157 items found for your search. If no results were found please broaden your search.
(07/18/13 4:00am)
____simple_html_dom__voku__html_wrapper____>In a summer packed with sequels, prequels, reboots and remakes, you have to appreciate a little originality.Sure, maybe “Pacific Rim” isn’t an entirely new concept. You have the good-guy robots in the same vein as “Transformers” tossed in, plus a smattering of Japanese “Godzilla” inspired monsters to fight the robots. But it’s the rare tent-pole film this season that doesn’t exactly have a built-in audience waiting for it. In harsher words, it’s a real risk. The story and characters are surprisingly fleshed out for a monster/robot flick. In the not so distant future, war has broke out between mankind and monsters called Kaijus that rise up from the pacific to desolate entire cities. Mankind fights back with giant, badass robots called Jaegers. After a lengthy introduction and heartbreaking accident, retired Jaeger pilot Raleigh Becket (Charlie Hunnam) is pulled back into the war by his former boss (Idris Elba) in order to prevent the war from bringing about the end of the world.Okay, so maybe the end of the world crisis is not an entirely original concept either. But hear me out, because “Pacific Rim” is actually the big and brash, CGI-driven action fest audiences deserve in this summer of Smurf sequels and superheroes.If you come for the battles between robots and monsters, then rest assured you will get your money’s worth. There are countless fight sequences that left my fanboy heart a flutter. In one such clash, the lead Jaeger, Gipsy Danger, takes a giant sea vessel and smashes it into a Kaiju. It left a smile on my face that lasted until the credits rolled. But there’s a beauty that director Guillermo del Toro infuses into every shot, be it a Jaeger vs. Kaiju showdown or two humans engaging in a martial arts match. Sure, it’s fun and it’s silly at times. But del Toro sees the artistry in battle without taking it too seriously. It’s that fine line “Pacific Rim” rides, and it mostly works. The battle in Hong Kong towards the middle of the film ends up being much more exciting and climatic than the final encounter under the Pacific, which causes the third act to seem a little tiresome. Thankfully, the human drama comes to forefront and the film truly becomes a meditation on family, both the ones we’re born into and the ones we create. It’s this human touch that wraps up “Pacific Rim,” but not before we get to watch some more robots desecrate monsters from another dimension. It’s loud, it’s fun and it’s occasionally rather harebrained, but that isn’t to say it’s not a summer film worthy of your attention.
(07/18/13 4:00am)
____simple_html_dom__voku__html_wrapper____>Lightning never strikes the same place twice. But luckily, nobody told Jenji Kohan that. Kohan, the creator and writer of Netflix’s latest original series “Orange Is the New Black” has done exactly what she did with Showtime’s “Weeds” back in 2005. She’s created a black comedy with a completely unlikable yet fascinating leading anti-heroine flanked by a stunningly riveting supporting cast of crazy characters. Leave it to the woman who gave us the flawed and fabulous Nancy Botwin to bring us Piper Chapman, a white yuppie send away to do time for a crime she committed years before. It’s a fish out of water story like we’ve never seen before.But this prison-set series is nothing like HBO’s violent and gritty “Oz”; it’s much more personal. “Orange Is the New Black” doesn’t ignore the realities of incarceration. It addresses them with the humor we use to survive unbearable circumstances.Taylor Schilling plays our lead, Piper — or Chapman to the ladies she’s locked up with — a girl paying for a past romantic relationship with an international drug cartel worker (Laura Prepon). Years before the show takes place, Piper travels overseas with a suitcase full of her girlfriend’s cash. Fast-forward almost a decade and Piper has now settled down and is engaged to a nice Jewish man (Jason Biggs). But the hand of the law shifts and Piper is sent away for 15 months. She begs her fiancé not to watch “Mad Men” without her. You’ll snort until you laugh. It’s hilarious and positively ridiculous how badly you’ll still root for Piper. Sure, she may have white girl problems and wear shower shoes made out of maxi pads, but she’s locked up with her ex-girlfriend and the kitchen staff hazes her by refusing to serve her meals. You can’t help but feel for the poor girl. But Netflix’s latest in a stream of hits is mostly successful because of how diverse, both emotionally and racially, the supporting cast is. It shouldn’t have to be celebrated as a milestone, but “Orange Is the New Black” is the first show I’ve seen to feature an emotionally complex transsexual woman, and one of color no less. While each episode has Piper as the lead, the B-line is given to one of the supporting ladies and I have it on good authority this trend continues throughout the first season’s 13 episodes.Though I’m trying to pace myself, I’ll surely binge watch the entire series in no time. It’s hardly a chore when the show is as finely produced as this one.
