Student artist profile: Erinn Reville finds her voice

Erinn Reville, a senior at Kennett High School, is the daughter of singer Holly Reville and sister of theater regular Shannon Reville. She has appeared in Arts in Motion’s “Disco Inferno” and “Guys and Dolls.” She will be joining Rafe Matregrano as the opening act for The Mild Revolution at The Starving Artist in Keene March 2. For more information visit thestarvingartistcollective.com and themildrevolution.tumblr.com.

You grew up in a musical household, what was that like?

Well, as a child, I’ve always liked to sleep a lot and my mother would always wake me up in the morning with music and so I sort of grew accustomed to that at a young age of always being around music. She was in a band, so I was around that a lot as well and that kind of formed how I am today with how I perform I think.

When did you first start singing?

I sang ever since I was a baby actually. I used to go in the shower with my mom and just sing notes. I was kind of shy with it when I was younger. Then I just blossomed and didn’t mind other people listening to me.

What was your first public performance?

Well, I guess in a play, “Guys and Dolls” and I was in “Disco Inferno.” In those I just sang along with others who had done plays a lot more and that opened me up a little more. My first time just singing alone was in “Guys and Dolls.” I had a solo part, which was interesting to sing.

Having an older sister that also performs, did you feel any pressure following in her footsteps?

Sometimes it was like that because everyone was like “Oh, Shannon is such a great singer. Shannon performers and she does so well.” I wanted to be like her, but then I realized that we are two different people. We both flourish in what we do and like to do what we do in different categories, so I think I came to terms with the fact that we are different in the things that we do. We just complement each other for what we do.

How long have you been performing with Rafe?

I’ve known Rafe since I was in seventh grade. I always looked up to him. He always brought around a guitar. We were friends, but we really didn’t sing together. Over the past probably year or two we’ve been getting together to sing a little bit, but it has been a lot more just this year getting together and performing. We write our songs together, too. That’s nice. Stay up all night.

How did this performance at Keene come about?

Over the summer I started working at Pac Sun and I met a friend of mine, John Remmetter, and he went to Kingswood. He introduced me to this band that he knows personally, which is The Mild Revolution. I did a cover of one of their songs with Rafe not knowing if they'd see it or not. The lead singer, Morgan Little, contacted me and we’ve been in contact now for a few months and he was like “Hey, I want you guys to come open for us. Just come down and we’ll make sure you get a 45 minute set.” So, Rafe and I are just pumping songs out just making sure we have enough to perform with.

Would that be a mix of originals and covers or is it all originals?

We are trying to hope for more originals than covers. We don’t want to just be that band that shows up and just plays other people’s songs. We will play one or two covers, ones that we like to make our own, like really unique, nothing that just sounds the same because we want everything to sound like us.

What would you say your influences are in terms of music and songwriting styles?

We really like The Civil Wars. They have that sound that we are going for of more like folky, airy, but at the same time dramatic, so I’d say that one is a pretty big influence. The Deer Hunter, we have been doing a lot of covers of those lately, which has really helped as a lot with our song writing at least because we have this little image going on.

What are your plans after high school?

I still want to perform, but I want to be a surgeon some day, so keeping everything that is performance-wise on the side, but keeping the dream in mind as well. That’s my goal in the end, but I am always going to have time to sing and if something comes up that way, matters well go for that, too.

Do you have any final thoughts of why you perform and what it brings to you and your life?

Performing for me is something that is almost indescribable in the fact that I just get to let out so much and express myself in a way that could be interpreted differently from other people like some people might take a lyric that I sing as something that is sad, while another person will be like “Wow, that is really inspirational.” That’s kind of what I go for. I don’t want just one meaning to a song or I don’t want just one meaning to what I say on the stage. It is how I feel and it doesn’t really matter who is watching either because I know that in the end I am making myself happy by doing it.

'Haywire' is slick, sophisticated low-budget action film

“Haywire,” director Steve Soderbergh’s low-budget answer to the “Mission: Impossible” and “Bourne” movies is more visceral and at the same time more methodical and deliberately paced than any other recent action movie.

Soderbergh is a chameleon-like filmmaker who seems like he wants to try everything at least once. This is his crack at a fight film, but he brings a certain degree of sophistication, intelligence and even grace to the proceedings.

