Latest entries in Arts & Entertainment
A run down of on and off campus arts and entertainment news.
Feb. 12, 2012
H. Ray Sigler comes to MU for book signing of Tyrone Dust'
Author H. Ray Sigler “Tyrone Dust: A Saga of the West Plains to Rolla Road” signed copies of his debut novel on Wed., Feb. 1 at the MU bookstore.
The novel, released in Aug. 2009, follows character Earl Sigler in his pursuit of his love, Eva, during the Great Depression. Throughout this journey he must combat the haunting visions of his parents’ deaths and battle through Eva’s parents’ disapproval of their relationship.
“Tyrone Dust” is Sigler’s first book. As Sigler was describing his reasoning behind writing the book, he said he received encouragement from his older brother who told him, “You’re a story teller, you write it.”
Sigler grew up in southern Missouri and came back to his home state for his book signing tour.
“I decided to take a visit to the University of Missouri because of its renowned journalism school,” Sigler said.
Sigler lives in Illinois with his wife but, when asked how it felt to be back home in Missouri, he remarked, “I am always at home in Missouri. I may live in Illinois but my heart will always be in Missouri.”
There was a down side though.
“Parking at Mizzou is a nightmare for a 75-year-old with bad knees. I would have enjoyed motoring around the central campus but life's not easy these days,” Sigler said.
Even after battling the parking at MU, Sigler still sat with a smile on his face in the entrance of the bookstore.
Feb. 6, 2012
"Modern Family" - 5 out of 5 stars
The setting was beautiful, out of a romantic film that Cameron (Eric Stonestreet) would have loved, but would make the more stern Mitchell (Jesse Tyler Ferguson) would have scream. The wedding had all white accessories, with the ring bearers and flower girls twirling around innocently. One special girl believed it would be good to show her appreciation by unleashing one word so foul (its four letters and rhymes with suck) that her two daddies baulked and the audience watching laughed so hard it begged for a fourth and hopefully fifth season.
It is those kind of “Oh God! They did that! And it’s not from 30 Rock!” moments that make "Modern Family" one of the most watched and award winning comedies on TV. Winner of multiple awards, including the Emmy and Golden Globes for Best Comedic Series, the mockumentary style farce details three sets of families going through everyday life with a smile, a frown and, in Phil Dunphy’s (Ty Burrell) case, mad masseuse skills. The premise has been done before, but never with this style, flair or all out enjoyment for the actors and audience involved.
The third season brings more of the same from the show in the form of family trips, humorous conversations–occasionally in Spanish– and lessons in life. This is a good step for the series because it shows their seriousness in between making others laugh. It feels as if the writers realized that they have an open forum to: 1) make people laugh and 2) send a message to inspire others, which explains why there are more life lessons and kind-hearted family conversations this time around. This doesn’t mean that the show still can’t get raunchy, which explains Lilly’s little slip up in the recent episode, which led into arguably the season’s kind-hearted life lesson. The comedy also shows that some adults just don’t grow up, which is highlighted when Cameron and Gloria (Sofia Vergara) get into a screaming match with a little girl over a dog. Most shows fall apart when trying to juggle too many elements at once, but only when they’re not as confident in their abilities or as smart with their solutions to the problem as “Modern Family” is.
The reason for the show’s success is not only accounted for by the writers, but the pure chemistry of the cast. From the first scene in the pilot episode, it was evident the actors had a true rapport with one another. This development was nothing short of astounding, given the fact that many actors seem to clam up when working with someone strikingly different from them in their personal lives. Let’s face it, in the entertainment industry, people are miscast as much as they are typecast, so to see the closeness that Cameron and Mitchell and Gloria and Jay (Ed O’Neill) have is remarkable given, again, the distinct differences (Stonestreet is “openly straight” and Vergara is well…fabulous).
Overall, the show may get a little too maudlin in their sentiments, but with a brass and hilarious take on families, “Modern Family” just can’t be beat. That doesn’t mean their cars can’t take the brunt though, courtesy of lovely watermelon.
