Becky Kinder - Entertainment Journalist

Cal Rep Plays with Reality, Surrealism

2011-09-03T11:46:00.000-07:00

by Becky Kinder - Originally Published May 4, 2011

“The Pool of Bethesda,” written by Allan Cubitt and directed for Cal Rep’s current production by Joanne Gordon, is an intermingling of art and science, love and loss, pain and laughter. The script, and certainly Gordon’s artistic vision of the play, asks the question not only of who has access health care, but who has access to art as well.

London surgeon, Danny, finds himself caught up in what he calls a dream, becoming immersed in William Hogarth’s painting of the same title by posing as Christ for the artist. The supporting characters of Danny’s hallucinations just happen to be the people who are most important to him in his life, though they don’t have that knowledge themselves. It is sort of like how certain people in The Wizard of Oz who are from Dorothy’s real life also pop up as other characters in Oz, but in this case we are faced with fantastical illusions with heavier topics such as fidelity and living in truth rather than fantasy.

The first act places us mainly in Danny’s hallucinations, which can leave the audience a bit detached from making any emotional connections to the characters or their relationships with each other. We are especially disconnected from fully understanding the annoyance and conviction Danny feels about his experiences within his visions. The second act brings us into the immediate “real world” story of Danny’s life and why he is having the visions we have seen him in and really begins to solidify the connections he has with his wife, sister, colleague and newfound friend.
The multimedia combinations used by Gordon in this production meld the scientific and arts worlds together even more, but is more of a means to signify such rather than an impetus to the story. Thankfully the use of video and lighting is not overwhelming and distracting to the work the production has put into the piece, and the vocal work is more than appropriate, it adds delightful touches in the ominous connections between Danny’s dreams and his reality.

Danny is skillfully played by John Prosky, especially in the second act and in his interactions with his sister (Sarah Underwood) and the wonderfully interchangeable Josh Nathan. Prosky and Nathan have some of the most touching moments in the play, and this really helps build up the inner turmoil Danny is trying to live with once their friendship begins to blossom in the face of deterioration.

Some of the accents are pretty unfortunate at times, along with the extreme melodramatic performances that are also inconsistent as a whole within certain scenes. Danny’s wife (Anna Steers) has a face to nearly match Anna Paquin, but her melodramatic performance often does not work, and her determination to play distress causes her eyes to get so bugged out that the audience giggled a little when those eyes are referred to on occasion.

The set design has a detailed simplicity and adds to the pictures Gordon creates in her staging. The costumes are top notch from head to toe, but the cancerous breast looks like an unmatched and unblended after-thought. Cal Rep’s home is currently on The Queen Mary, and though the theatre itself seems a perfect venue, the seats are only fit for the shortest of legs and, sadly, make for a physically uncomfortable experience for many.
There is a difficulty in balancing the surreal with more realistic moments in “The Pool of Bethesda,” but when the cast dives in to that pool of realism, they really shine and throw us into the emotion of these characters’ lives. This is not the play to see because it’s a requirement for your freshman elective (you’ll likely only be a distraction to those who actually want to be there), but is fine example of theatre for thought as well as entertainment.

‘Cendrillon’ Opera Not Just Another Cinderella Story

2011-09-03T11:44:00.000-07:00

by Becky Kinder - Originally Published April 11, 2011

Opera can be unapproachable to even the most avid theatre buff, but the use of a commonly known fairy tale story such as Cinderella, even the youngest novice can find fun and appreciation in a night at the opera. The latest production of the Bob Cole Conservatory of Music here at California State University, Long Beach is “Cendrillon,” by Jules Massenet with libretto by Henri Cain.

First performed in 1899, Massenet and Cain used some well-known aspects of Perrault’s 1698 tale, but conceived of some fresh interpretations for the story. This production echoes that sentiment with its own conceptive twists of the opera under the direction of Stephanie Vlahos.

Though Vlahos is a Director-In-Residence for the conservatory and has the experience of a professional singer, her capability as a director for “Cendrillon” is delightful in theory, but not in execution. The curtain opens on several occasions to excruciatingly uneventful staging where the performers are standing or sitting and doing nothing but that. Placing an actor on a stage is not the same as blocking a story to bring it to life. Vlahos’ conceptual themes and their simplicity and post-modern funk work for the set and some of the costumes, make up, and hair, but fall flat in most of the actual direction of the performers. There is a child the story of Cinderella is being read to, and it is as though her imagination is what we see being performed on the stage, but Vlahos’ staging of the child through almost every scene becomes merely a distraction and annoyance, for there is nothing for her to do but stare at the action and eventually she gets so bored she is just rubbing her face and looking at the ceiling. The child would have been better as an undertone and periodic spice to the story, rather than such a focus as Vlahos set her up to be. The lyrics, though in French, are provided in English by supertitles above the stage, and only end up magnifying that more action should be happening, such as when the servants are suddenly nervous that their master is in the room, though he was there, down center, all along and could not be missed.

The cast was comprised of high and low points as well, though it is hard to tell if it is only that their experience is lacking or if it is also the direction. Standout performances were given in this evening performance by Zoe Scaljon (Cendrillon) and Mindi Ehrlich (Madame de la Haltiere). These women not only have amazing voices, but their acting is what really secures them as spotlight performers. Scaljon’s voice is creamy and seemingly effortless, while Ehrlich’s acting soars above the rest. The stepsisters, played by Beth Wightwick and Jessie Shulman, are a joy with their physicality at times as well, and the other leads and chorus caress the ears as well.

The set design by Frederica Nascimento is perfectly simple in Cendrillon’s home, but misses the mark in other aspects, such as the weird Fairy Godmother coach and clouds that looked like black trash bags covering foam. The costume, make up, and hair designs by Nancy Wei are also interesting and fun in some ways, but lack being more cohesive with the lyrics and feel of the music. This is very apparent during the scenes with the birds which take the place of any other fairy-like characters and are more buzzard-faced ugly things than whimsical.

I do recommend seeing this production, which runs as a double cast with matinee and evening shows, but its two and a half hour run and French lyrics, along with overly sexualized staging, make it inappropriate for the little ones who will get bored or confused. Know that Cain wrote the libretto with the Prince as a soprano, so that makes it a breeches role played by a woman. The harmonies of the Prince and Cendrillon work overall, but I miss the blending of a strong tenor that Massenet and Cain did not acheive.

Though this production has a dark tone in its costuming and paint and its production quality is lacking at times, it is, as the translated lyrics say, “embroidered in color.”

Playhouse 'Clowns' Not Humorous

2011-09-03T11:40:00.000-07:00

by Becky Kinder - Originally Published March 8, 2011

In its second year, Alive Theatre’s “Four Clowns,” now playing at the Long Beach Playhouse, follows each of its four characters through unconventional stages of life: childhood, adolescence, adulthood and death.

Clowning, a theatrical style used in many forms, can be traditionally painted faces, more natural characterizations like Bill Irwin uses and even religious outreach groups like “Clowns for Christ.” There are classes at universities and acting schools for movement and clowning, along with entire schools dedicated to learning the intricacies necessary to be a good clown.

Though there are memorable moments, a solid foundation in clowning is missing from the performances and overall conception of “Four Clowns.” Kevin Klein (Mischievous) and Raymond Lee (Angry, especially in one of the show’s most vivid moments where he’s holding a balloon) had their funny business at times, but Alexis Jones (Sad) and, most notably, Amir Levi (Nervous) were the most developed. The cast’s song and dance scenes had their delight at times as well.

The shortcomings seem to come from the script and direction of Jeremy Aluma. Noted in the program as being created by Aluma, the cast, and Quincy Newton, the production missed the mark in its integration of clowning and realism. With a narrow view of sex, processing difficult experiences, and of verbal expression to boot, the audience is bombarded with over the top sex scenes and cussing in misplaced attempts at being what we can relate to. Instead of a satire’s commentary on emoting, society, and the human experience, the clowns are mostly playing at emotions. Certain strong points of characterizations were found when the focus was more on the simplicity of bullying and the “Whatever!” attitude of teenagers, rather than trying so hard to make scenarios funny when they just are not.

The costume and make-up designs tapped into the vein of more traditional clown styles and the funky ties and exaggerated painted expressions were fun. Pianist Mario Granville was a decent player and added atmosphere, but his hammy expressions and periodic involvement in the action were distracting and annoying.

Props were minimal and the choices of what to mime and what to actually hold were a bit confounding. The set and lighting were also minimal and though the production did not have the need for a lot, it did have the need for a clearer direction in their designs and cues at times, such as a helpful variation in lighting to discern the moments of audience participation from the action that brought the scenes into the audience.

Those who were likely friends of the actors were on top of giving suggestions when prompted, but the audience members who were not fully aware of what they were in for were left stammering or mute. The cast was allowed to improvise, it seemed throughout, and given freedom to heckle those who tried to use the restroom during the show, providing bits of laughter, though still showing the need of more training for the actors.

While waiting in the lobby, I noted how many signs were posted as a warning to the “adult content” and that the play might offend; the only thing I found offensive was that the bulk of the material wasn’t adult content at all but was repetitive and self-indulgent.

The program’s tagline states, simply: “Laughter is the Best Medicine.” I get it, that you want us to find humor in even the tough moments of life, but working for us to laugh at it rather than allowing the moments to just happen so we can laugh with the characters through their experiences are two different things. The dead air pause after each death is painful rather than meaningful, as we feel little to no emotional connection to the characters’ stories; this show needs a few prescriptions for maximum health.

One audience member remarked that the show was “too weird for her” while another left saying that she “failed to see how this was supposed to be entertaining.” Now that’s not clowning around.

Alive Theatre’s production of “Four Clowns” plays through March 19th at the Long Beach Playhouse.

Stage Review - "The Aluminum Show"

2011-09-03T11:34:00.000-07:00

by Becky Kinder - Originally Published 03/13/2011

What some call “reminiscent of Blue Man Group, Cirque du Soleil and STOMP” is more of a scraping at the residue of those shows. “The Aluminum Show,” in its West Coast debut Saturday at The Carpenter Center, was extremely energetic but also lacking in many ways.