The film starts in the middle and rewinds via flashback until it catches up with itself. As the movie opens a woman named Mallory (Gina Carano) is meeting a man (Channing Tatum) in a diner. As they start talking the audience is a bit lost, and just as we start to get the picture a fight breaks out.

This is not your ordinary movie fight. The punches are hard and brutal. Soderbergh doesn’t have the cool jazzy score by David Holmes that appears elsewhere in the movie on this or any of the other film’s numerous fight scenes. He wants you to hear every punch and kick.

Unlike other recent action movies, the fight isn’t shot in close up and full of quick edits. The compositions of the shots allow you to clearly see what happens and to realize that the fight appears to be the real deal.

The authenticity of the fighting can be partially credited to the film’s lead, Carano, a former mixed martial artist, in her first starring role. Soderbergh wanted the fights to be as real as possible. Casting an actual fighter was clearly the way to achieve that.

Accuracy is important to Soderbergh. This is the same filmmaker who when he made “The Good German,” a tribute to a 1940s film noir, he used only equipment available in the 1940s. When he directed “The Girlfriend Experience,” a movie about a high-end call girl, he cast a real porn star. These sort of gimmicks don’t always pay off in great cinema, but he’s an assured-enough filmmaker that the final products are at the very least interesting.

The casting of Carano paid off. She is a strong, beautiful woman who has a commanding screen presence. Her acting abilities are still up to debate. She isn’t bad by any means, but her emotional range is limited. She has a directness that is effective, though. Occasionally her reading of dialogue is flat, but she has an expressive face that is well utilized in quiet moments.

As the film progresses, it is revealed that Mallory is a former black-ops soldier who works for a company on various contracts from rescue missions to hits. She is very good at her job, but for convoluted reasons her boss and former lover (a slimy Ewan McGregor) decides to have her killed. This doesn’t go as planned and Mallory seeks revenge on all those involved.

That’s it in terms of plot, but that’s OK as the plot is just an excuse to have Carano go up against various male combatants including rising star Michael Fassbender.

Soderbergh, who has directed everything from the “Ocean’s” movies to “Traffic” to “Erin Brockovich” to last year’s “Contagion,” is a director who actors want to work with so this means even small roles are filled by the likes of Bill Paxton, Michael Douglas and Antonio Banderas. There’s a reason actors want to work with him: He gets quality work out of them and makes them look good.

The film is about 90 minutes, but takes it time. It allows for leisurely paced interactions between characters that are punctuated by bursts of unexpected violence. There’s also a sly sense of humor to the film, especially during a car chase in the woods, the final confrontation with McGregor and in the concluding moment of the movie with Banderas.

“Haywire” isn’t going to please action fans who have grown accustomed to the frantic editing of recent action films, but is a slick well-acted piece of entertainment.

What's so dangerous about SOPA?

Wednesday saw websites like Wikipedia doing black outs in protest of the Stop Online Piracy Act (SOPA) and Protect IP Act (PIPA). Petitions have been circulating for months. It would seem the negative of backlash may have made an impact.

Florida Senator Marco Rubio, who co-sponsored PIPA, was the first to officially withdraw his support of the act calling for more discussion before new copyright legislation is introduced. Others followed suit including Senators Orrin Hatch, of Utah, Kelly Ayotte, of New Hampshire, Roy Blunt, of Missouri, John Boozman, of Arkansas, and Mark Kirk, of Illinois.

Lamar Smith, the Texas representative who first introduced SOPA, isn’t budging though. According to a forbes.com article, he promises to reintroduce the bill to the House for discussion in February, so at the very least SOPA isn’t going anywhere.

While discussion of both these acts, which many fear could ruin the Internet as we know it, have been going on for months, for some this may have been the first they’ve heard of them. So. what’s so bad about them? Certainly stopping online piracy isn’t a bad thing, right? In theory it isn’t a bad idea, but how do you even define what qualifies as piracy? The legislation, in its original form, was written in a vague enough way that it could potentially be used to put a muzzle on many websites.

SOPA’s main targets are overseas sites like The Pirate Bay, which is a treasure chest of illegal downloads of movies and TV shows. U.S. copyright laws holds no jurisdiction internationally. SOPA would blacklist pirate sites by requiring U.S. search engines, advertising networks and other providers to withhold their services.

According to a CNN Money article, sites like YouTube are worried that they would be forced to more closely police their content to avoid running afoul of the new rules.

