26.5.11
Examiner.com -- Poynting out a great app
I'm writing for Examiner.com now -- please check me out! Here's my first article: Poynting out a great app
1.3.11
'Fiddler' shines on stage
Director William Pullinsi's rendition of the classic "Fiddler on the Roof" is a hit at Theatre at the Center in Munster. A tale of family, tradition and the struggle of Jewish people living in Russia as the revolution began, writer Joseph Stein's "Fiddler on the Roof" is as poignant and beautiful as when it premiered on Broadway in 1964.
As the play begins, the fiddler (David Morrison) and Tevye (Lee Pelty), the dairyman, are almost immediately joined on stage by the ensemble of villagers who provide audiences an understanding of the culture and community with an enthusiastic rendition of the song "Tradition."
Pullinsi's "Fiddler" was remarkable in many ways, but most outstanding was the cast. Pelty has a wealth of talent, especially as a vocalist. His wife, Golde, is played by Iris Lieberman, a woman who can express volumes through her facial expression even when only speaking a few words. Lieberman is also the dance captain, a role in which she also shines if the dance performances throughout the play are any indication. Tevye and Golde have three daughters - Tzeitel (played by the lovely Amy Olsen), who wants to marry a poor tailor named Model (a mousy part successfully played by Jon Cunningham); Hodel (Audrey Billings, with remarkable vocal talent), who wants to be happy; and Chava (Alyssa Thrasher, an incredible dancer), who loves books.
According to tradition, a matchmaker - in their town, a widow named Yente (played with outstanding enthusiasm by Renee Matthews)- helps parents find appropriate spouses for their children (often, much to the chagrin of their children, as this is before marrying for love became popular). As Teyve attempts to pair his oldest daughter with a wealthy butcher named Lazar Wolf (John Riley, the perfect choice in looks and effect) - rather than Model - he discovers that times are changing whether he wants to admit it or not. Tevye allows the girls to take lessons from traveling scholar, Perchik (acted well by Kenneth Z. Kendall) who shakes the town by defying traditions. As revolutions in the political climate refuse to be denied and the Constable (Larry Adams, with such militant gusto he was a must for the part) is soon shoving change through the front door.
Directed and conducted by William A. Underwood, the orchestra is phenomenal throughout. Every song in the play is delightful, but "Matchmaker" and "To Life" feature exceptionally skillful choreography - thanks to, in addition to the actors, choreographer Linda Parsons. The easily changeable and realistic but minimalist sets by Nick Mozack, costumes by Brenda Winstead and wig/beard design by Kimberly G. Morris truly capture the time period.
For those who have never seen "Fiddler on the Roof," this is a great time to experience it. Those who have seen it before and enjoyed it will love the care with which this performance presents the classic tale. No matter who you go see it with, catch this flawless production of "Fiddler on the Roof."
Originally published in The Chronicle in February 2007 as JadeLee Culberson
As the play begins, the fiddler (David Morrison) and Tevye (Lee Pelty), the dairyman, are almost immediately joined on stage by the ensemble of villagers who provide audiences an understanding of the culture and community with an enthusiastic rendition of the song "Tradition."
Pullinsi's "Fiddler" was remarkable in many ways, but most outstanding was the cast. Pelty has a wealth of talent, especially as a vocalist. His wife, Golde, is played by Iris Lieberman, a woman who can express volumes through her facial expression even when only speaking a few words. Lieberman is also the dance captain, a role in which she also shines if the dance performances throughout the play are any indication. Tevye and Golde have three daughters - Tzeitel (played by the lovely Amy Olsen), who wants to marry a poor tailor named Model (a mousy part successfully played by Jon Cunningham); Hodel (Audrey Billings, with remarkable vocal talent), who wants to be happy; and Chava (Alyssa Thrasher, an incredible dancer), who loves books.
According to tradition, a matchmaker - in their town, a widow named Yente (played with outstanding enthusiasm by Renee Matthews)- helps parents find appropriate spouses for their children (often, much to the chagrin of their children, as this is before marrying for love became popular). As Teyve attempts to pair his oldest daughter with a wealthy butcher named Lazar Wolf (John Riley, the perfect choice in looks and effect) - rather than Model - he discovers that times are changing whether he wants to admit it or not. Tevye allows the girls to take lessons from traveling scholar, Perchik (acted well by Kenneth Z. Kendall) who shakes the town by defying traditions. As revolutions in the political climate refuse to be denied and the Constable (Larry Adams, with such militant gusto he was a must for the part) is soon shoving change through the front door.
Directed and conducted by William A. Underwood, the orchestra is phenomenal throughout. Every song in the play is delightful, but "Matchmaker" and "To Life" feature exceptionally skillful choreography - thanks to, in addition to the actors, choreographer Linda Parsons. The easily changeable and realistic but minimalist sets by Nick Mozack, costumes by Brenda Winstead and wig/beard design by Kimberly G. Morris truly capture the time period.
For those who have never seen "Fiddler on the Roof," this is a great time to experience it. Those who have seen it before and enjoyed it will love the care with which this performance presents the classic tale. No matter who you go see it with, catch this flawless production of "Fiddler on the Roof."
Originally published in The Chronicle in February 2007 as JadeLee Culberson
Don't travel with 'Turistas'
The previews for "Turistas" make it look like a suspenseful film full of beautiful (and scantily clad) young women accompanied by toned (and muscled) young men who innocently fall victim to crazed killers who torture lost tourists. Instead, "Turistas" is a rather predictable film about stupid (albeit attractive) tourists who wander into bad situations and get what's coming to them.
A group of tourists - including American siblings Alex (Josh Duhamel) and Bea (Olivia Wilde), Australian loner Pru (Melissa George) and confused Brits Liam (Max Brown) and Finn (Desmond Askew) - are taking a bus through Brazil, which is driven by a man who seems to have learned to drive by playing American video games. When the bus crashes (like we couldn't see this coming a few seconds into the film), the group is told that another bus will be along in 10 hours.
With the promise of a bar on the beach a short hike away, the English-speaking tourists leave the larger group in search of alcohol and fun. Unfortunately, they soon find the bar has a "come for the drinks, stay for the organ harvesting" policy. Rather than doing anything logical or sensible, the group runs from bad situation to worse at every opportunity.
The bad guys, led by Dr. Zamora (Miguel Lunardi), are greedy, angry and disorganized but far smarter than the tourists. Whether you're hoping the tourists will live or just waiting for some gore, it doesn't take long before you're just looking forward to the end of the movie.
Unfortunately, there are extraordinarily long dark and murky scenes (presumably, in an attempt at either realism or suspense but succeeding at neither) badly designed by cinematographer Enrique Chediak. The underwater filming (including chase scenes) by Peter Zuccarini is beautiful the first time, and terribly boring after about five minutes - sadly, it goes on much longer.
Rated R for strong graphic violence and disturbing content, sexuality, nudity, drug use and language, "Turistas" is certainly gory despite failing as a horror film. Perhaps "Turistas" would have at least been shocking if premiered before "Hostel" and the "Saw" films but instead it does more of the same and with less intelligence and less successful social commentary.
Originally published in The Chronicle in December 2006 as JadeLee Culberson
A group of tourists - including American siblings Alex (Josh Duhamel) and Bea (Olivia Wilde), Australian loner Pru (Melissa George) and confused Brits Liam (Max Brown) and Finn (Desmond Askew) - are taking a bus through Brazil, which is driven by a man who seems to have learned to drive by playing American video games. When the bus crashes (like we couldn't see this coming a few seconds into the film), the group is told that another bus will be along in 10 hours.
With the promise of a bar on the beach a short hike away, the English-speaking tourists leave the larger group in search of alcohol and fun. Unfortunately, they soon find the bar has a "come for the drinks, stay for the organ harvesting" policy. Rather than doing anything logical or sensible, the group runs from bad situation to worse at every opportunity.
The bad guys, led by Dr. Zamora (Miguel Lunardi), are greedy, angry and disorganized but far smarter than the tourists. Whether you're hoping the tourists will live or just waiting for some gore, it doesn't take long before you're just looking forward to the end of the movie.
Unfortunately, there are extraordinarily long dark and murky scenes (presumably, in an attempt at either realism or suspense but succeeding at neither) badly designed by cinematographer Enrique Chediak. The underwater filming (including chase scenes) by Peter Zuccarini is beautiful the first time, and terribly boring after about five minutes - sadly, it goes on much longer.
Rated R for strong graphic violence and disturbing content, sexuality, nudity, drug use and language, "Turistas" is certainly gory despite failing as a horror film. Perhaps "Turistas" would have at least been shocking if premiered before "Hostel" and the "Saw" films but instead it does more of the same and with less intelligence and less successful social commentary.
Originally published in The Chronicle in December 2006 as JadeLee Culberson
This week's DVD review: Sherrybaby
Too sappy to be sexy and too flimsy to be dramatic, "Sherrybaby" isn't a bad film - it just isn't particularly good. Writer and director Laurie Collyer took a good idea and did nothing with it in a movie that should be left to collect dust on the shelves of video rental establishments.
After spending three years in prison as a result of heroin-fueled larceny, Sherry (Maggie Gyllenhaal) is out on parole. She seeks to reclaim her life and young daughter (Ryan Simpkins), only to find nothing is as easy as she'd hoped. Her well-meaning brother, Bobby (Brad William Henke), and his uptight wife Lynette (Bridget Barkan, in a terribly flat performance), resist Sherry even visiting her daughter, and certainly aren't ready to relinquish custody of a girl who barely knows her biological mother.
Meanwhile, Sherry realizes life on the outside isn't quite what she expected in a noisy half-way house where she's not allowed to lock her bedroom door. She also must contend with her demanding parole officer (Giancarlo Esposito) and the reality of sobriety outside of prison via 12-step meetings. If Sherry was a more sympathetic character, her struggles would be heartbreaking and the audience would be rooting for her to succeed. However, Sherry's hypersexual behavior - including seducing the manager of the half-way house in her first days of freedom and using "oral persuasion" to receive a job in a day-care center instead of a factory - makes it hard to think she'd be a very good parent anyway.
Collyer revealed enough of Sherry's past to make her issues understandable, but did so too late in the film for it to change the initial perception of Sherry as an impulsive young woman who seems to have adopted sobriety and religion in prison, but not responsibility. A good performance by Danny Trejo as Dean, an ex-addict who befriends Sherry, is wasted on a poorly written character who is too much of a jerk to love and too nice to hate. "Sherrybaby" runs lukewarm despite Gyllenhaal's fantastic acting and fails to do anything inventive or uniquely insightful.
Originally published in The Chronicle in February 2007 as JadeLee Culberson
After spending three years in prison as a result of heroin-fueled larceny, Sherry (Maggie Gyllenhaal) is out on parole. She seeks to reclaim her life and young daughter (Ryan Simpkins), only to find nothing is as easy as she'd hoped. Her well-meaning brother, Bobby (Brad William Henke), and his uptight wife Lynette (Bridget Barkan, in a terribly flat performance), resist Sherry even visiting her daughter, and certainly aren't ready to relinquish custody of a girl who barely knows her biological mother.
Meanwhile, Sherry realizes life on the outside isn't quite what she expected in a noisy half-way house where she's not allowed to lock her bedroom door. She also must contend with her demanding parole officer (Giancarlo Esposito) and the reality of sobriety outside of prison via 12-step meetings. If Sherry was a more sympathetic character, her struggles would be heartbreaking and the audience would be rooting for her to succeed. However, Sherry's hypersexual behavior - including seducing the manager of the half-way house in her first days of freedom and using "oral persuasion" to receive a job in a day-care center instead of a factory - makes it hard to think she'd be a very good parent anyway.
Collyer revealed enough of Sherry's past to make her issues understandable, but did so too late in the film for it to change the initial perception of Sherry as an impulsive young woman who seems to have adopted sobriety and religion in prison, but not responsibility. A good performance by Danny Trejo as Dean, an ex-addict who befriends Sherry, is wasted on a poorly written character who is too much of a jerk to love and too nice to hate. "Sherrybaby" runs lukewarm despite Gyllenhaal's fantastic acting and fails to do anything inventive or uniquely insightful.
Originally published in The Chronicle in February 2007 as JadeLee Culberson
Show your intellegence; dress like an adult
It's winter, it's snowing and it seems that PUC needs a class on how to dress for the weather. During a moderate snowfall, I was standing in front of the Gyte building when I noticed a young man - I estimate around age 21 - wearing knee-length shorts as he entered the building. I'd guess either he'd missed the weather report or forgotten to do his laundry, but he is not alone - he's one of three separate guys I spotted in shorts within a week in January.
Though dressing inappropriately for the weather does not actually cause a cold or the flu, it does look ridiculous (and could lead to frostbite if your car broke down on the way to school, stranding you on the side of the road sans artificial heat). Oh, and for the guys who continue wearing your flip-flops despite the snow, you should be aware of how quickly cold, wet toes can develop frostbite if you have to spend much time in the elements (and let's face it, the parking situation here usually demands a fairly long outdoor walk before and after class).
But it's not just the guys that seem oblivious to the weather. Ladies - if you see snow and ice on the ground, leave the high heels at home. The scrapes, bruises, and sprains you receive when you slip and fall on the ice won't be sexy - or comfortable. There are plenty of cute but practical shoes that provide some traction on slippery walkways (not to mention warmth).
Of course, most of the girls in the spiky high heels are also the ones in short skirts - which provide no protection against the weather, or shoe-induced falls. This is college. Just because there is no dress code demanding you dress with decency doesn't mean you no longer should - have some self-respect. If you want to impress your classmates and professors, do it with your mind and not your wardrobe.
Originally published in The Chronicle in February 2007 as JadeLee Culberson
Though dressing inappropriately for the weather does not actually cause a cold or the flu, it does look ridiculous (and could lead to frostbite if your car broke down on the way to school, stranding you on the side of the road sans artificial heat). Oh, and for the guys who continue wearing your flip-flops despite the snow, you should be aware of how quickly cold, wet toes can develop frostbite if you have to spend much time in the elements (and let's face it, the parking situation here usually demands a fairly long outdoor walk before and after class).
But it's not just the guys that seem oblivious to the weather. Ladies - if you see snow and ice on the ground, leave the high heels at home. The scrapes, bruises, and sprains you receive when you slip and fall on the ice won't be sexy - or comfortable. There are plenty of cute but practical shoes that provide some traction on slippery walkways (not to mention warmth).
Of course, most of the girls in the spiky high heels are also the ones in short skirts - which provide no protection against the weather, or shoe-induced falls. This is college. Just because there is no dress code demanding you dress with decency doesn't mean you no longer should - have some self-respect. If you want to impress your classmates and professors, do it with your mind and not your wardrobe.
Originally published in The Chronicle in February 2007 as JadeLee Culberson
The Messengers
There's nothing outstanding about directors' Danny Pang and Oxide Pang's "The Messengers," but it succeeds as an inoffensive horror film heavy on the scares while being light on the blood and gore.
Jess (Kristen Stewart) is an angst-ridden teenager being forced to move with her family into a dilapidated old farmhouse in the middle of nowhere. The family comes from Chicago, where Jess seems to have been in some kind of trouble. Her mother, Denise (Penelope Ann Miller), seems much more concerned for little brother, Ben (Evan and Theodore Turner), than the family's overall maladjustment. And her father, Roy (Dylan McDermott), just wants to grow a crop of sunflowers, which he seems to believe will solve their financial problems.
From the start, Jess seems to realize something is amiss. Conveniently, no one listens to her. Since the haunts of this house only appear to her and her brother - who, also conveniently, does not speak - Jess seems crazy as she tries to prove they are not alone in the house. Unfortunately, Roy's first priority, despite his desperate daughter's need for understanding, is to learn something about farming. To solve this problem, he hires a transient farmer named Burwell (John Corbett) whose first impression on the family is repeatedly discharging his gun to scare away a number of crows reminiscent of Alfred Hitchcock's "The Birds."
Many films have been made about haunted houses, and "The Messengers" manages to combine a little of everything to provide something fairly predictable. Producer Sam Raimi brings ghosts reminiscent of his involvement in "The Grudge" to this film, but since the ghosts are used significantly less in "The Messengers" the effect remains eerie.