Created by Israeli dancer, Ilan Azriel, the troupe of dancers and puppeteers uses recovered materials from industrial factories for their set, costumes and prop pieces. What could have been an exciting show ended up being an incongruent set of ideas thrown together to create a production without a solid through line. What little story line the show had to carry us from scene to scene seemed like an after-thought.

Instead of a variety show with each scene having its own story line, “The Aluminum Show’s” story line popped up sporadically: a “mother and father” of aluminum tubes has somehow lost their little baby tube, Slinky. Instead of being able to follow each of these characters, if you will, through their adventures in search of each other, we are thrown through a series of scenes that don’t flow well or make much sense, especially all together.

The audience interaction was eaten up by delighted children in the audience, though this interaction never made sense to the staging of the show and was uneventful, overall. I think the kids reacted the way they did because they went from seeing something on stage to it being in their hands. It’s the same as fans that fawn over celebrity chewing gum; it’s something they see every day, but because it’s now touched by a performer, it’s somehow worth more. The children often fought over the props, breaking several of them in their tugging from all sides, leaving afterwards with pieces and sheets of aluminum products their parents could buy at the supermarket or party supply store. Did Azriel think we would react to the feel of aluminum the same way we did when we felt our first sting ray at Sea World?

The original music by Ivri Lider was wonderful and aided in keeping the audience in the high-energy tone the show strived for. The dancers were talented on their own, but missed the cohesive movements even their most basic choreography required, especially in their most STOMP inspired scene of playing a song with their tubes.

Each scene would have been better served by Daniel (in the goggles) and Slinky finding each other and going on a journey together to find the latter’s parents, coming across each scene as thought they’ve traveled to somewhere new, rather than it just being a new gimmick of playing with foil bits.

The large puppets the team used at times were not as magical as they should have been because they were being controlled by the people, usually without a costume change, we just saw running around in a bizarre attempt at choreography. The one time the cast did put on black shifts to work a “puppet” was ruined by their urban “moccasins” and pants bottoms peeking out from underneath.

A more focused story line would serve this production well. In the factory pillow production scene, why not have Daniel and Slinky come through this scene of people, have it be quitting time at the end of their shift, and then have the giant puppet come to life on its own?

This show suffers from too many ideas that are not truly connected, weird moments of breaking the fourth wall that don’t generally work, inconstant characters and visuals, and too much reliance on the high energy aspect to carry the show’s entertainment value.

The best moments were the prologue of rules and one (of the way too many) curtain calls with the motion capture wall at the end. Yes, it could potentially be a fun show to bring certain ages of kids to (it’s a family-friendly show, but not for the tiny ones; it’s just to scary for them and will make them cry, as one child did through most of this show), but the ticket price is too steep for the quality of show, is not really adult-friendly but there is potential lurking in the Reynolds Wrap; it’s just too half-baked.

Shiny Toy Guns rock Club Nokia

2009-07-04T20:25:00.000-07:00

The Shiny Toy Guns perform at Club Nokia Saturday night.

Becky Kinder
Staff Writer

Published: Tuesday, May 12, 2009

Shiny Toy Guns - Becky Kinder

Shiny Toy Guns played at Club Nokia Saturday to an already amped crowd. After decent-sized sets by three other bands including The Ringers and Nico Vega — as well as one song by an unnamed and very costumed solo artist — the audience could have been all danced-and cheered-out before Shiny Toy Guns even got on stage, but that was not the case.
Opening the night at 9 p.m., The Ringers set the night’s atmosphere with high-energy and eclectic clothes — or maybe we should call certain looks costumes — fitting of the Indy/Pop/Alternative/Rock genres each of the groups that followed would also fit well into (lead singer Joe Hursley was wearing a too-small, matador-style outfit with tassels on the outer seam of each pant leg –— with no shirt in sight). Hursley was so active on stage that he was sweating enough for the whole band.
Nico Vega was the last to play before the headliners, but seemed to have had plenty of fans that were there just to see the group play — a few fans squeezed their way as close to the stage as the could and left their prime spots after Vega’s last song, never to return.
Each opening band was as equally entertaining and musically skilled as the next. I would recommend seeing any of them in concert again and will be buying at least a few of each group’s songs (if not the whole of their albums) on iTunes to promptly sweeten my iPod library.
Shiny Toy Guns opened their set with “Starts with One” amid screaming fans after 11:30 p.m., but the wait was well worth it. The energy never waned, even through their slower-tempo songs, and current lead female vocalist Sisely Treasure was fabulous to watch as she danced and rocked around the stage.
The Goth/Punk style you may attribute Shiny Toy Guns’ look with was only a portion of the style they sported at the concert — throw a preppy So-Cal-esque button-up short sleeved shirt on lead male vocalist Chad Petree along with some eye shadow and guyliner and call it a day. Treasure rocked a set of blue leggings, and a torn tee with platinum and blue razor-cut hair to top it off. Jeremy Dawson and Mikey Martin also had styled ‘dos befitting the over-all style of the band.
With recording-quality sound even through matching the energy of their audience and rocking-out instrument playing and dance moves, Shiny Toy Guns is a band not to be missed when they’re in your town. They said Saturday that they don’t come to Los Angeles often enough – I agree.

"Lycans" gives new meaning to ancient conflict

2009-07-04T20:20:00.000-07:00

Becky Kinder
Staff Writer

Published: Tuesday, February 3, 2009

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Underworld: Rise of The Lycans was number seven in the box office last weekend

3 out of 4 Stars

Our View: A bigger budget wouldn't make this film - its script, acting, and direction carry it enough.

Summary: Love between two of a different race, and love for self, begins a war between vampires and lycans.

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Cary Elwes said in 1987's "The Princess Bride," "Rodents of unusual size? I don't think they exist." They existed in that film and they are now out of the Fire Swamp and in a theater near you in "Underworld: Rise of the Lycans," a prequel to the other two "Underworld" films. Never fear, though, these Lycans are werewolves that can still take human form. They're hideous and wonderfully icky in their flesh-tearing, human-meets-beast glory.

If you're not familiar with this particular series of films, here's a little back story: Vampires and werewolves came from the same father whose sons were bitten by a vampire and a wolf, respectively. Their knack for immortality started with their father's DNA enabling him to adapt to a plague which killed everybody else. Once bitten by the first werewolf and any thereafter, a werewolf was not able to return to their human form, just as vampires were no longer human. In the first film, we are introduced to the war between vampires and Lycans that has been fought for centuries, with only bits and pieces as to how this war began and why it has continued for so long.

In "Lycans," we learn that the vampires, in their aristocratic snobbery, tried to destroy all the werewolves from the beginning, claiming that they were mindless beasts unable to have a quality society and therefore, unworthy of existence. At one point, however, the head vampire, Viktor, imprisoned a werewolf and gave birth to Lucian, who was born in human form (don't ask me how -- this is an unfortunate hole in the story line). The mother was promptly killed and with Lucian's life spared, he was raised as a slave and favorite pet by Viktor and was the first of the Lycans, able to turn into a werewolf, but also able to return to human form. Lucian was used to create more Lycans, breading a race that could be used to work as slaves and also protect the vampires' coven during the day.

Unlike some other prequels, "Lycans" doesn't simply try to capitalize on what has previously been earned at the box office by its series' predecessors -- it actually holds its own as a film while it adds deeper, darker layers to the series. For those who have never seen any or all of the "Underworld" series, "Lycans" can be watched before or after you've seen the other two. If you're like me, you'll want to watch the first two again after seeing "Lycans" to put all the pieces together for an even clearer picture.

Though there are some down-sides to the film -- a couple of hokey visual effects and a "Clash of the Titans" quality they ran into at times or the inconsistencies between the scenes in "Lycans" that were also flash-backs in the first "Underworld" -- the script keeps a dialogue that would hold its own even without the fantasy. The actors lead you into a trance of belief that these characters really exist and they do it without the patronizing clichés that other films with vampires and werewolves usually offer.

"Lycans" is visually stunning at times, and though they could do without so much blood squirting from necks, the fight choreography and stunt work are exciting enough that even a simple fall on the ground with a blow to the back of the head made the audience vocal. The love story within the film tugs at the heart instead of being a burden, which is often difficult for action movies.

"Underworld: Rise of the Lycans" raises the question: what makes a being more humane or worthy of a high quality of life than another? The implications of the control and understanding Lucian had -- over himself and others -- cause the audience to think while being entertained, which was an unexpected surprise.

I was bitten by the "Underworld" series from the first film's release and after "Lycans," there's no turning back.

"Versus" Nightclub and The Club Didn't Win

2008-11-07T09:41:00.000-08:00

Using the old Los Angeles Stock Exchange building, Versus Nightclub is the latest in new Hollywood hot-spots; at least that's what they're aiming for. The club boasts three levels, one of which is a super-exclusive VIP area overlooking the rest of the club that regular guests cannot really see into.
At the grand-opening Saturday, the most noteworthy celebrity guests were to include Heidi Cortez ("Sunset Tan" and Playboy), DJ Skribble and Dave Navarro, along with other so-called celebrities such as Audrina from "The Hills." Really.

The red carpet was left virtually empty, save Cortez standing aimlessly and doe-eyed — posing stiffly for the periodic photo op, her mouth gaping in an uncomfortable and overly injected smile. When other celebrities were arriving, little attention was paid to them.

The most recognizable of the bunch was David Blue ("Ugly Betty") while the others who arrived were generally or completely buzz less. One gentleman had an entourage of one passing out business cards to make sure the press knew they were important but informed us we would have to wait until the end of the night for a photo opportunity. Let me hold my breath.

For a while, the red carpet served not as an isle for photos and interviews, but as a sort of holding pen for those who had walked its short distance, and this line ended up taking most of the carpet.

