NOVEMBER 3, 2011 • VOL. 29, NO. 19
INSIDEBEAT THE WEEKLY ENTERTAINMENT MAGAZINE OF THE DAILY TARGUM
Supernatural Television Brains, Blood and Other Bodily Fluids YZ II MEN O B • S R E E E MUSKET E R H T E H T MAKEUP • L L A F • E IC IME • JUST T IN • 3 D BATTLEFIEL
Page 2 • Inside Beat
November 3, 2011
RETHINK REMAKES BY ALEX NATANZON FILM EDITOR
In today’s day and age it is beginning to seem that Hollywood film writers are taking a long vacation. Or they may be just experiencing a very horrible case of writer’s block. Whatever the reason, it is screamingly clear that truckloads of films are constantly being remade as if Hollywood has reached a collective agreement that classics aren’t good enough anymore. While in some cases remakes can be good, we are usually opposed to the idea of our favorite, acclaimed pictures being redone. For example, we wouldn’t look too kindly on someone re-
making One Flew over the Cuckoo’s Nest or To Kill a Mockingbird. These movies are classics that showcase the brilliance that can be achieved in filmmaking. However, the idea of a remake remains intriguing. It draws us in and captivates our attention. To see how a picture can turn out with a different cast and entirely new special effects is a definite pull factor. Films with lots of sequels are the ones being redone the most. Seeing a modernized version of our favorite character in a new film scenario isn’t all too bad. But specific films, by themselves, that are considered masterpieces are an entirely different story. If one were to take an exceptional film like
Pulp Fiction, which is one Quentin Tarantino’s cinematic works of art and remake it, it would be the same as somebody rewriting a Mark Twain novel, titling it the same, and trying to pass it off as a legitimate reconstruction. Of course, there are obvious exceptions to this. The Coen brothers’ True Grit was a brilliant movie, but it wasn’t as much a remake of the 1969 film, starring John Wayne, as it was a more faithful adaptation of the novel. It’s clear that horror films are the best to remake because they usually are popular not so much for the plot (we instead focus on the relentless killings and gruesome attacks) but for the main charac-
EDITORIAL BOARD Z OË S ZATHMARY .................................................... EDITOR RYAN SURUJNATH.....................................................ASSOCIATE ASHLEY PARK...................................................ASSISTANT
FREDDIE MORGAN............................................................................TV EDITOR EMILY GABRIELE.......................................................................MUSIC EDITOR HEATHER TEDESCO................................................................THEATER EDITOR ZOË SZATHMARY....................................................................FASHION EDITOR JILLIAN PASON..........................................................................COPY EDITOR KEITH FREEMAN.........................................................................PHOTO EDITOR ALEX NATANZON............................................................................FILM EDITOR DIANA CHOLANKERIL...............................................................ONLINE EDITOR RYAN SURUJNATH...........................................................VIDEO GAMES EDITOR
THIS WEEK’S CONTRIBUTORS TO INSIDE BEAT : Maggie Blaha Mike Bither Joseph Brown Jessica Espinosa Deanna Hendricks Saskia Kusnecov Gianna Moscatello Lisa-Anna Migliore Jason Pearl Cover Photo Courtesy of amc.com
ter. That’s why movies like A Nightmare on Elm Street, Friday the 13th, Halloween and The Texas Chainsaw Massacre series have been remade again and again. The original pictures were never really lauded as “fine pieces of cinema,” so a remake gives filmmakers an opportunity to wholly recreate a cool villain. This being said, it seems like a slap in the face when good films are being remade, which are almost always worse than their original counterparts. There was no reason to remake John Carpenter’s 1982 classic, The Thing. The 2011 counterpart relies heavily on special effects and completely misses the aesthetic beauty and
chilling plot of the original. With all the remakes of films that aren’t that old in the first place, it seems like Hollywood writers are just running out of ides. We get it: they think that a version of Footloose with modern music and dancing is a nifty idea. How about just respecting the original and writing a fresh plot for a new film? Some may call a remake a filmmaker’s appreciation of a great movie, (which may be the case for few), but do we really need to see a remake of the celebrated Swedish version of The Girl with the Dragon Tattoo? Are subtitles so hard to read? It won’t be long until we start seeing remakes of The Hangover or Billy Madison.