An article on CNET.com features the Recording Industry Association of America explaining that SOPA could be used to deny “access to only the illegal part of the site” that is found to be questionable. Many fear this could lead to sites like YouTube being targeted.

The same CNET.com article quotes Laurence Tribe, a high-profile Harvard law professor, as saying SOPA is unconstitutional because, if enacted, “an entire Web site containing tens of thousands of pages could be targeted if only a single page were accused of infringement.”

The implications of both acts stretch further than YouTube, but let’s continue to use that site as our example. It is true, a lot of videos on YouTube are blatant re-postings of copyrighted material and it is understandable why the copyright holders would want to stop this, but there are concerns that SOPA would be throwing out the baby with the bathwater.

There’s a good deal of content on YouTube that uses copyrighted material in interesting and creative ways. A popular trend for the last few years has been movie trailer mash up, which will take the audio from one film and match it with another. The better ones are done with a real sense of wit and skill. A recent example of this combines the new “Dark Knight Rises” trailer with “The Lion King” with striking results. If the fears about SOPA are true, the act could potentially put an end to content like this.

Use of copyrighted material in this way falls under fair use which allows for some of the content of a work to be used in a parody. Copyrighted material also falls under fair use in criticism and scholarly work. Using part of a song or video is comparable to quoting a literary work.

I personally encounter fair use issues on YouTube often when posting videos that feature clips of movies I am reviewing. Even though the video falls under fair use, it is flagged. Nothing usually happens and the video still stays up, but with SOPA it could be potentially taken down. Supporters of SOPA say that this is too extreme a reading of the law, but those against it don’t want to even head down a path that could lead to censorship.

The loss or crippling of a site like YouTube would be huge. While for many YouTube is just a 24/7 version of “America’s Funniest Home Videos,” it is also a valuable platform for aspiring filmmakers, animators, actors, musicians and other artists to share their work and opinions. Silencing any part of it would be a tremendous loss.

Fourth 'mission' is great fun

Four movies into a franchise fatigue tends to set in along with diminishing returns financially. With “Mission: Impossible — Ghost Protocol,” producer and star Tom Cruise truly has done the impossible: He has made a film that may just be the best in the series and that in four weeks has already made nearly $470 million worldwide.

Based on the popular TV series from the 1960s and 1970s, the “Mission: Impossible” films are episodic in nature and that may be the key in helping keeping the series strong 15 years in. Similar to the James Bond movies, each new film is another installment in a series that follows a formula.

The first film, directed by Brian DePalma, captured the dynamic of the show with a focus on a team working together to complete a mission. The second film, directed by John Woo, lost the team dynamic with the film becoming about Cruise single-handedly saving the world. With the third film things got a bit more on track with the teamwork aspect working its way back in, and now with “Ghost Protocol” it is once again front and center.

The new film has Cruise’s Ethan Hunt and his team, including Simon Pegg’s Benji, returning from the third film, Jeremy Renner’s William Brandt and Paula Patton’s Jane Carter, being framed for an attack on the Kremlin. This attack is a cover up to stealing a nuclear device and it is up to this now disavowed team to stop the weapon from being used.

In the past audiences and critics have complained that the plots for the “Mission: Impossible” films, particularly the first one, were needlessly over complicated. Things are straightforward here: Stop nuclear war.

As has been true of all these films, there’s at least one mind-boggling sequence — and “Ghost Protocol” has one heck of a set piece. To complete a key part of the mission, Ethan must scale part of Dubai’s Burj Khalifa, the world’s tallest building. Cruise really is out there climbing up, running along and swinging from the building. It is a masterful bit of suspense. It may be a cliche to say this, but in this case it is a 100 percent true, the scene truly has you squirming on the edge of your seat.

The success of this sequence and the film on the whole goes to director Brad Bird, making his live action directing debut after having previously directed the animated features “Iron Giant,” The Incredibles” and “Ratatouille.”

“Iron Giant” and “The Incredibles” both had a retro feel to them with robotics, rockets and heroics that emulated the future as people imagined it in the 1950s and 1960s. There’s some of that in “Ghost Protocol.” Knowing Bird’s work, when a rocket is launched it is hard not to think of “The Incredibles.”

