic director, if he was looking to cast a particular physical type. “Don said he thought I could do it, and we could do it,” says Benn. “That we wanted to get beyond that and see who Ma Rainey was as a person and as a musician.” Although Wilson’s play — which is not a musical — takes place in a rundown Chicago recording studio, there is more to it than music. The singer wanted to keep the legacy of African-American culture alive, with the blues, but also took care of the men in her life — the band members and even the white recording studio heads — amidst racism and Jim Crow laws.
ney” and “The Piano LesIn Focus son” at Open Stage encouraged him to continue with “Ma Rainey’s Black the playwright’s canon. Bottom” will play at Open In choosing “Ma Rainey,” Stage of Harrisburg, 223 he selected a play he was Walnut St., from Feb. 3-26. For tickets and informavery familiar with, as well as tion, call 232-OPEN or visit one not previously seen in the website at www.openthe area — in keeping with stagehbg.com. Open Stage’s mission. The biggest challenge in “He is not quite comfort- staging “Ma Rainey” is the able with being a sideman,” use of instrumentation. says Dozier. “Technically, he would be considered ilSharia Benn portrays literate today, but unlike Ma Rainey in Open the other band members, Intraracial conflict Levee can write music. Ma Stage of Harrisburg’s “Ma Rainey’s Black Bot- Rainey’s record company is production of tom” is the first chronolog- interested in his songs.” “Ma Rainey’s Black ically in Wilson’s 10-play Bottom.” ‘A dying trend’ cycle, each depicting a decade of the 20th century in The play is set in a time Submitted photo the African-American ex- of economic growth, and perience. The play, drawn of the Harlem Renaisin part from his interest in sance. For all her success in the blues, premiered at Yale Vaudeville and elsewhere, Repertory Theater in 1984. Ma Rainey represents a After the play opened on “dying trend, while Levee is Broadway in 1985, it won progressive,” the actor adds. the New York Drama Crit- “He respects her, but this is ics’ Circle Award for Best his big chance.” American Play, among othLevee is aware that the er honors. older singer, who must perSet in 1927, “Ma Rainey” form before segregated auis the only play in the cycle diences, is being exploited. not set in Wilson’s home“The others take things town of Pittsburgh. more in stride,” says DozAfrican-American re- ier. “They are successful sponses to whites and the musicians, not sharecropNorthward migration are pers, and that’s a height themes, as they are in other to achieve. But Levee is at of the playwright’s works. the prime of life — with the So is intraracial conflict. country booming.” Some of that conflict reAlthough 1927 was one of volves around Levee, the Ma Rainey’s best years ar32-year-old coronet player tistically, her contract was in Ma Rainey’s band and its terminated the following youngest member. year. The other musicians are “Audiences were more offspring of slaves, while sophisticated, and didn’t Levee was born after the want the old jug-band Reconstruction. sound,” Alsedek explains. Philadelphian actor Leon- “They were into swing and ard Dozier, who also ap- a homogeneous sound, and 220 N. York St., Mechanicsburg peared in “The Piano Les- Ma Rainey didn’t want to son,” is Levee — who might switch over.” be described as a kind of Finding a talented, almost Mon-Tues. 10-6 • Wed-Sat 10-5 • Thurs-Fri 10-8 • Young Turk. repertory-like, cast for “Jit-
■
Known for her energy and phrasing, Ma Rainey made more than 100 recordings — including “Bo-weevil Blues,” “Moonshine Blues” and “Black Bottom” — in five years. “Ma Rainey probably didn’t have such a good voice, but she could outsing someone like a Bessie Smith with her showmanship, and she wrote a lot of her own songs. She was very strong and confident,” says Benn.
Theater
Theater
Sentinel correspondent frontdoor@cumberlink.com
D6 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Central Pennsylvania Youth Ballet
D7 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Open Stage of Harrisburg
Get all of your entertainment news online at www.cumberlink.com
‘Mother of Blues’ center of Wilson play Public invited to student-choreographed work “Ma Rainey’s Black Bottom” focuses on African-American culture in the ’20s. ■
By Barbara Trainin Blank
Five CPYB students will present their choreographed pieces Saturday.
By Barbara Trainin Blank Sentinel correspondent frontdoor@cumberlink.com
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599
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Ava l o n De m e t r i h a s danced in George Balanchine’s “Serenade” and in the “Swan Lake” production choreographed by Central Pennsylvania Youth Ballet’s principal faculty member Laszlo Berdo. Justine Essis Gildea has been in “Raymonda Variations” and in the production of “Roseland Pictures” choreographed by CPYB’s CEO, Alan Hineline. Alexander Manning has danced in “Serenade” and in Berdo’s “Carnival of the Animals.” John (JQ) Powers has also performed in “Roseland Pictures,” “Swan Lake” and “Carnival of the Animals,” and Nadezhda Vostrikov has danced in the Opening Ceremonies of the 2010 Vancouver Olympics as well as in Balanchine’s “Who Cares?” and Hineline’s “ Coppelia.” All have, of course, appeared in George Balanchine’s “The Nutcracker” at CPYB. But at the two public performances Saturday at the Carlisle-based classical ballet school, these five students will not be visible — at least not on the dance floor. They are the choreographers of the five pieces to be performed by their fellow CPYB dancers. Being student-choreographers is something Demetri, Essis Gildea, Manning, Powers and Vostrikov have been given the opportunity to do
In Focus FirstSteps in-studio public performances will take place Saturday, Jan. 21, at 3 and 5 p.m. at the CPYB Warehouse Studios, 5 N. Orange St., Suite 3, Carlisle. Tickets are $5 and can be obtained by calling 2451190.
through FirstSteps, a new student choreographic workshop taking place since Jan. 12 and culminating in the performances. They were selected by a committee in a competitive process, which required them to submit a proposal about the musical pieces they would be choreographing to and performance details.
Eclectic music Although they must choreograph in classical style, the music they chose was diverse. Demetri picked Vivaldi’s “Andante from Concerto in B Major for Violin and Strings.” “I’m a big fan of classical music,” she says. “I happened upon this piece from one of his concertos and was enchanted; it has all the timid and subtle melodies of a first love.” Philip Glass’s “String Quartet No. 3 Misima” inspired Essis Gildea. “I think part of choreographing is really studying the music and all the instruments that create the beautiful sound,” she notes. “Flint,” a “sporadic saxophone quartet” by Michael Torke, is the composition Manning chose. “I stumbled across when I saw Christopher Wheeldon do a piece to his ‘Ash,’” he said. “I loved the way he juxtaposed the contemporary music to the classical steps.”
Photos by Michael Bupp/The Sentinel
Above: Alexander Manning leads a rehearsal as part of Central Pennsylvania Youth Ballet’s FirstSteps program. Below: John Powers keeps a close eye on students while they rehearse his piece for the FirstSteps program. Powers found himself being drawn back to George Whitefield Chadwick’s “Jubilee” from his “Symphonic Sketches” time and time again. “It felt natural to me,” he says. Part of the score for the movie “The Royal Tenenbaums” by Mark Mothersbaugh — the piece she chose — is “an upbeat and eclectic work that I find intriguing and inspiring,” says Vostrikov.
‘Music is of the essence’ Learning how to pay attention to music is one of the components of choreography, according to Barbara Weisberger, founder of the Pennsylvania Ballet and of The Carlisle Project, who worked with the First-
Steps student-choreographers and will attend the performances. “We don’t expect ‘Swan Lake,’” she says. “Choreographers have to be moved by their culture and by the music they hear. Music is of the essence — not music theory but hearing what’s in it.” FirstSteps allows the student-choreographers to develop skills and interest in the creative process but also an understanding of interacting with their peers in a leadership level, says Berdo. “They also learn the kinds of obstacles choreographers might deal with beyond the creative ones, such as studio space that’s smaller” than their vision would optimally require.
Get all of your entertainment news online at www.cumberlink.com
Sharia Benn approached try-outs for Open Stage’s “Ma Rainey’s Black Bottom” with some hesitation. “In love” with playwright August Wilson, she had appeared in his “The Piano Lesson” and in other productions at the professional theater. But she differed in a few key ways from “Ma Rainey’s” title character. The African-American singer, known as Mother of the Blues, was a contralto, as opposed to the actor’s soprano. She also was heavyset, even if some pictures and cartoons of her were apparently exaggerated. Benn asked Donald Alsedek, Open Stage’s executive artistic director, if he was looking to cast a particular physical type. “Don said he thought I could do it, and we could do it,” says Benn. “That we wanted to get beyond that and see who Ma Rainey was as a person and as a musician.” Although Wilson’s play — which is not a musical — takes place in a rundown Chicago recording studio, there is more to it than music. The singer wanted to keep the legacy of African-American culture alive, with the blues, but also took care of the men in her life — the band members and even the white recording studio heads — amidst racism and Jim Crow laws.