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Inside Beat • Page 3
November 3, 2011
BROAD-SHOULDERED GALS BY MAGGIE BLAHA STAFF WRITER
The fall collections from designers like Miu Miu and Michael Kors were clearly inspired by the V-shaped silhouettes and broad, padded shoulders of the 1940s. During this period, the Second World War limited the amount and types of fabric designers could use. Designs often included more masculine silhouettes that were reminiscent of American military uniforms, in an effort to encourage patriotism. Miu Miu’s collection recreates the popular styles of the period without fabric limitation The plain and floral embroidered fabrics, broad shoulders, short and tailored jackets, pantsuits and Peter Pan collars really capture the spirit of the decade. A woman in a short-jacket dress suit can be Rosalind Russell in His Girl Friday by day and sexily swinging in a flowing swing skirt with a USO officer by night. A touch of mink in coats and jackets also alludes to the elegance of the 1940s. For example, Akris topped a camel-hair coat with a mink collar to give it real Hollywood bombshell glamour. A Michael Kors or J. Mendel fur coat will provide warmth on those late-night strolls as they did down the misty streets of 1940s New York.
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Faces Fit for Fall BY DEANNA HENDRICKS STAFF WRITER
As the weather cools down, we must change our color palettes to best fit the autumnal mood. It’s time to reorganize your makeup kit and rotate out summery shades of cerulean and petal pinks for earthier and darker tones. This season there are several posh looks that capture the autumn vibe.
LE AU NATURA
Sometimes the key to makeup is to appear as if you have none on! The natural look requires a foundation that matches your skin complexion, a neutral eyeshadow, mascara to enhance the eyes and blush to accentuate the cheeks. For the lips, use a nude lip-gloss or lipstick.
KE ASON SMO E S T S E V R A H BOLD LIPS
The ever-so-mysterious smokey eye has always been one of the most desired looks. However, this fall it has been spiced up with new colors, such as burgundy and green, that offer a fresh change from typical blacks and greys.
Lips with color this fall are focused on contradiction. The aim is to have a distinct contrast between skin complexion and lip color. In order to do that, there’s no other way to go then bold. Darker skin types should lean towards the pinks while lighter skin types can venture for the reds and magentas. Let out your inner femme fatale.
While these are just a few fabulous looks for this colorful time, remember that makeup is art. As makeup Nang Ei Ei Mon once noted, “Makeup is simply an extension of the personality. It takes skills to know how to enhance your own beauty, creativity to play with colors and confidence to express yourself. It’s a real thing.”
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Page 4• Inside Beat
November 3, 2011
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Anything Goes Kathleen Marshall | ABY ALEX NATANZON FILM EDITOR
Revivals are not necessarily bad. In the case of the 2011 Broadway rewrite of the classic musical Anything Goes, this is screamingly obvious. Produced by the Roundabout Theatre Company and directed/choreographed by Kathleen Marshall, this new revival is a solid piece of Broadway gold with impressive sets, great songs by the legendary Cole Porter, enticing dance numbers and, best yet, tons of cheek-hurting comedic moments. Colin Donnell plays Billy Crocker, a young, handsome and promising stockbroker, working for a power ful New York businessman, Elisha Witney, played by John McMartin. When Billy learns that the girl of his dreams Hope Harcour t (Laura Osnes) will depar t on the cruise liner S.S. American (the same vessel that his boss is going on), Billy manages to sneak on board. He quickly finds out that Hope is to be engaged to Lord Evelyn Oakleigh (Adam Godley) and he becomes adamant on stopping the marriage before it’s too late. With the help of his friends, the gorgeous singer Reno Sweeney (Sutton Foster) and the hilarious gangster Moonface Martin (Joel Grey) Billy devises a plan to win Hope over. Anything Goes is a good old fashioned, glamorous Broad-
way spectacular. The dance numbers are choreographed brilliantly and the songs are catchy. Numbers like “Anything Goes” and “Blow, Gabriel, Blow” are testaments to the magic of the musical. While the plot of the show is predictable and even corny at times, the comedic moments make up for this. From Moonface Mar tin tr ying to sneak on to the ship dressed as a missionar y to Lord Evelyn Oakleigh eagerly attempting to copy American slang, Anything Goes is full of hilarity. The impressive cast of actors really makes this a top-notch musical. Sutton Foster does an amazing job of playing the sexy yet tough Reno Sweeney. It is safe to say that she pretty much steals the show. Broadway veteran Joel Grey embodies the goofy gangster, serving as a comedy machine for the play. The only bland character in the show however is Hope Harcourt. This may not be the fault of Laura Osnes, as she sings wonderfully, but more so the character herself, who seems a tad hard to fully sympathize with. Anything Goes is a musical for all types of fans of all ages. Those new to theatre will love the comedic moments and pizzazz of the show, while frequent theatergoers will surely appreciate the complex sets and the talent. The play makes for a spectacularly fun time and mustn’t be missed by anyone who wishes to have their socks blown off.