The most excitement outside was found in talking with Terrance, the manager of an extra security team hired for the night. He had more personality than most of the faces to walk the red carpet. Asking a public relations rep when Navarro might arrive, my photographer and I were given an answer of "about an hour" so we decided to enter the club, only to be faced with an undisclosed delay.

The minutes passed while we were being told it would only be a moment longer, with employees scurrying back and forth. When we were finally approached by a very large member of the club's main security, we were told that the elevators were said to be in working order, though not yet inspected and approved and therefore could not be used. Considering the club's layout and that the photographer, Chris, has been in a wheelchair for over ten years — well, it put a wrench in our plans for the evening. I do not suggest a grand opening that cannot properly accommodate all of its guests. Why they did not ensure the proper inspections and certificates for their elevators before opening is an unanswered question.

They offered to carry him up the stairs and to equip him with a security guard for the night "because of [his] situation." Both were refused, the latter being patronizing and an attempt at over-compensating. We did go inside; he stayed in the lobby while I traveled upstairs to check out the festivities.

The club had pockets of people in cloisters and the rest of the club was pretty open and empty looking. None of the so-called private tables were being used, nor did they look very private, and though music was playing, nobody was dancing.

Most of the guests were not dressed appropriately for an upscale club, which Versus has tagged itself to be. Many guests arrived in light jeans and over-worn tee-shirts (some less dressy than what you would find in local bars and pubs) while others came in pastel '90s club-kid attire — uber-platform boots, pigtails and all.

I spent about an hour upstairs, taking photos and speaking with the one friendly bartender there, though she was trying too hard to publicize the hot-factors of the club. The décor is simple and uneventful in the midst of the club's smoke machines and light effects. A closer look does show the renovated Art Deco original features mixed with a light, modern flare. The space, which has a lovely streamline to its décor, would be better for the fashion shows, plays, and jazz concerts that are said to be included on the calendars to come. None of those things are found to currently be scheduled.

The club is not worth the trip out there, past the rows of homeless residents in their make-shift communities; all you will find is another club without anything new or special to offer. The only reason Chris and I stayed as long as we did was because we were offered a couple of free cocktails, no doubt to help soften the blow of Chris not being able to get upstairs. We stayed long enough to finish them but refused to take further advantage. At this point no number of free drinks would change each of the negatives of the experience of Versus Nightclub. It was generally irritating and condescending, but most of all really boring.

As a member of the press I was still considered to be working for too lowly a publication to be offered a press packet upon my check in, and was actually standing right in front of a public relations woman who tried to whisper to another that they should save them for the bigger papers. Bigger papers were never seen and there seemed to be more than enough packets for the few people there asking for them.

Considering our readers include people the club allegedly wants as guests, I wouldn't snub a small paper if I were them. In LA, you never know who you're networking with.

The only fun that was truly had was because of the company I was keeping. So grab your friends and stay local. If you want to hit up LA for a hot club, Versus Nightclub is not it. When we left at 11:30 pm, there was no sign of things picking up, no sign of Navarro and still no sign of Audrina. I think I'll live.

Versus LA Nightclub
618 S Spring Street (Los Angeles Stock Exchange Building)
Grand Opening October 25, 2008
Los Angeles, CA 90014
versusla.com

A Road Trip to Nowhere

2008-11-07T09:38:00.000-08:00

Review - "Sex Drive"
Becky Kinder
Staff Writer
Published: Tuesday, October 21, 2008

SUMMARY: Three friends, on a road trip filled with mishaps, eventually reach the destinations they really needed to get to.

OUR VIEW: "Sex Drive" is a road trip everybody has already taken.

STARS: 1 out of 4

The latest in a long line of raunchy teen comedies is "Sex Drive." Instead of a throw-back to bawdy comedies of the past, this film seems to be attempting to cram every cliché and overly used bit from its predecessors into each scene.
When 18-year-old virgin, Ian (Josh Zuckerman) gets the green light to go and visit a girl he met online, he is encouraged by best friend Lance (Clark Duke) to steal older brother Rex's (James Marsden) Pontiac GTO to make the nine-hour drive. Throw in female — but not feminine — best friend, Felicia (Amanda Crew), and you have a road trip, destination: sex.

All sorts of shenanigans happen along the way, all formulaic and annoyingly predictable. Make a checklist of every silly, dumb, gross, potty-humor, ignorant or sexual joke you've seen in a movie or made with your friends and you will undoubtedly check most, if not every single one, off while watching this film. I like to take notes for my reviews and I was writing everything down before it happened. Everything.

Road kill that doesn't want to die, cops who are inept and brainless and more gay jokes than any person should have to endure in one movie is the mundane series of scenes you'll get with "Sex Drive." Don't forget to add a scene of diarrhea in a public restroom that they managed to add a bizarre and lame George Michael moment into as well. Each of the love stories squeezed into the script end up being misplaced and are just another additive to the same-old formulas.

Lance is the PC version to "Gossip Girl" Chuck Bass' Mac. Rex is the same super-tool jock of an older brother we've seen before; with a softer side you should see coming from the first scene he's in — though some audience members' reactions lead me to believe they never saw it coming. Crew looks bizarrely like Hannah Montana threw on a wig and decided to leave music for acting.

There were a few moments that earned my laughter, such as Rex's dream and the perfectly tasteless and cheesy themed motel rooms. The donut shop mascot costume will give you the giggles, especially when they're outside of Bob's Big Boy.

Mostly terrible actors in smaller roles are mixed with the talent of other actors wasted in the main roles, particularly Duke's. Seth Green's performance is the only wholly noteworthy one, and he admits to at least a portion of it being improvised rather than scripted. The flexibility of going off the script undoubtedly attributed to the funnier lines Green's performance lent to the film. Amish farmer Ezekiel's (Green) deadpan sarcasm may be "lost on his people," but it will leave you feeling uncomfortable for Ian while laughing into the scenes that follow.

The credits were cleverly displayed, along with the extra tid-bits of story continuation audiences look for these days. The clips of Green and extended cameos by Fall Out Boy during the credits are funnier than most of the other scenes during the movie.

If you want to see a totally expected story, stereotypical characters without anything new to offer, then head out to catch this. I suggest renting a classic like "Weird Science" or something slightly newer like "Dumb and Dumber" where you'll get a feel of the same humor without the overused after-taste.
"Sex Drive" crashed. It would have been nice to have a fresh take on this type of comedy — you know, "with a twist."

Terrorist-themed film takes a fresh approach

2008-11-07T09:32:00.000-08:00

Review of "Traitor"
Becky Kinder

Staff Writer

STARS: 3 out of 4

OUR VIEW: A fresh approach to what could be the same-old-story of terrorists against Americans, keeping you on the edge until the end.

SUMMARY: Sometimes the only way to stay alive is to have every side want you dead.

Published: Wednesday, September 17, 2008

Updated: Wednesday, September 17, 2008

There are some generalities - some assumptions that can be made about what a film with its strongest story line running along the vein of terrorism will be like. There are expected events and topics touched upon in "Traitor," but those do not get in the way of the tension it holds you in throughout the film. What may, on the surface, seem will be the same stories or views, is given a fresh approach.

Samir Horn (Don Cheadle), while attempting to sell explosives to an Islamic terrorist group, gets caught in a raid by local authorities and a couple of FBI agents. While imprisoned in Yemen, agents Roy Clayton (Guy Pearce) and Max Archer (Neal McDonough) begin to question Horn, digging deeper into his past as a former U.S. Army Special Forces expert in explosives as well as how his beliefs as a devout Muslim link him to terrorist bombings.

Through the friendship Horn forms with fellow captive Omar (Saïd Taghmaoui), the terrorists are able to escape prison, taking Horn with them in a belief-based bond of brotherhood. This eventually leads Horn to be linked to the bombing of an American Consulate in Nice, along with being connected to top terrorist contacts in London and other countries.

But is Horn a traitor to the United States? Leading the terrorists through planning suicide-bombings and attempts at remote bombings meant to kill as many Americans as possible without having to train yet another suicide bomber, the answer would be "yes." Clayton must capture Horn before another target is hit, unaware of the other contacts both Horn and the terrorists have in the FBI.

With unsaturated colors and a grainier focus than most Hollywood films, there is a definite surveillance quality to the film, putting the audience on the side of the FBI, the terrorists, and each country's citizens all at once. Using this style, director Jeffrey Nachmanoff places us with each group, making for an even better comment on the beliefs of those terrorists who claim to take the action they do because it is God's will, almost bringing an understanding and some sympathy, though without necessarily agreeing.

The film makes no constant attack on radical Muslims. Instead, it touches on their commonality ⎯ that they can be anybody, anywhere, and that they really believe that what they're doing is morally correct because of their religious beliefs. There is also a touch on racial profiling, tastefully added to the film rather than a leading focus.

Notable performances are abundant in this film, namely from Cheadle, Pierce and Taghmaoui. Jeff Daniels is worth mentioning in his smaller role, playing his government employee more as an every-man than the cookie-cutter character that can often be portrayed by other actors.

What seems to be one of the biggest themes of "Traitor" is approached early on in the film: when your loyalties are questioned - whether religious, friendship or brotherhood - you may say you're willing to kill, but are you willing to die?

"Traitor" is filled with faith, loyalties and friendships tested and how people can use those connections to achieve almost any goal, if played right. Choices to trade in friends for what you believe is the greater good are made; where, just as in chess, you must sometimes choose to sacrifice pawns to win the game.

The House Bunny - Review by Becky Kinder

2008-09-15T11:32:00.000-07:00

Bad casting and skimpy comedy for this ‘Bunny’

Becky Kinder
Staff Writer

Published: Tuesday, September 9, 2008

Updated: Wednesday, September 10, 2008

I know that “The House Bunny” is supposed to be funny and point out that we should all be secure with who we are, even though society may not appreciate us. I know the same women who wrote “10 Things I Hate About You” and “Legally Blonde” teamed up to pen “The House Bunny,” which should have made for an entertaining movie. I know that Anna Faris is superb when it comes to her comedic timing, delivery and expertise in giving a glazed-over stare.