(07/11/13 4:00am)
____simple_html_dom__voku__html_wrapper____>There are many films bubbling under the surface of “The Way, Way Back,” the directorial debut of Nat Faxon and Jim Rash, the Oscar winning screen-writing pair behind 2011’s “The Descendants.” The impeccably cast ensemble is reminiscent of “Little Miss Sunshine,” which helps with the inclusion of Sunshine alums Steve Carrell — relishing in the bad guy role — and Toni Collette. The summery coming-of-age atmosphere suggests this year’s lovely “The Kings of Summer” or 2011’s superb “Super 8,” both films in which teenage boys reveled in being teenage boys. But while Faxon and Rash’s first film is evocative of many formulas and structures that came before it, “The Way, Way Back” is totally it’s own exceptional creature, full to the brim with laughs, tears and a vibrant cast of intricately fleshed out characters. We begin with 14-year old Duncan (Liam James) who is accompanying his single mother (Collette), her boyfriend Trent (Carrell) and his daughter on vacation to Trent’s summerhouse. Trent bullies Duncan, asking him on a scale from one to ten what he thinks he is. Suffice it to say, Trent’s ranking of Duncan is less than encouraging. We’re gradually introduced to supporting characters, like Allison Janney’s boozy but amiable Betty and AnnaSophia Robb as her daughter Susanna. Janney nails it like she always does and Robb continues to be a balanced and stirring young talent, never over-selling her performance. Lonely and with nowhere to turn, Duncan ends up at Water Wizz Water Park, where he meets and befriends the manager, Owen, and other various park workers. Here the film really hits its stride, and James really comes into his own, just as his character does. Here he finds a community and, more importantly, the confidence he lacks. It’s these youthful human moments, where Duncan break-dances for crowds or ogles the young female figures of the water park, that drive “The Way, Way Back.” But that isn’t to say the more mature actors in the film don’t get their due. Toni Collette, ever the acting goddess, provides the emotional glue as a single mother carrying a burden she doesn’t know how to handle. Similarly, Sam Rockwell brings a mature wit to Owen that lesser actors would have forgone for broader comedy. His laid-back delivery convey a performance worthy of awards attention later in the year. “The Way, Way Back” has a tried and true formula, and it isn’t an all-together too surprising or ground-breaking piece of cinema. Instead, Faxon and Rash have structured a lovely little summer comedy that makes you excited for their work that’s yet to come.
(07/11/13 4:00am)
____simple_html_dom__voku__html_wrapper____>I remember eighth grade fondly. “The O.C.” was still on television and I still thought it was cool to wear Hollister. Oh, those were the days. Unfortunately, it was also the year I was forced to read what I consider to be the most ridiculous and idiotic story ever told. I’m, of course, talking about those stupid and star-crossed imbeciles, Romeo and Juliet. I’m not really a romantic. I have my moments, but overall I’m pretty pessimistic when it comes to good old L-O-V-E. But “Romeo & Juliet” takes it to new levels of idiocy. Two teenagers meet at a party, make goo-goo eyes at one another, get hitched, have one passionate night, then end up in a murder/suicide tangle that would make anyone’s head spin. I’m sorry, but don’t people get thrown into mental hospitals for lesser impulses?I was again was forced into reading “Romeo & Juliet” last year for a theatre class and I found it just as insufferable. All it does is make me ask is why, hundreds of years later, do we celebrate William Shakespeare like the seconding coming of Jesus?Yes, he can turn a phrase. I suppose I would have fallen for Romeo too had he spoken such sweet nothings at my window balcony. And yes, Shakespeare’s contributed more to the genre of playwriting than any other person in history. His variation of genre and wit is astounding, to be sure. But is he really all he’s cracked up to be?I found myself asking this question as I sat through director Joss Whedon’s adaptation of “Much Ado About Nothing,” a brilliant, black and white gem I have to believe the old Bard himself would have appreciated. It was whimsical, it was serious and I was perfectly sold into the whole cutesy production. This is why we celebrate Shakespeare. His work is so free of time constraints, free of parameters. Artists can take his words and collaborate on any sort of production theme or idea that strikes their fancy. Whedon took “Much Ado About Nothing” and placed the whole story into his luxurious California home and cast his trusty troupe of Whedon-approved actors to flesh out the old roles.I may loathe “Romeo & Juliet,” but “Much Ado About Nothing” suits me just fine. And this is the joy of Shakespeare. There truly is something for everyone in his collected works. It isn’t like today when there are those who can’t sit through a Tarantino flick and others who won’t touch a film unless it has Woody Allen’s name on it. Shakespeare shaped modern storytelling conventions by ignoring them himself, refusing to stick himself permanently in any one theme or genre. He might be dead by a few hundred centuries, but you stick around long enough and you’re sure to find something that strikes your fancy.
(07/11/13 4:00am)
____simple_html_dom__voku__html_wrapper____>Dexter Morgan, forensic blood splatter specialist, serial killer and all around messed up dude, might have his darkest days ahead of him. And that’s saying something after seven seasons of death, murdered love interests, devious friends and enthralling enemies. “Dexter,” which debuted in 2006, is the rare show that has seen its audience grow year after year, constantly breaking records in viewership. So it’s astounding for SHOWTIME to let its crown jewel go off the air when it remains more popular than ever. But let’s give it up for the network, because it’s high time we said goodbye to America’s favorite serial killer. While it’s been consistently well-acted and a verified member of the “Must See TV” club, “Dexter” has creatively suffered in it’s latter seasons. Julia Stiles’ Lumen was a poor female replacement after Dexter’s wife died at the hands of the Trinity killer, and don’t get me started on the ludicrous Doomsday killers. But season eight begins on appealing ground. After last season’s superb cliffhanger ending, we pick up a few months down the road. Dexter continues to work for Miami Metro Police Department and raise his young son, Harrison. But it’s his adopted sister Deb (Jennifer Carpenter) who has spun off the tracks after murdering her boss last season to protect Dexter. Deb is working the private circuit now, sleeping and snorting coke with the criminals she’s “working” to take down. Deb has consistently been the most interesting character on “Dexter,” which is not something I say lightly, seeing as the show’s main character is a likable psychopath. Now she’s more alive and venerable than ever thanks largely to Carpenter’s dangerous and uncontrolled disposition. Deb is the physical manifestation of Dexter’s actions. His need to kill has torn down those around him, and it’s finally broken the one person he’s always cared about above all others. It’s this question season eight begs to ask. At the day’s end, who will pay for Dexter Morgan’s actions? And who will be left standing?The first few episodes introduce a new big bad murderer who removes a specific section of his victim’s brains. An expert on psychopaths is called in, a woman played with sly mystery by Charlotte Rampling, who may or may not have ties to the killer. But she most definitely has ties to Dexter and his troubled past. It’s this dynamic relationship that gives hope “Dexter” may yet go out with it’s biggest bang yet.