The editors comment: Our favorite supernatural shows that ended too soon
Heroes – During its spectacular first season, Heroes detailed the genesis of super-humans and the challenges they faced in a real-world setting. While the second and third seasons languished both in ratings and quality, season four managed to recapture some of Heroes’ former excellence. A game-changing plot twist in the last episode’s final moments would have been the spark that reignited the show’s initial intrigue, but unfortunately decreased viewership had become Heroes’ kryptonite. — Jason Pearl Pushing Daisies – Isn’t it true that the most unique shows never make the cut? Bryan Fuller told the tale of a pie maker named Ned with the power to reanimate the dead. Touted as a forensic fable, Pushing Daisies was known for its unique visual style, quirky characters, and unparalleled plot. Unfortunately, its downfall was inevitable, as the diverse cast could not compete with the excess of policemen and doctors on the air. Not even the pie maker could revive the series for a third season. — Freddie Morgan Firefly – Commended as Joss Whedon’s best work, Firefly provided a playful mix of sci-fi action with brilliant writing that mingled well with complex characters and outstanding acting. Firefly could achieve 5 million viewers on a bad night, and easily double that on a good. Unfortunately, the show fell subject to the Friday night death slot, and was axed after one season. A dedicated fan base finally pushed the writers for a movie, and DVD sales have allowed that fan base to rapidly expand, but Firefly would never generate enough buzz for a second season. — Freddie Morgan
Inside Beat • Page 5
November 3, 2011
Kirby’s Return to Dreamland HAL Laboratory | BBY JASON PEARL STAFF WRITER
In Kirby’s Return to Dream Land for the Nintendo Wii, the titular pink puffball makes his first console platformer appearance with his trademark Copy Abilities since 2000’s Kirby 64: The Crystal Shards. Short on content, but strong in classic, traditional gameplay, Return to Dream Land is a welcome addition to the recently misguided Kirby franchise. After an alien ship crash lands on Kirby’s home of Planet Pop Star, the coral-colored combatant and his compatriots (Meta Knight, King Dedede and Waddle Dee) volunteer to brave the harrowing dangers of their candy-coated world to retrieve the broke pieces of the extraterrestrial’s vessel. Most of Kirby’s usual enemies, from Blade Knights to Waddle Doos populate Pop Star, and are joined by a few more providing new Copy Abilities like Whip and Spear, both of which are among the most entertaining in the game. Another new feature of Return to Dream Land is the addition of Super Abilities: screen-filling yet time-constrained special powers that cause massive damage and uncover hidden areas of the stage. Of course, Return to Dream Land’s real draw is the four player drop-
in/drop-out co-op, with which players can use all four playable characters or a team made up of only Kirbys. While this feature sounds great on paper, any player not using Kirby is at a severe disadvantage, as only Kirby can inhale enemies to gain Copy Abilities. Return to Dream Land’s gameplay is deceptively complex. The game is played with a sidewaysheld Wii Remote, with only four face buttons and a control pad used in combat. However, each Copy Ability is much more varied in this game compared to other entries in the franchise, and instead of one attack per power, players can perform multiple moves depending on position and directional inputs. Unfortunately, players won’t get a lot of mileage out of these powers, as abilities are easily lost and must be switched out often. Especially in the second half of the game, Kirby is practically forced to the point of hyperventilation with the amount of inhaling and exhaling required to reach the end of each level. All in all, while it’s great to see a return to core Kirby gameplay mechanics, the brevity of the game along with its lack of innovation prevent Kirby’s Return to Dream Land from reaching the classic status of Kirby’s Adventure or Kirby 64.