The action sequences aren’t cartoony, but there’s a whimsical logic to them that is similar to the sort you see in animated features. Everything that occurs seems plausible, but there’s a certain elegance to the design of action scenes that seems to point to Bird’s time in animation.

Cruise, who in recent years has had his star power questioned following his antics in the public, still makes a viable hero and, in a way, being a bit older enhances the role. In the first film he was brash and cocky, now he’s the veteran of the team with some deep emotional scars. The performance works.

Pegg, the reliable British star of such films as “Shaun of the Dead” and “Hot Fuzz,” provides the film with some levity. Typically a comic relief role can feel gimmicky and forced, but Pegg’s light, dry touch works well here. Pegg’s Benji is new to being a field agent after being an office worker and his excitement is charming and funny.

Renner, the Oscar nominated actor from “The Hurt Locker” and “The Town,” brings some acting heft to the film. The role isn’t completely fleshed out, but Renner is required to play both dramatic and comic moments and does them well. There’s a secret about Brandt’s past that connects to Ethan, and this is the emotional crux of the film.

Patton is the least familiar face in the film, but she is solid as the obligatory female member of the team. As is so often the case with female members of spy teams, she is required to seduce a man (Indian star Anil Kapoor in a very funny cameo). It isn’t much of a role, but it is a relief that she isn’t required to merely fall in love with Cruise.

“Ghost Protocol” is an excellent example of well-crafted, intelligent, popcorn entertainment and, against the odds, is well worth checking out.

Spielberg goes old school with 'War Horse'

In “War Horse,” director Steven Spielberg takes a relatively short children’s book by Michael Morpurgo and expands it into a rousing epic two-and-a-half-hour-long movie. It is an example of majestic film making as only few living filmmakers can do.

Set during World War I, “War Horse,” which was already turned into a successful play in London, is about a boy and his horse and the war that separated them.

The boy is Albert Narracott (Jeremy Irvine) and the the horse is the spirited Joey, who was bought by Albert’s father (Peter Mullan) as a work horse. The film spends a good amount of time in the Narracott farmstead. This is a film that takes its time.

Spielberg is making an old-fashioned film in the style of someone like John Ford. The English countryside of the early scenes bring to mind Ford’s “The Quiet Man.”

Large portions of the film almost play like a silent film only relying on visuals and the music to get across the emotions.The score is sweeping and huge. The visuals have an equally large scope with the camera slowly moving along the beautiful landscapes.

A standout sequence in this early part of the film is Albert and Joey's triumphant plowing of a rocky field during a rain storm.

Albert is the lead human character of the story, but Joey the horse is really the star. Irvine, in his first film, as Albert is solid enough. He’s earnest and sincere and not much more, but that is all the role calls of him. It is Joey’s journey that is the compelling one and it is an extraordinary one.

After Joey is sold into the cavalry he goes for the hands of British captain (Tom Hiddleston), pulling a German ambulance, the adopted hands of a French grandfather and granddaughter (Niels Arestrup and Celine Buckens), back to German hands to pull artillery and eventually back to the British army.

Even though there are war sequences, this is not a film that chooses sides. If there is a villain it is war in general, not the specific combatants. There are no good guys or bad guys. This is best shown in a scene in which a British soldier and German solider work to save Joey from being entangled in barbed wire.

Like Much of Spielberg’s work, “War Horse” plays on a big emotional scale. This isn’t a subtle movie. There aren’t so much characters as types. In lesser hands this would be an issue, but not with Spielberg.

The script by Lee Hall and Richard Curtis is at times hokey or too sincere, but Spielberg is such a strong filmmaker that even in the moments in which you know you’re being manipulated it is hard to not succumb to the emotions at hand. This is a weepy, for sure, with both tears of sadness and joy.

The caliber of the performance also helps sell the more forced moments. Emily Watson as Albert’s mother gives a performance of quiet grace. It is the familiar stubborn, sassy, but loving mother archetype, but she instills the character with real warmth.

Hiddleston, who was so good as Loki in last summer’s “Thor,” also makes a lasting impression as the British captain who promises to take care of Joey. It is small role, but Hiddleston is an actor with tremendous screen presence and likability.

Arestrup is wonderful as the French grandfather. It is a performance full of tenderness and humor.

The film plays almost exclusively on an emotional level rather than intellectual one and is effective in how direct and open it is. The movie is made in a way that is easily accessible and digestible. This is mainstream film making of the highest order.