"The Messengers" is best at being creepy. Music by Joseph LoDuca aids in providing suspense, and there are several effective (startle-based) scares. Rated PG-13 for supernatural shocks and violence, "The Messengers" is a good date movie - and one mild enough to suggest to your high school age friends or relatives.
Originally published in The Chronicle in February 2007 as JadeLee Culberson
Jess (Kristen Stewart) is an angst-ridden teenager being forced to move with her family into a dilapidated old farmhouse in the middle of nowhere. The family comes from Chicago, where Jess seems to have been in some kind of trouble. Her mother, Denise (Penelope Ann Miller), seems much more concerned for little brother, Ben (Evan and Theodore Turner), than the family's overall maladjustment. And her father, Roy (Dylan McDermott), just wants to grow a crop of sunflowers, which he seems to believe will solve their financial problems.
From the start, Jess seems to realize something is amiss. Conveniently, no one listens to her. Since the haunts of this house only appear to her and her brother - who, also conveniently, does not speak - Jess seems crazy as she tries to prove they are not alone in the house. Unfortunately, Roy's first priority, despite his desperate daughter's need for understanding, is to learn something about farming. To solve this problem, he hires a transient farmer named Burwell (John Corbett) whose first impression on the family is repeatedly discharging his gun to scare away a number of crows reminiscent of Alfred Hitchcock's "The Birds."
Many films have been made about haunted houses, and "The Messengers" manages to combine a little of everything to provide something fairly predictable. Producer Sam Raimi brings ghosts reminiscent of his involvement in "The Grudge" to this film, but since the ghosts are used significantly less in "The Messengers" the effect remains eerie.
"The Messengers" is best at being creepy. Music by Joseph LoDuca aids in providing suspense, and there are several effective (startle-based) scares. Rated PG-13 for supernatural shocks and violence, "The Messengers" is a good date movie - and one mild enough to suggest to your high school age friends or relatives.
Originally published in The Chronicle in February 2007 as JadeLee Culberson
Even Bullock can't save "Premonition"
My intuition tells me those who see director Mennan Yapo's "Premonition" will be disappointed. Of course, I don't have ESP - but I know I left the theatre dissatisfied.
Sandra Bullock is the highlight of this film with an intense performance as Linda, a stay-at-home mom who is horrified to learn of her husband Jim's (Julian McMahon) death - and even more disturbed to realize he's alive again when she wakes up the next day.
Reality begins quickly unraveling around Linda as she spends each out-of-order day (because apparently Friday does not always directly follow Thursday, at least in this film) trying to figure out if her husband is dead or alive, if she is crazy or sane, and why she's constantly interacting with people who claim to know her even though she doesn't remember meeting them.
Her mother, Joanne (played dryly by Kate Nelligan), comes to stay and help take care of Linda's absolutely adorable and sugary-sweet daughters (Shyann McClure and Courtney Taylor Burness) - either because Linda's grieving or going insane, we can never be sure. But, in true meddling-mother form, Joanne seeks "help" for her daughter in the form of creepy psychiatrist Dr. Norman Roth (Peter Stormare) and his prescription pad.
Linda tries to seek comfort from her flighty friend, Annie (Nia Long), whose real purpose in the film seems to be the token minority. Linda also seeks answers from a priest (Matt Moore) who tells her "nature abhors a vacuum" and her lack of belief is the root of her troubles.
Reminiscent of a more depressing "Groundhog Day," "Premonition" offers nothing new or innovative. It's too sappy, too predictable and - despite a decent premise - fails to do any of the interesting things writer Bill Kelly could have done with the script.
McMahon seems ridiculously miscast after his roles in "Fantastic Four" and the television series "Nip/Tuck" and "Charmed." He's not believable as a distant husband climbing the corporate ladder. Perhaps he's too accustomed to playing complicated characters to realize sometimes less is more when playing a fairly basic, straightforward character.
The musical effects by Klaus Badelt, meant to heighten suspense, are so over-the-top they're nearly comical. The ending is hokey at best - I groaned out loud and heard several others in the audience do the same.
Skip "Premonition" - you'll avoid spending time and money on an inferior film.
Originally published in The Chronicle in March 2007 as JadeLee Culberson.
28.2.11
'Employee of the Month' wins with laughs
"Employee of the Month" wants to be "Office Space" for the new generation and doesn't quite make it. It is, however, a hilarious, if unbelievable, screwball comedy for anyone who has ever worked retail. Zack (Dane Cook) is a box-boy who has turned slacking into an art form.
He and his stocker buddies, not allowed into the exclusive and unrealistically decadent cashier's lounge, have even built a "club house" among pallets of bulk merchandise. They mock Vince (Dax Shepard) who continuously wins employee of the month by showing off behind his cash register. Of course, Vince is mock-worthy for many reasons, including box-boy Jorge (Efren Ramirez, of "Napoleon Dynamite" fame) who follows him around and stands at his cash register, his obsession with his run-down car, and his ability to suck up to his supervisors at warp speed. Vince has won employee of the month 17 times in a row and if he wins it just once more he'll win the prize - a "newish" car.
Then an even better prize walks through the door, a transfer cashier named Amy (Jessica Simpson, wearing things no retail employee would ever be permitted to) who is rumored to have a thing for the holder of the employee of the month title. Suddenly, Zack wants to compete and hilarity ensues as they fight for the girl and the title. While many of Zack's techniques, both for courting Amy and vying for positive managerial attention, are completely unrealistic, they are funny.
Director Greg Coolidge may not give us much to think about in "Employee of the Month," but he certainly entertains us. It's hard to tell whether Simpson is playing it straight or simply can't act, but it doesn't matter. Cook, Shepard, Ramirez and a delightful host of stereotypical but funny wingmen (including Brian George as Iqbal, the Middle Eastern man with many children and Andy Dick as Lon, the in-store optometrist with poor vision) keep things moving and the audience laughing. Dim but enthusiastic store manager Glen Gary (Tim Bagley) is a great contrast to the young comic team. And, yes, he has a brother named Glen Ross.
While the ending is cheesy at best, "Employee of the Month" is like movie theatre nachos - tasty but nothing that will stick with you all night. "Employee of the Month" gets away with a lot to be rated PG-13 for crude and sexual humor and language. This one's not for the kids, but it makes a great date movie.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
He and his stocker buddies, not allowed into the exclusive and unrealistically decadent cashier's lounge, have even built a "club house" among pallets of bulk merchandise. They mock Vince (Dax Shepard) who continuously wins employee of the month by showing off behind his cash register. Of course, Vince is mock-worthy for many reasons, including box-boy Jorge (Efren Ramirez, of "Napoleon Dynamite" fame) who follows him around and stands at his cash register, his obsession with his run-down car, and his ability to suck up to his supervisors at warp speed. Vince has won employee of the month 17 times in a row and if he wins it just once more he'll win the prize - a "newish" car.
Then an even better prize walks through the door, a transfer cashier named Amy (Jessica Simpson, wearing things no retail employee would ever be permitted to) who is rumored to have a thing for the holder of the employee of the month title. Suddenly, Zack wants to compete and hilarity ensues as they fight for the girl and the title. While many of Zack's techniques, both for courting Amy and vying for positive managerial attention, are completely unrealistic, they are funny.
Director Greg Coolidge may not give us much to think about in "Employee of the Month," but he certainly entertains us. It's hard to tell whether Simpson is playing it straight or simply can't act, but it doesn't matter. Cook, Shepard, Ramirez and a delightful host of stereotypical but funny wingmen (including Brian George as Iqbal, the Middle Eastern man with many children and Andy Dick as Lon, the in-store optometrist with poor vision) keep things moving and the audience laughing. Dim but enthusiastic store manager Glen Gary (Tim Bagley) is a great contrast to the young comic team. And, yes, he has a brother named Glen Ross.
While the ending is cheesy at best, "Employee of the Month" is like movie theatre nachos - tasty but nothing that will stick with you all night. "Employee of the Month" gets away with a lot to be rated PG-13 for crude and sexual humor and language. This one's not for the kids, but it makes a great date movie.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
Hunting for a fun family film? Shoot for "Open Season"
"Open Season" is a heartwarming and adorable film. It is not, however, original or thought-provoking. "Open Season" is the tale of a domesticated bear named Boog (Martin Lawrence) led astray by a high-strung, one-antlered deer named Elliot (Ashton Kutcher).
Boog was living in the lap of luxury - more specifically, in the garage of a park-ranger named Beth (Debra Messing) - until Elliot (who reminds us all of Donkey from "Shrek") takes him out for a night on the town that ends with them trashing a mini-mart. Banished to the woods just before hunting season begins, the pair tries to find their way back to town before the hunters can find them.
A whole host of secondary, but interesting and entertaining, characters pop out of the woods as Boog and Elliot traverse through. Irritable Scottish squirrels led by McSquizzy (the perfect role for Billy Connolly), a sweet but clueless porcupine who only says "buddy," and shell-shocked ducks are some of the highlights. An overzealous hunter named Shaw (Gary Sinise) has a vendetta against Elliot. All of the animals fear this overly enthusiastic hunter and his gun, which is named Lorraine. Despite being terribly over-the-top, Shaw is a great villain. Everyone loves to hate him and enjoys laughing at him even more.
Eventually, a battle of creatures versus hunters ensues. This fight provides plenty of amusement, but nothing beats a beaver with a chainsaw, as hilarious as it is outrageous. While the story of new friends on a whirlwind adventure trying to find their way home isn't new, it doesn't need to be. "Open Season" is sweet and funny, even if that includes toilet humor. Perhaps Elliot has a bit more personality than Boog, but you really want both of them to make it back to safety.
In this Sony Pictures Animations film, the animated characters are wonderful and detailed. Though some of the scenery seems a bit lifeless, especially the mountains, the characters come through magnificently. Music moves the film along and the 80-minute feature flies by. Rated PG for some rude humor, mild action, and brief language, "Open Season" is appropriate and fun for all but the youngest members of the family. Worth a trip to the matinee with your kids or younger relatives, "Open Season" is fun for your inner child as well.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
Boog was living in the lap of luxury - more specifically, in the garage of a park-ranger named Beth (Debra Messing) - until Elliot (who reminds us all of Donkey from "Shrek") takes him out for a night on the town that ends with them trashing a mini-mart. Banished to the woods just before hunting season begins, the pair tries to find their way back to town before the hunters can find them.
A whole host of secondary, but interesting and entertaining, characters pop out of the woods as Boog and Elliot traverse through. Irritable Scottish squirrels led by McSquizzy (the perfect role for Billy Connolly), a sweet but clueless porcupine who only says "buddy," and shell-shocked ducks are some of the highlights. An overzealous hunter named Shaw (Gary Sinise) has a vendetta against Elliot. All of the animals fear this overly enthusiastic hunter and his gun, which is named Lorraine. Despite being terribly over-the-top, Shaw is a great villain. Everyone loves to hate him and enjoys laughing at him even more.
Eventually, a battle of creatures versus hunters ensues. This fight provides plenty of amusement, but nothing beats a beaver with a chainsaw, as hilarious as it is outrageous. While the story of new friends on a whirlwind adventure trying to find their way home isn't new, it doesn't need to be. "Open Season" is sweet and funny, even if that includes toilet humor. Perhaps Elliot has a bit more personality than Boog, but you really want both of them to make it back to safety.
In this Sony Pictures Animations film, the animated characters are wonderful and detailed. Though some of the scenery seems a bit lifeless, especially the mountains, the characters come through magnificently. Music moves the film along and the 80-minute feature flies by. Rated PG for some rude humor, mild action, and brief language, "Open Season" is appropriate and fun for all but the youngest members of the family. Worth a trip to the matinee with your kids or younger relatives, "Open Season" is fun for your inner child as well.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
'Flushed Away' not just for kids
"Flushed Away" is a refreshing joyride of fun for everyone. Roddy St. James (voiced by Hugh Jackman) is a pampered pet mouse living in London's upscale Kensington neighborhood. When the humans go on vacation, they leave him with plenty of food and has no problem amusing himself with the abounding toys and electronics - that is, until street-rat Sid (Shane Richie) crashes the party. While trying to coerce Sid into taking a "whirlpool bath" in the toilet, Sid gives him a push instead and sends him on a whirlwind adventure.
For some reason, London's sewers are populated mostly by mice, rats, frogs and musically-talented but cowardly slugs that created entire cities using discarded items. It is in the sewers where Roddy meets street-smart Rita (Kate Winslet), a sort-of-pirate (complete with a boat called the Jammy Dodger), and joins her on a perilous journey. Rita is trying to save her (extremely large) family from poverty by keeping a large, gaudy (and kind of rose-colored) ruby away from an evil Toad (Ian McKellen). Meanwhile, Toad is unhatching dastardly plans requiring the aid of his (very) French cousin Le Frog (Jean Reno).
Stuffed full of clever jokes and hilarious physical comedy, "Flushed Away" never sacrifices laughs for story, or vice versa. Directors Henry Anderson, David Bowers, and Sam Fell have hit upon a brilliant combination of slapstick comedy, drama and adventure in an 85 minute film that flies by, leaving audiences satisfied. Collaborating with DreamWorks Animation, U.K.-based Aardman Features provides remarkable computer animation for the film.
It's the music in "Flushed Away," however, that nearly steals the show. From the singing (and occasionally serenading) slugs to the energetic soundtrack (including use of "Bohemian Like You" by the Dandy Warhols during a water-chase), the music helps keep the action seamless and even the youngest of audience members fascinated. Rated PG for crude humor and some language, "Flushed Away" is fun (and appropriate) for everyone. Families, friends, couples - this film is a must-see this fall!
Originally published in The Chronicle in November 2006 as Jade Lee Culberson.
For some reason, London's sewers are populated mostly by mice, rats, frogs and musically-talented but cowardly slugs that created entire cities using discarded items. It is in the sewers where Roddy meets street-smart Rita (Kate Winslet), a sort-of-pirate (complete with a boat called the Jammy Dodger), and joins her on a perilous journey. Rita is trying to save her (extremely large) family from poverty by keeping a large, gaudy (and kind of rose-colored) ruby away from an evil Toad (Ian McKellen). Meanwhile, Toad is unhatching dastardly plans requiring the aid of his (very) French cousin Le Frog (Jean Reno).
Stuffed full of clever jokes and hilarious physical comedy, "Flushed Away" never sacrifices laughs for story, or vice versa. Directors Henry Anderson, David Bowers, and Sam Fell have hit upon a brilliant combination of slapstick comedy, drama and adventure in an 85 minute film that flies by, leaving audiences satisfied. Collaborating with DreamWorks Animation, U.K.-based Aardman Features provides remarkable computer animation for the film.
It's the music in "Flushed Away," however, that nearly steals the show. From the singing (and occasionally serenading) slugs to the energetic soundtrack (including use of "Bohemian Like You" by the Dandy Warhols during a water-chase), the music helps keep the action seamless and even the youngest of audience members fascinated. Rated PG for crude humor and some language, "Flushed Away" is fun (and appropriate) for everyone. Families, friends, couples - this film is a must-see this fall!
Originally published in The Chronicle in November 2006 as Jade Lee Culberson.
'Saw III' slices through unanswered questions
"Saw III" is one of the goriest movies ever released in American theatres. I have been watching horror movies since childhood and have recently reviewed gorefests such as "Saw II" and "Hostel" without turning away from the screen in disgust or terror. While watching "Saw III," however, I covered my eyes to block out the intense gore at least twice during the film and spent several suspense-filled moments peeking through my fingers at the shocking imagery.
If you can get past the gore, "Saw III" has a fascinating plot that ties together loose ends from the first two films. Screenwriters Leigh Whannell and James Wan pick up where "Saw II" left off, with John/Jigsaw (Tobin Bell) near death and his assistant Amanda (Shawnee Smith) helping him set up his next games. Jigsaw's next game is for Jeff (Angus Macfadyen), who has a burning need for vengeance after losing his son to a car accident because of a drunk driver. Jeff must make it through a house of horrors where his own physical encounters are nothing compared to the psychological torture he faces as he sees the other victims in the house.
While Jeff struggles, so does Lynn (Bahar Soomekh), the depressed doctor Amanda has kidnapped to keep Jigsaw alive until Jeff's tests are completed. Lynn must cope with the increasingly unstable Amanda while trying to keep Jigsaw alive by any means necessary - including brain surgery with power tools.