What I also know is that the talent of one actress does not make a funny and well-made movie.

Expectations for this film were not especially high, but knowing it was produced under Adam Sandler’s production company, Happy Madison, creates some expectation for what I like to call a “well-made stupid comedy,” which is where films such as “Talladega Nights” and “Tommy Boy” can be classified.

“The House Bunny,” however, was not well-made...it was just stupid. Granted, I did laugh at times, but even Faris cannot carry something as poorly written, directed and acted as this film was.

The story is basic: Playboy bunny and centerfold hopeful gets kicked out of the Playboy mansion for being too old, finds socially-inept ugly ducklings to take under her wing and turn into swans, and systematically gets them laid and saves their sorority chapter at the same time. Did I mention Faris’ bunny, “Shelley Darlingson,” grew up in an orphanage and was never adopted (though the rest of the orphanage was) because she was too unattractive until blossoming as a teen just in time to be swept up by Playboy? Every story in this film is as used as Hugh Hefner’s bed must have been in the ’60s.

Some of the better moments of the film came when it seemed the cast wasn’t trying so hard. At times Emma Stone gave a performance that seemed more improvised, especially in the scene next to Faris at the foot of the Zeta house stairs. There were a few other more natural moments from a couple of the other cast members, but those got lost in the over-bearing muck that was thrown around through the rest of the film.

Over-the-top characters, such as Carrie Mae (Dana Goodman), trampled through the wrong movie, filling the screen with so many different acting styles it felt like somebody was constantly changing the channel on a TV. Director Fred Wolf didn’t stick with a clear vision and style, and seems to have simply allowed whatever he thought was funny at the time stay in the movie, regardless of how unfitting it ended up being in the final product.

A rabbit’s foot would not bring enough luck to any of the hordes of people who had cameos and cannot act. One or two sports stars or Heffner and his girlfriends - all with stiff delivery - can be forgiven, but this film is packed with scenes that would be better performed by many high school theatre departments.

Those who actually have the talent to be in a movie, such as Colin Hanks, are upstaged by the pathetic attempts of other cast members and how bad other scenes are. Even stand-up comedian Owen Benjamin, somebody one would think could pull off a small role, should never appear in a film again.

The few laughs you’ll get watching “The House Bunny” are not worth the price or the time you’ll have spent in the theatre. You could even wait to catch it once it eventually airs on a cable network for free. You wouldn’t be missing much. Personally, I think there’s a better chance you’d have more fun doing The Bunny Hop at your second cousin’s wedding.

STARS: 2 out of 4

OUR VIEW: Tired script and direction, mixed with multiple unfocused acting styles, cannot hide under Anna Faris’ talent.

SUMMARY: Social outcasts and a Playboy bunny all help each other stop trying to be anything but who they are.

All the world’s a stage at Laguna Beach pageant - Review by Becky Kinder

2008-09-15T11:27:00.000-07:00

By Becky Kinder

Published: Wednesday, August 20, 2008

Updated: Saturday, August 23, 2008

The Pageant of the Masters celebrates its 75th anniversary in Laguna Beach

"All the world's a stage," and the players are meeting in Laguna Beach. This year The Pageant of the Masters is celebrating its 75th Anniversary with a theme of the same: "All the World's a Stage."

The pageant re-creates famous works of art in the vein of tableaux vivants, a tradition that dates back to medieval pageants and plays. There is a wealth of historical information via video and narration on the history of the tableaux as well as the history of the pageant and its creators.

With scenes representing classical and contemporary works and encompassing pieces such as paintings, porcelain figurines, and even metal sculptures, this truly is where you can find art coming to life. Using its theme, the pageant also framed its re-creations with theatrical and musical numbers.

The outdoor amphitheater's canvas is filled with the colors of the orchestra's original score, the voices of actors and singers, the slapstick of Commedia Dell'Arte players, and of course the volunteers who posed and painted the incredibly faithful re-creations of original art works.

The effort that goes into the planning of pageant and its nightly performances - from the application of makeup and costume design to the precise lighting used - is amazing. Each aspect is sculpted together for re-creations to delight even the most discriminating critic.

One of the best re-creations was Henri de Toulouse-Lautrec's oil painting entitled "At the Moulin Rouge: The Dance." The depth perspective the professionals and volunteers are able to achieve is breathtaking. "The Passing Leap," an oil by John Steuart Curry, caused a collective combination of gasps and sighs at the realization that there were real people holding the positions of the people who had once just been still brush strokes in a painting.

There were many other pieces leaving viewers in awe as to how the recreations could be so realistic, some based on how little it seemed some of the people were wearing and others based on the poses. One such piece was the recreation of the bronze "Olympic Spirit" by Edward Eyth.

The pageant of living pictures lasts roughly 90 minutes, though it could have been a few minutes shorter had they cut the awkward Can Can number, which closes out the First Act. The dancers, to be generous, shift their skirts and move their legs more than dance, with one girl on the main stage kicking about all over the stage like a fish out of water. The video footage shown during this bizarre number can be likened to riding through a tunnel in Willy Wonka's boat.

With so many beautiful re-creations, it's difficult to choose only a few as noteworthy. During the show - and in the purchasable collective program - the behind-the-scenes look we are given of how the production is put together does not take away from that beauty. Many aspects of the pageant assist in creating a greater appreciation and respect for artwork of all kinds.

Arriving at the pageant an hour or more early is recommended to give you at least a little time to enjoy the outdoor art gallery, which features a wide range of works by local artists. Many pieces are available for purchase, but know that original and one-of-a-kind pieces often mean price tags that come with heavy brush strokes. If you're not interested in the gallery, you can still use the extra time to tackle the restroom lines, sip a glass of merlot, or grab a caffeine jolt from the coffee stand. Your ticket from the pageant also is a season pass to the art and events the Festival of Arts has to offer.

The 75th Anniversary season of the Pageant of the Masters' "All the World's a Stage" is a work of art in and of itself that you won't want to miss.

Information:
Performances run nightly through August 30. Tickets, though most nights are already sold out, range from $15 to $150. The theatre and festival are located at 650 Laguna Canyon Rd. Laguna Beach, CA 92651. Tickets can be purchased at (800) 487-3378 or online at www.lagunafestivalofarts.org

Sunset Strip Music Festival takes over Hollywood

2008-07-22T11:28:00.000-07:00

Becky Kinder

Staff writer

Date: Friday, July 4, 2008
..

Photo Courtesy of Becky Kinder

Photo Courtesy of Becky Kinder

Celebrities, stories of being discovered, and stories of being high — what more do you expect from a festival in Hollywood, let alone on the Sunset Strip?

More to honor the music industry icons that founded and have owned some of the most well-known venues on Sunset would be nice.

Opening night of the Sunset Strip Music Festival began on Thursday at the House of Blues with a tribute, hosted by Mark McGrath, to little-known Sunset Strip celebrities, Lou Adler, Mario Maglieri and Elmer Valentine. Two familiar celebrities, Cheech & Chong, were together again to honor the men, as well as Slash and Michelle Phillips.

The tribute had too much talk about topics Sunset is notorious for: partying and drug and alcohol use. It could have mentioned more about the festival's honorees and their venues.

Following the tribute, Thursday's lineup began with Camper Van Beethoven, who even admitted to not knowing what a song meant because they were, "very, very high when (they) wrote it." Ugh. Overall, their performance was enjoyable, with sounds of a fiddle adding a pop of energy, as did some of the band members' movements while playing.

Best known for the 1990s hit song "Runaway Train," Soul Asylum is an example of the past having a future on Sunset and in the music industry. Visually they were quiet entertaining with a presentational style performance. Their sound, particularly the voice of lead singer Dave Pirner, was record-quality. They haven't lost their 1990s vibe or left out the new century, and after an eight-year hiatus they may be better than ever.

Everclear closed the night with a luminary performance, playing well-known hits like "Father of Mine." The audience was noticeably pleased with their set in its entirety, dancing and jumping to the beat of each song. It was a shame to not be able to see them play a full-length show.

Godhead and Hot Hot Heat were two of the bands playing Friday night, showing the array of scheduled artists. The Cat Club, House of Blues, Key Club, The Roxy Theatre, Viper Room and Whisky A-Go-Go have a united interest in promoting the experience of music on the Sunset Strip. It's needed, considering a venue like the Whisky was once thought a highlight of Sunset is now said by some to be in decline. With a modern flare outlining the musical history of Sunset, the festival is sure to bring in more and more fans every year, surging a new life into each venue.

Wasted Space was an all-ages event that ran Saturday afternoon and into the evening and was broadcast live on 103.1 FM. It closed before the main venue's events began. Saturday night included Mickey Avalon, who played to a severely packed (and seemingly hazardous) crowd at the Key Club. His performance was just boring and sad. One girl who had previously liked his music said that she lost her taste for him after seeing him live.

The only noteworthy performance on Saturday was that of a band playing covers: Starf**kers. Though their name is not my favorite, they played some really great songs, including some classic rock, and did so with their own style at times.

As the festival grows, the quality and variety of artists will grow, too. Packed with too many bands at too many venues to attend it all, there is something for every one at the Sunset Strip Music Festival, which was filled with a lot of fun.

‘Sex and the City’ leaves viewers wanting more

2008-07-22T11:26:00.000-07:00

‘SATC’ is realistic, heartbreaking, and humor blended into one delicious cocktail.

Becky Kinder

Date: Friday, June 6, 2008

Photo Courtesy of New Line Cinema

Since the HBO series’ close in 2004, there have been talks of a film, muddled with rumors as to why it would never happen. Eventually the feature film of “Sex and the City” began production, dispelling the rumors of billing or salary disputes as cause for delay, and creating frenzy on the streets of New York during filming. What had the fabulous four gals been up to all this time and what would happen next?