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BATTLEFIELD 3 DICE | B+
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BY RYAN SURUJNATH ASSOCIATE EDITOR
With the end of October comes the beginning of this year’s war of the modern-era FPS. Battlefield 3 is the first title of this heavyweight shooter bout and is the successor to one of the earliest and most successful modern war games. Battlefield 3’s narrative takes an approach that some may recognize from Call of Duty: Black Ops. Players adopt the role of Sergeant James Blackburn, who recounts a globe-spanning operation as his superior officer interrogates him. Whereas Battlefield: Bad Company adopted a refreshingly humorous
tone, Battlefield 3 takes a decidedly more serious approach. The narrative seems to use all the stereotypes of the modern war story by weaving a plot involving terrorists in the Middle East, stolen WMDs and Russian Spetznaz operatives. Coupled with robotic characters, the single-player story feels stale. More importantly, however, it is horribly linear and one-dimensional; there are hardly any vehicle segments, enemies tend to be unrealistically reckless and levels are littered with an irritating amount of quick time events. Despite a limp campaign, Battlefield 3’s main draw is the competitive multiplayer that,
fortunately, is everything the single player isn’t. The game sticks to the franchise’s strengths that were established back with Battlefield 2 and refines some of the elements present from the Bad Company games. Battlefield 3 is optimized for the PC as opposed to consoles, so those who possess capable systems will be able to enjoy 64-person multiplayer mayhem, while PS3 and 360 owners will have to make do with 24-player matches. Open-endedness is a central tenant to Battlefield 3’s gameplay; it offers to players different options as to how they want to play. The franchise's classic Conquest mode makes a return, in which
players are tasked with capturing command points while simultaneously defeating enemies to whittle down the opposing team’s reinforcement count. The nature of this game mode allows for several different ways a player can help his or her team. In addition, Battlefield 3 features a wide array of vehicles that players can commandeer at any time, varying from Jeeps to main battle tanks and even jet fighters. Players who do not necessarily have the greatest FPS skills will undoubtedly find satisfaction in an armored vehicle. The game’s sky-high dogfights in particular are gratifying and tense. Teamwork is another notable
idea that Battlefield 3 attempts to push across. Players are encouraged to work together with a small squad, and the game offers rewards to those who work as a unit. For example, in addition to earning points for kills and kill assists, players can earn a nice bonus for laying down suppressing fire so an ally can move in for a kill. Of course, vehicles are also more effective when more than one person operates them. Battlefield 3 suf fers from a flat single player-campaign, however the multiplayer of fers one of the finest online experience to date. This is reason enough to buy the game.
Speculative Fiction... Speculative fiction in television is cropping up everywhere. Across the globe, people are fixated with paranormal behavior, horror fiction and alternate worlds. There have been countless superhero and vampire films and gory television shows emerging in the last few years. Of the 28 new television shows released this season on primetime television alone, 6 of the shows have sci-fi or fantastical themes. But why is this so? Read on as Inside Beat takes you on a journey to another planet. By Freddie Morgan, TV Editor Historians are unsure whether speculative fiction is meant to detract the public from their bleak lives at home and escape to another world, or whether it is meant to comment on society. In the ‘50s, we saw a prevalence of science fiction films during the Cold War. Motion pictures like The Blob and Invasion of the Body Snatchers depicted an unknown or extraterrestrial being invading humans’ minds and desecrating our lives. Could these themes have been allusions to communism? If these movies and shows are meant to exist as commentary, then what are they trying to discuss about society now? There have been a handful of vampire TV shows in the
last few years alone that have been growing in popularity, especially with youth culture. After the emergence of the Twilight saga, HBO released True Blood, and teen channel The CW sanctioned the release of two other shows with themes of witchcraft: The Vampire Diaries and, new this season, The Secret Circle. Similarly, we have seen a growing number of shows and films based upon or akin to graphic novels, including AMC’s The Walking Dead, which existed originally as a graphic novel by Robert Kirkman, and FX’s American Horror Story, whose premise is obviously derivative of horror stories and comic books like Kirkman’s Walking Dead, even if Glee’s Ryan Murphy has smeared his sugary stamp across the production’s name. COURTESY OF ABC.COM Several programs this season on television provide a darker, edgier perspective to classic fairy tales. Meant to bend the perception of reality, these shows will make you question whether it’s all in their head or really happening. Grimm, set in present-day Portland, puts a new spin on the stories of the Brothers Grimm in which a homicide detective learns that he
True Blood, HBO, Sundays
Once Upon a Time, ABC, Sundays at 8pm
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s at 9pm
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American Horror Story, FX, Sundays at 10pm is a descendant of a group of hunters known as “Grimms,” who fight to keep humanity safe from supernatural creatures in the world. Once Upon a Time has a similar concept. Jennifer Morrison (House) stars as a woman who is approached by a ten-year-old boy claiming to be her son. Where he is from, time has frozen and the residents of the town are fairy tale characters that have forgotten who they really are. Are recent productions that make you question reality (Inception) meant to mirror society’s disillusionment, just as films did during the Vietnam War, or is that reading too deeply into it? Perhaps these shows are simply catering to the “geek” market that’s recently been formed. It started with The Big Bang Theory, but let’s be honest, geeks are more into alternate realities than watching a program that mimics their own. Who isn’t? Geeks like dinosaurs, parallel universes, and the prospect of playing with their place in time and space. Terra Nova was the most anticipated show of the season, thanks to Spielberg’s seal of approval. The show follows one family as they travel 85 million years into the past in order to save humanity. Professors of media assert that art mirrors society, that The Blob who invaded American homes really represented socialistic ideas infiltrating otherwise sane minds and brainwashing innocent American citizens. But could it be that the reverse is true, as well? If society mirrors art, The Blob, then, represented merely a horrible otherworld thing, and because of what was going on in history, we purely determined that there was an allegorical meaning to the otherwise simple-minded plot. It’s a chicken-or-theegg case; which came first? (season has not yet started) It is hard to look reflectively on history as it is happening in the present. It’s also difficult to attribute a reason behind the growing popularity of speculative fiction. But when we look back ten years from now, what will we determine? Are we making statements about what’s going on in society? Are we escaping from our dismal lives to another world so unfamiliar to our own? Or, are we simply giving the geeks what they’ve long desired: ghosts, gore, and time traveling? These questions may not be able to be answered, but at least we’re getting good TV out of the deal.