ney” and “The Piano LesIn Focus son” at Open Stage encouraged him to continue with “Ma Rainey’s Black the playwright’s canon. Bottom” will play at Open In choosing “Ma Rainey,” Stage of Harrisburg, 223 he selected a play he was Walnut St., from Feb. 3-26. For tickets and informavery familiar with, as well as tion, call 232-OPEN or visit one not previously seen in the website at www.openthe area — in keeping with stagehbg.com. Open Stage’s mission. The biggest challenge in “He is not quite comfort- staging “Ma Rainey” is the able with being a sideman,” use of instrumentation. says Dozier. “Technically, he would be considered ilSharia Benn portrays literate today, but unlike Ma Rainey in Open the other band members, Intraracial conflict Levee can write music. Ma Stage of Harrisburg’s “Ma Rainey’s Black Bot- Rainey’s record company is production of tom” is the first chronolog- interested in his songs.” “Ma Rainey’s Black ically in Wilson’s 10-play Bottom.” ‘A dying trend’ cycle, each depicting a decade of the 20th century in The play is set in a time Submitted photo the African-American ex- of economic growth, and perience. The play, drawn of the Harlem Renaisin part from his interest in sance. For all her success in the blues, premiered at Yale Vaudeville and elsewhere, Repertory Theater in 1984. Ma Rainey represents a After the play opened on “dying trend, while Levee is Broadway in 1985, it won progressive,” the actor adds. the New York Drama Crit- “He respects her, but this is ics’ Circle Award for Best his big chance.” American Play, among othLevee is aware that the er honors. older singer, who must perSet in 1927, “Ma Rainey” form before segregated auis the only play in the cycle diences, is being exploited. not set in Wilson’s home“The others take things town of Pittsburgh. more in stride,” says DozAfrican-American re- ier. “They are successful sponses to whites and the musicians, not sharecropNorthward migration are pers, and that’s a height themes, as they are in other to achieve. But Levee is at of the playwright’s works. the prime of life — with the So is intraracial conflict. country booming.” Some of that conflict reAlthough 1927 was one of volves around Levee, the Ma Rainey’s best years ar32-year-old coronet player tistically, her contract was in Ma Rainey’s band and its terminated the following youngest member. year. The other musicians are “Audiences were more offspring of slaves, while sophisticated, and didn’t Levee was born after the want the old jug-band Reconstruction. sound,” Alsedek explains. Philadelphian actor Leon- “They were into swing and ard Dozier, who also ap- a homogeneous sound, and 220 N. York St., Mechanicsburg peared in “The Piano Les- Ma Rainey didn’t want to son,” is Levee — who might switch over.” be described as a kind of Finding a talented, almost Mon-Tues. 10-6 • Wed-Sat 10-5 • Thurs-Fri 10-8 • Young Turk. repertory-like, cast for “Jit-
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Known for her energy and phrasing, Ma Rainey made more than 100 recordings — including “Bo-weevil Blues,” “Moonshine Blues” and “Black Bottom” — in five years. “Ma Rainey probably didn’t have such a good voice, but she could outsing someone like a Bessie Smith with her showmanship, and she wrote a lot of her own songs. She was very strong and confident,” says Benn.
Theater
Theater
Sentinel correspondent frontdoor@cumberlink.com
D6 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Central Pennsylvania Youth Ballet
D7 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Open Stage of Harrisburg
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Grossman takes “Chronicles,” “Harry Potter” and poorly blends them with drugs and sex. By Lauren McLane Sentinel Reporter lmclane@cumberlink.com
In general, I love science fiction and fantasy novels — I’m a huge fan of the Chronicles of Narnia, the Harry Potter series, and the Lord of the Rings trilogy. Therefore, when a friend of mine gave me the book “The Magicians” by Lev Grossman, it was a good guess on her part that I’d enjoy the book, given that it was described by other reviewers as, “‘The Magicians’ is to Harry Potter as a shot of Irish whiskey is to a glass of weak tea.” (George Martin). Sadly, her guess was wildly offbase. There is nothing worth reading in this book. In 402 pages, Grossman manages to have two original ideas, neither of which he uses to any appreciable benefit to the storyline and neither of which, in fact, he develops into anything meaningful.
Story An amalgamation of the best parts of both “Chronicles” and “Harry Potter,” the paper-thin plot of the novel is that its protagonist, Quentin Coldwater, is a brilliantly gifted 17year-old Brooklyn student who has the ability to do magic. After an improbable run-in with a head-hunter for the magical school Brakebills, Quentin sits an entrance examination, is admitted to the school, and leaves his old life behind forever. Early on, we learn that Quentin’s favorite books — and his refuge from the crushing intellectual demands of his rigorous private real-world high school — is a series of five novels called “Fillory and Further” written by a Christopher Plover in the 1930s. The five-book series, which was left unfinished, is described by Grossman in terms so certain as to leave the reader wondering why Grossman didn’t just call it “Narnia” and be done with it. The plot of the Fillory books is that a family of English children go
Fillory Submitted photo
through a grandfather clock and access a magical world in which they, as sons and daughters of man, must sit upon the thrones of the kingdom and rule over it. Quentin spends an inordinate amount of time wishing he were in Fillory, which is thinly prophetic; very early on in the novel it’s clear that Grossman intends to make Fillory “real” to Quentin. At Brakebills, Quentin undergoes a magical education at a fortified and magically protected castle-like building that mere mortals can’t see and can’t get to. In drawing inspiration from the works of Lewis and Rowling, Grossman would have been well-served in seeing how both of those authors developed their characters and made them relatable to the reader. Quentin’s magical education is whisked through so quickly as to leave the reader wondering whether the boy learned to do anything other than drink and fornicate wildly (fair warning: Grossman’s novel features coarse language, graphic violence, prodigious drug and alcohol use and serious sexual overtones. If this were a movie, it would warrant an “R” rating). Eventually he graduates and finds himself at loose ends — a talented and gifted magician with no responsibili-
Eventually, they discover that the world of Fillory is real, and they travel there by magic button. Once there, they find the world in total disarray, stalked by a vicious Beast who seeks to ruin Fillory forever. In Plover’s novels, as described by Grossman, Fillory has twin deities of Umber and Ember, ram gods (and ram gods appear in almost every mythology). When the Brakebills students show up, one of the gods is dead and one is old. Quentin, as portrayed by Grossman, always believed that he would know what to do once he got to Fillory. Once he gets there, he still has no idea what to do, and he and his friends stumble around, often doing more harm than good. Eventually, there’s a final cataclysmic battle between the students and the Beast, who unsurprisingly turns out to be the one sibling from the Plover novels who never left Fillory. As the students try, one by one, to kill the Beast, Quentin watches, desperate to help and unable to be at all useful. His girlfriend, Alice, ultimately makes the final sacrifice and transforms herself into something Grossman calls a “niffin” but never defines. From context, it appears to be a fire demon that consumes itself and whatever it touches, although the Alice-niffin-demon chooses instead to — rather graphically — rip the Beast’s head off its body rather
• See Books, D12
1. “The Hunger Games” by Suzanne Collins (Scholastic Press) ——— 2. “Catching Fire” by Suzanne Collins (Scholastic Press) ——— 3. “Mockingjay” by Suzanne Collins (Scholastic Press) ——— 4. “Private: Number 1 Suspect” by James Patterson, Maxine Paetro (Little, Brown) ——— 5. “The Girl with the Dragon Tattoo” by Stieg Larsson (Vintage) ——— 6. “The Help” by Kathryn Stockett (Putnam Adult) ——— 7. “The Girl Who Played with Fire” by Stieg Larsson (Vintage) ——— 8. “Heaven is for Real: A Little Boy’s Astounding Story of His Trip to Heaven and Back” by Todd Burpo, Sonja Burpo, Colton Burpo and Lynn Vincent (Thomas Nelson) ——— 9. “Love in a Nutshell” by Janet Evanovich, Dorien Kelly (St. Martin’s Press) ——— 10. “American Sniper” by Chris Kyle, Scott McEwen, Jim DeFelice (William Morrow) ——— 11. “Extremely Loud and Incredibly Close” by Jonathan Safran Foer (Houghton Mifflin Harcourt) ——— 12. “11/22/63” by Stephen King (Scribner) ——— 13. “Steve Jobs: A Biography” by Walter Isaacson (Simon & Schuster) ——— 14. “The Litigators” by John Grisham (Doubleday) ——— 15. “Diary of a Wimpy Kid: Cabin Fever” by Jeff Kinney (Amulet Books) ——— 16. “The Girl Who Kicked the Hornet’s Nest” by Stieg Larsson (Knopf) ——— 17. “Kill Alex Cross” by James Patterson (Little, Brown) ——— 18. “Witch & Wizard: The Fire” by James Patterson, Jill Dembowski (Little, Brown for Young Readers) ——— 19. “War Horse” by Michael Morpurgo (Scholastic Press) ——— 20. “Killing Lincoln: The Shocking Assassination that Changed America Forever” by Bill O’Reilly and Martin Dugard (Henry Holt and Co.) ——— 21. “Hidden Summit” by Robyn Carr (MIRA) ——— 22. “77 Shadow Street: A Novel” by Dean Koontz (Bantam) ——— 23. “The Hunger Games Trilogy Boxed Set” by Suzanne Collins (Scholastic) ——— 24. “The Best of Me” by Nicholas Sparks (Grand Central Publishing) ——— 25. “Water for Elephants” by Sara Gruen (Algonquin)
Highlights at HMAC Stage on Herr brings roots music, comedy and burlesque to the midstate. ■
by Lisa Clarke Special to The Sentinel frontdoor@cumberlink.com
The New Year is off to a chilly start, but things are heating up at the Harrisburg Midtown Arts Center’s Stage on Herr. Now well established as one of the area’s most unique entertainment venues, Stage on Herr closes out the first month of 2012 with a lineup of top notch music as well as their signature eclectic performances. Tonight, Grammy-winning artist Jon Herrington will appear with opening act, the Jeff Calvin Trio. Herrington, who is the veteran touring and recording guitarist for Steely Dan, also leads his NYC-based namesake band. Since his early days on the Jersey Shore opening for then-hometown hero Bruce Springsteen, he has also toured with heavy hitters such as Boz Scaggs, Bette Midler and Madeleine Peyroux, and more recently with the Dukes of September, a super group with Donald Fagen, Boz Scaggs and Michael McDonald. His latest solo effort, “shine,” displays his artistry as a musician through a collection of original pop-rock songs, and ESC Records has also recently released a remastered and retitled instrumental 1992 recording featuring eight of Herrington’s own compositions as well as performances by notables such as keyboardist
Submitted photo
Grammy winner Jon Herrington performs tonight at Stage on Herr. Jim Beard, bassist Victor Bailey, drummer Peter Erskine and percussionist Arto Tuncboyacian. The performance takes place on Thursday, Jan. 19, at 9 p.m. Tickets are $10.
Back to your roots On Friday, Jan. 21, roots music fans won’t want to miss a double bill with Mark Santanna the Snake Oil Salesman along with Earl Pickens and Family. Both are Pennsylvania-based acts that are gaining audiences in the area and beyond. Pickens recently recorded an acoustic version of the U2 album “The Joshua Tree,” and released the band’s most recent album “Gathering” late last year, containing original songs by band members Earl Pickens, Bruce W. Derr and Jessie Yamas. They have been getting press in major outlets in New York and Philadel-
phia, including alternative radio giant WXPN. Doors open at 8 p.m. for the 9:30 show, and admission is by $5 cover charge.