(07/01/13 4:00am)
____simple_html_dom__voku__html_wrapper____>Every so often, there seems to be this “revelation” that women can be funny.It happened two summers ago when “Bridesmaids” was released and became one of the highest grossing and critically adored films of the year. It’s almost like audiences and the media instantly forget that some of the smartest shows currently on television (“Girls,” “Parks & Recreation,” “New Girl,” etc.) are written, directed, and starring women. Not to mention that profitable films centered on almost all female casts have found success for decades. This occurrence is unfortunately bolstered by movies like “The Heat,” a female driven comedy that falls on its face more often than not. Sandra Bullock—playing an awkward and unromantic FBI agent, who would have thought?—is Agent Sarah Ashburn, a by the book, uptight “good cop” who may or may not be up for a promotion. That depends on if she can catch a drug lord with Boston PD’s Shannon Mullins, the flawless Melissa McCarthy, savoring the “bad cop” role. Neither Ashburn nor Mullins really has friends, unless you count Ashburn’s neighbor’s cat or Mullins’ weaponry collection. It isn’t as if Bullock and McCarthy fail to have the buddy cop chemistry necessary for making “The Heat” a victory. Simply put, McCarthy has enough flavor for the both of them, and it’s she who carries the film far beyond it’s worth. Bullock doesn’t spend the whole two hours phoning it in, she’s just played enough of these roles that she doesn’t have any new ground to break. At best, her performance is recycled “Miss Congeniality.” The script isn’t doing any favors, meandering here and there, attempting to humanize both Ashburn and Mullins far too often and without enough gravity. Look, Ashburn is lonely! Hey, Mullins has a loud, stereotypical Boston family who doesn’t appreciate her! It’s unnecessary fodder, and it’s played as such. Director Paul Feig, who gave us “Bridesmaids” and should know his way around a comedy, fails to eliminate these superfluous subplots and instead forgoes editing to let his cast attempt more humor. Letting McCarthy have free comedic reign works. Anyone else, and you’re wishing Feig had yelled, “Cut!”And hey, just for fun, they throw in a vastly undercooked and needless romantic interest for Ashburn. It’s almost the lowest blow when you consider it could have been the emotional anchor the film desperately lacks.As fruitless as “The Heat” proves to be, it’s a reminder that we continue to need female driven films of any nature until their success stops taking us by surprise. This nonstarter just isn’t one of them.
(06/27/13 4:00am)
____simple_html_dom__voku__html_wrapper____>My grandmother likes to bring up a story every time my single relationship status is brought up. She reminds me that two summers ago, a fortuneteller at Universal Studios Orlando told me that I would meet the love of my life when I was 25. Honestly, I couldn’t have cared less. I was just itching to go back into the Wizarding World of Harry Potter. But she brought up an interesting point I’ve grappled with my whole collegiate career: is it really a productive use of anyone’s time to date monogamously while at college? Or should you wait until you’re lost in the throes of true adulthood?I can’t speak for everyone’s experiences, but throughout freshman and sophomore years, I fail to come up with any worse circumstance than being tied down in a serious relationship. As you commence your higher education, your path is laid out in front of you with dashed lines. There’s a general life plan you can follow, but deviation from that plan isn’t necessarily a bad thing. It may even be encouraged in some places. But the fact remains that it is your path and yours alone. The difficulties of stumbling upon your path are thorny enough, but having to do it with someone else’s feelings and emotions in tow? That just seems messy. College is also a time in your life where you’re encouraged and oftentimes expected to “find yourself,” whatever that actually means. Someone special to me recently pointed out that you determine many valuable things about yourself while in a relationship. Things you like and dislike in a partner, things you seek in others and things perhaps not compatible with your psyche. This is an occurrence I can’t argue with, seeing as I have very little relationship experience.On principle, the idea of “looking for my other half” makes me physically ill. You are not half and you are not 50 percent. You are whole and you are 100 percent. So if you’re looking for your other half, then what you truly seek is the other half of yourself you haven’t come across yet.If you come to college seeking that “other half,” maybe you need to take the time to date yourself. It sounds silly, and it is, but the most important relationship you will ever be in is the relationship you have with yourself. Plus, even if someone is willing to date in college, they’ll probably sprint in the other direction if you mention they might be your other half. Coming up into junior and senior years, you’ve hopefully taken the time to iron out all your personality quirks, hopes, dreams and expectations. By this time, and again and I can speak for myself, maybe you’ve reached the conclusion that it may be time to try out this whole monogamy thing the kids are into. But then comes the scary part. Graduation is on the horizon and almost in reach, which is downright terrifying. So even now, is it smart to potentially fall hard for someone, only to be torn apart by circumstance and the reality of the adult world?This is the part where your earlier years of self-discovery in a relationship with yourself come in handy. If you’ve taken the time to find yourself, the answer will be easy. At least, it was for me. I don’t know where the next week is going to take me, let alone the next five years. But because I took the first few years of college to thoroughly sort through my own issues, sharing them with someone else doesn’t seem so daunting anymore. — wdmcdona@indiana.edu
(06/27/13 4:00am)