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The Walking Dead, AMC, Sundays at 9pm
Page 8• Inside Beat
November 3, 2011
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In Time Andrew Niccol | C+ BY JESSICA ESPINOSA STAFF WRITER
In the futuristic world of In Time, the currency is not money, but time itself. The people in this world are born with a clock imprinted on their arms, which will start ticking once they turn 25. At that moment, it is survival of the fittest. Though none age past 25, the poor tend to die young while the rich, with all the time in the world, have the closest thing to immortality. Will Salas (Justin Timberlake, Friends with Benefits) lives in the poorest time zone where people fight and kill just to get a few more minutes on their clocks. Salas works at a crowded factory, just to receive a measly payment of a couple of hours. Unexpected events lead Salas to not only receive a century of time on his clock, but to also be accused of murder. This causes the Time Keepers, the policemen of the future, to chase after him. Unfortunately, one of the Time Keepers, Raymond Leon Cillian Murphy (Inception) has no character development whatsoever. This is disappointing because Murphy has done so much great work in the past. Salas soon learns that, “For a few to live forever, many must die.” The idea infuriates him; he subse-
quently becomes a modern Robin Hood-type character and steals from the rich and gives to the poor. Salas is truly an idealist. He’s reckless and just goes with the flow of things, causing multiple problems. There are three things needed to make a film succeed: a unique concept, good writing and, of course, the talented actors that carry the movie with excellent line delivery. In Time has two of the three; the script just isn’t up to par. The cast, however, does a wonderful job overall in terms of individual performances, such as Amanda Seyfried (Mean Girls), who plays Sylvia Weis, the daughter of a powerful businessman and Salas’ partner-in-crime. Yet despite such performances, the script is too weak to maintain the audience’s attention all the way through. The lines are at times cheesy, and the ending itself is too “Hollywood.” With a quality script, In Time could have better engaged with viewers emotionally. Timberlake’s a believable leading man, though Seyfried has her edgy moments. Andrew Niccol, who both wrote and directed, clearly excelled at the latter. In Time is entertaining enough with the Bonnie and Clyde idea mixed into a sci-fi fantasy, but it won’t be winning awards for best movie of the year.
Fantasy Fiction T.V. Schedule COURTESY OF MAKINGGAMEOFTHRONES.COM
SCI-FI Fringe on FOX, Fridays at 9 p.m.
New this season: Terra Nova on FOX, Mondays at 8 p.m.
FANTASY Supernatural on The CW, Fridays at 9 p.m The Vampire Diaries on The CW, Thursdays at 8 p.m. The Walking Dead on AMC, Sundays at 9 p.m. True Blood on HBO, Sundays at 9 p.m. (season has not yet started) Game of Thrones on HBO, season has not yet started
New this season: A Gifted Man on CBS, Fridays at 8 p.m. The Secret Circle on The CW, Thursdays at 9 p.m. Once Upon a Time on ABC, Sundays at 8 p.m. American Horror Story on FX, Sundays at 10 p.m. Grimm on NBC, Fridays at 9 p.m.