Burlesque and comedy Next weekend marks the return of the wildly popular vintage burlesque act, Pretty Things Peepshow, for a Friday night show on Jan. 28. Now a recurring treat in the HMAC lineup, the performance includes classic burlesque routines as well as sideshow acts and musical entertainment from Eddy Price and his one-man band. Whether you’ve been to this theatrical wonder before or not, the troupe’s show is ever-changing and always a different experience even from one night to the next. Get your tickets early, though; this show historically sells out before showtime. Tickets are $15, and the doors open at 7 p.m.
On Saturday night, the unique offerings continue with the latest installment of Max Racey Comedy Presents, offering yet another wild night of comedic fun. This time, three comedians from Baltimore will take the stage including CJ Burnie, CJ Stottuth and Tommy Sinboza along with Harrisburg’s own Justin Randall, Thomas Sanford of York, and of course, Max Racey himself. DJ Puff from local radio station 93.5 will serve as emcee, and the MadHatter Production Company will handle light and sound displays. Doors open at 7 p.m., and admission is by $5 cover. The Harrisburg Midtown Arts Center’s Stage on Herr is located at 268 Herr St. in Midtown Harrisburg. For more information as well as complete listings and online ticket purchases, visit www, harrisburgarts.com.
New paths ahead for classical music I’ve been furiously working on my part of a project that ties community and collaboration together. That project is Classical Music Connects, a multicontinent project launched by Spain-based clarinetist Marion Harrington. There is not a lack of community oriented collaboration in our area, and I’m excited to take that to the next level with this project. Working on these types of things sometimes make me wonder how much change we can expect to happen, though. For instance, take the old path of the orchestral world. Many world class orchestras are struggling and without new paths; I don’t know that we will have the abundance of elite, regional and community ensembles that we now enjoy. The New World Symphony in Miami, Fla., has been testing a new type of concert experience to appeal to a younger audience. In their Pulse concerts, patrons are allowed to walk around and mingle while listening to the orchestra and enjoy being with others. So far, they’ve been successful and will be sharing the results with other orchestras. What does change mean for independent musicians? The new path is more en-
trepreneurial than before. Determine your values and goals, and then you will find what motivates you and the pieces will fall into place with hard work. Granted, this is all easier said than done. I’m not sure what the new path or the new face of classical music is going to look like. I do know that I want to be a part of it. The teaching positions and orchestra jobs will still be there, but I think the opportunities have never been riper for those wanting to go a different route to career success. Collaboration and innovative, fresh thinking from musicians and audiences alike will keep us in the game.
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D8 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
ties and nothing to do. He and other friends of his move to an apartment in New York where they sleep by day and drink and do drugs by night. Unlike other books and series that deal with magic — again like “Harry Potter” or like the WB show “Charmed” — there appear to be no rules governing how and when people in Quentin’s magical world can use magic. Most canons put strictures on the use of magic, defining good or “white” magic from bad or “dark” magic and having consequences for using magic for personal gain or having limitations to the use of magic. None of this exists in Grossman’s world, which makes the characters even harder to relate to.
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Compiled by The Associated Press
Music Notes
Music
Books
‘Magicians’ not worth reading
USA Today Best-Sellers
Nightlife
D5 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Book Review
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Music
Sundance time: Indie film world gathers in Utah
Members of the public can now access more than 5,170 books, audio recordings and videos of music history.
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The 11-day film festival will feature 117 featurelength films and 64 short films.
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BY DAVID GERMAIN AP Movie Writer
Associated Press
CLEVELAND — The Rock and Roll Hall of Fame and Museum opened its new library and archives to the public on Tuesday to give scholars and fans access to the stories behind the music through such “artifacts” as personal letters from Madonna and Aretha Franklin and 1981-82 video of the Rolling Stones tour. The collection, catalogued over the last few years, includes more than 3,500 books, 1,400 audio recordings and 270 videos, and is housed in the new four-story, $12 million building. Thousands more books and recordings and hundreds of videos will be added as previously stored items and new donations are catalogued, said Andy Leach, director of the library and archives. “We hope to serve music scholars, teachers, students and the general public,” Leach said. “We hope to see all of them here.” Tuesday’s opening of the building on the Cuyahoga Community College campus in Cleveland, not far from the Rock Hall, occurred without a lot of fanfare. The low-key opening allows the public to enjoy the library before a grand opening April 9. The college funded the building, which the library and archives share with the college’s Center for Creative
Associated Press
Head archivist Jennie Thomas looks over a series of correspondence between Aretha Franklin and Clive Davis at the newly-opened Rock and Roll Hall of Fame and Museum Library and Archives in Cleveland. Arts. The Rock Hall financed construction and furnishings of the interior of its section of the building. The library also offers photos, albums and covers, oral histories and scrap books. Leach said the Rock Hall has done a great job of telling the story of rock ‘n’ roll. He said he sees the library as bringing the museum more recognition and showing “it to be a serious place of research.” The library collection also includes movie posters, photos and memorabilia related to Alan Freed, the DJ credited with coining the phrase rock ‘n’ roll; a handwritten list by Elvis Presley of songs included in one of his concerts; and personal letters from artists including Mick Jagger. Visitors will not be allowed to check out items, but anyone can use the library reading room to
browse through books, listen to audio recordings and watch videos. A smaller archives reading room allows supervised access to certain items. Steve Waksman, an associate professor of music and American studies at Smith College in Massachusetts, did research at the library prior to its opening for his book on the history of American live music. “It was very useful, with material that I haven’t
found anywhere else,” Waksman said Tuesday. “They had a lot of material regarding the stage sets of music performers from the ‘60s and the ‘70s, such as David Bowie and the Rolling Stones.” Elizabeth Papp Taylor, 53, of Shaker Heights, was at the library opening day. “I’m looking forward to coming back for a look at the archives, but my first visit was exciting,” she said in a phone interview. “It’s very impressive.”
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PARK CITY, Utah — Independent films that may have been years in the making get their first audiences at this week’s Sundance Film Festival. That could also mean careers in the making for unknown directors and actors whose movies connect with the right crowds. Robert Redford’s independent-cinema showcase was opening Thursday with 117 feature-length films, 64 short films and a lot of anxious filmmakers on the agenda during its 11-day run. Some are established directors showing their latest work, such as Spike Lee with his urban drama “Red Hook Summer,” in which he reprises the character he played in “Do the Right Thing”; Stephen Frears with his sports-wagering caper “Lay the Favorite,” starring Bruce Willis, Catherine Zeta-Jones and Rebecca Hall; documentary veteran Joe Berlinger with his Paul Simon portrait “Under African Skies”; and Julie Delpy with her relationship comedy “2 Days in New York,” in which she stars with Chris Rock. Other films are from upand-comers competing for prestigious Sundance prizes, such as Sheldon Candis’ coming-of-age story “Luv,” featuring rapper Common and Danny Glover; Ry Russo-Young’s domestic drama “Nobody Walks,” with John Krasinski, Olivia Thirlby and Rosemarie DeWitt;
and Youssef Delara and Michael D. Olmos’ hip-hop story “Filly Brown,” starring newcomer Gina Rodriguez, Lou Diamond Phillips and director Olmos’ father, Edward James Olmos. What makes Sundance the place to be for rising film talent every January? “There’s a combination of factors. First, it’s the beginning of the year. That’s a very good time to start the year with a whole variety of new films, which Sundance brings together and curates rather well,” said James Marsh, who returns to the festival for the third time with his Northern Ireland drama “Shadow Dancer,” featuring Clive Owen and Andrea Riseborough. “And Sundance has an international profile beyond North America. We know it’s a place that careers can get made and films get noticed,” said Marsh, whose Academy Award-winning “Man on Wire” premiered at the festival in 2008 and won Sundance’s top honor for world-cinema documentaries. Sundance organizers say this year’s films are all over the map in style, story and tone. Yet they see a general theme of unease and uncertainty about life that may have grown out of worldwide political, social and economic unrest of the last few years. “We’re seeing people questioning the status quo of the American dream. Like what is family, having babies, should I get married, is marriage even something I want to consider?” said festival director John Cooper. “A lot of stuff we took as status quo is being put to the test these days.”
Associated Press
Melanie Lynskey is shown in a scene from “Hello I Must Be Going,” a love story between a 19-year-old man and a 35-year-old divorcee that will be featured at the Sundance Film Festival.
short films, the festival was beginning Thursday night with one film from each of its four main competitions: • Actor-turned-director Todd Louiso’s U.S. dramatic entry “Hello I Must Be Going,” a love story between a 19-year-old man and a 35year-old divorcee that stars Melanie Lynskey. • Australian filmmaker Kieran Darcy-Smith’s world-cinema drama “Wish You Were Here,” a dark story of a vacation gone wrong featuring Joel Edgerton and Teresa Palmer. • Swedish director Malik Bendjelloul’s world-cinema documentary “Searching for Sugar Man,” a portrait of promising 1970s singersongwriter Rodriguez and his fade into obscurity. • Lauren Greenfield’s U.S. Competitions documentary “The Queen Along with a program of of Versailles,” examining the
housing boom-and-bust story of a couple trying to build a palatial 90,000square-foot mansion. The competitions, a midnight film program and Sundance’s star-laden lineup of non-competition premieres have produced many critical and commercial hits over the years, including “sex, lies and videotape,” “Precious,” “The Blair Witch Project,” “Clerks,” “Winter’s Bone” and “In the Bedroom.” Actors and filmmakers owe their careers to Sundance and the exposure they got there, among them “Super Size Me” director Morgan Spurlock, “Girlfight” star Michelle Rodriguez and “Napoleon Dynamite” star Jon Heder, who returns to the festival this year with writer-director So Yong Kim’s child-custody
tale “For Ellen,” starring two other Sundance veterans, Paul Dano (“Little Miss Sunshine”) and Jena Malone (“Donnie Darko”). “I feel like I owe Sundance everything as a filmmaker,” said “Queen of Versailles” director Greenfield, a photographer whose debut film, the eating-disorder documentary “Thin,” premiered at Sundance in 2006. “I feel like I had a really charmed entrance into the documentary world by being able to have my first film at Sundance,” he continued. “I wasn’t really looking for a second career, but Sundance allowed me to feel like a filmmaker and really get confidence in that part of my voice as an artist.” Delpy, whose Sundance premiere “2 Days in New York” is a sequel to her 2007 film “2 Days in Paris,” said
the warm and appreciative audiences at the festival help take the edge off the nerve-racking experience of showing a film for the first time. She likened filmmaking to laying an egg — not as in something she expects to bomb at the festival but as in something that cost her effort and struggle. “It was painful and it hurts, but it’s an egg, and it’s out of me,” said Delpy, who does not want to be so attached to her creation that its Sundance reception could do her harm. “I take the business very seriously, and I’m superprofessional,” Delpy said. “But at the same time, I’m not going to kill myself about it. I’m very happy with the film, and we’ll see. You never how people react until you show the film.”