Director Darren Lynn Bousman does a fantastic job of keeping the audience fascinated despite being disgusted, both by the gore and the blatant moral depravity in much of the subject matter. Rated R for strong grisly violence and gore, sequences of terror and torture, nudity and language, "Saw III" is appropriate only for the strongest of constitutions. During opening weekend, I observed parents bringing their young children (who couldn't have been more than eight years old) into the theatre for this film, which was completely irresponsible and reprehensible. Trust me, the cost of a babysitter for an evening is much less than the cost of therapy years later.
For those who have enjoyed the "Saw" films, "Saw III" will reward your patience with (almost all) the answers you're waiting for by the end of this brilliantly written film. Just remember to skip the concession line on your way in.
Originally published in The Chronicle in November 2006 as Jade Lee Culberson.
If you can get past the gore, "Saw III" has a fascinating plot that ties together loose ends from the first two films. Screenwriters Leigh Whannell and James Wan pick up where "Saw II" left off, with John/Jigsaw (Tobin Bell) near death and his assistant Amanda (Shawnee Smith) helping him set up his next games. Jigsaw's next game is for Jeff (Angus Macfadyen), who has a burning need for vengeance after losing his son to a car accident because of a drunk driver. Jeff must make it through a house of horrors where his own physical encounters are nothing compared to the psychological torture he faces as he sees the other victims in the house.
While Jeff struggles, so does Lynn (Bahar Soomekh), the depressed doctor Amanda has kidnapped to keep Jigsaw alive until Jeff's tests are completed. Lynn must cope with the increasingly unstable Amanda while trying to keep Jigsaw alive by any means necessary - including brain surgery with power tools.
Director Darren Lynn Bousman does a fantastic job of keeping the audience fascinated despite being disgusted, both by the gore and the blatant moral depravity in much of the subject matter. Rated R for strong grisly violence and gore, sequences of terror and torture, nudity and language, "Saw III" is appropriate only for the strongest of constitutions. During opening weekend, I observed parents bringing their young children (who couldn't have been more than eight years old) into the theatre for this film, which was completely irresponsible and reprehensible. Trust me, the cost of a babysitter for an evening is much less than the cost of therapy years later.
For those who have enjoyed the "Saw" films, "Saw III" will reward your patience with (almost all) the answers you're waiting for by the end of this brilliantly written film. Just remember to skip the concession line on your way in.
Originally published in The Chronicle in November 2006 as Jade Lee Culberson.
"A Christmas Story" delights audiences this holiday season
"A Christmas Story," based on the award-winning and time-honored film, provides magnificent holiday entertainment in Northwest Indiana this December. Munster resident Charles Gessert directs Jean Shepherd's hilarious autobiographical tale.
Norm Boucher is phenomenal as Ralph, a nostalgic man who vividly recollects a 1938 childhood Christmas in Hohman, Indiana, when all he wanted was a Red Rider BB gun, despite everyone's warnings that "you'll shoot your eye out" with such a toy. Young Ralphie (played magnificently and with remarkable facial expressions by Matt Gerhardt) is a fairly typical kid. He and his friends Flick (played by the talented George Mokdessi) and Schwartz (performed by a delightful young actor from Highland- Leonardo Garcia) get themselves into a bit of youthful trouble by daring each other to do things. This kind of encouragement is how Flick once finds himself with his tongue stuck to a cold metal pole in the schoolyard.
Ralphie is the subject of a childhood crush by schoolmate Ester Jane (a funny part radiantly delivered by the adorable Olivia Marcukaitis). He is also one of many targets menaced by local bully Scut Farkas (a role delivered by the gifted Brian T. Johnson). More important to Ralphie, though, is his mission to receive a BB gun for Christmas.
After careful consideration, Ralphie unleashes a plan to convince his mother (played by Mary Ernster) and father - better known as The Old Man (and played by John Reeger) - that he not only wants but needs the gun. Hilarity ensues and before long the entire audience will be nostalgic for Christmases past.
Scenic designer Ann N. Davis and properties designer Stanlee K. Hodsden do a brilliant job of bringing the multi-tiered set to life. Whether showing a warm family home (complete with gooey oatmeal for breakfast), Ralphie's classroom, or Santaland at Goblatts department store, the stage moves through the play with the realism of a movie set. Colored lights by lighting designer Carl Ulaszek take us inside Ralphie's imagination each time he loses himself in thought - imagining possible situations or fantasizing about his alternate life as a cowboy just like the Red Rider.
"A Christmas Story" is delightful with wonderful acting and all the charm of the film. Families seeking a holiday activity will find what they're looking for at Theatre at the Center.
Originally published in The Chronicle in December 2006 as Jade Lee Culberson.
Norm Boucher is phenomenal as Ralph, a nostalgic man who vividly recollects a 1938 childhood Christmas in Hohman, Indiana, when all he wanted was a Red Rider BB gun, despite everyone's warnings that "you'll shoot your eye out" with such a toy. Young Ralphie (played magnificently and with remarkable facial expressions by Matt Gerhardt) is a fairly typical kid. He and his friends Flick (played by the talented George Mokdessi) and Schwartz (performed by a delightful young actor from Highland- Leonardo Garcia) get themselves into a bit of youthful trouble by daring each other to do things. This kind of encouragement is how Flick once finds himself with his tongue stuck to a cold metal pole in the schoolyard.
Ralphie is the subject of a childhood crush by schoolmate Ester Jane (a funny part radiantly delivered by the adorable Olivia Marcukaitis). He is also one of many targets menaced by local bully Scut Farkas (a role delivered by the gifted Brian T. Johnson). More important to Ralphie, though, is his mission to receive a BB gun for Christmas.
After careful consideration, Ralphie unleashes a plan to convince his mother (played by Mary Ernster) and father - better known as The Old Man (and played by John Reeger) - that he not only wants but needs the gun. Hilarity ensues and before long the entire audience will be nostalgic for Christmases past.
Scenic designer Ann N. Davis and properties designer Stanlee K. Hodsden do a brilliant job of bringing the multi-tiered set to life. Whether showing a warm family home (complete with gooey oatmeal for breakfast), Ralphie's classroom, or Santaland at Goblatts department store, the stage moves through the play with the realism of a movie set. Colored lights by lighting designer Carl Ulaszek take us inside Ralphie's imagination each time he loses himself in thought - imagining possible situations or fantasizing about his alternate life as a cowboy just like the Red Rider.
"A Christmas Story" is delightful with wonderful acting and all the charm of the film. Families seeking a holiday activity will find what they're looking for at Theatre at the Center.
Originally published in The Chronicle in December 2006 as Jade Lee Culberson.
Ferrell, Hoffman deliver in "Stranger than Fiction"
I discovered two things during "Stranger than Fiction" - Will Ferrell can do drama, and literary theory can be successfully discussed in a Hollywood film.
Warm, sentimental, and absolutely captivating, "Stranger than Fiction" manages both comedy and drama without becoming hokey or (too) predictable. Harold Crick (Ferrell) is a slightly obsessive-compulsive but an otherwise terribly mundane IRS auditor. However, Harold's routine is suddenly and completely disturbed one Wednesday as he begins to hear a woman's voice narrate his life "accurately, and with a better vocabulary." That voice belongs to Kay Eiffel (Emma Thompson), an eccentric and somewhat disorganized author suffering from both writer's block and the new, unwanted, assistant, Penny (Queen Latifah) her publisher sent to her office to assure that Kay's new book is completed.
Unfortunately for Harold, Harold has never heard of Kay and she believes Harold exists only in her story. Even worse for Harold, Eiffel intends to kill the character she's writing about. In search of answers, Harold sees a therapist (Linda Hunt) who suggests he may be schizophrenic but eventually refers him to a literary expert. It is only after Professor Jules Hilbert (Dustin Hoffman) finds out about a key phrase in the narration that he takes Harold seriously, at which point he recommends Harold figure out whether he is in a comedy or a tragedy in order to determine how likely he is to actually be killed. This is further complicated, of course, by an eccentric baker named Ana (Maggie Gyllenhaal), who Harold is currently auditing.
The acting in this film is fantastic. Ferrell and Gyllenhaal have remarkable chemistry, Hoffman shines in an unlikely role and Thompson plays Eiffel as such as brilliant train wreck that we often worry about her safety as much as Harold's. "Stranger than Fiction" manages to avoid too much of the annoying overt "life is short, live it to the fullest" message by contemplating the situations in which Harold finds himself as well taking an interesting approach to the "predestined fate versus free-will" argument.
This film is rated PG-13 for some disturbing images, sexuality, brief language and nudity, but its contemplative nature will have appeal little to the younger crowd anyway. Director Marc Forster's "Stranger than Fiction" is unexpectedly thoughtful and powerful, leaving audiences with something to talk about for hours over coffee or drinks, unlike most films this holiday season.
Originally published in The Chronicle in November 2006 as Jade Lee Culberson
Warm, sentimental, and absolutely captivating, "Stranger than Fiction" manages both comedy and drama without becoming hokey or (too) predictable. Harold Crick (Ferrell) is a slightly obsessive-compulsive but an otherwise terribly mundane IRS auditor. However, Harold's routine is suddenly and completely disturbed one Wednesday as he begins to hear a woman's voice narrate his life "accurately, and with a better vocabulary." That voice belongs to Kay Eiffel (Emma Thompson), an eccentric and somewhat disorganized author suffering from both writer's block and the new, unwanted, assistant, Penny (Queen Latifah) her publisher sent to her office to assure that Kay's new book is completed.
Unfortunately for Harold, Harold has never heard of Kay and she believes Harold exists only in her story. Even worse for Harold, Eiffel intends to kill the character she's writing about. In search of answers, Harold sees a therapist (Linda Hunt) who suggests he may be schizophrenic but eventually refers him to a literary expert. It is only after Professor Jules Hilbert (Dustin Hoffman) finds out about a key phrase in the narration that he takes Harold seriously, at which point he recommends Harold figure out whether he is in a comedy or a tragedy in order to determine how likely he is to actually be killed. This is further complicated, of course, by an eccentric baker named Ana (Maggie Gyllenhaal), who Harold is currently auditing.
The acting in this film is fantastic. Ferrell and Gyllenhaal have remarkable chemistry, Hoffman shines in an unlikely role and Thompson plays Eiffel as such as brilliant train wreck that we often worry about her safety as much as Harold's. "Stranger than Fiction" manages to avoid too much of the annoying overt "life is short, live it to the fullest" message by contemplating the situations in which Harold finds himself as well taking an interesting approach to the "predestined fate versus free-will" argument.
This film is rated PG-13 for some disturbing images, sexuality, brief language and nudity, but its contemplative nature will have appeal little to the younger crowd anyway. Director Marc Forster's "Stranger than Fiction" is unexpectedly thoughtful and powerful, leaving audiences with something to talk about for hours over coffee or drinks, unlike most films this holiday season.
Originally published in The Chronicle in November 2006 as Jade Lee Culberson
Ditch 'School for Scoundrels'
"School for Scoundrels" is "Hitch" meets "Napoleon Dynamite" - a sort-of-romantic comedy that tries too hard and comes off as too unbelievable to provide more than a handful of cheap laughs. Roger (John Heder) is a New York meter maid with chronic panic attacks and a large collection of self-help books. He has a crush on his beautiful grad student neighbor, Amanda (Jacinda Barrett), but can't talk to her without being mocked by her snobby roommate (Sarah Silverman).
Roger's such a loser that he's even rejected by the kids he volunteers to spend time with in the Big Brother program. After being rejected by the third kid in a row, he seeks advice from a friend, Ian (David Cross), about how to be less of an overall loser. Ian offers Roger the phone number to a confidence-building class that helped him go from being a total loser to being able to find dates on the simple luck that he looks a bit like the singer Moby.
Suddenly, Roger finds himself taking a course on how to become a lion under the tutelage of the abusive and greasy "Dr. P." (Billy Bob Thornton) and his violent and anally fixated assistant, Lesher (Michael Clark Duncan). Dr. P. seems to be trying as hard to teach the class full of wishy-washy guys to be liars as lions. One of his predominant pieces of advice for the class is "lie, lie and lie some more." Roger begins to rise to the head of the class when the men head out for a hilarious paintball battle and he stands victorious over Lesher.
Unfortunately, as Ian warns Roger too late, Dr. P. is competitive against his top students. Just as things are starting to look up for Roger, including a dinner-date with Amanda, Dr. P. pulls out all the stops in a competition that includes everything from a violent tennis match to a spray-painted dog. If the stunts weren't so over-the-top and unbelievable, they'd be much funnier.
Director, producer, and writer Todd Phillips took things just a bit too far, which is unfortunate because the overall idea is entertaining. Thornton and Heder have great chemistry - but neither were really the right choice for the individual parts. Thornton is too stiff as Heder is too "Napoleon Dynamite." Ben Stiller provides a few laughs in an interesting role, but he doesn't come close to saving the film.
While "School for Scoundrels" might make a decent weekend rental in the snowy winter months, it isn't worth the trip to the theatre (even for a matinee). Personally, I'd be more interested to try and find the 1960 British film of the same title, which might have a chance of being funnier and more plausible.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
Roger's such a loser that he's even rejected by the kids he volunteers to spend time with in the Big Brother program. After being rejected by the third kid in a row, he seeks advice from a friend, Ian (David Cross), about how to be less of an overall loser. Ian offers Roger the phone number to a confidence-building class that helped him go from being a total loser to being able to find dates on the simple luck that he looks a bit like the singer Moby.
Suddenly, Roger finds himself taking a course on how to become a lion under the tutelage of the abusive and greasy "Dr. P." (Billy Bob Thornton) and his violent and anally fixated assistant, Lesher (Michael Clark Duncan). Dr. P. seems to be trying as hard to teach the class full of wishy-washy guys to be liars as lions. One of his predominant pieces of advice for the class is "lie, lie and lie some more." Roger begins to rise to the head of the class when the men head out for a hilarious paintball battle and he stands victorious over Lesher.
Unfortunately, as Ian warns Roger too late, Dr. P. is competitive against his top students. Just as things are starting to look up for Roger, including a dinner-date with Amanda, Dr. P. pulls out all the stops in a competition that includes everything from a violent tennis match to a spray-painted dog. If the stunts weren't so over-the-top and unbelievable, they'd be much funnier.
Director, producer, and writer Todd Phillips took things just a bit too far, which is unfortunate because the overall idea is entertaining. Thornton and Heder have great chemistry - but neither were really the right choice for the individual parts. Thornton is too stiff as Heder is too "Napoleon Dynamite." Ben Stiller provides a few laughs in an interesting role, but he doesn't come close to saving the film.
While "School for Scoundrels" might make a decent weekend rental in the snowy winter months, it isn't worth the trip to the theatre (even for a matinee). Personally, I'd be more interested to try and find the 1960 British film of the same title, which might have a chance of being funnier and more plausible.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
DiFranco delights Chicago fans
Some may say that Ani DiFranco has mellowed during recent years. During her concert at the Chicago Theatre on Oct. 13, however, it seemed that she was as sure of herself as ever - she's just at a different place in her life.
In a very intimate performance, despite the large (and very full) audience, DiFranco spoke freely about impending motherhood (she's about four months pregnant), her own personal politics and even shared a few humorous anecdotes and poems during her set. And what an amazing set it was. In addition to playing several songs from her new album "Reprieve," DiFranco treated fans to some old favorites as well as debuting a few new songs.
Much to the audience's delight, DiFranco kicked off the show with "Shy," one of the most popular tracks from her 1999 album "Not a Pretty Girl." From there, DiFranco frequently shifted the pace, moving between eras in her music much like thumbing through an old photo album. The fans were with her every step of the way, cheering as they heard the opening notes of some of their favorite songs and watching with wide-eyed awe as she shared new songs for the first time.
DiFranco's stage presence is as stripped down as her emotions. A simple, yet elegant backdrop and shifting colored lights illuminated DiFranco and her two-piece band, but never once eclipsed the performance, as is often the case at large concerts. Instead of attempting to use style to cover a lack of substance, DiFranco has truly mastered the balance between the two and the art of actually communicating with her fans.