Even if you’ve never seen an episode, a montage from the series is implanted into the title, catching you up well enough to follow the film as a “SATC” virgin. For the rest of us, it has been too long and that feeling lingers in the first few scenes of the movie. We join the cast five years after the series finale: Miranda is still in Brooklyn with Brady who is now five, Carrie has written two more books, Charlotte’s adopted baby is now about four years old, and Samantha (brace yourselves) isn’t even living in New York anymore.
The film continues to touch on the realities of life - women and men, single or married alike. Carrie is described as “The Last Single Gal” simply because she is forty and it’s still socially unacceptable that she has never been married. Samantha and Miranda begin to feel that they cannot bend any further for the men they love, and Charlotte’s perfect life begins to scare her.

Written with the same wit and heart as the series, it is easy to relate to the women and men of “Sex and the City.” Michael Patrick King writes realistic scenarios that still leave the audience wanting a fairy-tale ending of happily ever after, no matter what bumps or jolts along the path there are.

Jennifer Hudson may have her moments but was miscast as Carrie’s assistant, giving a stiff performance overall. Most of the other actors are superb and pick up their characters right where they left off. Standout performances are given by Sarah Jessica Parker and Kristin Davis, who both connect fully to the high emotion certain scenes call for, grabbing the viewer into those moments as well.

Though the film can sometimes have a sense of heightened reality, the actors sell the campy scenes well, connecting to those of us who have lived through challenging moments and found the humor in them.

The fashion is abundant, we see Parker in about five different looks in the opening sequence alone, as are the labels. There is plenty of sex, of course, and with the soft-core style scenes running rampant throughout, it’s hard to believe that it’s only rated R.

Loose ends are tied, it’s true, but I am still left wanting “Sex and the City” to never end. This is a love letter to friends and lovers - to you and me.
And as this single gal walked out of the theatre alone, I couldn’t help but wonder…who says I can’t have it all?

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2008-04-29T09:02:00.001-07:00

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2008-04-29T09:00:00.001-07:00

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Marathon running made funny

2008-04-10T08:00:00.000-07:00

In "Run, Fat Boy, Run," Simon Pegg pays tribute to the overweight underachiever.
Becky Kinder
Issue date: 4/8/08 Section: Diversions

Romantic comedies: Most women love them and most men hate them. There is a stigma attached to the romantic comedy genre with positive and negative reactions from both sexes.

Audiences also hold certain expectations for films starring Simon Pegg ("Shaun of the Dead," "Hot Fuzz"), looking forward to the moments of slapstick comedy as well as the parodying of other genres and certain character stereotypes.

Those expectations associated with a romantic comedy, or a Pegg film, are well met in Material Film's newest release, "Run, Fat Boy, Run."

In this love story, Dennis, played by Pegg, literally runs away from his marriage to his pregnant fiancé Libby, played by Thandie Newton. She is left shouting to him from the street in front of the church, bridal bouquet in hand, as he flees.

Five years pass. Dennis is slightly overweight, out of shape and his son lives with Libby. He works what many would consider a pathetic job as a security officer for one small women's clothing store.

When a drag queen, played by Gabriel Fleary, steals lingerie from the store on Dennis' watch, simply for her own amusement, the comedy begins.

"Run, fat boy! Run!" she yells to him as she slowly runs away with Dennis huffing and puffing behind, unable to catch her.

Even more pitiful, Dennis lives alone in a tiny apartment that he consistently locks himself out of, is late on paying the rent for and is not happy in. He doesn't realize his shortcomings until Whit, played by Hank Azaria, comes into the picture.

Whit, who is dating Libby, has a great job, a big home, and is running a Nike marathon for charity.

In order to gain Libby's trust and love back, Dennis vows to also run the marathon for a charity, which proves difficult. Training for such a run when you're a chain smoker and out of shape, well, that's possibly asking too much. And circumstances force Dennis to even run in a mascot outfit.

Libby's cousin and Dennis' best friend, Gordon, hilariously played by Dylan Moran, takes on the role of Dennis' trainer and is assisted by Mr. Ghoshdashtidar, Dennis' landlord. Self-control struggles, bouts with unrealistic blisters, and hilarity, subsequently ensue from the marathon.

Yes, this romantic comedy may not be conventional or take a naturalistic approach, but it does have its warm-fuzzy moments and the humor is laugh-out-loud worthy.

Harish Patel, who plays Mr. Ghoshdashtidar, gives a great performance, combining warmth, understanding and some of the motivation to drive Dennis.

Dennis' son, Jake, played by Matthew Fenton, is very cute and the chemistry he shares with Pegg really shows a loving relationship between father and son.

"Run, Fat Boy, Run" is a good romantic comedy for teens as well, though the themes explored in the film are really better suited for the 20-somethings and up.

Though it's a fun film, it shares a more serious message that we should embrace everything that being in love encompasses and live up to our responsibilities as adults.

It would be nice to hear more people say, as Dennis says, "I'm sick of being a nearly man."

**NOTE TO READER: Due to changes made by the editor, the sentence stating that Pegg dresses as a mascot is incorrect. A scene of "Dennis" running dressed as a mascot does not appear in the film. - Thanks! Becky Kinder

When marriage turns murderous

2008-03-18T08:43:00.000-07:00

Relationship drama is the focus in the 1940s set movie, "Married Life."

By Becky Kinder
Issue date: 3/11/08 Section: Diversions

Chris Cooper, left, as Harry and Rachel McAdams, right, as Kay become involved in an adulterous love affair in "Married Life."

Getting married, baking pies, throwing delightful dinner parties and making sure to wait on the husband were jobs of the American woman in the 1940s. This time period's ad-style art in the opening to Sony Picture Classics' "Married Life" gets the viewer into that homemaker state of mind while also preparing the audience for the mixing of mentalities and social expectations of the past and the present.

Although set in the 1940s, director Ira Sachs successfully keeps the audience engaged in present time mentalities. Why, then, set "Married Life" in the 1940s? Maybe it was just so the actors could dress in fun vintage clothes. Who wouldn't want to see one of the film's stars, Rachel McAdams, with soft platinum blonde curls and the dark red lipstick, which was so fitting of the times?

Though the production quality itself is fine, the storyline and characters are hopeless. Just as we can seem to understand and relate to a character, they swerve on their path, making choices that any responsible and reasonable person would never condone.

Harry, played by Chris Cooper, and Pat, played by Patricia Clarkson, are married. Pat is a forward-thinking, sexual woman who believes love revolves around sex rather than romance. Viewers soon discover Harry, however, prefers romance to sex. This dilemma then leads him to a widowed Kay, played by McAdams, who is a younger woman but with the older sensibilities Harry is looking for.

Ultimately, Harry decides in order to get out of his unhappy marriage he must kill his wife. His logic: She could not possibly survive the heartache and humiliation of losing her husband.

This backwards way of thinking makes a strong case against identifying with Harry. His wife, by the standards of today and the past, is sexier than Kay in the way she dresses, carries herself and with how forward she is sexually. Kay seems always to be on the verge of tears, dresses conservatively and speaks with such a softness that it seems she's constantly waiting to be hit with a rolled newspaper. Why Harry would want to cheat or leave Pat boils down to him just wanting a lost puppy rather than a tigress.

Harry's womanizing best friend, Richard, played by Pierce Brosnan, throws a wrench into the situation as he also falls in love with Kay. The plot thickens from there, as one part of a couple cheats on another and that pattern leaves no couple unturned â€¦pun intended.

The greatest performance in "Married Life" was of Cooper. If we watched this film without dialogue, Cooper conveys the perfect, pained victim, looking for a way out of a desolate situation. Throw the dialogue back in, and he's crying because of his own stupidity and feeling sorry for himself for no good-enough reason.

The director missed the mark on this movie, however. Sachs wanted us to feel as though a part of us could be found in each character, but that becomes insulting, as none of the characters have many redeeming qualities. Each person makes choices he or she claims are for the benefit of another, but are afraid to own up to their own insecurities.

A bar for the sports fanatics

2008-03-18T08:31:00.002-07:00

O'Connell's Cocktails is a local hangout spot great for combining friends, sports and booze.

By Becky Kinder
Issue date: 3/3/08 Section: Diversions

Saying a bar is a popular neighborhood hangout may be off-putting to some, causing you to think that you'll walk through the doors and feel like an outsider, but you shouldn't let that happen with O'Connell's Cocktails in Long Beach. Although nobody jumps out to shake your hand or give you a hug as soon as you walk in, the atmosphere is a welcoming one.

The use of the words "Irish Pub" on O'Connell's website seems a bit misleading because the mere fact that it's not decorated like a traditional Irish pub, or even as a traditional American version of an Irish pub. Nothing else leads to a feeling as though you're in a pub.

The ceiling is lined with different advertising tins for beers and the rest of the décor is sparse and uneventful - just tables and stools without anything but some paper coasters.

The atmosphere created by the employees and patrons make up for the lack of aesthetic charm. The employees at O'Connell's were more than pleasant and quick to serve.

While enjoying the O'Connell's friendly ambience, you can eat delicious meals from the adjacent restaurant Shillelagh. My date and I were able to order food from the Shillelagh menu, all of which looked delicious, and we were also instructed that we could order anything we wanted, even if it wasn't on the menu.

Beside friendly service, games are definite attraction of O'Connell's. There are two pool tables and a shuffleboard table, as well as a few video-game screens at some of the tables. In addition, there are 17 televisions playing several different types of sports. One screen, which featured a Strongman Competition, got a bunch of people in the bar to groan in unison. The groans led me to believe that O'Connell's would be a great place to watch any type of sports game, where the patrons would all get into it together.

The digital jukebox played mostly classic rock and 80s rock, along with some of the more upbeat sing-along-while-you're-drinking country songs. There was only a moment of the music being too loud and that was obviously a mistake, as it was quickly turned back down. It was at the right level to rock out to while still being able to hold a conversation without having to yell.

There was a pretty steady flow of people, mostly consisting of 30-something and a middle-aged crowd, though there were plenty of people in their 20s making their appearances as well. The younger crowd started to come in after 10 p.m.