Feb. 5, 2012
"Desperate Housewives" series - 4 out of 5 stars
It all started and possibly will end with a seemingly perfect woman’s secrets being unfolded for the world to see. "Desperate Housewives," the groundbreaking and, many times, delightfully feisty soap opera is ending its eight-season run later this summer. The show will be leaving us with much to think about, and maybe someone else other than Mary Alice (Brenda Strong) to mourn.
The season starts with the women reeling from the death of Gabrielle Solis’ (Eva Longoria) abusive stepfather and their subsequent reactions. The show immediately goes back to when Mary Alice and her husband Paul decide to kill and bury their son Zach’s birth mother. Some might say recycling that pattern is an act of desperation on the part of the "Housewives" writing team, but I say there is no issue in revisiting some storylines if the results are scary, interesting and deliciously catty at the same time. When people begin to suspect foul play, some of the ladies show more maturity than they ever have, specifically Susan (Teri Hatcher), while others fall into old habits (and possibly many men) like the gradually unstable Bree (Marcia Cross).
Beginning with the first scene of the season premiere, the energy of the season has easily surpassed the past three seasons. I always felt the writers continued to obsess over being as good as the now iconic first season of the show. The other seasons failed to impress because of lagging stories and non-endearing characters that made the show feel reductive. Those factors eventually created repeats of what had been done, but not in a fresh or innovative way. No one wants to see tired, redundant stories and people who went out of style like Chuck Taylors or Lindsay Lohan. People simply want to be entertained and provided something fresh and energetic, especially with the level of rapport the ladies now have with one another.
Another positive is the reappearance of the men this season. I exclaimed a resounding "YES!" when Mike Defino (James Denton) finally gets involved in something besides doting over MJ, when his storyline coincides with Susan’s. Tom Scavo (Doug Savant) also gets more screen time and more time to show off his serious side, something desperately needed for the guy because throughout the series, he was seen as, if not more oblivious to the events at Wisteria Lane as Mike. Tom and Lynette’s (Felicity Huffman) divorce goes smoothly until information about Tom’s new girlfriend turns the proceedings into a torrent of insults, stalking and humorous one-liners that are a reminder of when Lynette was actually fun to watch.
A negative for the show is surprisingly not its storyline, but the presence of Renee Perry (Vanessa Williams). As much as I love Williams as an actress and singer, this addition felt wrong from the beginning and showed in these past season. Her storylines are often too basic, too long and are slowly ruining the final season of what is still America’s guiltiest and, let’s face it, bitchiest pleasure.
"Revenge" - 4.5 out of 5 stars
It has been said that the best type of revenge is served cold. However, the person who said that simply didn’t have the means to have that revenge served on a warm china plate by the finest gourmet chef available, like the folks in the Hamptons do in the saucy and spicy soap opera “Revenge.”
The plot is simple -for a soap opera- in that it is about a woman from a disgraced family that once dominated the Hamptons social scene. She now wants payback from those who took her father down. Emily Clarke, played with conviction and not so subtle bitchiness by Emily Van Camp, will stop at nothing until the Grayson clan is taken down. The family is led by Victoria Grayson, the sultry and devious matriarch played with even stronger conviction by the luminous Madeleine Stowe.
The real strength in this series lies with the performances. The acting is superb, especially by Van Camp and Stowe, whose subtle barbs thrown at one another harks back to older times, when being a bitch was simply not about sleeping with the first person you see in return for a ticket to the Missouri-Kansas game. When you were deemed a bitch, it was about playing and dominating the game and letting others do your bidding while looking fabulous at the same time. Throughout the first season Emily employs old friends, new friends from prison and even Victoria’s own son to intentionally, and unintentionally at times, make life very hard for Madame Grayson.
For all of her wickedly shrewd tactics, Victoria is a human being and a victim. While she is manipulative, life teaches us that when someone has to react so irrationally to even the smallest infractions by their peers something is not right with her family or herself. While this season thus far doesn’t fully uncover why she acts the way she does, hints of a former relationship with Emily’s now deceased father which may have produced a son, along with another well-kept secret hints there may be a method to her madness.