The show seemed to end far too quickly (although she is pregnant) as she closed her set with the riotous "Shameless." The audience seemed incredibly relieved when she returned to the stage for an encore and closed the show with "Hypnotize" - as she called it, a lullaby. And it was. As the hundreds in attendance filed out of the building with the beautiful melody of her closing song still in their heads, it was clear that everyone would sleep a bit easier after the experience.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
In a very intimate performance, despite the large (and very full) audience, DiFranco spoke freely about impending motherhood (she's about four months pregnant), her own personal politics and even shared a few humorous anecdotes and poems during her set. And what an amazing set it was. In addition to playing several songs from her new album "Reprieve," DiFranco treated fans to some old favorites as well as debuting a few new songs.
Much to the audience's delight, DiFranco kicked off the show with "Shy," one of the most popular tracks from her 1999 album "Not a Pretty Girl." From there, DiFranco frequently shifted the pace, moving between eras in her music much like thumbing through an old photo album. The fans were with her every step of the way, cheering as they heard the opening notes of some of their favorite songs and watching with wide-eyed awe as she shared new songs for the first time.
DiFranco's stage presence is as stripped down as her emotions. A simple, yet elegant backdrop and shifting colored lights illuminated DiFranco and her two-piece band, but never once eclipsed the performance, as is often the case at large concerts. Instead of attempting to use style to cover a lack of substance, DiFranco has truly mastered the balance between the two and the art of actually communicating with her fans.
The show seemed to end far too quickly (although she is pregnant) as she closed her set with the riotous "Shameless." The audience seemed incredibly relieved when she returned to the stage for an encore and closed the show with "Hypnotize" - as she called it, a lullaby. And it was. As the hundreds in attendance filed out of the building with the beautiful melody of her closing song still in their heads, it was clear that everyone would sleep a bit easier after the experience.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson.
Hold a 'grudge' against Grudge 2
Director of the original Japanese version of "The Grudge," as well as this English-language remake, Takashi Shimizu could have done something interesting instead of doing more of the same. We already know that those exposed to the curse of fatally abused wife Kayako (Takako Fuji) are mentally tortured before being killed. "The Grudge 2" just shows us that the curse can travel outside Tokyo - and Japan, for that matter.
Shimizu gives us three vignettes that are intertwined with little cohesion. Sarah Michelle Gellar returns for a brief cameo as Karen Davis, an international college student hospitalized in Tokyo after trying to burn down the house where the curse originated. Karen's ailing mother (Joanna Cassidy) gets the call that her daughter has been in an accident and books a flight for Karen's estranged sister, Aubrey (Amber Tamblyn). In Tokyo, Aubrey meets a journalist named Eason (Edison Chen) seeking answers of his own.
Also in Japan (but apparently nowhere near Aubrey), Allison (Arielle Kebbel) is an international high school student eager to make friends with the cool girls. Unfortunately for Allison (and those around her), she learns just how real the curse is after being dared to enter the cursed house by two classmates.
Meanwhile, in Chicago, where the curse has spread to an apartment building, Trish (Jennifer Beals) has just moved in with her fiancé and his two children. The young, angst-ridden, and overly curious Jake (Matthew Knight) is the first to realize that something is amiss in his neighbors' apartment and is possibly the most likeable character in the film.
Despite the fact that "The Grudge 2" may be the first film to show a possessed teenager drinking mass amounts of milk and purging it back into the half gallon, it provides nothing fascinating or shocking. With so many promising films being released around this Halloween, there is no reason to see "The Grudge 2." Rated PG-13 for mature thematic material, disturbing images/terror/violence, and some sexuality, it doesn't matter that "The Grudge 2" is accessible to teens - they won't enjoy it anyway.
"The Grudge 2" lacks creepiness and suspense, supplying instead a plethora of unfulfilling in-your-face money-shot scares. I felt like, at best, the film spent most of its nearly 90 minutes vaguely teasing my mind only to leave me without a satisfying climax or any fond memories.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson
Shimizu gives us three vignettes that are intertwined with little cohesion. Sarah Michelle Gellar returns for a brief cameo as Karen Davis, an international college student hospitalized in Tokyo after trying to burn down the house where the curse originated. Karen's ailing mother (Joanna Cassidy) gets the call that her daughter has been in an accident and books a flight for Karen's estranged sister, Aubrey (Amber Tamblyn). In Tokyo, Aubrey meets a journalist named Eason (Edison Chen) seeking answers of his own.
Also in Japan (but apparently nowhere near Aubrey), Allison (Arielle Kebbel) is an international high school student eager to make friends with the cool girls. Unfortunately for Allison (and those around her), she learns just how real the curse is after being dared to enter the cursed house by two classmates.
Meanwhile, in Chicago, where the curse has spread to an apartment building, Trish (Jennifer Beals) has just moved in with her fiancé and his two children. The young, angst-ridden, and overly curious Jake (Matthew Knight) is the first to realize that something is amiss in his neighbors' apartment and is possibly the most likeable character in the film.
Despite the fact that "The Grudge 2" may be the first film to show a possessed teenager drinking mass amounts of milk and purging it back into the half gallon, it provides nothing fascinating or shocking. With so many promising films being released around this Halloween, there is no reason to see "The Grudge 2." Rated PG-13 for mature thematic material, disturbing images/terror/violence, and some sexuality, it doesn't matter that "The Grudge 2" is accessible to teens - they won't enjoy it anyway.
"The Grudge 2" lacks creepiness and suspense, supplying instead a plethora of unfulfilling in-your-face money-shot scares. I felt like, at best, the film spent most of its nearly 90 minutes vaguely teasing my mind only to leave me without a satisfying climax or any fond memories.
Originally published in The Chronicle in October 2006 as Jade Lee Culberson
Spend a night with Dante and Randall
"Clerks 2" is a beautiful tale of love and friendship, the perfect film for an evening in and a great stocking-stuffer for your favorite Gen-Xer. Available to buy or rent on Nov. 28, "Clerks 2" is funny, heart-warming and delightfully over-the-top.
Kevin Smith's writer-director debut "Clerks" is a charming black-and-white film about the lives and aspirations of Dante Hicks (Brian O'Halloran) and Randal Graves (Jeff Anderson), two twenty-somethings killing time behind the counter at a New Jersey Quick Stop. "Clerks 2" picks up 12 years later, where very little has changed, save for their jobs - after an unfortunate Quick Stop fire, they are flipping burgers at the local Mooby's.
However, Dante is getting ready to move on - and across the country to Florida - with his fiancée, Emma (played by Smith's wife, Jennifer Schwalbach). Meanwhile, Jay (Jason Mewes) and Silent Bob (Smith), recently back from court-assigned drug rehab (perhaps a nod to Mewes' real-life struggles with substance abuse), are still hanging around outside selling marijuana (though now using their own take on religion to resist the urge to smoke it themselves).
As Dante's time in New Jersey draws to a close, he finds saying goodbye is never easy - especially as Randal plans a unique farewell party and Mooby's manager Becky (Rosario Dawson) weighs in with her own opinions on Dante's relationship.
Rated R for pervasive sexual and crude content including aberrant sexuality, strong language, and some drug material, "Clerks 2" is not for young or easily offended audiences. "Clerks 2" is an equal opportunity offender, spewing anti-"Lord of the Rings" and racist comments between poking fun at the obsessively-Christian, token virgin, Mooby's employee Elias (Trevor Fehrman). Still, the offensiveness is part of the charm as Smith returns to his roots and touches the hearts (and funny bones) of Gen-Xers who remember why every man wants a woman who will bring him lasagna at work.
Originally published in The Chronicle in November 2006 as Jade Lee Culberson
Kevin Smith's writer-director debut "Clerks" is a charming black-and-white film about the lives and aspirations of Dante Hicks (Brian O'Halloran) and Randal Graves (Jeff Anderson), two twenty-somethings killing time behind the counter at a New Jersey Quick Stop. "Clerks 2" picks up 12 years later, where very little has changed, save for their jobs - after an unfortunate Quick Stop fire, they are flipping burgers at the local Mooby's.
However, Dante is getting ready to move on - and across the country to Florida - with his fiancée, Emma (played by Smith's wife, Jennifer Schwalbach). Meanwhile, Jay (Jason Mewes) and Silent Bob (Smith), recently back from court-assigned drug rehab (perhaps a nod to Mewes' real-life struggles with substance abuse), are still hanging around outside selling marijuana (though now using their own take on religion to resist the urge to smoke it themselves).
As Dante's time in New Jersey draws to a close, he finds saying goodbye is never easy - especially as Randal plans a unique farewell party and Mooby's manager Becky (Rosario Dawson) weighs in with her own opinions on Dante's relationship.
Rated R for pervasive sexual and crude content including aberrant sexuality, strong language, and some drug material, "Clerks 2" is not for young or easily offended audiences. "Clerks 2" is an equal opportunity offender, spewing anti-"Lord of the Rings" and racist comments between poking fun at the obsessively-Christian, token virgin, Mooby's employee Elias (Trevor Fehrman). Still, the offensiveness is part of the charm as Smith returns to his roots and touches the hearts (and funny bones) of Gen-Xers who remember why every man wants a woman who will bring him lasagna at work.
Originally published in The Chronicle in November 2006 as Jade Lee Culberson
Survive a zombie attack with 'World War Z'
Max Brooks provided us with a guide to surviving possible zombie attacks in "The Zombie Survival Guide" (2003). Now Brooks is back, with an eerily realistic account of a fictional war in which the world was overtaken by zombies called "World War Z: An Oral History of the Zombie War."
Brooks tells the stories of people touched by the world-wide zombie war across the globe. The individual tales feel so real, with such detail and expression, that it's hard to believe one person could write from so many perspectives. Though it is clear Brooks is expressing his own political ideas through this work, politics never gets in the way of heartbreaking - or, occasionally, heartwarming - stories of a world torn apart.
From the story of an Australian astronaut who risked his life and health believing he would likely never be rescued while on a space mission during the outbreak to a chaplain in Siberia who was charged with the task of mercifully shooting soldiers who had been bitten by zombies, the tales told by Brooks' characters are the ones that would happen if the dead ever did happen to rise from their rest. Brooks gets under your skin and into your head.
Heroic anecdotes, such as American military stand against the walking dead in Yonkers, N.Y, remind us that not everyone gets out alive, even when we win. Brooks does keep a bit of tongue-in-cheek humor (what else could you expect from Mel Brooks' son), and refers - on several occasions in the book - to the use of a civilian survival guide that was used by Americans during the war. Just under 350 pages in hardcover, "World War Z" is worth the read for everyone who enjoys zombies, conspiracy theories and survivalist fiction. Be warned, however, this isn't a gory sci-fi movie in print form. If you want George A. Romero's "Dawn of the Dead," go rent the film - "World War Z" is a character study about the lives touched by the events more than the events themselves.
Originally published in The Chronicle in January 2007 as Jade Lee Culberson.
Brooks tells the stories of people touched by the world-wide zombie war across the globe. The individual tales feel so real, with such detail and expression, that it's hard to believe one person could write from so many perspectives. Though it is clear Brooks is expressing his own political ideas through this work, politics never gets in the way of heartbreaking - or, occasionally, heartwarming - stories of a world torn apart.
From the story of an Australian astronaut who risked his life and health believing he would likely never be rescued while on a space mission during the outbreak to a chaplain in Siberia who was charged with the task of mercifully shooting soldiers who had been bitten by zombies, the tales told by Brooks' characters are the ones that would happen if the dead ever did happen to rise from their rest. Brooks gets under your skin and into your head.
Heroic anecdotes, such as American military stand against the walking dead in Yonkers, N.Y, remind us that not everyone gets out alive, even when we win. Brooks does keep a bit of tongue-in-cheek humor (what else could you expect from Mel Brooks' son), and refers - on several occasions in the book - to the use of a civilian survival guide that was used by Americans during the war. Just under 350 pages in hardcover, "World War Z" is worth the read for everyone who enjoys zombies, conspiracy theories and survivalist fiction. Be warned, however, this isn't a gory sci-fi movie in print form. If you want George A. Romero's "Dawn of the Dead," go rent the film - "World War Z" is a character study about the lives touched by the events more than the events themselves.
Originally published in The Chronicle in January 2007 as Jade Lee Culberson.
What happened to local theatres?
I remember when there were local theatres everywhere. As a child, I frequented the theatre just off Ridge Road near Venture (now K-Mart) in Griffith. Of course, that wasn't the only small theatre to frequent - especially as I got older. I found another two-screen theatre a bit further down Ridge Road, just into Gary. That theatre closed more recently - it seems like one day I was driving past it and the next I saw it empty, a shell of the years of local showings with friends.
And how many of us found a place at the Crossroads Theatre in Merrillville on Saturday nights for weekly showings of the "Rocky Horror Picture Show?" As a teen in the '90s, I remember meeting friends from all over Northwest Ind. (and Illinois) on those nights, in a place where looking or acting "different" was completely acceptable. Some of the friends I still hold dear I would never have met if not for those wild nights. How many other students at PUC can help but say the same?
The Crossroads closed this October. A young entrepreneur purchased it in the late '90s, in hopes of keeping our Saturday night dreams alive. Unfortunately, even the best of intentions - and fundraising done at the weekly shows by crowds desperate to keep the theatre going - couldn't stop the theatre from closing eventually. The last Saturday night show sold out (and then some), and as I looked around the crowd that night I knew how much the Crossroads would be missed.
Though the Crossroads Theatre will be the one most significantly missed, the AMC 9 in Merrillville is the one whose closing most surprised me. As I started doing weekly movie reviews in 2004 and 2005, I discovered that I preferred the less populated and more relaxed atmosphere of the AMC 9 instead of the new Kerasotes Theatre chain. As Kerasotes has infected the whole of Northwest Indiana like a disease, killing off so many other theatres, the AMC 9 was destroyed in favor of building yet another Kerasotes Theatre in the Westfield (formerly Southlake) Mall complex.
I have yet to walk through the doors of the Hobart (Merrillville) Showplace 12, and I don't ever plan to. They took the smaller, more friendly theatre where I saw "Serenity" for the first time (along with other favorites), and I don't want to give them my business. Don't we deserve the chance to choose where to see new release films in the Region? If Kerasotes can destroy all the small theatres in an area, they can achieve a monopoly on movie showings and that's bad for the community as well as the area's economy.
Originally published in The Chronicle in December 2006 as Jade Lee Culberson.
And how many of us found a place at the Crossroads Theatre in Merrillville on Saturday nights for weekly showings of the "Rocky Horror Picture Show?" As a teen in the '90s, I remember meeting friends from all over Northwest Ind. (and Illinois) on those nights, in a place where looking or acting "different" was completely acceptable. Some of the friends I still hold dear I would never have met if not for those wild nights. How many other students at PUC can help but say the same?
The Crossroads closed this October. A young entrepreneur purchased it in the late '90s, in hopes of keeping our Saturday night dreams alive. Unfortunately, even the best of intentions - and fundraising done at the weekly shows by crowds desperate to keep the theatre going - couldn't stop the theatre from closing eventually. The last Saturday night show sold out (and then some), and as I looked around the crowd that night I knew how much the Crossroads would be missed.
Though the Crossroads Theatre will be the one most significantly missed, the AMC 9 in Merrillville is the one whose closing most surprised me. As I started doing weekly movie reviews in 2004 and 2005, I discovered that I preferred the less populated and more relaxed atmosphere of the AMC 9 instead of the new Kerasotes Theatre chain. As Kerasotes has infected the whole of Northwest Indiana like a disease, killing off so many other theatres, the AMC 9 was destroyed in favor of building yet another Kerasotes Theatre in the Westfield (formerly Southlake) Mall complex.
I have yet to walk through the doors of the Hobart (Merrillville) Showplace 12, and I don't ever plan to. They took the smaller, more friendly theatre where I saw "Serenity" for the first time (along with other favorites), and I don't want to give them my business. Don't we deserve the chance to choose where to see new release films in the Region? If Kerasotes can destroy all the small theatres in an area, they can achieve a monopoly on movie showings and that's bad for the community as well as the area's economy.
Originally published in The Chronicle in December 2006 as Jade Lee Culberson.
Society hooked on celebrities' addictions
I don't understand why our society is obsessed with celebrities who spend most of their time and money destroying themselves.