Inside Beat • Page 9
November 3, 2011
L ’Âge d’or (The Golden Age) BY SASKIA KUSNECOV STAFF WRITER
Co-written by artist Salvador Dali and revolutionary Spansih filmmaker Luis Buñuel, the 1930 film L'Âge d'or (The Golden Age) gives audiences a tour through the unexplored regions of surrealist cinema. The Golden Age is made up of eight vignettes, beginning with a short clip from a science documentary about a scorpion. It describes the scorpion’s social habits, as it moves in and out of its burrow, ravaging interloper insects and picking fight with larger mammals. The footage of the scorpion sets up the seclusion and volatile anger of the main character, “The Man,” as he lashes out against the bourgeois society of Imperial Rome and the Catholic Church because they forbid his love with a high society girl. Much of the film is characterized — in true surrealist style — by shocking events and phenom-
ena. For example, in one scene, a group of people come to mourn the skeletons of the Majorcan island natives, and as the priest is commemorating the men, The Man and his lover are engaging in a loud, passionate embrace on the ground. The juxtaposition of the two events coincides with Buñuel’s theme of rebellion against the Catholic Church. The film’s script is minimal; surrealist cinema puts a heavier emphasis on visual stimuli. What little script there is, though, also aims to reject dramatic psychology. Instead, it uses mundane statements and illogical phrases to offset the bewildering imagery. This verbal imagery also resembles something that might be included in a Dali painting. Leading up to the final vignette, the content becomes sexualized and angry, with a wealth of religious imagery and apparent misogyny.. This build-up is explained in the final vignette, an explanation of “The 120 Days of Depraved
Acts,” itself a reference to the Marquis de Sade’s highly graphic novel, 120 Days of Sodom. A man who highly resembles Jesus Christ leaves the cave as a “survivor” of the 120 days, and the final image cuts to the scalps of women flapping on a crucifix, solidifying the religious and oppressive imagery Buñuel has been employing. The best way to digest The Golden Age is to take it like one would a Dali painting. The purpose of this film is structured by the written narratives as opposed to dialogue, differentiating it from some of Buñuel’s other surrealist works, which often do not even have a plot. It is nothing short of experimental cinema. The Golden Age can easily be taken as a brilliant work of art for its surrealist design and can be enjoyed easily for anyone interested in the artists of 1930s Paris. Yet if you’re looking for a light, entertaining foreign film, stay away from anything that Dali or Buñuel have touched.
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The Three Muskateers Paul W.S. Anderson | C+ BY LISA-ANNA MIGLIORE STAFF WRITER
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In his newest picture, The Three Musketeers, director Paul W.S. Anderson takes a stab at the swashbuckler blockbuster but inadver tently creates a film that looks more like a parody of the genre. With stock characters and a musical score that clearly echoes those of pop films like Pirates of the Caribbean and Sherlock Holmes, the film’s melodramatic acting and ef fects tr y too hard to mimic these predecessors. The Three Musketeers begins with French swordsmen Athos (Matthew MacFadyen, Frost/Nixon), Aramis (Luke Evans, Clash of the Titans) and Porthos (Ray Stevenson, Rome) who, after a turn of misfortune, have all but given up on ser ving their countr y. This changes when they cross paths with D’Ar tagnan (Logan Lerman, Percy Jackson & the Olympians: The Lightning Thief), a farm boy whose fier y temper parallels his skillful swordsmanship. The quar tet soon befriends the young King Louis XIII (Freddie Fox), whose naivety blinds him to the fact that his friend Cardinal Richelieu (Christopher Waltz, Inglourious Basterds) is planning to overthrow him with Athos’ ex-lover Milady de Winter (Milla Jovovich, Resident Evil). With the help of their new comrade and inspirational creed, “One for all and all for one,” the three musketeers attempt to defeat the beautiful double agent de Winter, her equally pretty inamorato (Orlando Bloom) and her crooked employer; to pre-
vent them from seizing the French throne and engulfing Europe in war. Parody films like Mel Brooks’ Robin Hood: Men in Tights have titles that warn the viewer as to their limited priority on staying authentic to the original story. Viewers who expect a faithful adaptation of Alexandre Dumas’s novel will get an awkward film that wavers between a semi-faithful remake at certain times and a comedic spoof at others. The few moments of original comedy in the film are what save it. One of the highlights can be seen in English actor James Corden. Corden plays the small role of Planchet, an innocent and lovable servant of the musketeers. Playfully ridiculed by his superiors, Planchet remains a loyal helper who is ready to lay his life on the line for them (especially when wine and food are involved). Although a lot of the scenes in the film are comical for their overdramatic nature, Plancet’s witty dialogue serves as a refreshing tonic. While Anderson’s 2011 film adaptation claims to be an action adventure, it comes off as a comedic melodrama. The plot follows a foolproof formula in which the source material has proven effective for ages: gifted sword-fighting protagonists who never die, a mushy romance between a poor man and a wealthy woman that defies all odds, superfluous explosions, witty drunkards and a villain with a black, curly mustache epitomize a swashbuckler film. Consequently the dialogue, acting and mise-en-scene come off as extremely corny and banal. Some viewers may gravitate towards the predictability, but if you’re looking for something fresh, look elsewhere.