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Rock Hall of Fame opens archives
Movies
D4 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Compiled by The Associated Press
Movie News
D9 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
iTunes Top 10
Music News
D10 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Hooked Mallory is played by Gina Carano, a retired mixed martial arts fighter. Her range is suggested by having placed No. 5 on a Most Influential Women list on Yahoo! and No. 16 on Maxim’s Hot 100. On the basis of “Haywire,” I expect her to become a considerable
• Celebrate the Chinese New Year the CALC Way 11 a.m.-2 p.m. Saturday, Jan. 21, at Carlisle Arts Learning Center, 19 N. Hanover St., Carlisle. Experience a live Chinese lion dance, Kung Fu demonstration, children’s arts projects and photography and cultural display by Deborah Fingerlow. Free and open to the public. • Therese Zemlin will display her artwork Jan. 23-March 9 in the Aughinbaugh Art Gallery at Messiah College’s Climenhaga Fine Arts Center. There will be an artist’s talk and reception at 4:15 p.m. Feb. 10 in the gallery.
Associated Press
Michael Fassbender, left, and Gina Carano are shown in a scene from “Haywire.” dialogue. Lesser directors would use that as an excuse to rely entirely on action and lowball the words. Not Soderbergh and his screenwriter, Lem Dobbs, who wrote “Dark City,” is the son of the famous painter
R.B. Kitaj, and lifted his pen name from the Bogart character in “The Treasure of the Sierra Madre.” What they do is craft very precise words for a large group of supporting characters, and fill those
Grading the films
known actress co-stars with Michael Fassbender, Ewan McGregor, Bill Paxton, Channing Tatum, Antonio Banderas and Michael Douglas, and you realize
• See Movies, D12
Compiled by The Associated Press
Metacritic
Movie Review Intelligence
Rotten Tomatoes
Average
“We Need to Talk About Kevin”
71
76.2
83
76.7
“The Iron Lady”
54
58.9
54
55.6
“Contraband”
52
55.6
46
51.2
“Joyful Noise”
44
51.1
39
44.7
Crafty screenplay Soderbergh is a master craftsman whose work moves almost eagerly between genres. This is his first martial arts film, and he correctly assumes that the audience isn’t interested in hearing a lot of
roles with surprisingly big names. The result is that the film (although its plot is preposterous nonsense) has weight and heft and places Mallory at the center of a diabolical labyrinth. Consider that a relatively little-
• “Flight Lab” by Jenny K. Hager and “Intimate Duet” by Hager and D. Lance Vickery will be on display Jan. 24-Feb. 22 at the Brossman Gallery and Cora Miller Gallery, respectively, at York College of Pennsylvania. A reception will be held 6-8 p.m. Tuesday, Jan. 24, in the Wolf Hall lobby. An artist lecture will be held at 5 p.m. Tuesday, Jan. 24, in DeMeester Recital Hall. Visit http://galleries.ycp.edu. • Sculptures by Mia Feuer will be on display Tuesday, Jan. 24, through Friday, Feb. 17, in the Goodyear Gallery at Dickinson College. Call 245-1053. • Deborah L. Peters will display her works in oil, watercolor, sculpture and mixed media throughout the month of January in the Charley Krone Gallery at New Cumberland Public Library, 1 Benjamin Plaza. Call 774-7820. • Nancy Stawitz will display her mixed media works throughout the month of February in the Charley Krone Gallery at New Cumberland Public Library, 1 Benjamin Plaza. Call 774-7820. • Mechanicsburg artist Patty Toth will display her exhibition “Grandeur of Yosemite” Feb. 1-March 7 at the Perry County Council of the Arts Gallery, 1 S. Second St., Newport. An opening reception will be held 7-8:30 p.m. Friday, Feb. 3. Visit www.perrycountyarts.org or call 567-7023. • “Reflections and Undercurrents: Prints of Venice, 1900-1940” will be on display through Feb. 4 in The Trout Gallery, Weiss Center for the Arts, at Dickinson College. Call 245-1711.
10 N. Pitt St. Carlisle, 243-4151 www.alibispirits.com Friday, Jan. 20: Band night with Pocket Change, 9 p.m. Saturday, Jan. 21: DJ, 10 p.m. Monday, Jan. 23: Yuengs and Wings. Tuesday, Jan. 24: Team Trivia, 7 p.m. Wednesday, Jan. 25: Open Mic, 8 p.m.
NIGHTLIFE | D5
Harrisburg Midtown Art Center’s Stage on Herr presents a variety of acts in coming weeks.
Appalachian Brewing Company 50 N. Cameron St. Harrisburg, 221-1080 www.abcbrew.com Saturday, Jan. 21: Eilen Jewell, 7 p.m. Saturday, Jan. 28: Winterfest, 7 p.m.
THEATER | D6-7
Open Stage of Harrisburg presents “Ma Rainey’s Black Bottom,” while Central Pennsylvania Youth Ballet presents works choreographed by its students.
Gullifty’s Underground 1104 Carlisle Road Camp Hill, 761-6692 www.gulliftys.net Friday, Jan. 20: Emilys Toybox, 9 p.m. Saturday, Jan. 21: Mike Burton and DJam, 9 p.m. Monday, Jan. 23: Poker Mondays, 9 p.m. Friday, Jan. 27: Funktion Band, 9 p.m.
BOOKS | D5
“The Magicians” by Lev Grossman is a poor amalgamation of the Harry Potter and Narnia series. Also, USA Today’s Best-Sellers.
MOVIES | D10-11
Holly Inn 31 S. Baltimore Ave. Mt. Holly Springs, 486-3823 www.hollyinn.com Thursday, Jan. 19: Cek Beauty Conference, 6 p.m. Friday, Jan. 20: Klinger McFry, 9:30 p.m. Saturday, Jan. 21: DJ Don, 9 p.m. Sunday, Jan. 22: Open Mic with Roy Bennett & Friends, 6:30 p.m. Monday, Jan. 23: Ballroom dancing. Tuesday, Jan. 24: Karaoke, 9 p.m. Wednesday, Jan. 25: Line dancing, 7 p.m. • “Contraband” — Yes, this follows the tried-andtrue One Last Job formula. Yes, Mark Wahlberg is nestled deep within his comfort zone as a former master criminal who’s lived a dangerous life and gone straight. Still, this is a solid genre picture that knows exactly what it is, has no delusions of grandeur and carries out its task in entertaining and occasionally even suspenseful fashion. Based on the 2008 Icelandic film “Reykjavik-Rotterdam” and directed by that movie’s star, Baltasar Kormakur, “Contraband” features Wahlberg as Chris Farraday, a onetime expert smuggler who’s now living a quiet life as a security consultant in the New Orleans suburbs with his hairstylist wife, Kate (Kate Beckinsale), and their two young sons. When Kate’s younger brother (Caleb Landry Jones) botches a run for a volatile local drug dealer (Giovanni Ribisi, tatted, high-pitched and squirrelly) while pulling into the Port of New Orleans, Chris must come out of retirement to make up the loss to this madman. His scheme involves shipping down to Panama City to bring back millions in counterfeit bills; not only does this not go according to plan, it spins wildly out of control. Meanwhile, back in the bayou, Kate and the kids increasingly become targets of the drug dealer’s wrath. Kormakur relies too heavily on shaky-cam tricks and quick, needless zooms to pump up the tension, but some of his set pieces do play out in visceral fashion. ))1/2 • “Joyful Noise” — If some incarnation of “Glee” were to be developed for the Christian Broadcasting Network, it would probably look a lot like this. You’ve got your squeaky-clean reworkings of pop tunes from various decades, which are intended to please viewers of all ages; some romance, although nothing too hot and heavy; and a large dollop of prayer, as the
Market Cross Pub & Brewery
A look at the 2012 Sundance Film Festival and Roger Ebert reviews “Haywire.” Also, movie grades and theater listings.
Mini Movie Reviews
characters struggle to find answers with the Lord’s help. It’s really rather canny the way writer-director Todd Graff’s film caters to these large, wholesome audiences — ones that are largely underserved in mainstream multiplex fare — all at once. But that doesn’t mean it’s effective as entertainment. Especially during the musical numbers — which theoretically should serve as the most rousing source of emotion, since the film is about a gospel choir — there’s a weird disconnect, a sense that the songs are simultaneously overproduced and hollow, and repeated cutaways to reaction shots of singers nodding and smiling further undermine their cohesion. Queen Latifah and Dolly Parton co-star as longtime enemies battling for control over a small-town Georgia church choir. Keke Palmer and Jeremy Jordan play teens sharing a forbidden love ... through song. Graff jumps around awkwardly among catfights, performances and surreptitious snuggle sessions between the two young stars. )1/2 • “We Need to Talk About Kevin” — For Lynne Ramsay, motives are vague, sometimes unknowable things. In the Scottish director’s films — “Ratcatcher,” ‘’Morvern Callar” and this one — characters act out awkwardly and unpredictably, baffled and nullified by deadly predicaments that are, in some measure, their own making. “Kevin,” Ramsay’s first film in nearly 10 years, is about a woman wracked by the trauma of having mothered a mass-murdering teenage son. Eva Khatchadourian (Tilda Swinton) is a suburban wife to a cheerful, oblivious husband, Franklin (John C. Reilly), whose waking nightmare is enforced by constant flashbacks, mulling over her mothering of Kevin (as a teen, played by Ezra Miller) from infancy and up until the fateful high school massacre. It is, to be sure, a
113 N. Hanover St. Carlisle, 258-1234 www.marketcrosspub.com Thursday, Jan. 19: Open Jam with Brad Bell, 8 p.m. SaturMovies Jan. 22: day, Jan. 21: Cormorant’s Fancy, 9 p.m. Sunday, Sunday Brunch, noon-3 p.m. Thursday, Jan. 26:Indian Books Summer Jars, 8 p.m. Friday, Jan. 27: Nate Myers & the Aces, 9:30 p.m.