Scenery chewing aside, as far as plot and locations go, “Revenge” treads very familiar water. From the setting of scenes to the plot twists including abortion, friends sleeping with other friends’ husbands and even the psychotic -and possibly same sex oriented- family acquaintance, the series sometimes feels like a rushed series that ABC forgot was still on the air from 1983.
Even then, anyone who has the cajones to send someone else in their place as a puppet to manipulate their next victim is someone who obviously learned from the best, and had the writers of their show watch copious amounts of “One Life to Live.” While it is a familiar concept and brings nothing new to the table as far as originality goes, “Revenge” more than makes up for that with its spectacular performances and mile-a-minute pacing, leaving everyone in a drunk -and possibly poisoned- haze.
Dec. 1, 2011
Florence and the Machine: ‘Ceremonials’— 4.5 out of 5 stars
Since the release of their debut album Lungs, Florence Welch and her talented band have captivated listeners with unique melodies and one of the most beautiful voices in the industry. And while most bands face a sophomore slump, Florence and the Machine’s new album, Ceremonials, continues the group’s success with a grand, elaborately produced product that is sure to please fans.
The opening song, “Only If For A Night,” begins with Welch’s powerful voice and a pounding piano—it’s mesmerizing, like in a church ceremony (hence the title of the album.) From there, the album continues to build and create an almost grandiose arrangement of music.
From songs like “Never Let Me Go” and “Lover To Lover,” the number of instruments involved in each song is incredible; you can hear horns, pianos, percussion and bells, harps, strings and, of course, the multiple vocal tracks. The use of these instruments complements the “ceremonial” theme perfectly. In the final song of the album, “Bedroom Hymns,” the opening percussion has an almost tribal-like feel and is a refreshing break from popular music. It seemingly combines modern day song motifs with more traditional sounding riffs.
The only criticism that can be said about this album is the production value is so ornate it can seem too impersonal and overdone. Fortunately, that does not change the fact that this album is a success in its own right. The music and the vocals complement each other very well, and even though the music is not quite as raw as it used to be, that simply means Florence and the Machine is evolving as a group of talented, groundbreaking musicians.
Ceremonials is a solid second step in Florence ¬and the Machine’s development as a group. This album demonstrates growth while still solidifying their unique general style, which is what musicians should strive to accomplish when releasing new music. Florence Welch continues to amaze with her distinctive voice and range, and the band’s ability to accompany her voice effectively is definitely something worth praising.
Nov. 28, 2011
The Beach Boys: 'Smile' – 5 out of 5 stars
There is not much debate that The Beach Boys created some of pop’s greatest and most influential works. From the oceanic vibes of “Surfin’ Safari," to the harmonizing vocals of “I Get Around," The Beach Boys modeled a form of music which got them hundreds of hits: sing about girls, the hip kids, and summer vibes. However, one of the greatest Beach Boys’s works came when they broke this simple model, but not without a wait.
Intended to be the follow up to the classic Pet Sounds, recording for the album SMiLE began in May of 1966. Described by Brian Wilson, leader of the Beach Boys, as a “teenage symphony to God," the album never truly saw a release until 38 years later when Wilson re-recorded the album as Brian Wilson presents SMiLE in 2004, which only featured some of the tracks that were supposed to be included on the original version of SMiLE. Fast forward seven years, and we have the release of The SMiLE Sessions Box Set. This box set of five CDs, two LPs, two 45 RPM singles, and a 60 page booklet pieces the original album together completely for the first time.
The songwriting and instrumentation on the album is undeniably forward thinking. From the Hawaiian tribal chants on “Do you like Worms (Roll Plymouth Rock)," to the sounds of drills on “I wanna be Around/Workshop," the album not only shows The Beach Boys at their most experimental stage of their career, but also at their best sounding. The album even shares many parallels with The Beatles' Sergeant Pepper’s Lonely Hearts Club Band in terms of its orchestration, and can even be looked as a precursor to the Beatles’ classic album.
The extras held in this box set piece the story of SMiLE together. The LPs hold most of the takes that were used to construct this album. One of the LPs has over 30 takes of sessions from recordings of “Heroes and Villains." For any Beach Boys fan, these recordings are not only enjoyable to listen to, but put you right in the shoes of the Wilson's while they recorded.