____simple_html_dom__voku__html_wrapper____>There are directors and writers who perpetuate traditional methods of filmmaking and garner loads of acclaim for their work, and then there are directors and writers who challenge the conventions of the medium to polarizing and diverse results. Sofia Coppola represents the latter.Coppola, the daughter of Francis Ford Coppola, is a descendent of classic filmmaking herself. Nevertheless, she has garnered plenty of success on her own merits. She won an Academy Award for writing “Lost in Translation” and is one of a handful of women nominated in the Best Director category. In her recent films she deftly explored themes of celebrity, excess and indulgence to dizzying heights of achievement. Her latest, ripped from the headlines and sugarcoated “The Bling Ring,” continues in that vein of exploration.Based on true events, the film fictionalizes a group of privileged and unsupervised Calabasas, Calif., teenagers who break into celebrity homes, play dress-up and steal $3 million in valuables. Coppola, ever a fan of over-elaborately staged and elongated tracking shots, lets her young cast roam free. They trapeze through Paris Hilton’s home, trying on her clothes and jewels and even swing around her stripper pole a few times. There’s a palpably sexy atmosphere created in order to lure the audience into the teen’s world. How can things be so wrong while Emma Watson flips those perfectly coiffed extensions?Speaking of Watson, the girl is dynamite. It’s difficult to recall the last time vapid was played with such intellect that it never veers into brainless. But she’s merely the most famous face to point out in a knockout cast, led deceptively by Katie Chang as ringleader Rebecca and Israel Broussard’s Marc, her mildly unaware right-hand man. Broussard is the film’s true breakout star, giving understanding to a lost boy desperately seeking something to belong to.But the film’s most astonishing accomplishment arises in the almost sleight of hand approach to reprimanding the audience for indulging in these teen’s illegal activities. Throughout the ring’s countless burglaries, we’re left to goggle at the diamonds, designer labels and Rolex watches. We want let into the celebrity lifestyle as much as the Bling Ring does. It’s no spoiler to say the ring must ultimately face its demise. Coppola whips a mirror right out at the audience, pointing out our condoning of such entertaining wickedness. After all, it’s we the consumers who drive pop culture and created the notion that a group of bored teens might have to settle for being infamous rather than being famous.
(06/27/13 4:00am)
____simple_html_dom__voku__html_wrapper____>I can’t bring myself to follow Amanda Bynes on Twitter. Her downward spiral over the last few months, while undeniably amusing, has just been too depressing to be chronicled all over my Twitter feed.I don’t pretend this makes me some sort of hero. Just because I don’t give Amanda the attention she so desperately craves doesn’t mean I haven’t been an active member of the pop culture consuming population who created her. When Britney Spears and Lindsay Lohan — who arguably remains on a sort of semi-downward spiral — had their respective public breakdowns, I couldn’t get enough of the media exposure. When Britney was hospitalized Jan. 3, 2008, I sat up on my computer until the early hours of the morning, indulging in the rampant coverage allotted to the pop star. So why did I follow Britney and Lindsay like the Pied Piper of Crazytown and now observe Amanda with a passing curiosity? I’d love to think its maturity, but let’s not fool ourselves here. The truth of the matter is when Britney and Lindsay were consumed by the fame machine and spit back out, they were at the top of their games. Britney consistently turned out hit records and singles. Lindsay was a cinematic teen princess, garnering both critical acclaim and sizable box office returns. They were household names, they were good girls gone bad, and we got to watch the TMZ videos.Amanda Bynes, former star of “The Amanda Show” and dancing lobster aficionado, is simply bored with her phone and seeking the fame she no longer has. At the risk of superficially equating and glorifying celebrity breakdowns, Amanda has nothing on Britney or Lindsay. The bottom line is Amanda has never been household name among the likes of Miss Spears or Miss Lohan. Another hugely prominent fact is Amanda’s breakdown is almost entirely rooted on Twitter. We wouldn’t know this breakdown was happening unless she live tweeted every “twerk out” or nose job. Why? Because the paparazzi wouldn’t have cared, so we wouldn’t have seen it.Amanda is going out of her way to have a breakdown. Granted, I wasn’t there to witness the mechanics behind Britney and Lindsay losing their marbles, but their breakdowns were played out like tragedies. They were lost, talented girls who strayed from the path laid out for them by managers, agents and the media. Amanda is tweeting out semi-nude photos and puckering those pastel painted lips. It’s not entertainment, it’s just sad.
(06/27/13 4:00am)
____simple_html_dom__voku__html_wrapper____>Of the last four theatrical releases from the esteemed and celebrated Disney-Pixar studios, three have been sequels or prequels. And while this summer’s “Monsters University” is certainly no “Cars 2,” it certainly is no “Toy Story 3” either. You almost can’t help but wonder if the studio behind such innovative hits as “Up” and “The Incredibles” is running dry on the originality front.Over a decade after the release of “Monsters, Inc,” “Monsters University” reunites us with green, one-eyed Mike and blue-haired but lovable Sully. But the twist is we’re joining the animated duo as they meet for the first time in college, and while their friendship is legendary, things between the two don’t start out so smoothly. The bookish and technical Mike butts his head with the laidback, natural scare legacy Sully. The two must eventually band together to show they belong as students at Monsters University.It’s a rather strong prequel idea, giving the opportunity to create and show off a myriad of new collegiate monsters. On that front, the film succeeds in spades. When Mike first arrives on campus, the colors and the set design are stunning. Perhaps I have a bit of a bias, but I wouldn’t have been half surprised to learn the animators had visited Bloomington to sketch out some of their scenic concepts. There’s plenty to gawk at, meaning the under-five crowd will be more than entertained during the film’s bloated running time of just under two hours. Unfortunately, the jokes don’t play strong enough to the older crowd. Granted, “Monsters University” is a children’s film, but the brilliance of Pixar films is their ability to play to all audiences. There are a few gut-busting jokes, like the sweet fraternity mom who listens to heavy metal. But where’s the meaning behind the laugh? Too many of them come off cheap and easy instead of benefiting from the narrative substance.Still, it’s hard to shake a finger at a film so chock full of family fun. Billy Crystal and John Goodman deliver excellent voice work as Mike and Sully, a team still so charming that you’ll find yourself begging for another monster installment.While the Pixar pedigree could use some fresh paint on the wall, “Monsters University” is an ultimately solid 14th feature for the animation studio with enough pizzazz and charm to distract from the slightly stale absence of innovation.