parent’s horror story. The origin of this real-life demon is traced back to birth and even earlier, a pondering of the arrival of a bad seed and his subsequent nurturing. The script by Ramsay and Rory Stewart Kinnear, adapting Lionel Shriver’s acclaimed novel, artfully blends these two timelines evoking Eva’s interior consciousness, where every moment recalls a precursor to the tragedy, and a debate of her role in it. But the film fails to grasp the “why.” Perhaps this is as it should be: The formation of such a monster can only be a mystery. But this thoroughly well-crafted if rigidly conceived film could use a little more talking — or at least some therapy — about Kevin. ))1/2 • “Pariah” — Writer-director Dee Rees’ feature debut achieves a difficult, intriguing balance. It’s at once raw and dreamlike, specific to a particular, personal rite of passage yet relatable in its message of being true to oneself. Adepero Oduye gives a subtly natural performance as Alike (pronounced ah-lee-kay), a 17year-old Brooklyn girl who’s struggling to come out as a lesbian. Each day at school, she dresses the way that makes her feel comfortable in baggy T-shirts and baseball caps, and she pals around with her brash best friend, Laura (Pernell Walker), who’s already happily out. But on the bus ride home, she must transform herself into the young lady her mother, Audrey (Kim Wayans), approves of and loves. Audrey hopes arranging a new friendship with a colleague’s daughter, Bina (Aasha Davis), will set Alike down a traditionally straight, female path, but this budding relationship only complicates matters further. Simultaneously, Alike’s home life is deteriorating, as her police officer father (Charles Parnell) begins keeping suspiciously late hours; it’s a subplot that bogs things down and feels like a distraction from Alike’s journey,
a device to add tension. But Alike’s story is inspiring to see: Oduye is both melancholy and radiant in the role, and she makes you long for her character to finally find peace. And Bradford Young’s award-winning cinematography gives “Pariah” the gauzy, gorgeous feel of an urban fairy tale. ))) • “A Separation” — The title is an apt encapsulation of the film as a whole: It may sound simple, but its results are devastating. Writer-director Asghar Farhadi’s tale begins as a domestic disagreement in contemporary Iran and morphs into a legal thriller, one that will have you questioning the characters — and your own perception of them — again and again. This transformation occurs intimately, organically and seemingly so effortlessly that you may not recognize it right before your eyes. But the lasting effect will linger; while this story is incredibly detailed in the specificity of its setting, its themes resonate universally. Farhadi sets the tense tone right off the top with a long, single take in which middle-class husband and wife Simin (Leila Hatami) and Nader (Peyman Moadi) sit before a judge to explain their dispute. She wants the family to leave Tehran to provide their studious daughter, Termeh (the director’s daughter, Sarina Farhadi), with better educational opportunities. He wants to stay and care for his aging father, who’s suffering from Alzheimer’s disease. When Simin’s divorce request is rejected, she moves out; while the daughter stays, Nader still needs help watching his father. This leads to one fateful decision, and then another and another, until finally, serious criminal charges are at stake. “A Separation” honestly addresses the notions of trust and respect, loyalty and religious devotion. )))1/2 — Associated Press
Open Stage puts on “ma rainey’s Black Bottom.”
AALIVE EntErtainmEnt in thE hEart of thE midstatE
• Continued from D10 of those directors who can could any organization or alive except a few mail room Dublin, New Mexico, New it’s a pleasure to see an Aget just about anybody he “contractor” survive for clerks. Soderbergh seems York State and executive list director taking the care that (1) Carano can hold her wants to act in his movies. long with the death rate we to be amusing himself with offices in unnamed cities. to make a first-rare genre own, and (2) like Woody I call the plot nonsense. see here? At the end of a the variety of his loca- A film like “Haywire” has thriller. Allen, Soderbergh is one Ask yourself this: How year no one would be left tions; we visit Barcelona, no lasting significance, but )))
Stage on Herr
• Continued from D8
than consuming it in fire. The Beast is dead, but so is Alice and one other student. Quentin lapses into unconsciousness, from which he awakens only six months later, now fully healed from his injuries sustained while fighting with the others. He makes his way back to earth, forswears magic,
gets a boring desk job that doesn’t actually require any real work, and swears he doesn’t miss the magic. The novel concludes with his friends — who had escaped Fillory, leaving him behind because the centaurs told them he was unlikely to live — finding him and asking him to come back to Fillory with them to take the fourth throne and be king alongside them. Of course
he does.
Concepts
Although blatantly lifted from other, better, works, Grossman raises one interesting concept in his 402pages of otherwise uninspired prose. For the whole of the book, Quentin envies Martin Chatwin, the one sibling in the Fillory novels by Plover who manages to stay
268 Herr St. Harrisburg, 441-7506 www.harrisburgarts.com Thursday, Jan. 19: Jon Herrington, 9 p.m. Friday, Jan. 20: Mike Banks and friends, 8 p.m. Saturday, Jan. 21: Mark Santanna the snake oil salesman, Earl Pickens and Family, 8 p.m. Monday, Jan. 23: Karaoke, 9 p.m. Tuesday, Jan. 24: Games Night, 6 p.m. Wednesday, Jan. 25: Open Mic hosted by Mike Banks, 8 p.m. Thursday, Jan. 26: HIpE – Impressionistic Musical Art, 9 p.m.
behind in Fillory. Quentin thinks that he wants to be Martin, that living in this magical enchanted kingdom will solve all his problems. He finds, though, that having stayed in Fillory when he wasn’t wanted has corrupted Martin and pushed him over to the dark side (though, again, the sides of light and dark aren’t at all well-defined in Grossman’s novel). Once he
meets Martin, Quentin realizes he doesn’t really want that after all. There was enormous potential for Grossman to develop that line of thought, which he just wasted. There was potential for him to develop something one of the residents of Fillory said — “We have reached the point where ignorance and neglect are the best we can hope for in a ruler” — and
he wastes that, too. The benefit of coming after Lewis and Rowling would be to take the parts of their novels that were successful and add his own twist to it. What Mr. Grossman has done is to take their original plots, mash them together, add sex, drugs and alcohol, and call it original, when it is sadly merely a poor man’s version of either.
2012 film PrevieW firST STePS
The Sentinel www.cumberlink.com
D TheSection Sentinel ‘Hunger Games,’ ‘Dark Knight’ and ‘Hobbit’ are all highly anticipated movies January 19, 2012
CPYB’s student choreographers to present work
On the cover: Avalon Demetri, background left, helps Florrie Geller, 12, front left, Eniko Vaghy, 14, background right, and Emerson Dayton, 11, with dance moves. (main photo) Sharia Benn portrays Ma Rainey in Open Stage of Harrisburg’s production of “Ma Rainey’s Black Bottom.” (photo inset)
Get all of your entertainment news online at www.cumberlink.com
There must be Freudian insights explaining why so many young males respond positively to superwomen as heroines. At science fiction and comics conventions, a woman wearing a fetishistic superhero costume will almost certainly be the focus of a circle of intent fanboys. Maybe there’s the prospect of an all-protecting mom. Or the promise of a cool female buddy. The possibility of sex seems to be secondary. Mallory Kane, the heroine of “Haywire,” is a splendid example of the character type. Her first name springs from a Latin root for evil, and her last name inspires associations with British pornography (“Strict instruction for naughty schoolboys. Call Miss Kane”). Steven Soderbergh’s new film is a thriller that has next to nothing to do with sex, except as an implement of distraction, but under the surface there’s an appeal coiling to that part of many men that feels kinda needy about Lara Croft.
• Artists Scott and Penny Durbin will display watercolors and pen and ink drawings at On What Grounds coffee shop, 162 Lincoln Way East, Chambersburg, through Jan. 20. The shop is open 7 a.m.-4:30 p.m. Monday-Friday and 8 a.m.-1 p.m. Saturday. Call the Council for the Arts of Chambersburg at 264-6883.
MUSIC | D4-5
The Rock and Roll Hall of Fame opens archives to the public. Also, Music Notes and Billboard’s top music.
Out & About
Movies
Universal Press Syndicate
Art
Inside
Alibis Eatery and Spirits
Get all of your entertainment news online at www.cumberlink.com
By Roger Ebert
box office success because the fact is, within a limited range, she’s good. In the movie’s first scene she walks into a little cafe in upstate New York, sits down, sips a little tea, and had me hooked. She has the nononsense beauty of a Noomi Rapace, Linda Fiorentino or Michelle Monaghan. She plays an employee of a murky special contractor of the U.S. government, which specializes in performing dirty work on assignment. Its own agents and enemy agents, who sometimes seem interchangeable, spend a great deal of time deceiving and doublecrossing one another, and Mallory discovers during the course of the film that (spoiler, I guess) she can’t trust anyone. Why so many people want to kill her is a mystery, because she is so gifted at her job. Carano is wonderfully athletic, which is just as well because she spends most of the film being wonderfully athletic. Although you never know in this age of special effects exactly what is real in a martial arts scene, let it be said she really does seem to be personally performing some impressive fight moves; there are the same elegant moments we remember from Bruce Lee and Jackie Chan, who were blindingly fast and ingenious in the way they improvised using walls, angles, furniture and the bodies of others.
Movies
Retired mixed martial arts fighter Gina Carano holds her own with other big names. ■
D12 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Get all of your entertainment news online at www.cumberlink.com
‘Haywire’ has nonsense plot, great actors
The Scene
A guide to area events A look at local nightlife
D3 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Movie Review
Get all of your entertainment news online at www.cumberlink.com
Special Events
Theater
Music
• Country line dance exercise classes are being offered 7-8:30 p.m. Fridays, Jan. 20-Feb. 17, at Silver Spring Presbyterian Church, 444 Silver Spring Road, Mechanicsburg. Open to ages 7 and older. Email ellen@linedancefun. vpweb.com.
• The Popcorn Hat Players will present “Rumpelstiltskin” at 10:15 a.m. Wednesdays and Thursdays and 1 p.m. Saturdays, Jan. 18-Feb. 4, at Gamut Classic Theatre, third floor, Strawberry Square, Harrisburg. Tickets are $5-$8. Visit www.gamutplays. org or call 238-4111.