However, guys, beware. O'Connell's should not be first on your list of where to pick up on the ladies, as men were definitely there in abundance compared to a few women, who mostly seemed to be coupled up, anyway.

Don't miss out on O'Connell's. It may not be a romantic or peppy sort of place, but the atmosphere is happy and relaxed, and I can imagine the pep picks up during big games. In spite of living in Huntington Beach, I'll surely find my way there again.

Media Credit: Dano Kuhlken
Next door to O'Connell's Cocktails is the restaurant Shillelagh. If you don't feel like eating bar food you are allowed to order off the Shillelagh menu and eat at O'Connell's.

Media Credit: Dano Kuhlken
Although the window says as "An Irish Pub," the décor inside O'Connell's lacks Irish flare.

Media Credit: Dano Kuhlken

Cal Rep's 'Tango' isn't exactly a crowd-pleasing play

2008-03-18T08:31:00.001-07:00

This production of the groundbreaking play emphasizes the obtuse nature of the original work.

By Becky Kinder
Issue date: 12/11/07 Section: Diversions

Although Polish playwright Slawomir Mrozek wrote "Tango," which is known as his most famous play, over 40 years ago, the political and social themes of the play are said to remain relevant today.

Unfortunately, in the California Repertory Company's production of "Tango," which is currently running at the National Guard Armory in Long Beach, what (seemingly little) could have been followed and understood through the play's text was constantly getting swallowed up by the space and often thrown away by the actors, who delivered lines without the emotion their words called for.

The direction of German guest artist Eberhard Kohler negatively affected the audience's ability to actually understand the dialogue of the actors because he was working with a thrust stage (a stage that puts the audience on three sides instead of the traditional one) in a very large, concrete room. Actors facing away from one side of the audience were unable to be understood, as their voices were not loud enough to compete with the space and would echo into mumbles.

The talent of the actors I have really enjoyed in other productions, such as that of Josh Nathan (Eddie), was overshadowed by the occasional absurdity of the storyline and severe lack of flow or consistency.

A suspension of the play's own reality, or any suspension of disbelief, was missing. Some might say that the characters are searching for and living in a reality of their own, and working forward to change it through the play, but that would require a semblance of consistency that "Tango" lacks. I was constantly lost because I was unable to find any semblance of realism or even some of the absurdity some claim the play is great for. I was teetering on the edge of dialogue that made little sense, even in its own world.

The costume design was as erratic as the dialogue, as were the clever sound effects (water dripped to melodies of familiar songs) and the lighting. Each of these elements upstaged the actors and storyline, and continued to fight with the other artistic aspects of the production.

The actors broke the fourth wall often, talking to the audience while jumping onto the railings or sitting in the next seat, or addressing those in the tech booth. Again, whether this is the director's choice or that of the playwright, it simply makes so sense and doesn't work.

After seeing this play, I tried to do some of my own research about the play and its author when I, with my disdain of the text and the production itself, began questioning my own intellect and analytical skills (shame on me).

What I found was even more of the same old regurgitation I've always seemed to hear about literature: Freudian themes, political parallels, and so on. Well, if that's what is said to be found in nearly, if not all, pieces of literature and theatre, what makes this play so special? I've yet to find out.

Based on an understanding of Freudian analysis, some sources say that it's obvious that the son is upset about the father always walking around with the fly to his pajamas open because he is jealous of his father's penis, wants his mother sexually (and, therefore, is jealous of his father for that, too), and is generally threatened by his father's sexual freedom.

Without finding any quotes from Mrozek denying or confirming those thoughts, I am left to wonder if it's just society reading the same old things into one more piece of theater. Those themes certainly weren't clear in Cal Rep's production.

Personal opinion pushes me to place a little blame on plays such as "Tango" for deterring more people from becoming regular theater patrons. The theatre world seems to be constantly looking for an audience, and I believe that part of the problem is too many artistic works cannot be readily understood by those who attend.

I am not saying that if some people does not understand a production, it shouldn't be produced. I am just trying to point out that if you are going to mount a play such as "Tango," you may want to supplement it in some way so it becomes easier for your audience to digest by perhaps providing a bit about the meaning of the play itself (or at least some sociopolitical context) rather than a small bio of the playwright in your program.

At intermission I heard people in the audience whispering what I thought was my lone opinion: "Ugh, this play is so boring." I overheard others trying to figure out what was going on and what the play was even about.

You may want to find out for yourself if you agree with some of the opinions of the night regarding "Tango," including my own, or you can just take my word for it and avoid going to see a play that is generally lackluster, uneventful and pointless.

"Tango" will be running through Dec. 15 at the National Guard Armory in Long Beach. Ticket information is available by calling (562) 985-4500 or visiting www.calrep.org.

"Tom, Dick, and Harry" not quite a hilarious romp

2008-03-18T08:28:00.001-07:00

Although there are some bright spots, the production as a whole is as inconsistent as the characters' accents.

By Becky Kinder
Issue date: 11/6/07 Section: Diversions

Media Credit: Shashin Desai / International City Theatre

With house music reminiscent of '60s romantic comedies featuring Doris Day or bickering-buddy comedies like "The Odd Couple," there was the expectation that "Tom, Dick, and Harry" would be a silly romp of a comedy with a dash of sincere sweetness.

However, the show did not completely follow through with this promise.

"Tom, Dick, and Harry," the International CIty Theatre's last production of the 2007 season, is a play that takes place in England. Tom and Linda are a loving married couple working toward adopting their first baby. When Tom's brothers show up, all hell breaks loose, comedy ensues and the couple's dreams may never be. Characters who don't speak any English show up, a dead man's body parts fly and the police stick their noses where they are not welcome.

Unfortunately, the production is not as funny as promised, and it is artistically inconsistent. Each actor is supposed to carry a British accent through the play. Not only do some actors completely fall out of their accents at times, including leading lady Christy Hall, but the three title characters are brothers who each have their own accents as though none of them grew up together.

The upper-class British accent Tom (Brian Stanton) has matches that of his wife Linda (Hall), and I commend him for never falling out of the accent even through all of the shenanigans he has to deal with. However, when introduced to Tom's brother Dick (Nicolas Levene), who comes in with a fantastic Cockney accent, I was thrown for a loop because I was listening to an accent so different that it was impossible to accept that the two were brothers.

Bring in the third brother, Harry (Jaime Tintor), and there are three separate accents. Tintor slips in and out of some kind of an Irish accent towards the end of the play, but it has nothing to do with the story or action.

Did director Todd Nielson simply let the actors do whatever British accent they wanted without regard for consistency within the story? It seems like it. Three biological brothers so close in age to each other would normally all have similar speech patterns and certainly the same accent.

The set was dressed with items that didn't fit, as though the designers just found a painting in storage and used it to fill the space on the wall or figured the table needed a little something and thought, "Why not put an empty bowl with little decorative quality there?"

That empty bowl ended up being the object of busy work for the actors, another poor choice that should have been rectified through better direction. The actors' backs faced portions of the audience, even while speaking.

The script, written by Ray and Michael Cooney, was slightly amusing at times, though it also suffered from filler in the form of pointless and less-than-mediocre jokes designed solely to give the actors something to say.

The sophomoric humor that popped up periodically seemed to make some audience members laugh while it left others to wonder why a joke about Linda's "pussy" (her pet cat, people) even needed to be written.

Surrounded by mostly blue-hairs, I found myself to be the youngest one in the audience, which is something that needs to be fixed. Go see more theater, even if it's not this particular production.

I did laugh a few times, but the rest of the audience certainly found the whole experience more humorous and enjoyable than I did, and several critics apparently agree with them.

The actors' performances, namely Stanton and Levene, are the only saving grace that makes the show enjoyable in any capacity. Overall, I think this production has a place with those who just want to have a good time and a little laugh if you can ignore all its shortcomings.

"Tom, Dick, and Harry" will be running through Nov. 18 at the International City Theatre. Ticket information is available by calling (562) 436-4610 or visiting www.ictlongbeach.org.

'Lars and the Real Girl' shows real heart and emotion

2008-03-18T08:26:00.000-07:00

By Becky Kinder
Issue date: 10/11/07 Section: Diversions

Although Lars seems to simply be an anti-social or shy young man, what unfolds before the audience, and eventually the other characters in "Lars and the Real Girl," is the loneliness and emotional disarray he has been living with since the day he was born - and what needs to happen for him to work through it.

Lars (Ryan Gosling) shuts himself away from everybody in his small Midwestern community as often and completely as possible, including his brother, Gus (Paul Schneider), and his sister-in-law, Karin (Emily Mortimer).

In spite of his inability to fully connect with others on a social or emotional level, Lars does show he cares for those around him in the only ways he can.

Everybody in Lars' small town puts forth the effort to coax him out of his shell. His sister-in-law constantly invites Lars over for meals with his brother at her home, which happens to be the house adjacent to the converted garage Lars is living in. Co-workers and fellow church members attempt to involve him in conversations and invite him on dates and bring him to events.

Eventually Lars announces to his brother and sister-in-law that he has met a girl over the Internet and she is staying with him, but their desire for a non-sexual relationship requires that she stay in the main house instead of with him.

The audience and his family meet Lars' girlfriend, Bianca, and see that she is an anatomically correct doll, the type usually ordered for sex, not a relationship.

From that moment on, the other characters live life through the view of the reality Lars has created instead of trying to force him back into theirs. His small family and the community band together, with the help and suggestion Dr. Dagmar (Patricia Clarkson), to help Lars live with - and hopefully overcome - his delusion.

You cannot help but laugh and be horrified at the same time, but the film eventually shifts to an undeniable view of the uncommon humanity everybody shows to Lars. It's even easy to envy what Lars has when you see his family, doctor and the community bending over backwards to treat him and Bianca as normal community members, showing unconditional acceptance and love.

In a seamless performance by Gosling, Lars fits into an "everyman" sort of commonality while also showing the social and inner emotional strain and differences he faces everyday. The slightness of each change Gosling shows is almost like watching a flower sprouting from a seed - there is no sudden change unless you pay attention. Gosling plays each scene with such a natural ease it is easy to believe he really is the man you see on screen.