Page 10 • Inside Beat
November 3, 2011
BY MIKE BITHER STAFF WRITER
Audio, Video, Disco | C
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French DJ duo Justice broke onto the electro house scene in 2005 with the release of their debut single, “Waters of Nazareth.” The song’s aggressive feel and dark, distorted synths created an immediately recognizable sound that laid the foundations for the group’s critically-acclaimed 2007 full-length debut, Cross. The album marked a new and heavier direction for electronic music and established Justice as the natural forerunners in the prominent French house movement. Frequently compared to fellow countrymen Thomas Bangalter and GuyManuel de HomemChristo of Daft Punk, Justice seems to have embraced this likeness with the release of Audio, Video, Disco. Distinctly softer and lighter in sound, the album is a notable departure from the harshness of their debut. The music of Justice’s sophomore ef for t is heavily indebted to progressive rock, considering the prevalence of both rock instrumentation and arena bombast. Under the guise of house music, much of the duo’s output
is culled straight from prog, disco and rock sounds of the ’70s. “New Lands” could be an AC/DC cover, while “On’n’On” rehashes Led Zeppelin’s “Kashmir” for the electronic era. The rather drastic aesthetic change does not suit Justice particularly well, nor does the increased presence of vocal collaborators. The melodies and synth hooks are, like prog, technically sophisticated and a chore to enjoy or remember. There is nothing on the album that can match the harsh aggression and staying power of anything from the debut. In reference to the group’s distinct stylistic change, Audio, Video, Disco is, according Justice’s Xavier de Rosnay, “daytime music” in contrast with the duo’s darker debut album. However, it is the brash darkness that originally set Justice apart from the ever-deepening pool of increasingly repetitive house acts. The group’s willingness to change is respectable, but ultimately incompatible to its strengths. The heavy aggression of Cross is the sound that does and should define Justice, and the duo needs to find a way to recapture that assertiveness.
BOYZ II MEN Twenty | B+ BY JOSEPH BROWN STAFF WRITER
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Boyz II Men appease loyal fans with their newest album release, Twenty. The record commemorates 20 lucrative years for the powerhouse R&B group. Best known for soulful harmonies, the group finally releaseed brand new tracks — something they haven’t done since their 2002 album, Full Circle. They also showcase remastered versions of classic hits such as “Motown Philly,” “Bended Knee” and “End of the Road.” Comprised of Nathan Morris, Wanya Morris and Shawn Stockman, the trio clearly demonstrates how traditional R&B love songs are still a viable genre, even after two decades of making solid contributions to the industr y. By staying true to their roots throughout their career, Boyz II
Men have always had an irresistible quality, especially in this compilation-styled effort. They let their smooth lyrics and catchy baselines infiltrate the listener’s body to make them move, groove and get them in the mood. It is “So Amazing” how the nostalgic group seems to always effortlessly “Flow” together in perfect harmony — especially on the album’s first single, “More Than You'll Ever Know” featuring Charlie Wilson. It might seem that this sound of music is no longer current, but “Believe” that Boyz II Men has undoubtedly brought the New Jack Swing-vibe to a new generation. This two-disc set makes listeners hard-pressed to find a song that does not clearly represent an emotion-filled experience. This is a can’t-miss release for long-time fans of the group. As for the new listeners, Twenty serves as a sufficient way to catch-up with the talent of a nostalgic R&B trio.