• Attend a special intimate acoustic evening with Dave Mason at 8 p.m. Friday, Jan. 20, at the Sunoco Performance Theater at Whitaker Center for Science and the Arts, Harrisburg. Tickets are $32 and $38. Visit www.whitakercenter.org or call 214-ARTS.
• The Metropolitan Area Dance Club will hold a dance 7-11 p.m. Saturday, Jan. 21, at the PA Dance Sport Ballroom, 585 E. Main St., Hummelstown. Doors open at 6:30 p.m. The Headliners will provide music. Call 774-2171.
• Pat’s Singles Dance Club will hold a dance 7:3011 p.m. Sunday, Jan. 22, at the Valencia Ballroom, 142 N. George St., York. Special Friends will provide music. Cost is $10. Visit http://NewSingles3.tripod.com or call Pat at 303-1969. • Clifford – The Big Red Dog Live!, a family musical, will have performances at 1 and 4 p.m. Saturday, Jan. 28, at the H. Ric Luhrs Performing Arts Center at Shippensburg University. Tickets are $15-$25; a very limited number of VIP seats are available, which include a character meet and greet. Visit www.luhrscenter.com or call 477-SHOW. • The Metropolitan Area Dance Club will hold a dance 7-11 p.m. Saturday, Jan. 28, at the PA Dance Sport Ballroom, 585 E. Main St., Hummelstown. Doors open at 6:30 p.m. The Dave Winter Group will provide music. Call 774-2171. • Pat’s Singles Dance Club will hold a dance 7-10:30 p.m. Saturday, Jan. 28, at the Wisehaven Ballroom, 2985 Prospect Road, York. G-Wizz will provide music. Cost is $10. Visit http://NewSingles3.tripod.com or call Pat at 3031969.
• New Dancer Square Dances will be held at 7:30 p.m. Mondays beginning Jan. 30 at Elmcroft of Shippensburg, 129 Walnut Bottom Road. These are hosted by The Shippen Squares Square Dance Club. Call Karen and Ed Shrader at 532-5483. • Pat’s Singles Dance Club will hold a Super Bowl dance 7-10:30 p.m. Saturday, Feb. 4, at the Wisehaven Ballroom, 2985 Prospect Road, York. DJ Ray Thomas will provide music. Cost is $10. Visit http://NewSingles3.tripod.com or call Pat at 303-1969.
• The Gamut Theatre Group will present “Bunny Bunny: Gilda Radner: A Sort of Love Story” at 7:30 p.m. Fridays and Saturdays and 2:30 p.m. Sundays, Jan. 20Feb. 5, at the theater, 605 Strawberry Square, Harrisburg. Tickets are $27 for adults and $17 for students and seniors. Visit www.gamutplays.org or call 238-4111. • Oyster Mill Playhouse will present “Angel Street,” a psychological thriller by Patrick Hamilton, at 8 p.m. Thursdays-Saturdays and 2 p.m. Sundays, Jan. 27-Feb. 12, at its playhouse, 1001 Oyster Mill Road, Camp Hill. Opening night tickets are $16 and include a reception. All other performances are $14. Visit www.oystermill.com or call 737-6768. • Auditions for the Popcorn Hat Players’ production of “The Jungle Book” will be held Jan. 27 and 28 at Gamut Classic Theatre in Strawberry Square in Harrisburg. Auditions for ages 8-18 will be 6-8 p.m. Jan. 27 and 4-6 p.m. Jan. 28; and ages 5-7 from 2:30-4 p.m. Jan. 28. Callbacks will be 7-9 p.m. Jan. 28. Auditioners do not need to prepare a monologue. Dress in comfortable clothes. Performances will be at 2:30 and 7:30 p.m. April 14. Auditioners must call 238-4111 to make an appointment. • The Chambersburg Ballet Theatre will perform three ballets at 2 and 7:30 p.m. Saturday, Jan. 28, at the Capitol Theatre in Chambersburg. The production will feature Stravinsky’s “The Firebird;” a light-hearted skating ballet to Strauss waltzes called “Winter Scene;” and a world premiere classical work by renowned ballet master Robert Steele called “Mozartiana.” Tickets are $15 for adults or $10 for children 12 and under. Visit www.thecapitoltheatre.org or call 263-0202. • Little Theatre of Mechanicsburg will hold auditions for “Extremities” by William Mastrosimone at 7 p.m. Jan. 29 and 30 at the theater, 915 S. York St., Mechanicsburg. Auditions are for roles of three women and one man, all between the ages of 20s-40s. All actors auditioning should be prepared to read from the script and take part in a number of trust exercises. Wear comfortable clothing. For more information on the play and characters, visit www.ltmonline.net or call 763-1864. • Oyster Mill Playhouse in Camp Hill will hold auditions for the musical “The Goodbye Girl” by Neil Simon at 7 p.m. on Jan. 29 and 30 at the playhouse, 1001 Oyster Mill Road, Camp Hill. The cast includes seven women and four men as well as ensemble. Those who audition should prepare a one-minute excerpt from a recognized musical that shows off their best vocal ranger/style. Songs should be upbeat and show off acting skills as well. Bring sheet music. Visit www.oystermill.com. • Open Stage of Harrisburg presents “Ma Rainey’s Black Bottom” Feb. 3-25 at the theater, 223 Walnut St., Harrisburg. Visit www.openstagehbg.com or call 232OPEN. • Theatre Harrisburg presents “Joseph and the Amazing Technicolor Dreamcoat” at 7:30 p.m. Thursdays, 8 p.m. Fridays and 2 p.m. Sundays, Feb. 4-19. There will also be shows at 4 p.m. Saturdays, Feb. 4 and 18, and 8 p.m. Saturday, Feb. 11. Performances are held at Whitaker Center for Science and the Arts, harrisburg. Tickets are $20-$33. Call 214-ARTS.
• The Buck-N-Chet Band will perform 8:30-11:30 p.m. Friday, Jan. 20, at the Three PInes in Mt. Holly Springs. • Third in the Burg presents Jayme Salviati and Bon Rothermel 8-10 p.m. Friday, Jan. 20, at Midtown Scholar Bookstore, 1302 N. Third St., Harrisburg. This is a free concert. Visit www.midtownscholar.com or call 236-1680. • Mazon hip-hop performance 7-9 p.m. Saturday, Jan. 21, at Midtown Scholar Bookstore, 1302 N. Third St., Harrisburg. This is a free concert for more mature audiences. Visit www.midtownscholar.com or call 236-1680. • The Rillo’s After Dark Party with the Jazz Me Band will be held 9 p.m.-midnight Saturday, Jan. 21, at Rillo’s, Carlisle. • The Buck-N-Chet Band will peform 8:30-11 p.m. Saturday, Jan. 21, at the Boiling Springs VFW Post No. 8851 in Boiling Springs. • Bryan Adams will perform an acoustic concert as part of his “The Bare Bones Tour” at 7 p.m. Sunday, Jan. 22, at the H. Ric Luhrs Performing Arts Center at Shippensburg University. Tickets are $45-$59. Visit www. luhrscenter.com or call 477-SHOW. • Soledad Barrio and Noche Flamenca will perform at 5 p.m. Monday, Jan. 23, in the Rubendall Recital Hall at Dickinson College’s Weiss Center for the Arts, Carlisle. This is a free performance. An education concert with the performers will be held at 8 p.m. Tuesday, Jan. 24, in Mathers Theatre in the Holland Union Building. Call 245-1568. • Free coffeehouse and hymn sing 7-8:30 p.m. Friday, Jan. 27, at Enola First Church of God, 9 Sherwood Drive, Enola. Refreshments will be served. Visit www. enolacog.com or call the church at 732-4253. • The Vulcans with Sarah Beth and Dani F. will perform as part of Friday Folk Cafe 8-10 p.m. Friday, Jan. 27, at Midtown Scholar Bookstore, 1302 N. Third St., Harrisburg. This is a free concert. Visit www.midtownscholar. com or call 236-1680. • Coffeehouse, sponsored by the Perry County Council of the Arts, at 7 p.m. Friday, Jan. 27, at Espresso Yourself Cafe, 8 S. Second St., Newport. Free and open to the public. Visit www.perrycountyarts.org or call 567-7023.