While perusing the news online this week, I've seen several versions of the recent "Lindsay Lohan checked herself into rehab" story, which include rumors that she received an intervention from movie executives and her mother's statement that she is very proud of her daughter for seeking help. Since all Lohan seems to have said publicly about the issue is that she would like to be given privacy and she's enjoying this season of "American Idol," I don't understand why she's making headlines.
Britney Spears' career was recently helped by her filing for divorce and then flashing her privates. Since when is this more useful to a star's career than actually making an album or film? We've always enjoyed watching celebrity scandal, but now it seems that society prefers self-destruction to juicy rumors.
So-called "reality TV" now includes VH1's "Shooting Sizemore," in which it seems, so far, the viewer is forced to watch Tom Sizemore rant about how his acting was better when he was doing crystal methamphetamine and how he has no confidence in himself sober.
What is so interesting about a celebrity who claims he/she is miserable and addicted to drugs and/or alcohol because of the "burden" of fame and fortune? If fame and wealth are so difficult to deal with, why not just give it up? Maybe get an education and get a real job?
Celebrities have gotten themselves addicted to drugs and alcohol for as many years as celebrity status has existed - why are we still so interested? My suggestion - skip the article about what Lohan wore to rehab and read about politics or (imagine this) a book.
Originally published in The Chronicle in January 2007 as Jade Lee Culberson.
While perusing the news online this week, I've seen several versions of the recent "Lindsay Lohan checked herself into rehab" story, which include rumors that she received an intervention from movie executives and her mother's statement that she is very proud of her daughter for seeking help. Since all Lohan seems to have said publicly about the issue is that she would like to be given privacy and she's enjoying this season of "American Idol," I don't understand why she's making headlines.
Britney Spears' career was recently helped by her filing for divorce and then flashing her privates. Since when is this more useful to a star's career than actually making an album or film? We've always enjoyed watching celebrity scandal, but now it seems that society prefers self-destruction to juicy rumors.
So-called "reality TV" now includes VH1's "Shooting Sizemore," in which it seems, so far, the viewer is forced to watch Tom Sizemore rant about how his acting was better when he was doing crystal methamphetamine and how he has no confidence in himself sober.
What is so interesting about a celebrity who claims he/she is miserable and addicted to drugs and/or alcohol because of the "burden" of fame and fortune? If fame and wealth are so difficult to deal with, why not just give it up? Maybe get an education and get a real job?
Celebrities have gotten themselves addicted to drugs and alcohol for as many years as celebrity status has existed - why are we still so interested? My suggestion - skip the article about what Lohan wore to rehab and read about politics or (imagine this) a book.
Originally published in The Chronicle in January 2007 as Jade Lee Culberson.
Don't spend much on a ride with "The Hitcher"
While not as innovative or gritty as the 1986 original, Dave Meyers' "The Hitcher" is one of the better horror film remakes in recent years. Written by Jake Wade Wall and Eric Bernt, and based on Eric Red's original screenplay, this version of "The Hitcher" adds a new character - our hero, Jim (Zachary Knighton), has a girlfriend, Grace (Sophia Bush).
The film begins with Jim and Grace driving to their spring break destination - and with Grace changing clothes in the car. Before the "cute college couple" can bore audiences to death, however, they are nearly killed by John Ryder (Sean Bean), a hitchhiker they reluctantly pick up in the rain. Since they are in the middle of nowhere and have lost their cell phones (of course) in the struggle with Ryder, their only option is to keep driving to seek assistance. This leads to a series of misadventures in which they discover Ryder is far from done with them and that small-town authorities are extremely suspicious of young strangers.
Meyers' keeps "The Hitcher" suspenseful. The film lacks depth and good acting, but succeeds at keeping the audience in suspense between sessions of death and torture. Knighton is a poor replacement for 1986's C. Thomas Howell and Bush's performance leaves a lot to be desired though her character's concept does not (she manages to approach, if not achieve, empowerment). Bean's performance pales in comparison to Rutger Hauer's in the original, but is respectable nonetheless.
The standout performance of the film goes to Neal McDonough as Lieutenant Esteridge, a hardworking but understanding police officer. Though the soundtrack is fairly predictable but effective, Nine Inch Nails' "Closer" playing loudly during a chase scene captures the urgency and brutality well, and other songs follow suit - capturing feeling and lacking originality, much like the film.
Rated R for profanity and graphic violence, "The Hitcher" is not for the squeamish. There is plenty of blood and gore, but at least no cheesy CGI special effects. "The Hitcher" is definitely not worth the cost of an evening showing at the movie theatre. However, especially for those who have not seen the original, it might be worth a matinee.
Originally published in The Chronicle in January 2007 as Jade Lee Culberson.
The film begins with Jim and Grace driving to their spring break destination - and with Grace changing clothes in the car. Before the "cute college couple" can bore audiences to death, however, they are nearly killed by John Ryder (Sean Bean), a hitchhiker they reluctantly pick up in the rain. Since they are in the middle of nowhere and have lost their cell phones (of course) in the struggle with Ryder, their only option is to keep driving to seek assistance. This leads to a series of misadventures in which they discover Ryder is far from done with them and that small-town authorities are extremely suspicious of young strangers.
Meyers' keeps "The Hitcher" suspenseful. The film lacks depth and good acting, but succeeds at keeping the audience in suspense between sessions of death and torture. Knighton is a poor replacement for 1986's C. Thomas Howell and Bush's performance leaves a lot to be desired though her character's concept does not (she manages to approach, if not achieve, empowerment). Bean's performance pales in comparison to Rutger Hauer's in the original, but is respectable nonetheless.
The standout performance of the film goes to Neal McDonough as Lieutenant Esteridge, a hardworking but understanding police officer. Though the soundtrack is fairly predictable but effective, Nine Inch Nails' "Closer" playing loudly during a chase scene captures the urgency and brutality well, and other songs follow suit - capturing feeling and lacking originality, much like the film.
Rated R for profanity and graphic violence, "The Hitcher" is not for the squeamish. There is plenty of blood and gore, but at least no cheesy CGI special effects. "The Hitcher" is definitely not worth the cost of an evening showing at the movie theatre. However, especially for those who have not seen the original, it might be worth a matinee.
Originally published in The Chronicle in January 2007 as Jade Lee Culberson.
Creative Comics makes it personal
Many local card and comic shops in the area offer quality merchandise, but none offer the personal attention customers receive at Creative Comics in Griffith.
Owner James R. Rhone sells comic books, graphic novels, role-playing books, dice, card games and materials for preserving cards and comics. Creative Comics also carries figurines, tee-shirts and other related merchandise.
Rhone opened Creative Comics in May 2003. He taught comic book art for 10 years prior to opening the shop and used the Griffith store as a place to give lessons in addition to selling merchandise. Now taught by Rhone's friend, comic art lessons for all ages are on Tuesday nights from 4 p.m. to 6 p.m. Rhone said owning a comic shop was something he always wanted to do.
"It's more of a hobby than a money-maker. I still keep my full-time job. I like coming here - it's not like a job," Rhone said.
For those who buy comics regularly, the shop offers a subscription service. Those who subscribe to between 1-29 comic books receive 10 percent off each new book and 20 percent off back issues. Anyone who subscribes to 30 or more comic books will receive 13 percent off new issues and 25 percent off back issues.
The shop has a slightly out-of-the-way Griffith location with hard access during peak traffic times, but is worth the effort to reach because it provides a comfortable environment for all interested in comics and gaming.
Crystal Kolasa, a freshman majoring in hospitality/tourism management, enjoys browsing at Creative Comics because of the pleasant environment. Kolasa added that she has - as most women who enjoy comics and/or gaming have - looked for comic shops where female customers are treated the same as male customers, not leered at or ignored.
With no employees, Rhone relies on help from friends who can help out with the shop occasionally so he can spend some time with his family. Rhone gets to know his customers individually.
"I like to make it more personal," Rhone said. "You get to hear everyone's story; you get to know people. "I've made a lot of friends through the shop."
Brian J. Lynch, a Hammond resident, visits Creative Comics weekly and subscribes to approximately 20 comic books a month.
"It's not the largest shop I've ever been in, and sometimes I have to dig through boxes to find what I'm looking for, but there's always a hidden gem to be found," Lynch said. "I've been reading comics since I was 8 years old, so I've been in quite a few shops - and I have to say, Jim's is hands-down the friendliest and most comfortable,"
Between people perusing the large selection of comics and the crowded tables of gamers, the small shop is often abuzz.
Creative Comics is host to weekly games of HeroClicks, Pirates, Magic: The Gathering, Yu-gi-oh, and the Legend of the Five Rings. The games are open to everyone and generally have players ranging in age from 9 years old to 45 years old, according to Rhone.
Those interested in learning about game tournaments, tournament prizes, special events, and the upcoming week's comic book release list should visit Creative Comics at 216 E. Main St. in Griffith or call 924-1600.
Originally published in The Chronicle in February 2007 as Jade Lee Culberson.
This week's movie review -- 'Black Snake Moan'
"Black Snake Moan" slithers into your head and the characters curl around your heart in a film that combines fantastic acting and a powerful story of caring. Writer and director Craig Brewer delivers the tale of Rae (Christina Ricci), a neurotic nymphomaniac and Lazarus (Samuel L. Jackson), a retired bluesman turned farmer who is unlucky enough to feel inclined to tame her.
After Rae's boyfriend (played by Justin Timberlake, whose terrible acting doesn't ruin the film because he's in very little of it) gets shipped off to military training, she just can't help but begin having sex with other men. After a night of wild partying that ends badly, Rae is dumped half-naked by the side of the road - bruised, beaten and ill. Lazarus finds her and decides what she needs is some old-fashioned patience, rest and understanding.
Believing divine intervention led her to his path, Lazarus is determined to save Rae from herself - even once that means chaining her to the radiator to keep her from running off to get her much-needed fix. Lazarus confronts his own demons, as he was just left by his wife. He also tries to teach Rae how to respect herself. The chemistry between Jackson and Ricci is amazing. It's clear Lazarus wants to save Rae from her lust-driven ways just as much as she doesn't believe she'll ever be able to harness her urges. Ricci is sexy, dirty and primal in this film - and yet her character remains sympathetic.
The movie also focuses on racial issues. Lazarus is concerned about reporting the situation because of racial implications. "I've been toe to toe with the law just for being black and nearby," he says - capturing the look and sound of the Deep South. Lazarus becomes inclined to dig out his old guitar in an attempt to soothe the beast within Rae. Jackson belts out soulful blues like he's been doing it all his life. The song "Black Snake Moan," set against a nighttime thunderstorm, is nothing less than chilling.
With the exception of Timberlake's character, all of the characters seem very real and are easy to feel for. S. Epatha Merkerson plays a kind-hearted pharmacist with an eye on Lazarus and John Cothran Jr. is terrific as the Reverend. "Black Snake Moan" is filled with profanity and overt (sometimes violent) sex scenes. This is not a movie for children and young teens - who probably wouldn't really get it anyway, so they aren't missing anything - but carries more positive message than offensiveness for mature viewers.
Originally published in The Chronicle in March 2007 as Jade Lee Culberson
After Rae's boyfriend (played by Justin Timberlake, whose terrible acting doesn't ruin the film because he's in very little of it) gets shipped off to military training, she just can't help but begin having sex with other men. After a night of wild partying that ends badly, Rae is dumped half-naked by the side of the road - bruised, beaten and ill. Lazarus finds her and decides what she needs is some old-fashioned patience, rest and understanding.
Believing divine intervention led her to his path, Lazarus is determined to save Rae from herself - even once that means chaining her to the radiator to keep her from running off to get her much-needed fix. Lazarus confronts his own demons, as he was just left by his wife. He also tries to teach Rae how to respect herself. The chemistry between Jackson and Ricci is amazing. It's clear Lazarus wants to save Rae from her lust-driven ways just as much as she doesn't believe she'll ever be able to harness her urges. Ricci is sexy, dirty and primal in this film - and yet her character remains sympathetic.
The movie also focuses on racial issues. Lazarus is concerned about reporting the situation because of racial implications. "I've been toe to toe with the law just for being black and nearby," he says - capturing the look and sound of the Deep South. Lazarus becomes inclined to dig out his old guitar in an attempt to soothe the beast within Rae. Jackson belts out soulful blues like he's been doing it all his life. The song "Black Snake Moan," set against a nighttime thunderstorm, is nothing less than chilling.
With the exception of Timberlake's character, all of the characters seem very real and are easy to feel for. S. Epatha Merkerson plays a kind-hearted pharmacist with an eye on Lazarus and John Cothran Jr. is terrific as the Reverend. "Black Snake Moan" is filled with profanity and overt (sometimes violent) sex scenes. This is not a movie for children and young teens - who probably wouldn't really get it anyway, so they aren't missing anything - but carries more positive message than offensiveness for mature viewers.
Originally published in The Chronicle in March 2007 as Jade Lee Culberson
Overpricd books for sale, but no newspapers
Aside from grabbing a copy of The Chronicle on my way in to CLO at the beginning of each week, I get most of my news online - either from a news site or an online newspaper. There are, however, occasions when I actually want a print newspaper so that I can keep a copy of an article, picture or announcement.
The Calumet Campus Shop used to carry newspapers. I remember buying occasional copies of The Times there a few years ago, especially in the days when I did not have reliable transportation to leave campus if I needed to make a purchase. Admittedly, it's been a few years since I went looking for a newspaper on campus but I was recently horrified to learn the bookstore no longer sells newspapers. I thought perhaps Outtakes (the new convenience store) was selling them instead - after all, the bookstore no longer carries candy, either. But, no, a woman working at Outtakes told me they do not sell newspapers and recommended I check the bookstore.
I'm concerned. I have a car and can simply leave campus if I need to buy a newspaper. But what about students for whom mid-day transportation is not so readily available - those who carpool, are dropped off at school by a friend or relative or who live in the University Village and do not have a car. Sure, the library has newspapers, but, again, that provides an opportunity for a copy and not a clip from a real newspaper.
And, need aside, what about want? What about students (or faculty) who would simply like to be able to purchase an occasional newspaper to read over lunch or outside between classes when the weather is pleasant? Even in our fast-paced, technologically-driven society, some things should not change. Please, bring back our (print) newspapers.
Originally published in The Chronicle in March 2007 as Jade Lee Culberson
The Calumet Campus Shop used to carry newspapers. I remember buying occasional copies of The Times there a few years ago, especially in the days when I did not have reliable transportation to leave campus if I needed to make a purchase. Admittedly, it's been a few years since I went looking for a newspaper on campus but I was recently horrified to learn the bookstore no longer sells newspapers. I thought perhaps Outtakes (the new convenience store) was selling them instead - after all, the bookstore no longer carries candy, either. But, no, a woman working at Outtakes told me they do not sell newspapers and recommended I check the bookstore.
I'm concerned. I have a car and can simply leave campus if I need to buy a newspaper. But what about students for whom mid-day transportation is not so readily available - those who carpool, are dropped off at school by a friend or relative or who live in the University Village and do not have a car. Sure, the library has newspapers, but, again, that provides an opportunity for a copy and not a clip from a real newspaper.
And, need aside, what about want? What about students (or faculty) who would simply like to be able to purchase an occasional newspaper to read over lunch or outside between classes when the weather is pleasant? Even in our fast-paced, technologically-driven society, some things should not change. Please, bring back our (print) newspapers.
Originally published in The Chronicle in March 2007 as Jade Lee Culberson
'23' adds up to failure
"The Number 23" has the premise of a great film - too bad it suffers and dies from bad acting.
Screenwriter Fernley Phillips crafts a masterful tale of intrigue and suspense. Jim Carrey plays Walter Sparrow, a mild-mannered dogcatcher. His luck changes for the worse after being bit by a dog on his birthday, which makes him late for his evening plans. On that night, his wife, Agatha (Virginia Madsen), buys him a book called "The Number 23." As Walter reads - and fixates on - the book, we watch through his eyes as the narrator, Fingerling (in a duel role by Carrey), enjoys the company of a kinky woman named Fabrizia (in a duel role by Madsen) and learns of the curse associated with the number 23 from a sexy young woman referred to as the Suicide Blond (Lynn Collins).