(06/20/13 4:00am)
____simple_html_dom__voku__html_wrapper____>I’m pretty picky when it comes to two things: my jeans and my superheroes. With denim as well as tights-wearing, otherworldly-strengthened men and women, I have those I enjoy and those I abhor. I’ll never let a pair of Levi’s touch these thighs and I find the Green Lantern to be rather lame. On the opposite end of the spectrum, I’ve never found a pair of Joe’s Jeans that didn’t work for me and I think Spider-Man is the superhero to end all superheroes. So going into “Man of Steel” on Father’s Day, I had my anticipations and my reservations. Coming from director Zack Snyder and producer Christopher Nolan, I knew this incarnation of Superman was going to be a bold, daring and grim vision. This excited me despite the fact I’ve always found Superman/Clark Kent to be a particularly ho-hum superhero. Sure, he’s one of the original comic book good guys with undeniable strength and the ability to clear a skyscraper in a single leap. It’s hard to argue that Superman isn’t America’s superhero, despite the fact that he’s an alien from another planet. But no matter how super Kal-El can be, I can’t shake the feeling he just isn’t a superhero our society can believe in, especially in a post 9/11 America. Now, the $125.1 million “Man of Steel” raked in during its opening weekend probably says otherwise. Those numbers speak to a nostalgia we have towards the man with a giant ‘S’ on his chest and that can’t be refuted. But when it comes down to brass tacks, Superman just isn’t all that interesting. Truly, he’s just too good, too powerful and too invincible. Nothing on this planet can harm him. From bullets to infernos or missiles, everything just bounces off him. If you think of all the great superheroes reintroduced to American audiences theatrically over the last decade - like Spider-Man, Batman, or Iron Man – all of those men were distinctly human. Sure Spider-Man shot webs, Iron Man was part machine and Batman has billions in the bank, but we saw their vulnerabilities played out in congruence with their powers. Peter Parker is still the nerdy boy next door trying to get the girl. Tony Stark uses snarky wit as an armor to defend a damaged interior. Bruce Wayne grapples with Batman’s public persona as a menace when he’s the hero Gotham City needs. Yes, with “Man of Steel” an emphasis is placed on Clark Kent’s daddy issues and his personal fear of his power. He even commits an act Superman purists and fans have taken real issue with in the film’s climatic battle. These are significant and empathetic themes that make the new Superman a bit more relatable. But still, Superman remains a Christ-like symbol of perfection and strict morality. He’s the people’s savior who puts others before himself. Maybe Superman does have a place in this world, I just question if he’s the hero we can believe in right now.
(06/20/13 4:00am)
____simple_html_dom__voku__html_wrapper____>There’s a conversation late in the season six premiere of HBO’s hit vampire soap “True Blood” where sweet Louisiana waitress Sookie Stackhouse and former lover, enemy, friend, etc. Eric Northman discuss how Sookie used to just be that girl in the white dress and how they wish she could just go back to being that innocent young woman. Six seasons in, I can’t help agreeing with Sookie and Eric. This sudsy southern gothic was much better when Sookie was still the girl in the white dress.After years of glorious vampire sex, skin and scandal, “True Blood” has lost the fun that used to make it cable’s most awesomely insane series. The decline in season five was tangible, but with the departure of creator and show runner Alan Ball, it seems like the creative team has hit an artistic wall with season six. We pick up right where things left off in Bon Temps with Sookie & Co. on the run from “Billith,” the bloody, naked reincarnated Bill who arose after drinking the rest of the alleged vampire god’s blood last season. The ragtag band of humans and vampires run, argue, fight and yell. It’s all so dull and blandly staged you’ll wonder if the HBO production budget may have run dry. Luckily, most of the cast is still wringing what they can from the material. Deborah Ann Woll as Jessica has always been a stand out player and continues to deliver some of the best work on television. Same goes to exquisite Kristin Bauer van Straten as Pam, who continues to fire zesty zingers as other mediocrity flies. Unfortunately, the cast of “True Blood” has become so largely overgrown that some characters’ plot lines hardly cause a blip on the radar. Joe Manganiello’s Alcide shows up for a few seconds to get naked and have a threesome, and the long-suffering Sam (Sam Trammell) gets a few lines. The show is in desperate need of some quick and easy deaths. A couple times here and there in the premiere, we’re reminded of the gory, campy fun of its prime in seasons two and three. A new political plotline involving the anti-vampire Louisiana governor could take us back to those glory days, but it’s still up in the air whether this season is out for blood or deader than a doornail.