Paul Allen is hooked on 'Peter Pan'

For Paul Allen, getting to play the role of Captain Hook is a dream that, thanks to Arts in Motion Theater Company, has come true.

“I've loved the mythos of Peter Pan from a young age,” Allen said “My favorite movie of all time is ‘Hook’ and, as a kid, I watched it so much that I wore out my VHS copy.”

Arts in Motion’s production of “Peter Pan: The Musical” opens Friday, Jan. 6, at 7 p.m. at the Leura Hill Eastman Performing Arts Center at Fryeburg Academy in Fryeburg, Maine and is playing again at 11 a.m. and 4 p.m. Jan. 7 and at 7 p.m. Jan. 13, 20 and 21.

The production, which was originally scheduled to be put on in November, has been a long gestating labor of love.

“The rehearsal process has been crazy,” Allen said. “We have a humongous cast, which is something I have never experienced before. ‘Peter Pan’ is a monumental show, and it has been kind of daunting at times. That being said, [director] Glenn [Noble] is so sure of his vision, and believes in us and this material so much that it's hard not to believe in it as well.”

Musical director Mary Bastoni-Rebmann also notes that the production, despite some hardships, has been a positive experience.

“Despite some setbacks, the cast has been dedicated and a joy to watch,” Bastoni-Rebmann said. “The cast is made up of 65 community children and adults and they seem to have thoroughly enjoyed being lost boys, Indians and pirates. It is great to see the local children become so involved in this process and project.”

The lead roles are played by adults with Allen playing across from two different Peters, Natasha Repass and Taylor Hill, who trade off playing the role between performances.

“The adult leads have done a great job embracing their characters,” Bastoni-Rebmann.

Allen has enjoyed playing against Hill for the second time, having previously worked with her on Arts in Motion’s production of “Rent.”

“Taylor and I have great stage chemistry,” Allen said. “We found that out when playing opposite of each other in ‘Rent.’ It has been weird going from lovers to sworn enemies, but it's a fun change of pace.”

But Allen has been equally pleased working with Repass as well.

“Natasha is great,” Allen said. “She's so passionate about the role of Peter, and you can definitely see that in her performance.”

Of his own performance, Allen is harder on himself because he wants to live up to the expectations of a character he loves so much.

“It's so iconic that I'm rough on myself at times,” Allen said. “I'm trying to live up to all the actors who have played him before and live up to the signature Captain Hook that is in everyone's mind. It's a real balancing act between disgustingly evil and effeminately funny.”

Tickets are $12 or $40 for a family four pack and may be purchased online at www.fryeburgacademy.org, at the door or reserved by calling the box office at (207) 935-9232. The box office is open Monday through Friday from 9 a.m. to 1 p.m.

Looking back at film trends in 2011

In the past I’ve compiled lists of my favorite movies of a given year. This year I’ve decided to document certain positive film trends in 2011.

The thinking man’s sci-fi film
When most people hear science fiction they probably think of space battles, post-apocalyptic worlds or, perhaps, giant robots beating the crap out of each other, but good science fiction can be used to explore big ideas.

“Source Code” starred Jake Gyllenhaal as a military man who, through the marvels of modern technology, is sent into the last eight minutes of another man's life. This other man is on a train that is bombed, and it is up to Gyllenhaal to find the bomber in hopes of preventing a larger scale attack. “Source Code” plays like a condensed version of “Groundhog Day” with a mad bomber. The focus isn’t the bomber though, but Gyllenhaal’s conversations with Michelle Monaghan as a fellow passenger on the train.

“The Adjustment Bureau” was a high-concept romantic thriller about a politician (Matt Damon), who meets a dancer (Emily Blunt) and has an instant connection. The problem is the men of the titular bureau serve a higher power and Damon and Blunt being together is not part of the plan. Based on a story by Philip K. Dick, whose work has been the basis for such films as “Blade Runner” and “Minority Report,” the film explores fate versus free will in a way that is accessible. It also helps that Damon and Blunt have palpable screen chemistry.

“In Time” uses its sci-fi premise, a future in which time literally is money, as an allegory for current economic woes. In writer/director Andrew Niccol’s world all people have been genetically altered to not age past 25. The catch is you are given only one more year to live beyond 25. The rich can live forever. The poor die young. “In Time,” like “Source Code” and “Adjustment Bureau” has a romantic element to it with Justin Timberlake and Amanda Seyfried teaming up for some “Bonnie and Clyde” meets Robin Hood adventures. It is handled in a way that is clever and thought provoking.