But the best part of this entire release is finally being able to hear SMiLE the way it was intended to be heard. While most of the songs on this album eventually made it onto other Beach Boys releases, never have they been put together in a release structured exactly the way it was meant to be. It took 45 years for the album to finally be released in its original form, but every waking second proves that it was worth it.
Nov. 16, 2011
'Melancholia' – 4 out of 5 stars
It all starts with a non-descript rumble that shakes the tiniest of objects. Many can’t understand why this is happening, but none are in tune with their emotions like Justine (Kirsten Dunst) is. Soon the rumbles get louder, deeper and stronger. The world is collapsing and Justine’s tears are the only indication that something is going terribly wrong in Lars Van Trier’s latest apocalyptic feature “Melancholia.”
The highlight of “Melancholia” is Dunst’s strikingly sad performance as Justine, who seemingly leads a perfect life until she gets wind of a planet that shares the same name as the title. All the events that lead to Justine’s sadness, such as her wedding and her husband (Alexander Skarsgard) leaving her that same day, strangely make her closer to the disaster that is heading in Earth’s direction. Dunst truly opened herself to the material and was truly believable as the sorrowful woman with truly nothing to lose. She connects with the viewers because without doubt there have been people who have felt that there is no way out of this sadness besides planet Earth being destroyed.
Van Trier’s track record in film is quite interesting. His films are not terrible, but difficult to understand even in their most comprehensible moments. He tends to go into these very sad directions that directly correlate to his real-life issues – Van Trier has battled depression for many years. When he can connect those emotions into his writing and directing, he turns out a strong feature with strong performances from his actors who seem to get into the material as convincingly as Van Trier has written it.
The scenes are in a beautiful composition, showcasing the progression of Earth’s demise along with Justine’s emotional valleys and peaks. The lights shine upon whomever appears in a scene, as if Van Trier is foreshadowing the lack of a light and a future around the end of the film. In true Van Trier style, the film at times takes a plodding pace and can drag along but picks up in a moment’s notice and does not feel disjointed, as this is a film exploring various moods.
“Melancholia” suffers from overly long scenes and, at times, too many ideas, but delivers on the strength of Dunst’s performance and a special feature– a Lars Van Trier film with true emotion until the very end.
'Jack and Jill' – 0 out of 5 stars
There are rare times in films when not only do you feel physically ill, but you also feel as if the world is tumbling down because you sat through so much epic failure. This feeling is exactly what Adam Sandler’s latest disappointing feature “Jack and Jill” induces.
There is no doubt that Adam Sandler is a great talent and a comedic legend along the fold of Eddie Murphy, George Carlin and Richard Pryor. His outlandish, crazy and stupidly endearing characters have become stuff of comedic lore over the past 20 years. This is why his fans deserve more than his lazy and totally disengaging portrayal of fraternal twins Jack and Jill Sadelstein.
The main point of this movie is extremely simple: hate your sister for 88 out of the 90 minutes of the film — to the point of hitting her with a chair — and then have the epiphany that you must tolerate her bumbling, awkward nature for the good of Hanukkah. This film’s lack of direction was reflected in its poorly conceived and executed plot taken from countless sibling rivalry films. As far as the supporting actors go, Al Pacino was by far the most game and entertaining person in his portrayal of a crazy, cellphone-hating version of himself. His infatuation and conversations with Jill are the funniest scenes of the film because the brought an actual rapport with one another. It wasn’t silly or vile; it was genuinely hilarious. If Pacino stays focused and committed to every role he plays from now on, he will add to his legacy.
Unfortunately, Pacino couldn’t be present for enough scenes to save this underwhelming mess of a film. This is the latest of a string of disappointing films for Sandler, who on his best day can make very funny characters for very funny films. Sadly, “Jack and Jill” shows that without direction, Sandler falls on weak stereotypes that have not only stopped being funny, but have begun to damage his legendary career.