(06/20/13 4:00am)
____simple_html_dom__voku__html_wrapper____>My name is Dane McDonald. I’m a blue-bleeding liberal. I voted for President Obama in 2012, and I like to shoot guns. It’s a recreation that’s caused me a great deal of inner turmoil.I shot my first gun this past winter break in a shooting range with my stepfather and brother. I had recently gotten broken up with, plus it was the holiday season — which I find insufferable — so there was really no better time in my life to fire off a few deadly rounds into a target.Going to the firing range had become a regular occurrence for my stepfather, who’s a gun owner, and my younger brother. While I had never really felt the desire to fire a weapon, I didn’t see the harm in tagging along and seeing what all the fuss was about. Once at the range, after going through proper gun safety with both a professional and my stepfather, I fired my first gun. It was a Beretta U22 Neos, which truthfully felt like shooting a BB gun. It gave me no thrill. The second gun I fired was a Heckler & Koch USP .45. I fired one shot, made eye contact with my stepfather, and proceeded to giggle helplessly like a preteen with a secret.You may be reading this and thinking, “That was the moment he became a psychopath.” I promise you two things. One, I’ve been a psychopath for a really long time. Two, I’m not insane because I giggled after shooting a gun. I’m insane because of the immense authority I felt after firing such a powerful weapon. In that moment I also felt a solemn guilt plunge into the pit of my gut. I was firing this gun mere weeks after the tragedy at Sandy Hook Elementary. I held in my hand a weapon similar to one that had slain countless innocent young lives. This past Father’s Day, my stepfather, brother and I made our way back to the shooting range. Again, guilt began to overcome me. I hadn’t necessarily wanted to go, but it was Father’s Day and I felt like I should spend time with the men of my family. As we entered the range, I glanced around at the other people shooting. There were whole families with dads, moms, daughters and sons. There were individuals who might politely be described as rednecks. It struck me — how am I supposed to have any confidence in these people with guns? I’m just not wired to be that trusting. But I also know and trust my stepfather, who keeps three guns in our home. The gun control debate will continue to be a hot button issue in this country as long as people continue to own guns or desire to own guns. While I may vote one way, I don’t necessarily align my allegiances with the left’s gun agenda. I don’t believe people should just be able to own guns easily, but to me it seems like trying to outlaw gun ownership would be like trying to outlaw abortion. It’s still going to happen, just without the proper governmental supervision and regulation.But I can only speak from my experience. I’ve held and fired a gun that gave me the comfort of protection and the guarantee of power. I, of sound mental state, can be trusted with such a weapon. I just know I don’t speak on behalf of all citizens who crave to get their hands on guns. — wdmcdona@indiana.edu
(06/13/13 4:00am)
____simple_html_dom__voku__html_wrapper____>‘Optimistic’ has never been a vocabulary word someone would use to describe me. Looking on the bright side or seeking a silver lining isn’t a mindset I feel comfortable exploring. This is something I’ve always known about myself, but I’ve never felt at such a crossroads about what some would call my ‘negative’ nature.I, of course, prefer to think of myself as realistic, rational, pragmatic or any number of other words pessimists use to justify negativity. But, sure, let’s just call me negative for the sake of argument.I was recently driving in the car with my mom and, in our typical fashion, we engaged in an extended discussion about some of our favorite subjects: family drama, recent events, our general interests and the like. But the conversation came to a head when I decided to ask her what aspects of my personality and demeanor trouble her.My mom has never in her life purposefully insulted or harmed me. So I could see she wanted to choose her words carefully. As nicely as possible, she pointed out aspects of my character that I’ve always known about but never addressed: my commonly apathetic outlook on life, my inability to trust people and my agitation and inflexibility when things deviate from my general plan. These things, she fears, will prevent me from experiencing happiness in my life. From how I see things, I am a culmination of my life events. Sure, you can point to my parents’ divorce, my upbringing in a single-parent household or the sudden need to become more mature and independent at a young age. These things have definitely affected my ability to put faith in others and find true happiness. These are also things that have happened to me as I grew into the person I am. I don’t mean to make excuses, but that’s just the hand I was dealt. I’m not complaining — I’ve had plenty of time to do that. At this point, I ask people to see my negativity as the strongest defense I carry. I’m not going out of my way to bring you down. I’m simply doing what I have to do to keep myself from bursting at the seams. That being said, I am constantly exploring ways in which I can eventually get to happy. I spend far too much money going to movies. I’m in a committed relationship with my television. I actually read books for fun. I’ve recently found I truly enjoy exercise. It’s always touch and go, but I do try and look for those things that are going to put a smile on my face, for however fleeting a moment. I cultivate relationships, both old and new, with people I trust, at least as much as I probably can.I’m not entirely sure this column is anything but a written therapy session I’ve used because I couldn’t possibly afford a real therapist, which I may desperately need. But that’s just another link in my story. And maybe, negativity in check, one of these links will eventually get me to happy. — wdmcdona@indiana.edu
(06/13/13 4:00am)
____simple_html_dom__voku__html_wrapper____>We all have those films we’re destined to be suckers for. Maybe you’re always going to enjoy something with your favorite actress, or maybe there’s never been a Disney-Pixar movie you didn’t love. For me, I’ve never been able to make it through a boyhood, coming-of-age adventure/comedy without beaming with wistfulness. Joe finds himself stuck between adulthood and a hard place. He’s repressed by a cynically grieving father and head over heels for the blonde girl next door. Fed up with the micromanaging, Joe and two pals set off into the woods to break free from the torments of adolescence. It’s a simple enough story, which is perhaps why the script feels ever faintly undercooked at times. There are a few moments of comedy gold, mostly stemming from the brilliance of Nick Offerman, better known as brash Ron Swanson on “Parks and Recreation,” or Moises Arias as Biaggio, the lone and outlandish wolf of the boyhood trio. But other times it feels as if the script doesn’t trust the young actors to flesh out their characters, overly explaining emotions through dialogue that would have looked better on the cutting room floor. It’s a shame, because young Nick Robinson and Gabriel Basso are really quite good as Joe and Patrick, best friends who find themselves at unexpected odds. There’s a brooding fire full of angst that would feel stereotypical if the young leads weren’t so exceptional. They administer mature performances without crossing the line into adulthood, a key factor to the film’s success.While the script is touch and go, the film is shot with a woodsy beauty and a zealous eye for location. The forest animals are shot with stunning realism and the beauty of the natural elements is never lost. It would appear that newcomer director Jordan Vogt-Roberts let the boys run free on the sets and locations, their only instruction being they must have fun and let go. It’s a joy to watch, especially set to the film’s thumping hip-hop, new age soundtrack. It isn’t seamless production, but “The Kings of Summer” comes with the promise of new talent that, while still green, may one day display something extraordinary. For now, it’s safe to say these kings most definitely rule.
