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THURSDAY, FEBRUARY 23, 2012
WOMEN'S BASKETBALL
THE UNIVERSITY DAILY KANSAN
Team faces highs and lows without key player
KATHLEEN GIER
kgier@kansan.com
twitter.com/udk_wball
Just 16 days ago, the Kansas women's basketball team was ranked in the ESPN/USA Today Coaches Poll and received votes from the Associated Press. Kansas lost to defending national champion Texas A&M, but bounced back with a victory over Texas at home
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ENTERTAINMENT
Top Album
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Therapy at 3 by Eligh & Amp Live
// KELSEY CIPOLLA
If 13 is a lucky number, is 26 twice as lucky? Maybe so. California-based indie rapper Eligh reached the top of KHK's Hip-Hop chart last week with "Therapy at 3," the 26th album he's released in his 18-year career.
Eligh's collaborator and fellow Californian, Amp Live, brings his own impressive and eclectic credits to the table. Live, a producer and DJ, has made beats for video games, commercials and television show title sequences. He's also produced tracks for artists like Akon, Nicole Schercenger and Radiohead.
Last year, the pair released "Therapy at 3," an experimental hip-hop album that seamlessly blends Eligh's smooth rhymes with Live's skillful beats. It's a successful experiment. If robots ever conquer
CONTRIBUTED PHOTO
humans, the slowed down techno-infused rhythms of Amp Live and Eligh's calmly rapped rapid-fire verses would make the perfect soundtrack.
Eligh and Amp Live are currently touring but they aren't coming to the Midwest anytime soon, so the closest you'll get is downloading the album from iTunes or streaming it on Spotify. It's worth a listen for adventurous hip-hop fans who have tired of mainstream, radio friendly artists like Kanye West and Jay-Z but still crave fast, sharp lyrics set to booming beats.
Movie Review Safe House // LANDON MCDONALD
Daniel Espinosa's action potboiler "Safe House" suffers from spastic camerawork, listless pacing and an overly familiar plot involving a rogue CIA operative and the file of names he's hell-bent on recovering. Yet the film still warrants a watch for three main reasons: Denzel Washington, Brendan Gleeson and Vera Farmiga. All of these actors are performers of a rarified caliber, and together they elevate David Guggenheim's cliché-spouting screenplay to the level of serviceable intrigue.
Ryan Reynolds, who first demonstrated tangible able chops in 2010's criminally under-seen "Buried," plays Matt Weston, a newbie agent in charge of minding a safe house on the fringes of Cape Town. His first "guest" in months is brought in wearing handcuffs and a bag over his head. This is Tobin Frost (Washington), a hardened ex-spy accused of selling his country's secrets to the highest bidder. After the house's complimentary waterboarding service is cut short by an onslaught of hired gunmen, Matt flees the compound with Frost in tow, with no one to contact but his squabbling Langley handlers (Gleeson and Farmiga).
What follows is little more than a perfunctory spectacle of head games, marketplace chases and rooftop shoot-outs, but Washington's evil-eyed charms make the effort mostly worthwhile. That Mr. Frost is one smooth operator, able to ascertain the blind spots and breaking points of his enemies with little more than a cocked eyebrow and a casual glance. Then he applies the necessary pressure. Watching him menace Reynolds contains all the one-sided amusement of a jungle cat stalking a field mouse, if the mouse had to deal with an unnervingly dim-witted French girlfriend practically begging to be used as psych-out leverage.
And all hail the great Brendan Gleeson, a richly nuanced and incredibly prolific supporting player who deserves far better scripts and far juicier parts. Give this man an Oscar already, or at least a retroactive one for his masterful turn as a virtuous hit man in 2008's "In Bruges." And if that title doesn't ring a bell, skip "Safe House" all together and rent "In Bruges" immediately. Now. You won't be disappointed, which is more than this new film can guarantee. FINAL RATING:
4
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