Melancholia (R) Thu. 7:30 My Week with Marilyn (R) Fri.-Sat. 7:30, Sun. 2, Wed.-Thu. 7:30
Cinema Center of Camp Hill The Adventures of Tintin 2D (PG) Thu. 8:45 Alvin and the Chipmunks: Chipwrecked (G) Thu. 11:35 a.m., 2, 4:30, 6:40, Fri.-Thu. 11:35 a.m., 2, 4:30 The Artist (PG-13) Fri.-Thu. 10:55 a.m., 1:25, 3:50, 6:55, 9:25 Beauty and the Beast 3D (G) Thu. 12:10, 2:20, 4:35, 6:50, 9, Fri.-Thu. 12:10, 2:20, 4:35, 6:45, 8:50 Contraband (R) Thu.-Thu. 12, 2:30, 5:05, 7:40, 10:05 The Descendants (R) Thu. 11 a.m., 1:25, 3:55, 6:55, 9:20 The Devil Inside (R) Thu. 1, 3:10, 5:30, 7:50, 9:55, Fri.-Thu. 11:15 a.m., 10:05 Extremely Loud & Incredibly Close (PG-13) Fri.-Thu. 10:55 a.m., 1:30, 4:15, 7, 9:55 The Girl with the Dragon Tattoo (R) Thu. 11:40 a.m., 3, 6:30, 9:40, Fri.-Thu. 4:55, 8 Haywire (R) Fri.-Thu. 10:50 a.m., 12:50, 2:50, 5:10, 7:20, 9:35 Joyful Noise (PG-13) Thu. 11:10 a.m., 1:45, 4:25, 7:10, 9:55, Fri.-Thu. 11:05 a.m., 1:40, 4:25, 7:05, 9:45 Mission: Impossible Ghost Protocol (PG-13) Thu. 11 a.m., 1:40, 4:25, 7:15, 10, Fri.-Thu. 1:25, 4:15, 7:15 Red Tails (PG-13) Fri.-Thu. 10:50 a.m., 1:30, 4:20, 7:10, 10 Sherlock Holmes: A Game of Shadows (PG-13) Thu. 1:10, 4:10, 7:20, 10:05, Fri.-Thu. 2:10, 5 Tinker Tailor Soldier Spy (R) Thu. 11:15 a.m., 2, 4:45, 7:30, 10:05, Fri.-Thu. 6:40, 9:30 Underworld: Awakening 3D (R) Fri.-Thu. 11 a.m., 1:10, 3:15, 5:20, 7:30, 9:50 War Horse (PG-13) Thu. 11:10 a.m., 2:40, 6:45, 9:50, Fri.-Thu. 11:10 a.m., 7:50 We Bought a Zoo (PG) Thu. 11 a.m., 1:35, 4:20, 7, 10:05, Fri.-Thu. 11:30 a.m., 2:15
Great Escape The Adventures of Tintin 3D (PG) Thu. 11:40 a.m., 2:10, 4:40, Fri.-Thu. 11:40 a.m., 2:10, 4:40
Continued next column Event information can be submitted via email to frontdoor@cumberlink.com, by mail, 457 E. North St., Carlisle, PA 17013 or by fax at 243-3121. For more information, visit www.cumberlink.com/entertainment
Great Escape continued
Regal Carlisle continued
Regal Harrisburg continued
Alvin and the Chipmunks: Chipwrecked (G) Thu. 11:35 a.m., 12:10, 1:45, 2:30, 4:45, 7, 9:20, Fri.-Thu. 11:50 a.m., 2, 4:20, 6:50 Beauty and the Beast 2D (G) Thu.-Thu. 12:30 Beauty and the Beast 3D (G) Thu. 11:30 a.m., 1:40, 2:40, 3:50, 4:50, 7, 9:10, Fri.-Thu. 2:40, 4:50, 7, 9:10 Contraband (R) Thu. 11:45 a.m., 2:15, 4, 5, 6:50, 7:50, 9:20, 10:20, Fri.-Thu. 11:45 a.m., 2:15, 5, 7:50, 10:20 The Darkest Hour 3D (PG-13) Thu. 7:20, 10 The Devil Inside (R) Thu. 12:20, 2:40, 5:10, 7, 7:40, 9:15, 9:50, Fri.-Thu. 12:20, 2:40, 5:10, 7:40, 9:50 Extremely Loud and Incredibly Close (PG-13) Fri.-Thu. 12:50, 4:10, 7:10, 10 Girl with the Dragon Tattoo (R) Thu.-Thu. 12:40, 4:20, 8 Haywire (R) Fri.-Thu. 12, 2:20, 5:10, 7:40, 10 Joyful Noise (PG-13) Thu. 11:30 a.m., 12:40, 2:10, 4:50, 6:30, 7:30, 10:10, Fri.-Thu. 11:30 a.m., 2:10, 4:50, 7:30, 10:10 Mission: Impossible Ghost Protocol (PG-13) Thu. 12, 4:10, 7:10, 10:10, Fri.-Thu. 3:45, 9:55 New Year’s Eve (PG-13) Thu. 3:30, 9:15 Red Tails (PG-13) Fri.-Thu. 11:30 a.m., 12:40, 2:50, 4, 6:30, 7:30, 9:15, 10:15 Sherlock Holmes: Game of Shadows (PG-13) Thu.-Thu. 12:20, 3:40, 6:40, 9:40 Underworld: Awakening 2D (R) Fri.-Thu. 12 Underworld: Awakening 3D (R) Fri.-Thu. 2, 4:30, 7:20, 8:10, 9:30, 10:15 War Horse (PG-13) Thu. 12:30, 3:45, 6:50, 9:55, Fri.-Thu. 12:10, 6:50 We Bought a Zoo (PG) Thu. 12:10, 3:30, 6:40, 9:30, Fri.-Thu. 9
Extremely Loud & Incredibly Close (PG-13) Fri. 4:20, 7:20, 10:20, Sat.-Sun. 1:20, 4:20, 7:20, 10:20, Mon.-Thu. 4:20, 7:20, 10:20 Haywire (R) Fri. 5, 7:30, 9:50, Sat.-Sun. 12:20, 2:40, 5, 7:30, 9:50, Mon.-Thu. 5, 7:30, 9:50 Joyful Noise (PG-13) Thu.-Fri. 4, 7, 9:40, Sat.-Sun. 1, 4, 7, 9:40, Mon.Thu. 4, 7, 9:40 Mission: Impossible - Ghost Protocol (PG-13) Thu. 4:20, 7:20, 10:20 Red Tails (PG-13) Fri. 4:10, 7:10, 10, Sat.-Sun. 1:10, 4:10, 7:10, 10, Mon.-Thu. 4:10, 7:10, 10 Sherlock Holmes: A Game of Shadows (PG13) Thu. 4:10, 7:10, 10:10, Fri. 9:55, Sat.-Sun. 3:40, 9:55, Mon.-Thu. 9:55 Underworld: Awakening 3D (R) Fri. 4:50, 7:50, 10:10, Sat.-Sun. 12:10, 2:30, 4:50, 7:50, 10:10, Mon.-Thu. 4:50, 7:50, 10:10 War Horse (PG-13) Thu. 3:40, 6:50, 10, Fri. 3:30, 6:40, Sat.-Sun. 12:30, 6:40, Mon.-Thu. 3:30, 6:40 We Bought a Zoo (PG) Thu. 6:40, 9:30
The Iron Lady (PG-13) Thu. 2, 4:30, 7:30, 10:05, Fri.-Thu. 1:30, 4:30, 7, 9:40 Joyful Noise (PG-13) Thu. 1:40, 4:40, 7:40, 10:20, Fri.-Thu. 1:10, 4:10, 6:50, 9:50 The Metropolitan Opera: The Enchanted Island (NR) Sat. 12:55 Mission: Impossible - Ghost Protocol (PG-13) Thu. 12:50, 4:20, 7:25, 10:25, Fri. 1:25, 4:25, 7:25, 10:25, Sat. 7:25, 10:25, Sun.-Thu. 1:25, 4:25, 7:25, 10:25 Red Tails (PG-13) Fri.-Thu. 1:20, 4:20, 7:30, 10:20 Sherlock Holmes: A Game of Shadows (PG-13) Thu. 1:20, 4:10, 7:10, 10, Fri. 3:40, 6:30, 9:20, Sat.-Sun. 12:50, 3:40, 6:30, 9:20, Mon.-Thu. 3:40, 6:30, 9:20 Tinker Tailor Soldier Spy (R) Thu. 1, 3:50, 7, 9:50 Underworld Awakening 3D (R) Fri. 3, 5:20, 7:40, 10:30, Sat.-Sun. 12:30, 3, 5:20, 7:40, 10:30, Mon.-Thu. 3, 5:20, 7:40, 10:30 War Horse (PG-13) Thu. 12:30, 3:45, 7:05, 10:15, Fri. 3:30, 6:45, 9:55, Sat.-Sun. 12:15, 3:30, 6:45, 9:55, Mon.-Thu. 3:30, 6:45, 9:55 We Bought a Zoo (PG) Thu. 12:40, 3:40, 6:30, 9:20, Fri.-Thu. 6:20, 9:10
Regal Carlisle Commons 8 Alvin and the Chipmunks: Chipwrecked (G) Thu. 4:30 Beauty and the Beast 3D (G) Thu. 5, 7:30, 9:50, Fri. 4:30, 6:50, 9:10, Sat.Sun. 12, 2:15, 4:30, 6:50, 9:10, Mon.-Thu. 4:30, 6:50, 9:10 Contraband (R) Thu. 5:10, 7:50, 10:30, Fri. 4:40, 7:40, 10:30, Sat.-Sun. 1:30, 4:40, 7:40, 10:30, Mon.-Thu. 4:40, 7:40, 10:30 The Devil Inside (R) Thu. 4:45, 7:40, 10:05
Continued next column
Regal Harrisburg The Adventures of Tintin 2D (PG) Thu. 4:05, Fri. 2:50, 5:30, Sat.-Sun. 12:20, 2:50, 5:30, Mon.-Thu. 2:50, 5:30 The Adventures of Tintin 3D (PG) Thu. 1:15, 6:40, 9:30 Alvin and the Chipmunks: Chipwrecked (G) Thu. 1:30, 4, 6:10, 8:30, Fri.-Thu. 1:40, 3:50 Beauty and the Beast 3D (G) Thu. 12:20, 2:40, 5, 7:20, 9:40, Fri. 2:30, 4:50, 7:10, 9:30, Sat.-Sun. 12:10, 2:30, 4:50, 7:10, 9:30, Mon.-Thu. 2:30, 4:50, 7:10, 9:30 Contraband (R) Thu. 1:50, 4:50, 7:50, 10:30, Fri.-Thu. 1:50, 4:40, 7:50, 10:40 The Descendants (R) Thu. 12:45, 3:25, 6:20, 9:10 The Devil Inside (R) Thu. 1:10, 3:20, 5:30, 8, 10:40, Fri.-Thu. 8:10, 10:35 Extremely Loud & Incredibly Close (PG-13) Fri.-Thu. 1, 4, 7:20, 10:10 The Girl with the Dragon Tattoo (R) Thu. 12:10, 3:30, 6:50, 10:10, Fri. 3:20, 6:40, 10, Sat.-Sun. 12, 3:20, 6:40, 10, Mon.-Thu. 3:20, 6:40, 10 Haywire (R) Fri. 3:10, 5:40, 8, 10:15, Sat.-Sun. 12:40, 3:10, 5:40, 8, 10:15, Mon.-Thu. 3:10, 5:40, 8, 10:15
Continued next column
Select Medical IMAX Theatre Born to Be Wild 3D Thu. 12, Fri.-Sat. 11 a.m., Sun. 2, Mon.-Thu. 11 a.m. Legends of Flight 3D Thu. 11 a.m., Fri.-Sat. 1, 2, Sun. 12, Mon.-Thu. 1, 2 Lewis and Clark: Great Journey West Thu. 1, Fri.-Sat. 12, 3, Sun. 1, 3, Mon.-Thu. 12, 3 Mission: Impossible – Ghost Protocol The IMAX Experience (PG-13) Thu. 2, 4:35, 7:10, Fri.-Thu. 4, 6:35
West Shore Theater The Adventures of Tintin (PG) Fri.-Thu. 7 Happy Feet Two (PG) Sat.-Sun. 2 The Sitter (R) Fri.-Thu. 9 Twilight: Breaking Dawn Part 1 (PG-13) Thu. 9 Young Adult (R) Thu. 7
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• Pat’s Singles Dance Club will hold a dance 7:30-11 p.m. Sunday, Jan. 29, at the Valencia Ballroom, 142 N. George St., York. Solid Gold will provide music. Cost is $10. Visit http:// NewSingles3.tripod.com or call Pat at 303-1969.