(06/13/13 4:00am)
____simple_html_dom__voku__html_wrapper____>So often a film is made in which the main character is so likable and exceptional it hardly matters how good the movie itself is. Think of “Forrest Gump.” Phenomenally written and acted main character, but in all other ways a mediocre movie. “Frances Ha” had the potential to be such a movie, featuring an outstandingly underperformed turn from Greta Gerwig, who also co-wrote the script with director/boyfriend Noah Baumbach. Luckily, the black-and-white, bare bones production is just as whimsical and fresh as its leading lady.Gerwig performs like the lovechild Meryl Streep and Lena Dunham would bless the world with. There’s an elusive and unguided manner in which her gaze wanders around the screen, giving the sense that she knows her attention could be elsewhere, onto the next great adventure perhaps. She pours herself into her relationships when she knows they matter, but sputters when they don’t. Gerwig’s Frances may be a mess, but she isn’t pretending to be otherwise.The film itself, while anchored firmly in Gerwig, possesses a sweetly palpable honesty thanks to Baumbach’s keen editorial eye and sense of pacing. As viewers, we’re given glimpses and flashes into Frances’ everyday world, never overstaying our welcome. We’re witnesses to private moments between Frances and her best friend Sophie, a pair who comprise the most intimate relationship seen onscreen this year, romantic or otherwise. This is Baumbach and Gerwig’s triumph. They don’t forget that romantic endeavors drive the intrigue and surprising nature of our lives, but our hearts always remain in friendships — in platonic relationships we’ve forged for years while we journey on, seeking success, love or any of the other destinations we’ve been trained to hunt down.Baumbach shoots in gorgeous black-and-white, invoking a cinematic sense of nostalgia of a bygone era. Like in 2011’s “The Artist” or Joss Whedon’s upcoming “Much Ado About Nothing,” there’s sensuality, even sexiness at times, to black-and-white filmmaking. We’re both thrown off by the lack of color and instantly driven further into the relationship and character dynamics. It gives “Frances Ha” a 1970s-esque Woody Allen mentality, but with 21st century roots. It plays like a slightly stoned episode of HBO’s “Girls,” which is the furthest I can get from a criticism. “Frances Ha” is a love story for our time, because it never loses track of the romances that require the most work and the ones that truly matter. It brings about the love we have for ourselves, despite our quirks and shortcomings, and the love we have for those who love us the most.
(06/06/13 4:00am)
____simple_html_dom__voku__html_wrapper____>“Arrested Development,” the crown jewel of the mid-2000s television comedy circuit, has only improved with age. It’s gone from simply being a well-scripted and staged series to achieving almost mythical cult status. But it’s important to remember that the show’s strength has always been its ability to both dissect and critique the era it resides in. For the show’s initial run from 2003-2006, that meant providing commentary on Bush-era war politics and the materialistic nature of America’s upper-crust and caucasian class. But it never let the characterizations stray so far that the audiences didn’t ultimately adore their bizarre antics. For the new season commissioned by our best friend, Netflix, the Bluth family is back and, thankfully, not much has changed. Family matriarch Lucille is boozy as ever, George Michael retains his awkward disposition and GOB is still GOB. And never has the show been so supremely meta, designed perfectly for an age where consumers down whole seasons in one sitting. This “Arrested Development” was made to go down in one large gulp, and should be treated as such. The 15 new episodes are each centered on a certain member of the Bluth clan, with other various family members popping in and out for support. Michael Bluth, the sanest of the bunch, appears in all the episodes to provide a center of continuity. But the brilliance of season four doesn’t really settle in until around episode 5. The new season is so filled to the brim with simultaneously occurring storylines and seemingly unexplained jokes of which even a seasoned “Arrested Development” viewer may be skeptical. Picking up right where season three left off and jumping back to the present day, we’re shown what the Bluths have been up to since Lucille attempted to commandeer the Queen Mary while Michael and George Michael sailed away from the rest of the clan. As can be expected, neither mission was very successful. The plot then deviates in about 99 different directions, but keep calm and binge watch the season. I promise it delivers. The strongest episodes tend to focus on the most lovable and ridiculous characters, which include the flawless Jessica Walter as Lucille Bluth, Portia de Rossi as Lindsay Bluth-Funke, and Will Arnett as GOB. But a few episodes in, when you’ve begun to piece together the narrative like Private Eye Gene Parmesan, you’ll feel right at home with America’s first family of absurdity.