Mortimer and Schneider are a great support, not only to Gosling, but to each other's characters as well. Their performances offer a look at the give and take relationships need to survive through life and also remind us that sometimes opposites, even just different views, can attract and even carry one another.

Clarkson offers up such a superb performance, it is almost blasphemous to call it acting. Her strong yet kind and gentle lead is just what the rest of the community needs to follow and help Lars live the best life possible.

Through Bianca's visit, the community in "Lars and the Real Girl" sees what it is really made of and helps each individual take a look inside as well, bringing everybody together instead of ripping them apart.

The audience, too, can grow and learn from this film - and laugh a lot while doing so.

"Lars and the Real Girl" will be released in theaters Friday.

'Delirious' accurately depicts insanity of show business

2007-09-01T15:07:00.000-07:00

Becky Kinder
Issue date: 8/27/07 Section: Diversions

At one time or another everyone dreams of having the excitement of the entertainment industry and the fame that can come with it, right?

Well, it is not all glitz and glamour, and the road to fame and success from a career in entertainment can be paved with hardship and loneliness. Writer/director Tom DiCillo's new film "Delirious" depicts how a pair of men entrenched in the show business life depend on each other as they seek fame and fortune.

In "Delirious," celebrity photographer Les (Steve Buscemi) and aspiring actor Toby (Michael Pitt) meet and join forces, each wanting to reach their goals on their own two feet while also seeing that the other can give them a leg up as they build a bizarre friendship along the way.

Buscemi plays a role he was born for as Les, who can be viewed as either a sleazy paparazzi nobody or a man with enough heart to earn sympathy. Buscemi's performance shows hints of a strong, self-assured man (though his physical appearance begs to differ), and we see Les' true self-loathing seep out.

Unfortunately, Pitt does not give much of a standout performance as Toby, though his character ends up catching the eye of many, including film and pop princess K'harma (Alison Lohman) and sexy, older casting director Dana (Gina Gershon).

Pitt's baby face and bad-boy image (through DiCillo's stereotypical-but-funny use of unkempt hair and a scar) lend him a mix of innocence and street-wise drive, characteristics that draw the other characters to Toby.

DiCillo's outstanding script takes the realities of the entertainment industry and shows the audience how truly ridiculous, hilarious, painstaking and heartbreaking it all can be.

Making fun of almost every industry issue and cliche out there while remaining realistic is tricky, but DiCillo is masterful. We see the homeless actor get his big break and the famous beauty who feels alone even though she always has people around her. We even get a scene with a charity event called "Soap Stars Against STDs" in which they give out "Beat STDs" grab bags.

"Delirious" is very funny with its realistic extremes, but it also shows the more serious side of partaking in the odd world of Hollywood. Touching, romantic, and heartbreaking moments give this movie less of a feeling of a satire and more of a feeling of a dark comedy about life in the entertainment industry.

"Delirious" is now playing in select cities.

'Becoming Jane' does justice to Austen's life

2007-09-01T15:06:00.000-07:00

Becky Kinder
Issue date: 8/2/07 Section: Diversions

Exquisite shots of a misty countryside open the visually breathtaking new film "Becoming Jane."

The film is loosely based on the few letters left between Jane Austen (Anne Hathaway) and her sister Cassandra (Anna Maxwell Martin). The script builds a torrid romance based on the letters in which Jane mentions only a few times a Mr. Tom Lefroy and a flirtation between the two.

The film, regardless of how accurate it may be to Austen's real life, takes us through the real constraints women faced at the time and admits that men faced certain social expectations and family obligations as well. Each sex found that societal and family ties can be detrimental to forming and continuing personal relationships.

In "Becoming Jane," we find that Jane and Tom (effectively played by James McAvoy) are an unlikely match at first. The simultaneous unraveling of their personal lives and blossoming of their romance is quite humorous at times.

The love and deep connection expressed so clearly and tenderly by Hathaway and McAvoy is a beautiful testament to what love and romance can look like in real life. The battle for each other's love, not to mention the battle for the support of their families, builds a tension in the story that wins over the audience's heart.

Each character is played quite well, and the portrayals are clearly based on English society's constraints in the 1700s and the emotions that flow from situations of loveless marriages, women who think and speak for themselves, and the responsibilities people have to their families.

Other notable performances were given by James Cromwell, Maggie Smith, Leo Bill and Julie Walters. Even the subtlety of Laurence Fox's performance as Mr. Wisely is quite worthy of mentioning.

There are times in the film when a minute or more can go by without any dialogue or storyline progression. The audience, however, is given frame after beautiful frame of the society and country in which Jane lived. These views, many times shot as though the audience is a living participant within the film, help create a greater connection to the audience and the experiences that may have come from life in 18th-century England.

Some scenes, such as the one in the barn between Jane and her father (Cromwell), are shot with a handheld camera. The slight jostle of the camera and the angles it gives are contributing factors, giving a more realistic sensation of being a fly on the wall in Jane's life.

The editing connects this period film to modern audiences. The script and direction also help the audience relate to a lot of the exchanges among the characters. Indeed, the hardships they faced centuries ago can still be applied to situations we run into today.

A romantic film with bouts of comedy and action as well as a hint of surprise, this film's romance and storylines are definitely focused on dramatic and serious themes that can lead to the heartbreak of the characters as well as the audience.

Incandescent performances, script and direction make "Becoming Jane" a must-see. After seeing the imagined story of Jane and Tom's romance, it is up to you whether you agree with a line from the film that says emotion or passion "is absurd."

"Becoming Jane" will be released in theaters Friday.

This review can also be found posted on the following websites or pages:

http://www.pbs.org/weta/washingtonweek/voices/200708/0802edit1.htm

http://becomingjane.blogspot.com/2007_08_01_archive.html

"You Kill Me" provides deadly accurate and humorous look at addiction - Review by Becky Kinder

2007-06-28T13:30:00.001-07:00

"You Kill Me" provides deadly accurate and humorous look at addiction

By Becky Kinder
Issue date: 6/28/07 Section: Diversions

Shoveling snow in the morning during the dead of winter in Buffalo, N.Y. would be chilly, right? Not for Frank, played by Ben Kingsley in "You Kill Me." Frank warms up with the bottle of vodka he takes huge gulps from every few feet, and he drinks it so easily you would think it was water. His cousin Stef (Marcus Thomas) stops by to check up on Frank's lonely and emotionally numb state and urges him to complete his next work assignment correctly.

The excess of drinking at all times of the day would get in the way of any job, and so it does with Frank's. Frank's job, however, isn't a 60 hour-a-week office job: It's working for the family business as the hit man for the Polish gang his uncle Roman (Phillip Baker Hall) heads. Denis Farina plays O'Leary, the leader of the Irish gang that is beginning to put pressure on the Polish gang, attempting to push them out of town or kill them in the process.

When Frank makes a horrible mistake on a very important assignment because of his drinking habits, he is confronted by his uncle and given the opportunity to sober up or else, as Roman says, "You can't work for us and we can't let you work for anybody else."

Shipped off to San Francisco, Frank attends his first Alcoholics Anonymous meeting, scoffing and wriggling in his chair, until he finally leaves early. Dave (Bill Pullman), the man who is the watchdog of Frank and his recovery, warns Frank not to slip up or else one call will be made and recovery will no longer be an option.

Frank meets new people at AA and is befriended by Tom (Luke Wilson). He eventually meets Laurel (TÃ©a Leoni) while working his new job at a mortuary, and a loving tug-of-war romance begins.

Since I'm not one to give things away, you readers will have to go out and watch the movie on your own to know the rest of the story, and definitely should.

A comedic drama, "You Kill Me" is packed with dry humor and the serious issues of addiction, desensitization and family responsibility. This is not necessarily a comedy to give you a stomachache, but the characters are played in such a natural and focused way that you can't help but laugh, either at the jokes or through relating in some way to the characters and what they are going through.

Director John Dahl does a fantastic job joining the dialogue with visuals that make the messages of the film pop. The audience can see that small changes, and sometimes big ones, can positively affect your life even if it is just as simple as changing the direction you walk down a steep hill.

Kingsley plays Frank's transition with fluidity and subtlety, and we see the inward reflections of change. With Dahl's direction, the literal reflections, such as those in hand mirrors and windows, are also shown. These can grab the audience with a pull toward our own awareness, becoming a beacon of light in the mist of the doubt and confusion we all can face.

Just as in real life, everybody can go further with the support of others. Leoni and Wilson are superb supporting actors and play their roles with precision. Each actor clearly shows what they are thinking and feeling, at times without any dialogue.

The soundtrack is never distracting and only adds to the film with songs such as "Requiem for Bowling Shoes," which plays during a scene in which Laurel brings in bowling shoes to be worn by her deceased stepfather at his viewing.

"You Kill Me" is a really worthwhile film overall even with the few characters or moments I found overbearing or awkward. Its messages of self-improvement and the necessity of leaning on others for help in order to better yourself are applicable to any life.

Strength and beauty found in Josh Groban's album 'Awake' - Review by Becky Kinder

2007-06-28T13:27:00.000-07:00

Strength and beauty found in Josh Groban's album 'Awake'
Becky Kinder
Issue date: 12/6/06 Section: Diversions
PrintEmail Article Tools Page 1 of 1 Josh Groban's third album titled "Awake" is a remarkable genre mix of pop and classical sounds with songs to fit almost any mood.

There is a buildup from silence to an energy that is still delicate and airy in the first track, "Mai." The song is sung in Italian, but its beauty transcends language.

"You Are Loved," the first single released from the album, is my favorite song on the album. A positive and uplifting message that lingers in the heart is given through the lyrics.

The power from the music in "You Are Loved," along with Groban's skillful voice, is unrelenting and each combines to create an amazing listening experience. I recommend that you definitely turn the volume up and maybe even close your eyes on this one.