• Avalong Playhouse will present “33 Variations” at 7:30 p.m. Fridays, Jan. 20 and 227, Saturday, Jan. 28, and Thursday, Jan. 26; and 3 p.m. Sundays, Jan. 22 and 29, at the Pullo Center, 1031 Edgecomb Ave., York. Tickets are $15 in advance, $18 at the door. Visit www.thepullocenter.com or call 505-8900.
Carlisle Theatre
Movies
Out & About
• Pat’s Singles Dance Club will hold a dance 7:30-11 p.m. Saturday, Jan. 21, at the Wisehaven Ballroom, 2985 Prospect Road, York. The Dave Winter Group will provide music. Cost is $10. Visit http://NewSingles3.tripod.com or call Pat at 303-1969.
D2 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Now showing
D11 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
Out & About
Get all of your entertainment news online at www.cumberlink.com
Movies
Mini Movie Reviews • “Contraband” — Yes, this follows the tried-andtrue One Last Job formula. Yes, Mark Wahlberg is nestled deep within his comfort zone as a former master criminal who’s lived a dangerous life and gone straight. Still, this is a solid genre picture that knows exactly what it is, has no delusions of grandeur and carries out its task in entertaining and occasionally even suspenseful fashion. Based on the 2008 Icelandic film “Reykjavik-Rotterdam” and directed by that movie’s star, Baltasar Kormakur, “Contraband” features Wahlberg as Chris Farraday, a onetime expert smuggler who’s now living a quiet life as a security consultant in the New Orleans suburbs with his hairstylist wife, Kate (Kate Beckinsale), and their two young sons. When Kate’s younger brother (Caleb Landry Jones) botches a run for a volatile local drug dealer (Giovanni Ribisi, tatted, high-pitched and squirrelly) while pulling into the Port of New Orleans, Chris must come out of retirement to make up the loss to this madman. His scheme involves shipping down to Panama City to bring back millions in counterfeit bills; not only does this not go according to plan, it spins wildly out of control. Meanwhile, back in the bayou, Kate and the kids increasingly become targets of the drug dealer’s wrath. Kormakur relies too heavily on shaky-cam tricks and quick, needless zooms to pump up the tension, but some of his set pieces do play out in visceral fashion. HH1/2 • “Joyful Noise” — If some incarnation of “Glee” were to be developed for the Christian Broadcasting Network, it would probably look a lot like this. You’ve got your squeaky-clean reworkings of pop tunes from various decades, which are intended to please viewers of all ages; some romance, although nothing too hot and heavy; and a large dollop of prayer, as the
characters struggle to find answers with the Lord’s help. It’s really rather canny the way writer-director Todd Graff’s film caters to these large, wholesome audiences — ones that are largely underserved in mainstream multiplex fare — all at once. But that doesn’t mean it’s effective as entertainment. Especially during the musical numbers — which theoretically should serve as the most rousing source of emotion, since the film is about a gospel choir — there’s a weird disconnect, a sense that the songs are simultaneously overproduced and hollow, and repeated cutaways to reaction shots of singers nodding and smiling further undermine their cohesion. Queen Latifah and Dolly Parton co-star as longtime enemies battling for control over a small-town Georgia church choir. Keke Palmer and Jeremy Jordan play teens sharing a forbidden love ... through song. Graff jumps around awkwardly among catfights, performances and surreptitious snuggle sessions between the two young stars. H1/2 • “We Need to Talk About Kevin” — For Lynne Ramsay, motives are vague, sometimes unknowable things. In the Scottish director’s films — “Ratcatcher,” ‘’Morvern Callar” and this one — characters act out awkwardly and unpredictably, baffled and nullified by deadly predicaments that are, in some measure, their own making. “Kevin,” Ramsay’s first film in nearly 10 years, is about a woman wracked by the trauma of having mothered a mass-murdering teenage son. Eva Khatchadourian (Tilda Swinton) is a suburban wife to a cheerful, oblivious husband, Franklin (John C. Reilly), whose waking nightmare is enforced by constant flashbacks, mulling over her mothering of Kevin (as a teen, played by Ezra Miller) from infancy and up until the fateful high school massacre. It is, to be sure, a
parent’s horror story. The origin of this real-life demon is traced back to birth and even earlier, a pondering of the arrival of a bad seed and his subsequent nurturing. The script by Ramsay and Rory Stewart Kinnear, adapting Lionel Shriver’s acclaimed novel, artfully blends these two timelines evoking Eva’s interior consciousness, where every moment recalls a precursor to the tragedy, and a debate of her role in it. But the film fails to grasp the “why.” Perhaps this is as it should be: The formation of such a monster can only be a mystery. But this thoroughly well-crafted if rigidly conceived film could use a little more talking — or at least some therapy — about Kevin. HH1/2 • “Pariah” — Writer-director Dee Rees’ feature debut achieves a difficult, intriguing balance. It’s at once raw and dreamlike, specific to a particular, personal rite of passage yet relatable in its message of being true to oneself. Adepero Oduye gives a subtly natural performance as Alike (pronounced ah-lee-kay), a 17year-old Brooklyn girl who’s struggling to come out as a lesbian. Each day at school, she dresses the way that makes her feel comfortable in baggy T-shirts and baseball caps, and she pals around with her brash best friend, Laura (Pernell Walker), who’s already happily out. But on the bus ride home, she must transform herself into the young lady her mother, Audrey (Kim Wayans), approves of and loves. Audrey hopes arranging a new friendship with a colleague’s daughter, Bina (Aasha Davis), will set Alike down a traditionally straight, female path, but this budding relationship only complicates matters further. Simultaneously, Alike’s home life is deteriorating, as her police officer father (Charles Parnell) begins keeping suspiciously late hours; it’s a subplot that bogs things down and feels like a distraction from Alike’s journey,
a device to add tension. But Alike’s story is inspiring to see: Oduye is both melancholy and radiant in the role, and she makes you long for her character to finally find peace. And Bradford Young’s award-winning cinematography gives “Pariah” the gauzy, gorgeous feel of an urban fairy tale. HHH • “A Separation” — The title is an apt encapsulation of the film as a whole: It may sound simple, but its results are devastating. Writer-director Asghar Farhadi’s tale begins as a domestic disagreement in contemporary Iran and morphs into a legal thriller, one that will have you questioning the characters — and your own perception of them — again and again. This transformation occurs intimately, organically and seemingly so effortlessly that you may not recognize it right before your eyes. But the lasting effect will linger; while this story is incredibly detailed in the specificity of its setting, its themes resonate universally. Farhadi sets the tense tone right off the top with a long, single take in which middle-class husband and wife Simin (Leila Hatami) and Nader (Peyman Moadi) sit before a judge to explain their dispute. She wants the family to leave Tehran to provide their studious daughter, Termeh (the director’s daughter, Sarina Farhadi), with better educational opportunities. He wants to stay and care for his aging father, who’s suffering from Alzheimer’s disease. When Simin’s divorce request is rejected, she moves out; while the daughter stays, Nader still needs help watching his father. This leads to one fateful decision, and then another and another, until finally, serious criminal charges are at stake. “A Separation” honestly addresses the notions of trust and respect, loyalty and religious devotion. HHH1/2 — Associated Press
Open Stage puts on “Ma Rainey’s Black Bottom.”
A
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Movies • Continued from D10
D12 — The Sentinel, Carlisle, Pa. Thursday, January 19, 2012
of those directors who can get just about anybody he that (1) Carano can hold her wants to act in his movies. own, and (2) like Woody I call the plot nonsense. Allen, Soderbergh is one Ask yourself this: How
Books
• Continued from D8
than consuming it in fire. The Beast is dead, but so is Alice and one other student. Quentin lapses into unconsciousness, from which he awakens only six months later, now fully healed from his injuries sustained while fighting with the others. He makes his way back to earth, forswears magic,
gets a boring desk job that doesn’t actually require any real work, and swears he doesn’t miss the magic. The novel concludes with his friends — who had escaped Fillory, leaving him behind because the centaurs told them he was unlikely to live — finding him and asking him to come back to Fillory with them to take the fourth throne and be king alongside them. Of course
could any organization or “contractor” survive for long with the death rate we see here? At the end of a year no one would be left
alive except a few mail room clerks. Soderbergh seems to be amusing himself with the variety of his locations; we visit Barcelona,
Dublin, New Mexico, New York State and executive offices in unnamed cities. A film like “Haywire” has no lasting significance, but
it’s a pleasure to see an Alist director taking the care to make a first-rare genre thriller. HHH
he does.
behind in Fillory. Quentin thinks that he wants to be Martin, that living in this magical enchanted kingdom will solve all his problems. He finds, though, that having stayed in Fillory when he wasn’t wanted has corrupted Martin and pushed him over to the dark side (though, again, the sides of light and dark aren’t at all well-defined in Grossman’s novel). Once he
meets Martin, Quentin realizes he doesn’t really want that after all. There was enormous potential for Grossman to develop that line of thought, which he just wasted. There was potential for him to develop something one of the residents of Fillory said — “We have reached the point where ignorance and neglect are the best we can hope for in a ruler” — and
he wastes that, too. The benefit of coming after Lewis and Rowling would be to take the parts of their novels that were successful and add his own twist to it. What Mr. Grossman has done is to take their original plots, mash them together, add sex, drugs and alcohol, and call it original, when it is sadly merely a poor man’s version of either.
Concepts Although blatantly lifted from other, better, works, Grossman raises one interesting concept in his 402pages of otherwise uninspired prose. For the whole of the book, Quentin envies Martin Chatwin, the one sibling in the Fillory novels by Plover who manages to stay
2012 film preview first steps
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D TheSection Sentinel ‘Hunger Games,’ ‘Dark Knight’ and ‘Hobbit’ are all highly anticipated movies January 19, 2012
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CPYB’s student choreographers to present work