(06/06/13 4:00am)
____simple_html_dom__voku__html_wrapper____>This Sunday will bring the incredible third season of HBO’s fantasy drama “Game of Thrones” to a close. I’m not sure how they’re going to top last week’s Red Wedding, but I know that my Sundays will be empty without the warring citizens of Westoros. In honor of their temporary departure, I’ve come up with some analysis on what your favorite character says about you. Tyrion LannisterYou’re ultimately a good person in a sea of jerks, and you play the game dutifully in order to stay afloat. You’ve got an irresistible snarky charm that renders you irrefutably desirable despite any of your shortcomings. Joffrey Baratheon You’re an ass. Just leave. Go. Please. It’s embarrassing you’re even reading this.Daenerys Targaryen You’re pretty much awesome in a way that makes people fawn over you like you have three dragon babies. But still, you use your sexuality to your advantage, leading potential suitors to the brink of death just to avenge your causes. But still, you are Khaleesi and what you say goes. You don’t have to buy the power — you’re born with it.Theon Greyjoy You used to be really freaking cool. Everyone wanted to hang out with you and we all got along. Now you’re acting like an idiot all the time and we’re humiliated we took the time to let you in the gang. Jon Snow You’re a bit of a lone wolf. You’re part of the gang, but you tend to be the butt of every joke. Still, there’s a sexy smolder about you the leaves the right amount of mystery in the air. Chances are one day we’ll all be answering to you as the boss. Ygritte No, just stop. You know nothing. Just stop reading this and go.Cersei Baratheon You’re terrifying and I wouldn’t touch you with a 30-foot pole. But I have to admit, you’re still pretty cool. You know how to play the game to your advantage, often pitting opposing factions against each other in order to further your agenda. You’re evil, but you’re fabulous. Arya Stark You’re a fiery little sparkplug and you’re impossible to dislike. After all the messes you have been through, you’re still standing tall. There seems to be nothing to shake your confidence. Authority doesn’t frighten you and if the adults aren’t careful, you’ll be the one in power some day.Sansa Stark You can be annoying, but you really get a bad reputation. You can’t help all the horrible things that have happened to you. A beheaded father, an abusive suitor, a gay suitor. You’ve really taken some hits. But you’re still playing the game and keeping your head up. Keep fighting the good fight. — wdmcdona@indiana.edu
(06/05/13 7:32pm)
____simple_html_dom__voku__html_wrapper____>“Mud” is a boy’s story, or more appropriately a boy’s fairy tale. There are fantastical and optimistic elements at play. There’s young love, a playful sense of childhood discovery and adventure, and the very adult journey of growing up and seeing the world for what it truly can be.Ellis and Neckbone are two adolescent boys growing up on the rural and impoverished Mississippi River in Arkansas. Traveling to a small island in search of a boat caught in a tree, the boys find Mud, a man waiting for his true love to return to him so they can run off together and away from their troubled past. The film then weaves in between Ellis’ passage into adulthood and Mud’s expedition to win his love back and start anew. As the titular character, Matthew McConaughey continues his streak of knockout art house film performances. Like his work in “Magic Mike” and “Killer Joe,” McConaughey exudes a burning concentration his earlier performances severely lacked. The days of the dirty sexy romantic comedy hunk are behind him as he settles into a newfound persona of the darkly meditated enigma with an air of eccentricity. But the film’s true heart lies in young Tye Sheridan as Ellis, an actor who delivers a depth that peers thrice his age fail to achieve. Jeff Nichols directs him with a gentle hand, allowing the young man his untainted wonder at the surrounding world. As the film goes on, Ellis’ sense of adventure begins to dissipate as his parents contemplate divorce and he learns the pain of a broken heart. The film wouldn’t have worked had we not become invested in Sheridan’s character, and he pulls it off in spades. But “Mud” thrives because it chooses to be unwaveringly hopeful despite its gloomy themes. Men mistreat women. Women mistreat men. A father cannot parent his son. It’s a world full of misunderstanding, but Nichols crafts a tale in which we’re reminded that perhaps the marvel in a child’s viewpoint is all we need to find the good in the world. He suggests that perhaps, in one way or another, we’re all living the same story. And it’s never too late to go in search of what we’re truly seeking in our lives. In the end, it’s a modern American fairy tale that Mark Twain could have written had he lived in a post-recession, 21st-century America.
(06/05/13 7:23pm)
____simple_html_dom__voku__html_wrapper____>Usually it’s great to see a glamorous starlet or Hollywood hunk open up in an interview, reminding us common folk that a real heart and soul thrives beneath the bronzed surface. But every so often we end up getting way more information that we bargained for. In light of “Behind the Candelabra” star Michael Douglas’ recent revelation, here are some of the most groan-inducing celebrity TMIs I’ve ever heard. Michael Douglas’ throat cancer caused by oral sexThe Academy Award-winning actor has made a triumph comeback with his latest HBO appearance where he stars as the flamboyant star Liberace. But he recently reveled to “The Guardian” that his throat cancer was caused by HPV, and more specifically by “cunnilingus.” I applaud Douglas’ battle with cancer and he’s just as enjoyable on screen as ever, but there is never an appropriate time to say the word “cunnilingus” on television. Like, never ever. Not to worry though, because guess what Douglas says is throat cancer’s best cure? More cunnilingus. Ryan Lochte’s “pitched tent”The Olympian may have eleven medals and a reality TV show, but the brightest bulb in the tanning bed he is not. The 28-year old can hardly make it through a sentence without insulting at least 8 rules of the English language. But his worst offense was letting the cameras catch him looking a little too excited one day before a photo shoot. Suffice it say, Lochte was a bit too sexually stimulated to be on camera. But remember, this is also the guy who pees in pools at the Olympics. Nick Cannon and Mariah Carey get it on to her musicYou won’t find too many celebrities more self-indulgent or narcissistic than Mr. & Mrs. Mariah Carey. But the “American Idol” judge and one time “Wild ‘n Out” host reached their vomit-inducing apex when Cannon admitted on Howard Stern’s show that he and Mariah have sex to her music. Not to be satisfied with that overshare, Cannon went on to say that when Mariah isn’t home, he will pleasure himself to the diva’s hit “Hero.” I’m all about the self-love, but let’s keep these private details in the bedroom where they belong. Allison Williams watches her sex scenes with her pops Allison Williams, the bright young talent and “Girls” co-star, has acted out some of the most awkward and realistic sex scenes on television thanks to Lena Dunham’s vision. I’ve applauded how game the cast was to portray an accurate rendering of sex on screen. But she revealed on Anderson Cooper’s talk show that she has watched said scenes with her father and brother. It’s one thing to be an open family, but a whole other ball game when you consider her father is trusted news anchor Brian Williams.