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REVIEWS
MUSIC: Old Crow Medicine Show, Tennessee Pusher
In this fast-paced world, there are few outlets to which one can escape for solace and relaxation. Fortunately, Old Crow Medicine Show's latest release, Tennessee Pusher, provides a refreshing hour of true grassroots bluegrass and folk sounds.
The five-member group hailing from Nashville, Tenn., stays true to its aggressive mix of southern folk and bluegrass on Tennessee Pusher, but still manages to mature further with more rock-oriented, lengthened tunes.
"Methamphetamine" is a mid-tempo ballad about the harsh realities of the drug. Its lyrics are raw and somewhat depressing, but are combined with some excellent harmonica work and a great melody.
"Motel in Memphis" is another excellent tune that combines banjo, harmonica, violin and guitar into telling the dark tale of the assassination of Martin Luther King, Jr. An organ is also added in the track, making for a more solemn tone that complements the violin's strong melodies.
Tracks like "Mary's Kitchen" and "Alabama High Test" with their fast-paced, ramblin' feel and jam-oriented harmonica and violin solos are reminiscent of previous O.C.M.S. albums.
"Crazy Eyes" is a laid-back track with smooth slide guitar placed over the main acoustic riff. The tune eventually progresses
to an up beat an them-like chorus, only to return to its soft tone. Its lyrics have the feel of those of an early
Grateful dead tune like "Ripple" or "Box of Rain."
Each song on Tennessee Pusher is unique with solid guitar and violin development on almost every track. Tennessee Pusher is the perfect dose of true, down-to-earth music for anyone.
Danny Nordstrom
MOVIE: Choke
Victor's life is just the way he wants it. He causes chaos as a "historical interpreter" at a colonial theme park, has sex with every female he comes in contact with, and chokes on food for money.
The scam is simple, really. He just cuts off an unusually large portion of food, stuffs it down his throat until he can't breathe, and lets the person wearing the nicest watch in the room save his life. He then guilt trips his saviors into sending him money on a regular basis, which he uses to pay his mother's hospital bills.
Based on the popular Chuck Palahniuk book, Choke tells the story of Victor Mancini, a sex-addicted tour guide who ends up falling for one of his mother's doctors, Paige Marshall. Though he's afraid to admit it, Victor—played disgustingly well by Sam Rockwell—starts to realize he might not be the horrible bastard he thinks he is. Upon discovering who his father might be, Victor even shows signs of having something he has never had before: a conscience.
Choke is a low-budget film that makes up for its run-of-the-mill production value and lack of fancy camera shots with a great story, anchored by both Rockwell and the always dependable Anjelica Huston. Writer
and director Clark Gregg makes the movie shine with engaging dialogue and an overall quirky style.
Anyone who is a fan of the book, however, may
be a little disappointed as the film lacks some of the punch and grit present in the novel. Even though Choke is one of the dirtier and more perverse movies to come out this year.
every aspect
of Palahniuk's raunchy story could not be translated onto the screen.
Mark Arehart
THEATER: A Flea in Her Ear
Very rarely will you encounter someone unwilling to sit through a good movie. On the flip side, ask the average Joe to spend an evening at the theater, and suddenly you find yourself in excuse city. Something about live theater scares people. They think it'll be long, boring and pretentious. University Theatre's current production, A Flea in Her Ear, is anything but.
Translated by theater great David Ives from the French farce, A Flea in Her Ear is a thoroughly amusing romp involving infidelity and sexual mischief topped with a dash of identity confusion that had its opening night audience rolling in the aisles.
Under the direction of Jack Wright, the cast kills with impeccable timing and a masterful understanding of the essentials of farce. The lead characters are played by talented senior Jeff Sears as both Victor Chandebise and Poche—two equally creative and distinct characters—and graduate student Chandra Hopkins as Raymonde Chandebise.
Photo by Allison Richardson
But the show's true magic comes from its supporting cast. Senior Erik LaPointe's brilliantly simple-minded Tournel had the audience giggling, as did seniors Cali Gilman and Spencer Lott as the Spanish couple, and
Photo by Allison Richardson
Students Cali Gilman (left) and Chandra Hopkins rehearse "A Flea in Her Ear" September 30.
For those typically too timid to try the theater: University Theatre has provided the perfect introduction. There simply isn't a negative aspect to this show. Buy your tickets for Thursday, Friday or Saturday's shows by calling (785) 864-3982.
junior Chris McGillivray as the immaculately side-burned doctor. Senior Spencer Holdren, who plays Camille, the cotton-mouthed cousin of the main characters, was so amazing he received four ovations in the middle of the opening night show on Oct. 3.
—Matthew Crooks
MOVIE: Appaloosa
In Ed Harris' second film, Appaloosa, his modest skills are on full display in the Western starring himself along with the genuinely coolViggo Mortensen and unbearably awful Renee Zellweger. If you've ever seen a Western before, you have undoubtedly seen a better production.
The plot is typical of the genre and does not deviate from predictability, hitting every major cliché along the way. Harris plays Virgil Cole, a strict lawman who has a reputation for marksmanship and being a quick draw. He and his deputy (Mortensen) are hired to protect the titular town of Appaloosa from the rancher and scoundrel Bragg (Jeremy Irons), who killed the city's former law enforcers.The obligatory love interest is Allie French (Zellweger), whose appearance in the town is nonsensical and unexplained. Virgil falls for Allie, who is later revealed to be a genuinely wanton saucebox who jeopardizes Virgil's duty to uphold law and order. The film follows the blueprint for Westerns, including a couple of shoot-outs, some ornery Indians and a cowboy riding off into the setting sun.
Zellweger hasn't been this annoying or unconvincing in a late 19th century-set
film since Cold Mountain. The score would be better suited to a female cop show.And the credit song is by Tom Petty, which is the best use of classic rock music in a period piece since the
equally terrible A Knight's Tale.
If a filmmaker decides to take up the monumental task of making a Western—a great American art form—he should deliver an innovative slant. A two-hour audio track of Walter Brennan saying "Dude" would have been more entertaining and more inventive. Do not see this movie. Rent Rio Bravo instead.
Darron Carswell
October 9,2008
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