DAILY TARGUM SINCE 1869
Inside Beat • Page 11
November 3, 2011
C O L D P L A Y Mylo Xyloto | B
BY GIANNA MOSCATELLO STAFF WRITER
When Coldplay’s fifth album was first announced, there was a lot of speculation about what the album’s title, Mylo Xyloto, meant — it was later revealed that it holds no actual meaning. The band decided to title the new album in such a cryptic way because its members wanted to expand their style and didn’t want people to have any predispositions about what their new record would sound like. While the title may be original, the album doesn’t quite live up to its name. In fact, it’s far from sounding like something completely new; it’s just new territory for Coldplay. Inspired by 1970s New York Graffiti and the White Rose Nazi-resistance movement, the band decided that their new musical direction would be toward a more uplifting and inspired sound. The downside to this change lay in how they abandoned their more musically eclectic and progressive approach found on Viva La Vida. Instead, tracks on Mylo Xyloto use overly simplified vocal melodies, unusually trite lyrics and an overuse of synthesized effects, which leads the album to sound too cheesy and overdone. Yet, there are still many redeemable qualities on Mylo Xyloto. The melodies are extremely catchy, there’s a vibrant wall of sound effect created through lush synth and guitar lines and the album’s loose concept of “love conquering all” is an inspiring sentiment. There are also a few moments when Coldplay returns to older, more alternative soft-rock style on tracks like, “Us Against the World” and “Major Minor,” which add a nice variety to what might otherwise be an overwhelming collection of pop-rock anthems. In the end, Mylo Xyloto isn’t Coldplay’s biggest or best achievement, but it definitely stands out and stands its ground in the sea of pop music present today.
PHOTOS COURTESY OF FACEBOOK.COM/COLDPLAY
BY DEANNA HENDRICKS STAFF WRITER
University junior William Dicke is a musician on a mission — to wake up the current generation and get them involved in their communities. His means of communicating? Music, naturally. Drums and guitar were the first instruments he learned to play by ear, and he has been able to finely tune his skills by writing his own music. In fact, he recorded three whole albums — his most recent album, Look Outside, was recorded this past summer. The focus of his album is to get this generation more involved with matters of the world and less consumed by technology. Dicke describes his music as a melting pot: “Every song sounds really different. It’s really cool, and that’s what I wanted to do. People listen to my music and say they‘ve never heard of anything like it before.” He grew up listening to Marvin Gaye and Michael Jackson, both of which have strongly influenced his style. He performed at the The Cove on Busch campus for coffeehouse events and plans on continuing his live performances around the University’s campuses. Currently, he is working on putting a band together. His future goals consist of continuing to write music that he will be proud of and that will help people “get up and smell the coffee.” He stated, “This is what an artist’s job is. We are ambassadors to reality. We’re only here a certain amount of time so we should spend it enjoying what’s around us and making the world a better place.”
COURTESY OF FACEBOOK.COM/PAGES/WILL-DICKE
WILLIAM “WILL” DICKE
GIVE HIM A LISTEN @ SOUNDCLOUD.COM/WILL_DICKE
Page 12 • Inside Beat
November 3, 2011
NICK SWISHER Believe | B
BY NICK CIANCI STAFF WRITER
The always smiling, enthusiastic and upbeat New York Yankees’ right fielder puts forth a relaxing yet catchy effort in his album Believe. The World Series Champion and former All-Star puts together quite a variety of music on his debut album. Getting some help from some recognizable names in the music industr y, he also has some assistance from a few players from the baseball world as well. Such widely acclaimed songs on Believe include Tom Petty’s “I Won’t Back Down,” Tim McGraw’s “Where the Green Grass Grows,” the Beatles’ “With a Little Help From My Friends” and David Bowie’s “Heroes,” a song that really defines the album. Former New York Yankees’ centerfielder, Bernie Williams and San Francisco Giants pitcher
Barry Zito helped lay down some guitar on tracks. Swisher essentially builds the album around the kids, as they sing backup vocals in every song – a touch that allows all ages to enjoy Believe from start to finish. The switch hitter dedicates a song to his alma mater Ohio State titled, “Hang on Sloopy.” Also included is a song for Swish’s hometown of Parkersburg, West Virginia – “Take me Home, Countr y Roads,” by John D e n v e r . Swisher’s calm and enthralling voice throughout each track gives the album an honest and ver y excitable effort. The children’s 12-song album presents itself in a very uplifting way. Proceeds from Believe go to Swish’s Wishes, a foundation for children with health issues. Even Yankees haters can respect what Swisher is trying to do, so there is no reason not to give this album a shot.
COURTESY OF LIDERENDEPORTES.COM
WHAT WE’RE LISTENING TO 1. “Sun of a Gun” by Oh Land (Jacob Plant Remix) 2. “When the Sun Rose Again” by Alice in Chains 3. “Major Tom” by Shiny Toy Guns 4. “Don’t Stop” by Gin Wigmore 5. “I’m Not Calling You a Liar” by Florence + the Machine 6. “Titanium” by David Guetta feat. SIA