The Elder Scrolls V: Skyrim – 4.5 out of 5
It’s that time again. Time for your friends to disappear for whole weekends. Time for another 100 or so hours to disappear down the drain. That’s right, it’s time for another “Elder Scrolls” game.
The newest entry in the epic fantasy series from Bethesda Softworks is “Skyrim.” The game was released on 11/11/11, nearly five years after its predecessor, “Oblivion.” Five years of hype might be too much to bear for some other game, but not “Skyrim.” The game is a massive triumph in most areas and is only brought back to Earth by a few minor quibbles.
Graphically, it’s been near impossible to find a game quite as gorgeous as “Skyrim.” Massive, beautifully rendered environments are laid out before you every time you step outside. For being set in the frozen, northernmost province of the game’s world, there is a surprising amount of diversity in the game. Areas range from swamps and pine forests to icy mountains. For a game of this size and grandeur, there has to be a caveat and “Skyrim” is no exception. When parts of the world are put under closer examination, they appear grainy and pixelated, though in the end this is a minor complaint for a game that is fundamentally about the big picture.
Developer Bethesda has continued to refine and hone the gameplay of the series by drawing on the experience from previous projects like "Fallout 3." The implementation of magic, in a manner similar to “Bioshock"’s plasmids, is much improved and makes mage characters much more viable and enjoyable. Swordplay is improved as well, though still not what it could be. There is little strategy; any close-quarters fight simply comes down to who hacks and slashes faster.
The story of “Skyrim” could not be more fitting for the game. The main quest pits the player’s character against a god of destruction in a battle to prevent the end of the world. It’s an epic quest line for a game of epic proportions. The faction quests are also compelling and rather high-stakes. For example, the player can take sides in the province’s ongoing civil war or discover an ancient order of mystics, previously thought to be extinct.
“Skyrim” approaches perfection, but it falters on a few points. The streamlining and removal of some of the series classic RPG elements is sure to disappoint some purists. The menu system lacks all but the most basic functionality and the game is prone to the glitches common among sandbox-style games. However, these are minor gripes, not serious blemishes. “Skyrim” is as close to perfect as any game will come for a long while.
Nov. 14, 2011
Tech N9ne: Welcome to Strangeland – 4 out of 5 stars
The opening two tracks of Tech N9ne’s collaboration album Welcome to Strangeland lives up to the album’s title by being, well, strange. The combination of electronic noises and audio effects gives the opening two songs an otherworldly feel, but the album starts to settle down with “Unfair,” the album’s third song.
“Unfair” starts slowly with violins and drums, and Tech N9ne demonstrates his technical prowess by alternating from slow and rhythmic to machine-gun speed in the same verse. Tech proteges Krizz Kaliko, Ubiquitous and Godemis stand out solidly on the track as well. “Kocky,” the next song, features Kutt Calhoun and Jay Rock, and at this point the album starts to have an identity as a stage for Tech N9ne to feature some talented independent artists with whom he works.
The album’s focus returns briefly to Tech N9ne himself on “Who Do I Catch,” where he shares his story about taking the industry by surprise and wonders how to grow and expand next.
The following two songs on the album briefly touch on the causes of some of the personal drama in Tech N9ne’s life in recent years. “My Favorite” explores the excesses in life, and “Retrogression” talks about the temptation of drugs. “Bang Out” follows the theme of vices, bragging about sex with such adroit rap technique the rap skill is the main focus instead of the subject matter.
Tech N9ne then jackhammers the beat with his flow on “Beautiful Music,” a solo track discussing his desire to be with a woman who doesn’t want anything to do with him. He switches the pace on “Won’t You Come Dirty,” a slow sex song with Darth Vader breaths overlaying the beat.
The album gets serious again with “Sad Circus,” “The Noose” and “Slave,” songs discussing loneliness, the world’s hopelessness and hard work, respectively. In “Overwhelming,” Tech N9ne thanks fans for embracing him so wholeheartedly. The album closes on a confident note with “Gods,” as Tech N9ne, Krizz Kaliko and Kutt Calhoun declare themselves to be gods of rap.
The bonus tracks are solid but unforgettable, so it probably is not worth buying the Deluxe edition unless you’re a diehard “Technician.”