Cinematographer Matthew Libatique's work is extraordinary. The tale within the tale unfolds in a noir-soaked sequence showcasing Libatique's genius, along with that of director Joel Schumacher. Schumacher is outstanding in blending reality and imagination in what could have been the best suspense thriller of the year, had Carrey been capable of portraying a frightening character. He pulled off a serious role in "Eternal Sunshine of the Spotless Mind," but serious and subdued may be far enough away from his usual for him to succeed by maintaining total opposition to his usual actor-self. In "The Number 23," his exaggerated facial expressions, meant to convey mental distress, cross the border into comical too many times. Madsen has the opposite problem - she has so little affect that it's hard to believe his kind, caring wife is disturbed at all by Walter's obsession.
There may be a real fixation with 23 among conspiracy theorists, but I was so disappointed in the acting that I left the film sans inspiration to brood over the math connecting the Oklahoma City bombing, Hiroshima and the September 11, 2001 attacks to the number's supposed curse I enjoyed the surprising ending but it wasn't worth watching 95 minutes of poor acting. "The Number 23" certainly isn't worthy of seeing in the theatre, but might be worth a two or three dollar rental for the cinematography alone.
Originally published in The Chronicle in March 2007 as Jade Lee Culberson
Screenwriter Fernley Phillips crafts a masterful tale of intrigue and suspense. Jim Carrey plays Walter Sparrow, a mild-mannered dogcatcher. His luck changes for the worse after being bit by a dog on his birthday, which makes him late for his evening plans. On that night, his wife, Agatha (Virginia Madsen), buys him a book called "The Number 23." As Walter reads - and fixates on - the book, we watch through his eyes as the narrator, Fingerling (in a duel role by Carrey), enjoys the company of a kinky woman named Fabrizia (in a duel role by Madsen) and learns of the curse associated with the number 23 from a sexy young woman referred to as the Suicide Blond (Lynn Collins).
Cinematographer Matthew Libatique's work is extraordinary. The tale within the tale unfolds in a noir-soaked sequence showcasing Libatique's genius, along with that of director Joel Schumacher. Schumacher is outstanding in blending reality and imagination in what could have been the best suspense thriller of the year, had Carrey been capable of portraying a frightening character. He pulled off a serious role in "Eternal Sunshine of the Spotless Mind," but serious and subdued may be far enough away from his usual for him to succeed by maintaining total opposition to his usual actor-self. In "The Number 23," his exaggerated facial expressions, meant to convey mental distress, cross the border into comical too many times. Madsen has the opposite problem - she has so little affect that it's hard to believe his kind, caring wife is disturbed at all by Walter's obsession.
There may be a real fixation with 23 among conspiracy theorists, but I was so disappointed in the acting that I left the film sans inspiration to brood over the math connecting the Oklahoma City bombing, Hiroshima and the September 11, 2001 attacks to the number's supposed curse I enjoyed the surprising ending but it wasn't worth watching 95 minutes of poor acting. "The Number 23" certainly isn't worthy of seeing in the theatre, but might be worth a two or three dollar rental for the cinematography alone.
Originally published in The Chronicle in March 2007 as Jade Lee Culberson
Small venues make for better concerts
I went to see the Pogues perform at the Congress Theatre on March 6. They were fantastic - it's great to see lead singer Shane MacGowan back with the band. The Pogues have a fantastic stage presence and seem to enjoy performing - they performed three encores.
But I think one of the best parts of the event was the location. The Congress Theatre is fairly small and is comprised mostly of a general admission area great for pushing your way toward the stage. With our general admission tickets, we were able to get close enough to the front to read MacGowan's champagne bottle.
Rather than having to either park miles away and then hike to the venue or pay a small fortune to use a parking garage or valet service, we enjoyed the ample street parking (well, as close to ample parking as Chicago ever has) close to the Congress.
I know Chicago is in the process of implementing a fascist anti-smoking policy but this area of the city seemed yet untouched by the breach of civil rights. It was such a relief to enjoy a cigarette in the lobby of the theatre after purchasing a drink from one of the many well-stocked bar stands throughout the establishment.
After not being able to find the merchandise table at the last concert I attended, I was very relieved that the Pogues merchandise was easy to find (and even more pleased that it was plentiful, with a good variety at decent prices).
Had I seen the Pogues at a larger venue, I don't think I would have enjoyed the experience as much. After this show, I'm done with fancy concert halls and I can't imagine going to an arena concert.
Good things may come in small packages and the best concert experiences certainly take place in small venues.
Originally published in The Chronicle in March 2007 as Jade Lee Culberson
This week's DVD review -- Return of the Living Dead: Rave to the Grave
And the worst DVD release of 2007 is director Ellory Elkayem's "Return of the Living Dead: Rave to the Grave." It may only be April, but it's not too early to say nothing could beat this terrible trifecta of cheesy dialogue, over-the-top stupidity and bad acting to ruin anyone's appetite for film like the fifth installment in the "Return of the Living Dead" series.
The original "Return of the Living Dead" (1985) was deliciously sarcastic, dripping with gore, and crammed full of new, brain-chewing talking zombies. Even "Return of the Living Dead III" (1993) brought us further innovation - a "Romeo and Juliet" style romance between a young man and his recently deceased (and reanimated) girlfriend.
But apparently the series has run out of steam - though, apparently, not zombie-producing Trioxin.
"Return of the Living Dead: Necropolis" (part 4) premiered on the Sci-Fi channel at the same time as "Rave to the Grave" in 2005, and was released to DVD a year earlier. I thought since the films were made so close together, the one failing they would not suffer is continuity - but I was wrong.
"Return of the Living Dead: Rave to the Grave" opens to find Becky (Aimee-Lynn Chadwick), Julian (John Keefe) and Cody (Cory Hardrict) away at college, seemingly oblivious to their near-death (and undeath) experiences the previous year in "Necropolis."
Instead, the only mention of any previous problems are unspecific mentions of government connections to Julian's uncle's recent murder and the mysterious canisters - of (what else could it be but) Trioxin - in his family's attic.
Julian drags the canister into a campus science lab for Cody to analyze in the middle of the night. Instead, Cody uses it to produce "Z" - a party drug that produces hallucinations so powerful that "you just stand there, like a zombie" - for an upcoming Halloween rave.
DJ Jeremy (Cain Manoli) and drug-dealer Skeet (Catalin Paraschiv) begin selling the green capsules around campus, assuring that what Jeremy touts as the "rave to the grave" certainly will be (or, more aptly, the "rave ending in a brain-chewing frenzy").
Whether it was a failed joke or the result of someone letting an elementary school student help with the plot, the worst moment of "Rave to the Grave" was a decayed, Trioxin-dripping zombie attempting to hitchhike in broad daylight and no one noticing (or, at least, reacting) to its presence.
I can think of few fates worse than becoming a brain-craving zombie - having to watch "Rave to the Grave" is one of them.
Originally published in The Chronicle in April 2007 as Jade Lee Culberson
Bye bye to the Buffy I knew
Many of us who obsessively watched "Buffy the Vampire Slayer" mourned the loss of this show after season seven, realizing "Buffy" was truly gone from television forever - less, of course, cold comfort from reruns. We watched (in the last episode) as a school bus drove characters - some familiar and dear, others newer and less connected - away from the large hole where Sunnydale was, and they took with them a little piece of our hearts.
I cried. I mourned the loss of a show I'd watched since high school, feeling a connection with Buffy (the character), who was then my age. I wondered briefly if we'd see a return for season eight - maybe even on a new channel - but realized that I'd never again tune in to see a new episode. I'm sure I'm not the only one who was saddened by this fact.
When I recently learned that Joss Whedon would be bringing us season eight after all - in comic book form - I was excited. I was ready to find out what Buffy, Willow, and Xander were up to. And, of course, I wondered what life after Sunnydale was like for Dawn as she worked through her complicated adolescence. I wanted to know more about the reference near the end of the series "Angel" in which we hear that Buffy is dating The Immortal. I was even curious as to how all those new Slayers were balancing their previous lives with their new Slayer duties.
I made a special trip to Creative Comics in Griffith to pick up the first issue of "Buffy the Vampire Slayer," season 8. When I got home, I devoured the issue with high hopes.
When I put the issue down, it was with disappointment. The "Buffy" world, once so small and intimate now feels too vast. The first issue alone dealt with space travel, cloning, and the army. This larger world feels filled more with "clever science" than emotion.
I'll keep reading and hoping the first issue was meant as a catch-up issue - that the intimacy will return and the feeling from the show will come through the pages of upcoming issues.
Originally published in The Chronicle in April 2007 as Jade Lee Culberson
"The Lookout" demands notice, despite flaws
"The Lookout" succeeds on the surface - it's a thriller actually delivering clever character-driven interaction. Unfortunately, the devil's in the details - and that's where this film leaves something to be desired.
"I wake up. I take a shower … with soap. I look outside to see what to wear." This is what Chris Pratt's (Joseph Gordon-Levitt) life has been reduced to four years after a prom night car wreck ruined his hockey-playing ability and, more importantly, his promising future.
In his post-head-injury life, he shares an apartment with seasoned and savvy Lewis (the delightfully adept Jeff Daniels), a sarcastic blind man who tries to protect Chris from a world he has more than a little trouble grasping. Chris can't remember to turn off a light without reading a note that reminds him to, functions by following a strict regimen of repetition, and offends most strangers by blurting out every thought in his head.
However, Chris has found successful - if unrewarding - employment as a night janitor in a small bank. After long nights at his lonely, thankless job, Chris stops in for a (non-alcoholic) drink at a local bar - which is where, one unfortunate night, he's sought out by shady former classmate Gary (Matthew Goode, dripping with sleaziness), who sees a chance to cash in Chris' mental disability.
Gary lures Chris into his criminal crowd with the promise of friendships, fun, and the sexual attention of Luvlee Lemons (Isla Fisher) - a stripper-turned-secretary. But it doesn't take long for Gary to reveal his plan - he intends to rob the bank Chris works at, and he expects Chris to help.
Writer-director Scott Frank keeps us far enough from "Memento" to feel the newness of this film - and Gordon-Levitt, who has grown up a lot since his days on "3rd Rock From the Sun," manages to show us a boiling pot of teenage rebellion mixed with innocence and never err on the side of predictable.
But I have to ask - if Chris can't tell his garlic press from a can opener, how is he capable of driving a car? If Chris can barely remember to lock his apartment door, how can he be trusted to work nights alone at a bank? And if Chris knows alcohol is bad for his broken brain (and because of this, never imbibes), why does he allow Gary to ply him with liquor at a house party?
Rated R for language, some violence, and sexual content "The Lookout" achieves intensity that almost makes it a magnificent film. If you can keep from analyzing the film too much and just enjoy the ride, "The Lookout" provides suspense, drama, and several excellent performances.
Originally published in The Chronicle in April 2007 as Jade Lee Culberson
'Disturbia' is no classic, but no failure either
Director D. J. Caruso's "Disturbia" is one of those films I wanted to hate - but I couldn't.
Screenwriters Christopher Landon and Carl Ellsworth have taken the premise of Alfred Hitchcock's suspense-filled classic "Rear Window" (1954) and updated it for a teenage, technology-obsessed audience. What "Disturbia" lacks in depth, it surprisingly nearly makes up for with fantastic timing and truly gripping suspense.
Kale (Shia LaBeouf) has been getting into trouble for the past year, ever since his father passed away in a nasty car wreck. When Kale goes too far and punches his Spanish teacher (Rene Rivera), he is sentenced to house arrest - complete with an ankle monitor - for summer vacation.
This doesn't seem too daunting until his mother (Carrie-Anne Moss) cuts off access to his X-Box live and iTunes, as well as the cable in his bedroom. Without these distractions, he becomes horribly bored - shown in a sequence backed by the appropriately placed System of a Down's "Lonely Day" - and tries to find some form of entertainment.
So, he looks out the window and his new hobby is born. He watches his new neighbors - especially their sexy teenage daughter, Ashley (Sarah Roemer). He also spies on a group of unruly pre-teens and Mr. Turner (David Morse), who oozes creepy vibes as he compulsively mows his lawn.
Whether due to cabin fever or a nose for detective work, Kale theorizes that Mr. Turner's car looks a bit like one that had been seen in connection with a local disappearance. Suddenly, house arrest is more like a game of "stake-out," in which his buddy Ronnie (Aaron Yoo) and Ashley - who, after realizing Kale was watching her, seems unrealistically comfortable with his voyeurism - sit around Kale's room and use surveillance equipment (supposedly, courtesy of some quirky relative of Ronnie's) to spy on Mr. Turner.
No one could accuse the characters in "Disturbia" of being multi-layered, but that doesn't make them boring. And with such shallow characters, the acting can't be bad. Moss' mom-on-her-last nerve and Morse's creepy-loner are the film's best performances.
Rated PG-13 for sequences of terror and violence, and some sensuality, "Disturbia" will do best as a date movie for teens, but it's certainly rent-worthy on merit of suspense alone.
Those who haven't seen "Rear Window" will probably enjoy "Disturbia" more without the comparisons - but since it borrows the concept without trying to remake the film, "Disturbia" manages to be much better than it should be.
Originally published in The Chronicle in April 2007 as Jade Lee Culberson
Diners - the new endangered species
When I think about Round the Clock restaurant in Highland, I remember nights of catching up with old friends over coffee, evenings of dinner and studying with classmates during finals, and the last stop near sunrise after a long Saturday night out. I'm sure I'm not alone in this recollection-on many visits there I'd look around and see high school and college students from all social cliques at tables or booths chatting for hours.
I noticed that Round the Clock in Highland was remodeling, but I was unconcerned. Even when they shut down completely for a short time, I attributed it to dust and hoped they'd reopen soon-though I have little time this semester for long coffee-soaked conversations, I still enjoy popping in for a bowl of lemon rice soup to go.
The day after they reopened, I dropped in for just that-and I was horrified to see the changes the restaurant has undergone. The diner atmosphere has disappeared, and both the interior and exterior are covered in kitschy décor that seems to be reminiscent of "home cooking" but really just does a bad imitation of what Cracker Barrel specializes in.
The restaurant is now completely non-smoking, as well-fine for the health-conscious, but bad for the smokers who once migrated there for late night coffee and conversation. I can't help but think the owners must be consciously making the environment unfriendly for the young crowds who once made up much of their nightly business.
And Round the Clock it is not, anymore-the 24-hour business now closes at midnight during the week. This change is another reason I believe much of their previous customer base are now unwelcome.
Looking online, I found the Schererville location has also been remodeled-and the Merrillville location, for which there are no pictures, is also listed as having a "new look inside." I think their changes are a mistake, and I won't be patronizing their business anymore.
I hope others will do the same in avoiding Round the Clock's new atmosphere, and supporting actual diners instead - after all, the Denny's in Merrillville/Hobart (on Route 30, near the Radisson, on the way to the mall) is still 24 hours.
Originally published in The Chronicle in April 2007 as Jade Lee Culberson.
British screenwriters hit a home run with 'Hot Fuzz'
What writers' Edgar Wright and Simon Pegg "Shaun of the Dead" (2004) did for horror films, "Hot Fuzz" does for action movies.
Outrageously funny and jam-packed with excitement, "Hot Fuzz" is much less a parody of action films and far more an homage.
Nicholas Angel (Pegg) is a good cop with one major flaw - the inability to stop working. Promoted by the London Police to Sergeant and transferred to Sandford (the safest place in England, and consistent winner of Village of the Year) so he'll stop making his squad look bad with his remarkable arrest record, Angel is beyond disappointed with his relocation.
While staying in Sandford's quaint hotel - reminiscent of something out of John Carpenter's "In the Mouth of Madness" (1995) - Angel quickly finds everyone knows everyone in a village that seems perfect.
After arresting a would-be drunk driver his first night in town, Angel is horrified to learn the man is not only his new partner, Police Constable Danny Butterman (Nick Frost), but the son of Chief Inspector Butterman (Jim Broadbent).
Things quickly go from bad to worse for Angel when he realizes some of the local accidents (of which there are many) may actually be murder, a theory outright mocked by the other officers and the community at large.
And the community at large is rather unique. Angel works with two useless detectives - both called Andrew (Paddy Considine and Rafe Spall) - as well as the village's only police woman, Doris (Olivia Colman), who claims to have been "around the station a couple times."