Groban's vocal quality and his control over it have been maturing with each album he releases, leaving behind the potentially over-bearing vibrato he has had in the past, giving a smooth quality the album needs to appeal to a wider audience. "Awake" shows Groban's tremendous vocal growth and that he's coming into his own as an artist.

"I learned from touring that my fans are really open-minded, musical, intelligent people and I feel like they want to come on this new journey with me," Groban said on his official Web site. "The music still sounds like it's coming from my heart and my soul and my voice. That is always the most important thing to me. My goal on 'Awake' was to create the music and find the best people to help me create it."

Some of those people include producers such as Marius DeVries, David Foster and Dave Matthews, who wrote "Lullaby" along with Groban.

With no disrespect to its hauntingly beautiful harmony, "Lullaby" is a little out of place on the album, possibly more suitable for an album that has more of an overall soft focus and steers away from any kind of pop sound. The sound is piercing, though, and I was happy to listen to it.

Groban had a part in writing some of the other songs on "Awake," such as "Now or Never" and the icy cool jazz-like track, "Machine."

Groban also recorded "Lullaby" and "Weeping" with longtime idols Ladysmith Black Mambazo.

In addition to his outstanding voice and his skill with songwriting, the keyboards on "February Song" are played by Groban as well. According to his Web site, the song came to the 25-year-old on a sleepless night.

You can buy the album in stores, but there is also an Internet-Only Limited Edition of "Awake" that includes three additional tracks, video footage and an exclusive cover. If the additional tracks are anything like the tracks on his in-stores album, it would be worth getting the limited edition.

The musical tapestry woven by Groban and those he created this album with is beautiful, with meaningful lyrics and songs that will stand the test of time. It's his best yet, and by far.

My Chemical Romances' latest album "Black Parade" is catchy, but not necessarily worth the wait. - Review by Becky Kinder

2007-06-28T13:25:00.000-07:00

Becky Kinder
Issue date: 12/6/06 Section: Diversions
PrintEmail Article Tools Page 1 of 1
Media Credit: Photo courtesy of My Chemical Romance
My Chemical Romance has just released its fourth studio album, "The Black Parade."

My Chemical Romances' latest album "Black Parade" is catchy, but not necessarily worth the wait.

"The End" concludes in such a way that is generally unfitting and transfers abruptly into the next song, "Dead." The music in each song is certainly similar enough to have some kind of cohesive sound making the transition a little more acceptable, but listeners are then left with two songs that are too similar and therefore redundant and unnecessary.

The album's title song, "Welcome to the Black Parade," should have been placed as the first track or the last track instead of the fifth, introducing or completing the album with the force that it was missing.

The first track didn't get me excited about listening to the rest of the album, and the last track did not leave me wanting to hear more either. Energized vocals from Gerard Way work well with the music in "Welcome to the Black Parade," but he could have use a more rounded vocal sound, veering away from the nasal tinge used in most of their songs.

"House of Wolves" has such a vocal bite it almost doesn't work for the band at all, sounding generally too whiney instead of sharp.

The band seems to be becoming too pop-sounding because of Way's voice and the consistent whiney sound instead of sticking with the alternative sounds the band seems to want to aim for, especially with its overall style as a group, the album art, and the music videos. Way's focus should be on sounding stronger instead, aiming for a harsher sound overall, which is more fitting for My Chemical Romance's genre.

Several songs on this album have definitive similar sounds to other artists' songs, such as "I Don't Love You" and its intro sounding painfully close to Coldplay's "Yellow."

Parade and carnival sounds and musical patterns traipse through the album, including a more traditional, and possibly international type sound in track nine's "Mama" in both the music and in how Way pronounces the lyrics.

The chorus in "Famous Last Words" is probably my favorite part of any song on this album. Way's pipes finally fit the song. He's singing better than any other track, and lyrics such as, "I am not afraid to keep on living - I am not afraid to walk this world alone," give the group more depth than other rock bands.

I originally thought My Chemical Romance should have stuck with the sounds of its last album "Three Cheers for Sweet Revenge," but found that the album grew to be more enjoyable the more I listened to it, and so it seemed to be for others who have heard the album in its entirety as well.

My Chemical Romance does have a knack for creating songs with titles, lyrics and music that, for the most part, stay within their own individual themes. However, as the vocalist for an entire album, Way needs more work on changing his sound to better fit the songs and stick with each song's specific theme along with the other band mates.

Touring the country, My Chemical Romance may be a better bet and more entertaining to see live. They will be at the 91X Nightmare Before Xmas concert on Dec. 10 at the San Diego Sports Arena.

The Alrights' 'High School' not head of the class - Diversions

2006-11-14T08:52:00.000-08:00

The Alrights' 'High School' not head of the class - Diversions

High school: a time for learning and experiencing different things, where a student takes many different classes in one semester. The Alrights' debut album, titled "High School," finds itself in a strangely similar spot, with many different song styles on one album, none of which seem to complement the others.

Yes, I would say that the diversity in its music does give the band an appeal to a wider audience than if it had one, collective sound, but it sure makes for a confusing album to listen to.

The intro to the first track, "Call Her Name," has a similar sound to a mixture of Soundgarden and the Beastie Boys, that is, until lead singer Toby Churchill chimes in. His vocals give the song the flavor that it needs for The Alrights to leave more of its own mark in the music world.

The band notes that it is influenced by such artists as John Lennon, The White Stripes, Weezer, Erykah Badu and even Monty Python. While listening to the album, I found it was clearly influenced by The Killers, Modest Mouse and Scissor Sisters as well.

In fact, I could only find the soulfulness of an Erykah Badu sound in some of the songs. But I didn't understand where the other stated influences impacted the music.

Even the artwork for "High School" had a similar look to that of the music video to Modest Mouse's "Float On."

The bands' front man and lead singer, Churchill, is the main source of the songs, having written nearly every one on the album.

According to the band's official MySpace page, the diversity of the band's sound is not a gimmick, but merely just what Churchill'"feels like doing."

Churchill also plays guitar, piano and keyboard. Danny Cosgrove assists in vocals and plays bass while Chavo Ambom covers the beat on drums.

My favorite song is definitely "Heaven Sends Her Regards." The music and vocals to this track are right up my ally and I found the lyrics to be thoughtful and humorous.

I originally picked this album out of the stack of numerous other artists in the Daily Forty Niner office because I found track 12 to be untitled. Though not at all what I expected, listening to track 12 did prove to be enjoyable, though certainly in more of an amusing way than musically.

The band formed in the summer of 2003, but the members of The Alrights had been playing together for years before. After numerous gigs the band signed a record deal with NYC City Canyons Records in the fall of 2005. The Alrights are touring the country, starting off of course, in their home town of Duluth, Minn.

My recommendation to the band would be to pick one style for each of the albums to give a more connected feel while listening through the entire album. Using as many different styles on one album as they have on "High School" creates a detached feeling I find to be bothersome.

I say, if you like most or all of the songs on the album, buy it. Otherwise, you're better off individually purchasing the songs you like online.

"High School" is a good time to work on finding yourself, which I recommend The Alrights do before recording another album.

'The Night Listener' holds up to suspense - Diversions

2006-11-14T08:51:00.000-08:00

'The Night Listener' holds up to suspense - Diversions

Miramax Films' new psychological thriller "The Night Listener," directed by Patrick Stettner and starring Robin Williams and Toni Collette, will open in theaters on August 4.

Some psychological thrillers leave audience members with the impression that the story is an impossible occurrence, a definitive "that was a great fiction" feeling. "The Night Listener" is a more "natural" psychological thriller, leaving an air of the possibility that this could really happen to you or someone you know.

Gabriel (Robin Williams) is a talk radio host whose lover Jess (Bobby Cannavale) has just moved out, but is trying to show that he is moving on. After having lived together for years, the couple's separation adds to Gabriel's already fragile self-esteem.

An avid storyteller, Gabriel uses pieces of his real life experiences, namely how he and Jess live with Jess' AIDS, for his radio program and his fans just eat it up. Gabriel will often embellish or change aspects of his life to give a much different impression than what actually occurs. This lifts Gabriel's self-esteem just a little each time and causes him to remember his stories rather than what actually happened.

Just as Jess leaves, 14-year-old Pete (Rory Culkin) comes into Gabriel's life. Gabriel and Pete form a friendship over the phone after Gabriel reads the book Pete wrote about the torture he survived from his parents and their friends' sexual appetites for him when he was younger.

Pete's adoptive mother, Donna (Toni Collette), is supportive of their friendship and hopes that the friendship with Gabriel will give Pete and his book the extra support needed to overcome the many obstacles he has already dealt with and has yet to work through.

Gabriel's life changes when he suggests that Pete and Donna are the same person after a first conversation with them on Gabriel's speakerphone.

Searching for the truth, Gabriel finds out that nobody in the book deal has actually met Pete and Donna because all correspondence has been over the phone. This brings Gabriel to the desperation and desire for truth that drives him to travel to Wisconsin, where the picture of Pete had been sent. Twists, turns and dead ends are abound until Gabriel finally catches a break and gets to meet Donna, who invites him to her home with Pete.

Unfortunately, Pete is in the hospital at the time of Gabriel's visit and, still doubtful of Pete's existence, Gabriel finds Pete's room with all the news clippings and radio program posters tacked to Pete's wall, showing how much he really admires Gabriel.

There is an unreasonable and sudden snap in Donna's behavior and she refuses to let Gabriel see Pete in the hospital the next day. Gabriel takes matters even further into his own hands and goes on a search for Pete to all the local hospitals and then back to Donna and Pete's home.

Sandra Oh gives a note-worthy performance as Gabriel's friend, Anna, and with such a natural performance and connection with Robin Williams, it makes you feel like listening to real life conversation every time they're together.

This is a finely laid out psychological thriller that will creep up on you, as opposed to the edge-of-your-seat and action-based movies. The tone and suspense of the film is heightened by the lighting choices and even more by the fantastic musical score.

Highly recommended and enjoyable, you should certainly make it a point to see this film and the great performances given by each actor.