Local pub owners, the Coopers (Eric Mason and Billie Whitelaw) obsess over an error in the newspaper listing Mrs. Cooper as two years older than her age. Spelling-impaired newsman Timothy Messenger (Adam Buxton) is more interested in fluff pieces than investigative reporting. The neighborhood grocer, Simon Skinner (former James Bond, Timothy Dalton), is a "slaughter of prices" as well as a theatre snob. And everyone worries when a local swan escapes.
"Hot Fuzz" is buddy film, an action movie, and an uproarious comedy rollercoaster that unrolls one twist after another.
Rated R for violent content including some graphic images, and language, "Hot Fuzz" is a clever and exhilarating all-round good time for the grown-ups.
Published in The Chronicle in April 2007 as Jade Lee Culberson
Musical delight 'Grease' offers spring entertainment
Director David Perkovich and musical director Malcolm Ruhl bring the 1950s to life with the lively musical "Grease" at Theatre at the Center in Munster.
Mousy Sandy (played by the lovely Meg Miller) and bad-boy Danny (well performed by Brandon Koller) come from very different social groups but find themselves attracted to each other after.
As Sandy tries to fit in with The Pink Ladies, a group of girls who put fun before high school in their senior year, Danny struggles with his identity as a leader of the Burger Palace Boys (a watered down version of the film's T-Birds) and his attempts to keep Sandy's attention - even while accidentally attracting the too-bubbly cheerleader Patty Simcox (delightfully over-the-top Lara Mainard).
The group sings and dances their way through difficult life choices. Pink Lady Frenchy (played by the extremely excited Dina DiCostanzo) considers whether to finish high school with her friends or go to beauty school. And Kenickie (Richard Strimer, who looks and acts the part perfectly) tries to make a used car into a dream machine worthy of the name Greased Lightening. Unfortunately, we're denied the interesting movie sub-plot of Kenickie's race at Thunder Road.
This version of "Grease" seems to rely a bit more on the book by Jim Jacobs and Warren Casey, which includes more focus on the other boys. Doody (Patrick John Moran, who should consider a long career in musical theatre) performs songs for his friends, including a cleverly comedic rendition of "Those Magic Changes." Rodger (portrayed well by Mik Dempsey) and Jan (Shelly Koop, an energetic songstress) find unlikely romance via a new song called - for two reasons - "Mooning."
Choreographer Stacey Flaster and scenic designer Robert Andrew Kovach have created a non-stop masterpiece of dazzling dance among realistic, though minimal, scenery. Costumes designed by Janice Pytel and managed by Paula Consdorf capture the 1950s perfectly, especially Kenickie's rebel garb and Patty Simcox's preppie attire.
Though departing a bit from the well-known film version, Perkovich's "Grease" includes one exciting song after another. Old favorites - including "Summer Nights," "Beauty School Dropout," and "We Go Together" - remind us that this is still a story we know and love - even if the story has changed a bit this time around.
Published in The Chronicle in May 2007, as Jade Lee Culberson.
'Hello, Dolly!' shows audience energy
Director William Pullinsi's "Hello, Dolly!" - appearing at Theatre at the Center - provides energetic enchantment for theater enthusiasts this fall. Set in 1890s New York, this production stars the exuberant Paula Scrofano as Mrs. Dolly Gallagher Levi, a matchmaker among other vocations, and best known as a professional meddler - who also happens to be a widow.
Dolly's current task is helping an unemployed artist, Ambrose Kemper (Jon Cunningham), marry overly emotional Ermengarde (lovely Audrey Billings), the niece of a half-millionaire proprietor in Yonkers, Horace Vandergelder (John Reeger, a natural in the role). Vandergelder, a widower, is not ready for his niece to get married, not only because he is protective of the young woman, but because he would then be left without a woman around the house.
Since he realizes her marriage is inevitable - though he has forbade Ambrose - he is seeking a new wife for himself. In "It Takes a Woman" - one of many delightfully sung and brilliantly choreographed numbers throughout the performance - Vandergelder reminds audiences what a wife was important for in the 1890s, use as a housekeeper.
Vandergelder is not only strict with his family, but also with his employees. Head clerk Cornelius (Ed Kross) and helper Barnaby (Zach Zube, who excels at mousy) never have an evening off - and thusly make plans to take advantage of Vandergelder's trip to New York City to visit and likely propose to Irene Molloy (played by the delightful Cory Goodrich), by planning a trip of their own.
Dolly has other plans for Vandergelder that does not include Irene, but provides a chance at ending her professional meddling days by matching herself to the half-millionaire. As Dolly escorts Ermengarde and Ambrose into the City, while Vandergelder heads off to see Irene, Cornelius and Barnaby are also on their adventure. Kross shows off his immense vocal talent in "Put on Your Sunday Clothes," in which the two young men declare they won't leave New York City "until we've kissed a girl." The New York adventure is sometimes funny, sometimes heartwarming and always amusing.
Even those who find the premise a bit old-fashioned and corny may pleasure in the sheer aesthetic of the play - the ensemble is remarkable with perfect vocal harmony and flawless timing in the complicated dance numbers. William A. Underwood conducts a magnificent orchestra. The minimal setting is maximized by perfect prop selections by Valerian Bajak. The costumes, provided by Costume World Theatrical and supervised by Paula Consdorf, are timely, lovely and vibrantly charming. There is also a brief but intense strobe light sequence during the performance.
"Hello, Dolly!" runs through Oct. 21. Performances are held Wednesdays at 2 p.m., Thursdays at 2 p.m., Fridays at 2 p.m. and 8 p.m., Saturdays at 8 p.m. and Sundays at 2:30 p.m., along with a few additional showings. Ticket prices vary from $36 to $39, depending on the day and time, and can be purchased in person, by calling the box office at 219.836.3255 or online at theatreatthecenter.com.
Originally published in The Chronicle in September 2007.
Dolly's current task is helping an unemployed artist, Ambrose Kemper (Jon Cunningham), marry overly emotional Ermengarde (lovely Audrey Billings), the niece of a half-millionaire proprietor in Yonkers, Horace Vandergelder (John Reeger, a natural in the role). Vandergelder, a widower, is not ready for his niece to get married, not only because he is protective of the young woman, but because he would then be left without a woman around the house.
Since he realizes her marriage is inevitable - though he has forbade Ambrose - he is seeking a new wife for himself. In "It Takes a Woman" - one of many delightfully sung and brilliantly choreographed numbers throughout the performance - Vandergelder reminds audiences what a wife was important for in the 1890s, use as a housekeeper.
Vandergelder is not only strict with his family, but also with his employees. Head clerk Cornelius (Ed Kross) and helper Barnaby (Zach Zube, who excels at mousy) never have an evening off - and thusly make plans to take advantage of Vandergelder's trip to New York City to visit and likely propose to Irene Molloy (played by the delightful Cory Goodrich), by planning a trip of their own.
Dolly has other plans for Vandergelder that does not include Irene, but provides a chance at ending her professional meddling days by matching herself to the half-millionaire. As Dolly escorts Ermengarde and Ambrose into the City, while Vandergelder heads off to see Irene, Cornelius and Barnaby are also on their adventure. Kross shows off his immense vocal talent in "Put on Your Sunday Clothes," in which the two young men declare they won't leave New York City "until we've kissed a girl." The New York adventure is sometimes funny, sometimes heartwarming and always amusing.
Even those who find the premise a bit old-fashioned and corny may pleasure in the sheer aesthetic of the play - the ensemble is remarkable with perfect vocal harmony and flawless timing in the complicated dance numbers. William A. Underwood conducts a magnificent orchestra. The minimal setting is maximized by perfect prop selections by Valerian Bajak. The costumes, provided by Costume World Theatrical and supervised by Paula Consdorf, are timely, lovely and vibrantly charming. There is also a brief but intense strobe light sequence during the performance.
"Hello, Dolly!" runs through Oct. 21. Performances are held Wednesdays at 2 p.m., Thursdays at 2 p.m., Fridays at 2 p.m. and 8 p.m., Saturdays at 8 p.m. and Sundays at 2:30 p.m., along with a few additional showings. Ticket prices vary from $36 to $39, depending on the day and time, and can be purchased in person, by calling the box office at 219.836.3255 or online at theatreatthecenter.com.
Originally published in The Chronicle in September 2007.
Wizard World Chicago
Entering Wizard World is like stepping into a sprawling city. Comic book enthusiasts, video gamers and self-proclaimed nerds find themselves at home during this yearly event - Wizard World Chicago, held at the Rosemont Convention Center. This year's event, held from Aug. 9-12, was host to countless celebrity appearances, product premieres, vendors selling everything from clothing to Japanese toys to DVDs and, of course, comic books of all genres.
Video gamers could hang out at the Sony PlayStation area where attendees sampled PlayStation 3, PlayStation 2 and PlayStation Portable games. Participants of all ages (and skill levels) stopped by for the "SingStar Pop," a PS2 karaoke game, competition. Prizes were awarded several times a day, and the competition stage was surrounded by waiting competitors and curious onlookers from open to close all three days. Andy Denst, a sophomore majoring in computer graphics design, took a break from perusing comics on Friday to join in the competition during his fifth consecutive year attending Wizard World.. "It's my vacation," he said.
For video gamers looking to preview new games, a stop by the "Bioshock" booth yielded a look at the survival game for X-Box 360 and Windows which was released Aug. 21. "Bioshock" producer Anthony DeLuca defined the game as "a mix of first-person shooter action and story." Wizard World was the public premiere of "Bioshock."
"People are enjoying the game, it makes [the effort] worth it," said DeLuca. According to DeLuca, the game is fun because of the story and the accessibility for the player. "You have choices, [the game is] concentrated on using your environment to your advantage," DeLuca explained.
Ashley Kroc, a senior majoring in psychology, worked at the "Bioshock" booth during the convention. Kroc said her first impression of "Bioshock" was positive. Kroc recommends the game to "people who have an appreciation for the supernatural. [In the game] you can make bees come out of your veins."
While Wizard World is host to the premiere of many products and comic books, many who attend the convention seek old, unique and/or collectable comic books. Vendors from around the country sell individual issues, collections and bound collections (known as trade paperbacks) at the convention. Denst explained he enjoys his yearly visit to Wizard World because he can shop around the vendors to get good deals on comic books and related items. "This year, mostly I've been looking for collections," he said.
Large companies, such as Marvel and DC, have booths with their writers, artists and products, but Wizard World is also hosted to many other comic book publishers. Deeper inside the "city," smaller up-and-coming publishers were represented as well. Small press Legion Studios sold copies of the newest issue of "Queen of Sin," published Aug. 7, as well as their older books and a special convention edition called "Warring With Wolves."
Scott C. Guffey, a graduate student in English, is the managing editor of Legion Studios. After attending Wizard World for years as a participant, Guffey attended this year as an exhibitor for the second time. Writing comic books is Guffey's passion. "I returned to college so I could improve my ability to write so I could go back to doing comics," he said.
The main character in "Queen of Sin" is modeled after the historical and mythological character Lilith. "We've retold her origin and given the story of where she is today," said Guffrey. In addition to the historical and mythological aspect of Lilith, Guffey explained the importance of the psychological premise in which Lilith is part of every woman, rebelling against submission and craving power. Guffey said Legion Studios plans to continue the "Queen of Sin" book, begin a new series called "Sadistic Stories of Suburbia" (by Nov./Dec. 2007), and publish Part 3 of the "Book of Legion" trilogy (in early 2008). Legion Studios will also be at Wizard World in June 2008, said Guffey.
Rosemont Convention Center has been host to Chicago's Wizard World in August for the past few years, but the convention is scheduled earlier next summer, with preview night on June 26 and the convention running from June 27-29. Robert Felton, Vice-President/Associate Publisher of Wizard Entertainment, said the convention - established in 1997 -originally started in an earlier time slot.
According to Felton, the convention will return to an earlier spot because exhibitors requested space between other shows. The new dates are already planned for the next five years. With the convention earlier in the summer - and further from the start of the semester for students - Felton recommends a first time or return visit. "There's so much to do. It's worth the trip; you can't possibly see everything in one day," he said.
For attendees seeking amusement other than comic books and video games, there are many activities. The Wizard booth hosted the Wizard Wheel of Doom, a trivia challenge where participants could choose a category, receive a question and - if their answer was correct - spin the wheel for a prize. Participants who answered a question wrong were faced with a physical challenge followed by their chance to spin.
Attendees were able to meet and receive autographs from celebrities including Tricia Helfer ("Battlestar Galactica"), Lou Ferrigno (TV's original "Incredible Hulk") and Michael Madsen ("Kill Bill" and "Sin City"). From the premiere of the Marvel stamps by the U.S. Postal Service to talent searches for new writers and artists to Wizard School - hour-long educational sessions on how to write, illustrate, color and pitch comics - the weekend offered a myriad of comic book related activities.
While fans were busy seeking out collectibles, aspiring writers and artists were able to learn about the trade and network. Art devotees strolled through Artists Alley for a peek at the wares of artists from around the country -and sometimes around the globe - often purchasing prints or commissions (personalized pieces). Whether you're looking to buy, look, learn or play, mark your calendars for next summer's Wizard World Chicago.
Originally published in The Chronicle in August 2007.
Video gamers could hang out at the Sony PlayStation area where attendees sampled PlayStation 3, PlayStation 2 and PlayStation Portable games. Participants of all ages (and skill levels) stopped by for the "SingStar Pop," a PS2 karaoke game, competition. Prizes were awarded several times a day, and the competition stage was surrounded by waiting competitors and curious onlookers from open to close all three days. Andy Denst, a sophomore majoring in computer graphics design, took a break from perusing comics on Friday to join in the competition during his fifth consecutive year attending Wizard World.. "It's my vacation," he said.
For video gamers looking to preview new games, a stop by the "Bioshock" booth yielded a look at the survival game for X-Box 360 and Windows which was released Aug. 21. "Bioshock" producer Anthony DeLuca defined the game as "a mix of first-person shooter action and story." Wizard World was the public premiere of "Bioshock."
"People are enjoying the game, it makes [the effort] worth it," said DeLuca. According to DeLuca, the game is fun because of the story and the accessibility for the player. "You have choices, [the game is] concentrated on using your environment to your advantage," DeLuca explained.
Ashley Kroc, a senior majoring in psychology, worked at the "Bioshock" booth during the convention. Kroc said her first impression of "Bioshock" was positive. Kroc recommends the game to "people who have an appreciation for the supernatural. [In the game] you can make bees come out of your veins."
While Wizard World is host to the premiere of many products and comic books, many who attend the convention seek old, unique and/or collectable comic books. Vendors from around the country sell individual issues, collections and bound collections (known as trade paperbacks) at the convention. Denst explained he enjoys his yearly visit to Wizard World because he can shop around the vendors to get good deals on comic books and related items. "This year, mostly I've been looking for collections," he said.
Large companies, such as Marvel and DC, have booths with their writers, artists and products, but Wizard World is also hosted to many other comic book publishers. Deeper inside the "city," smaller up-and-coming publishers were represented as well. Small press Legion Studios sold copies of the newest issue of "Queen of Sin," published Aug. 7, as well as their older books and a special convention edition called "Warring With Wolves."
Scott C. Guffey, a graduate student in English, is the managing editor of Legion Studios. After attending Wizard World for years as a participant, Guffey attended this year as an exhibitor for the second time. Writing comic books is Guffey's passion. "I returned to college so I could improve my ability to write so I could go back to doing comics," he said.
The main character in "Queen of Sin" is modeled after the historical and mythological character Lilith. "We've retold her origin and given the story of where she is today," said Guffrey. In addition to the historical and mythological aspect of Lilith, Guffey explained the importance of the psychological premise in which Lilith is part of every woman, rebelling against submission and craving power. Guffey said Legion Studios plans to continue the "Queen of Sin" book, begin a new series called "Sadistic Stories of Suburbia" (by Nov./Dec. 2007), and publish Part 3 of the "Book of Legion" trilogy (in early 2008). Legion Studios will also be at Wizard World in June 2008, said Guffey.
Rosemont Convention Center has been host to Chicago's Wizard World in August for the past few years, but the convention is scheduled earlier next summer, with preview night on June 26 and the convention running from June 27-29. Robert Felton, Vice-President/Associate Publisher of Wizard Entertainment, said the convention - established in 1997 -originally started in an earlier time slot.
According to Felton, the convention will return to an earlier spot because exhibitors requested space between other shows. The new dates are already planned for the next five years. With the convention earlier in the summer - and further from the start of the semester for students - Felton recommends a first time or return visit. "There's so much to do. It's worth the trip; you can't possibly see everything in one day," he said.
For attendees seeking amusement other than comic books and video games, there are many activities. The Wizard booth hosted the Wizard Wheel of Doom, a trivia challenge where participants could choose a category, receive a question and - if their answer was correct - spin the wheel for a prize. Participants who answered a question wrong were faced with a physical challenge followed by their chance to spin.
Attendees were able to meet and receive autographs from celebrities including Tricia Helfer ("Battlestar Galactica"), Lou Ferrigno (TV's original "Incredible Hulk") and Michael Madsen ("Kill Bill" and "Sin City"). From the premiere of the Marvel stamps by the U.S. Postal Service to talent searches for new writers and artists to Wizard School - hour-long educational sessions on how to write, illustrate, color and pitch comics - the weekend offered a myriad of comic book related activities.
While fans were busy seeking out collectibles, aspiring writers and artists were able to learn about the trade and network. Art devotees strolled through Artists Alley for a peek at the wares of artists from around the country -and sometimes around the globe - often purchasing prints or commissions (personalized pieces). Whether you're looking to buy, look, learn or play, mark your calendars for next summer's Wizard World Chicago.
Originally published in The Chronicle in August 2007.
Wii adventures
My husband and I just bought a Wii, a compact yet stylish Nintendo next-gen video game system with most games requiring you to wave the controller (that looks like a remote control) around like a monkey flinging bananas.
After missing the pre-orders, we wandered into Target the other night and happened on to a whole pile of Wiis just waiting for purchase. This was far more exciting to him than to me - we also have an X-Box 360, which not only has better graphics and a superior roster of games, but also a controller you can use like a civilized human being.
It turns out the Wii is far more player-friendly than it looks. The controller is fairly easy to use except when games purposely complicate it (such as in "WarioWare Smooth Moves," where you have to do everything from dancing while spanking yourself with the controller to holding it to your face like an elephant's trunk). "Wii Sports" is my new guilty pleasure. How else can you (physically) play tennis, baseball, golf and bowling in your bedroom - alone or with friends - at 2 a.m. without waking your neighbors?
And the Wii is cute - not just because the actual console is tiny and somewhat reminiscent of a wireless router, but because you can design an avatar for game play called your Mii. You can make your Mii actually look like yourself - or have fun creating goofy-looking (or spoofy-looking, with caricatures of celebs) Miis to play with.
The Wii may not have as many titles as the other next-gen systems, but there is plenty of downloadable content in the way of older Nintendo games (which you can purchase with Wii Points). Still, the Wii is not without its major titles - and I look forward to the Wii's take on the "Resident Evil" franchise in October. I'm not saying I'll ever give up my X-Box 360, but I can enjoy a game of tennis or bowling, then check the weather (in Hammond, California or Guam, for that matter), which is at least as amusing as convenient.
Originally published in The Chronicle in September 2007.
After missing the pre-orders, we wandered into Target the other night and happened on to a whole pile of Wiis just waiting for purchase. This was far more exciting to him than to me - we also have an X-Box 360, which not only has better graphics and a superior roster of games, but also a controller you can use like a civilized human being.
It turns out the Wii is far more player-friendly than it looks. The controller is fairly easy to use except when games purposely complicate it (such as in "WarioWare Smooth Moves," where you have to do everything from dancing while spanking yourself with the controller to holding it to your face like an elephant's trunk). "Wii Sports" is my new guilty pleasure. How else can you (physically) play tennis, baseball, golf and bowling in your bedroom - alone or with friends - at 2 a.m. without waking your neighbors?
And the Wii is cute - not just because the actual console is tiny and somewhat reminiscent of a wireless router, but because you can design an avatar for game play called your Mii. You can make your Mii actually look like yourself - or have fun creating goofy-looking (or spoofy-looking, with caricatures of celebs) Miis to play with.
The Wii may not have as many titles as the other next-gen systems, but there is plenty of downloadable content in the way of older Nintendo games (which you can purchase with Wii Points). Still, the Wii is not without its major titles - and I look forward to the Wii's take on the "Resident Evil" franchise in October. I'm not saying I'll ever give up my X-Box 360, but I can enjoy a game of tennis or bowling, then check the weather (in Hammond, California or Guam, for that matter), which is at least as amusing as convenient.
Originally published in The Chronicle in September 2007.
'Halloween' starts strong, loses momentum
"Halloween" (1978) was a horror classic by the legendary John Carpenter staring Jaime Lee Curtis as the innocent but resourceful Laurie Strode, sister of masked murderer Michael Myers. There have been a whole host of sequels, some clever in their own right and some absolutely ridiculous. It was both disappointing and angering that a new one was created - there are some films that can never be recaptured or modernized successfully. As most other horror fans would agree,"Halloween" is one of those films. But if any young writer/director knows 1970s horror, it's Rob Zombie.
Unfortunately, Zombie seems to have trouble doing anything inventive with modern horror. Zombie's "Halloween" opens with a look at the environment in which a murder is made. Sherrie Moon Zombie (Baby in Zombie's "House of 1000 Corpses" and "The Devil's Rejects") plays Michael's clueless mother - a stripper with no parenting skills but a fair amount of love for her twisted son.
While the character concept is interesting - after all, there was never any information about Michael's parents in the original - her flat acting turns what could have been a beautifully sad role into a caricature somewhat reminiscent of a less homicidal version of Baby, 10 years later. Michael's step-dad, Ronnie (William Forsythe), is an abusive jerk. His older sister, Judith (Hanna Hall), is neglectful of her younger brother and - like the rest of the family - missing all the signs that something is terribly wrong with young Michael.
The beginning, still set in the 1970s and punctuated by a clever soundtrack (Blue Oyster Cult's "Don't Fear the Reaper" has rarely been used better), is what we expect and love from Zombie. It's violent, but menacingly and interestingly so, and intelligent. The cinematography by Phil Parmet is remarkable (throughout the entire film) - choppy, out of focus shots during highly violent scenes heighten the experience, like seeing the images through crazed eyes. The plot from the original remains - Michael kills most of his family on Halloween night and is placed in an institution where he is analyzed by Dr. Loomis (played more sympathetically by Malcolm McDowell).
Once the "15 Years Later" hits the screen, everything goes down hill. The plot becomes formulaic, the killings are predictable and fairly unimaginative and the setting is far more 2007 than the 1990s. Scout Taylor-Compton is no Jaime Lee Curtis - she spends far more time screaming than thinking. Her friends Annie (Danielle Harris) and Lynda (Kristina Klebe) are so oversexed, inappropriately vulgar and annoying that it's nearly impossible to care what's coming to them. A brilliant beginning makes the film worth watching, but "Halloween" certainly leaves something to be desired.
Originally published in The Chronicle in September 2007.
Unfortunately, Zombie seems to have trouble doing anything inventive with modern horror. Zombie's "Halloween" opens with a look at the environment in which a murder is made. Sherrie Moon Zombie (Baby in Zombie's "House of 1000 Corpses" and "The Devil's Rejects") plays Michael's clueless mother - a stripper with no parenting skills but a fair amount of love for her twisted son.
While the character concept is interesting - after all, there was never any information about Michael's parents in the original - her flat acting turns what could have been a beautifully sad role into a caricature somewhat reminiscent of a less homicidal version of Baby, 10 years later. Michael's step-dad, Ronnie (William Forsythe), is an abusive jerk. His older sister, Judith (Hanna Hall), is neglectful of her younger brother and - like the rest of the family - missing all the signs that something is terribly wrong with young Michael.
The beginning, still set in the 1970s and punctuated by a clever soundtrack (Blue Oyster Cult's "Don't Fear the Reaper" has rarely been used better), is what we expect and love from Zombie. It's violent, but menacingly and interestingly so, and intelligent. The cinematography by Phil Parmet is remarkable (throughout the entire film) - choppy, out of focus shots during highly violent scenes heighten the experience, like seeing the images through crazed eyes. The plot from the original remains - Michael kills most of his family on Halloween night and is placed in an institution where he is analyzed by Dr. Loomis (played more sympathetically by Malcolm McDowell).
Once the "15 Years Later" hits the screen, everything goes down hill. The plot becomes formulaic, the killings are predictable and fairly unimaginative and the setting is far more 2007 than the 1990s. Scout Taylor-Compton is no Jaime Lee Curtis - she spends far more time screaming than thinking. Her friends Annie (Danielle Harris) and Lynda (Kristina Klebe) are so oversexed, inappropriately vulgar and annoying that it's nearly impossible to care what's coming to them. A brilliant beginning makes the film worth watching, but "Halloween" certainly leaves something to be desired.
Originally published in The Chronicle in September 2007.
Y comic books are more than just fluff
I've been reading an interesting story about survival and love, a tale that uses an abstract concept to illustrate the importance of perspective. This story is epic in length, well over 1,000 pages, yet absolutely captivating.
"Y the Last Man," the tale of a young man named Yorick who is searching for his fiancé in a post-apocalyptic world, is written by Brian K. Vaughan. "Y the Last Man" is also a comic book. It has substance, addresses issue of philosophy and contains fantastic art. When I started reading comic books (unlike most comic book enthusiasts, I didn't start reading them until college), I imagined most comics were focused on superheroes. However, after reading many series - distributed by various publishers, written by a myriad of authors and covering many genres - I realized, to my happy surprise, that I was wrong.
I've been avidly reading comic books and graphic novels for many years now. I look forward to regular trips to the comic shop - my husband and I frequent Creative Comics in Griffith - to pick up some of our monthly subscriptions (we're up to approximately 30 titles). For me, comic books are a form of entertainment. But, in my graduate research, I've discovered that comic books, graphic novels and even comic strips can be educational tools as well. These things can help students (elementary through high school students as well as college and non-traditional scholars) who are reluctant or remedial readers, or who have English as a Second or Other Language (ESL) concerns, gain context for language.
Many great pieces of literature - including Kafka's "The Metamorphosis," a shortened version of Melville's "Moby Dick," and several Edgar Allen Poe tales - have been translated into graphic novel form. But for those who prefer tales of history, political intrigue, science fiction or actual science, there are comic books/graphic novels for you as well.
I really believe that people - even fairly hard-to-please individuals - willing to spend a bit of time looking at various books will find a genre, author and/or series they enjoy. So, for those of you who have never picked up a comic book - or whose former collection is collecting dust in your basement between high school year books and posters of 80s bands - I suggest stopping by a local comic book shop and perusing the selection. Who knows, maybe next year I'll see you at Wizard World Chicago.
Originally published in The Chronicle in September 2007.
"Y the Last Man," the tale of a young man named Yorick who is searching for his fiancé in a post-apocalyptic world, is written by Brian K. Vaughan. "Y the Last Man" is also a comic book. It has substance, addresses issue of philosophy and contains fantastic art. When I started reading comic books (unlike most comic book enthusiasts, I didn't start reading them until college), I imagined most comics were focused on superheroes. However, after reading many series - distributed by various publishers, written by a myriad of authors and covering many genres - I realized, to my happy surprise, that I was wrong.
I've been avidly reading comic books and graphic novels for many years now. I look forward to regular trips to the comic shop - my husband and I frequent Creative Comics in Griffith - to pick up some of our monthly subscriptions (we're up to approximately 30 titles). For me, comic books are a form of entertainment. But, in my graduate research, I've discovered that comic books, graphic novels and even comic strips can be educational tools as well. These things can help students (elementary through high school students as well as college and non-traditional scholars) who are reluctant or remedial readers, or who have English as a Second or Other Language (ESL) concerns, gain context for language.
Many great pieces of literature - including Kafka's "The Metamorphosis," a shortened version of Melville's "Moby Dick," and several Edgar Allen Poe tales - have been translated into graphic novel form. But for those who prefer tales of history, political intrigue, science fiction or actual science, there are comic books/graphic novels for you as well.
I really believe that people - even fairly hard-to-please individuals - willing to spend a bit of time looking at various books will find a genre, author and/or series they enjoy. So, for those of you who have never picked up a comic book - or whose former collection is collecting dust in your basement between high school year books and posters of 80s bands - I suggest stopping by a local comic book shop and perusing the selection. Who knows, maybe next year I'll see you at Wizard World Chicago.
Originally published in The Chronicle in September 2007.
Take a walk down 'Crooked Little Vein'
Warren Ellis' "Crooked Little Vein" is a warped little walk in the shoes of private Dick Michael McGill, a man for whom without bad luck he'd know no luck at all.
Twisted tales are no stretch for Ellis - known by most for his work on graphic novels "Transmetropolitan," "Planetary" and "Nextwave." His newest comic book, "Doktor Sleepless" (published by Avatar Press) is a science fiction story of a discontented future. In his first novel, Ellis proves that his crazy creations only get better as they get longer. "Crooked Little Vein" is deliciously disturbing all the way through.
Ellis wastes no time with pleasantries before greeting the detective with a visit from the chief of staff - a heroin-addicted man with a mission to find the political Holy Grail. According to the chief of staff, there is an alternate Constitution - a presidential book of secrets that forces those nearby to read the text and obey the message. This book, which he claims can restore America's morality, is missing. If McGill can find and return the book he'll receive a payment beyond his wildest dreams. In the meantime, he has the chief of staff looking over his shoulder.
Finding a book sounds easy - even a rare antique shouldn't be too hard to find when you have leads. But this is no ordinary book. McGill suddenly finds himself in a world of underground depravity that make even his strangest days past look like Disney films.
First, he finds a link to a branch of the porn industry involving large lizard (Godzilla-type creature) enthusiasts. There he meets Trix - who is not actually a large lizard enthusiast, but a student writing her thesis on extreme self-inflicted human experiences - a sexy and lustful young woman who agrees to work as McGill's assistant while he looks for the book. Things just get weirder from there.
During whirlwind travels that begin with a group of men who enjoy injecting salt water into their nether-regions, and then a beef and bull soaked trip through Texas, McGill and Trix discover they've only reached the tip of the conspiracy theory iceberg. Ellis jabs at American politics - not with a knife but a broad sword - cutting social commentary without losing the wit, intrigue and shock soaked through the heart of the novel.
Not for general consumption, "Crooked Little Vein," will offend many and cause projectile vomiting in the faint of heart (and right-wing conservatives). But for those who want to join Ellis on this perilous journey, the reward is great.
Originally published in The Chronicle in September 2007.
Twisted tales are no stretch for Ellis - known by most for his work on graphic novels "Transmetropolitan," "Planetary" and "Nextwave." His newest comic book, "Doktor Sleepless" (published by Avatar Press) is a science fiction story of a discontented future. In his first novel, Ellis proves that his crazy creations only get better as they get longer. "Crooked Little Vein" is deliciously disturbing all the way through.
Ellis wastes no time with pleasantries before greeting the detective with a visit from the chief of staff - a heroin-addicted man with a mission to find the political Holy Grail. According to the chief of staff, there is an alternate Constitution - a presidential book of secrets that forces those nearby to read the text and obey the message. This book, which he claims can restore America's morality, is missing. If McGill can find and return the book he'll receive a payment beyond his wildest dreams. In the meantime, he has the chief of staff looking over his shoulder.
Finding a book sounds easy - even a rare antique shouldn't be too hard to find when you have leads. But this is no ordinary book. McGill suddenly finds himself in a world of underground depravity that make even his strangest days past look like Disney films.
First, he finds a link to a branch of the porn industry involving large lizard (Godzilla-type creature) enthusiasts. There he meets Trix - who is not actually a large lizard enthusiast, but a student writing her thesis on extreme self-inflicted human experiences - a sexy and lustful young woman who agrees to work as McGill's assistant while he looks for the book. Things just get weirder from there.
During whirlwind travels that begin with a group of men who enjoy injecting salt water into their nether-regions, and then a beef and bull soaked trip through Texas, McGill and Trix discover they've only reached the tip of the conspiracy theory iceberg. Ellis jabs at American politics - not with a knife but a broad sword - cutting social commentary without losing the wit, intrigue and shock soaked through the heart of the novel.
Not for general consumption, "Crooked Little Vein," will offend many and cause projectile vomiting in the faint of heart (and right-wing conservatives). But for those who want to join Ellis on this perilous journey, the reward is great.
Originally published in The Chronicle in September 2007.
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