The return of the romantic comedy
In recent years the romantic comedy has been a dire wasteland with films like “The Ugly Truth” requiring their female leads to be shrill, uptight control freaks. All romantic comedies have the same ending. It is how you get there that counts and that journey, of late, had been painful. It was a relief that 2011 marked a return of romantic comedies with intelligence and wit.

Much was written about “No Strings Attached” and “Friends with Benefits” being the same movie — friends who decide to have sex — but both films were well made and funny. “No Strings Attached” featured solid performance from Natalie Portman and Ashton Kutcher and a fine supporting performance by Kevin Kline as Kutcher’s father. “Friends with Benefits” was the better of the two, though, with the cute couple of Justin Timberlake and Mila Kunis surrounded by an excellent supporting cast including Patricia Clarkson, Woody Harrelson, Jenny Elfman and Richard Jenkins. The writing was a bit sharper and the characters felt more like real people with real problems.

“Crazy Stupid Love” was an ensemble film with humor and heart. Steve Carell is dumped by his wife Julianne Moore and gets a makeover by a womanizing playboy (Ryan Gosling) who takes pity on him. Gosling then meets Emma Stone and realizes he wants more than just flings. Carell and Gosling’s dynamic is the best thing about this film. Stone continues to reveal herself to be a shrewd comic actor able to also handle dramatic scenes.

Even Woody Allen returned to the romantic comedy genre with the wonderfully fanciful “Midnight in Paris.” Owen Wilson stars as a writer who idealizes Paris in the 1920s and magically gets whisked back there every midnight to hobnob with the likes of Ernest Hemingway and F. Scott Fitzgerald. Somehow the signature Allen dialogue coming from Wilson's typically laid back performance makes both familiar personas feel fresh.

Sequels and remakes that surprise
Every year we are bombarded with a seemingly endless parade of sequels, prequels, reboots and remakes. This year had its fair share of rubbish ones, but there was also a high quota of such films that were actually rather good.

“Rise of the Planet of Apes,” a prequel that showed how the intelligent apes that Charlton Heston first encountered back in 1968 came to be, proved to be surprisingly engaging. Andy Serkis, the man behind Gollum in “Lord of the Rings,” gives another superb motion-capture performance as Caesar, the ape that will lead the revolution. The heart of the film is the relationship between Caesar and his surrogate father played by James Franco. It is a long time before ape revolt breaks loose and the film earns that final action sequence.

Horror remakes are often particularly barren land, but “Fright Night” and “The Thing,” which was half prequel/half remake, were made with clear affection for their originals. “Fright Night” in fact may actually be an improvement over the charming but cheesy 1980s original. Colin Farrell gives a truly menacing performance as the vampire next door and there’s a nice tongue-in-cheek tone. “The Thing” doesn’t surpass the 1982 version, but it does honor it. The film is aided by a strong performance by Mary Elizabeth Winstead.

“The Muppets” proved to be the triumphant return of everyone's favorite felt friends. Co-written by human star Jason Segel and featuring fantastic songs by Flight of the Conchord's Bret McKenzie, the film captured the essence and magic of Jim Henson's creations.

“Mission: Impossible: Ghost Protocol,” the fourth in a franchise many counted as down and out, may well be the best of the series, or at the very least matches the first. The masterful set piece of the film features Tom Cruise climbing Burj Khalifa, the world’s tallest building.

“X-Men: First Class” took the flat-lining “X-Men” franchise and brought it back to life by going back to the beginning. The strong cast led by James McAvoy and Michael Fassbender as the future Professor X and Magneto, a smart script and assured direction by Michael Vaughn made this high energy fun. If only all sequels, remakes and reboots could be made with this level of care.

Summer of the superhero
The superhero movie has become a mainstay of the summer movie season and this held true for 2011. In addition to “X-Men,” “Thor,” “Captain America” and “The Green Lantern” all graced the silver screen. With the exception of “Green Lantern,” which was still watchable, these were all examples of high quality big-budget entertainment. These movies had style, atmosphere and substance. Looking ahead to 2012, the summer of superheroes will continue with “The Dark Knight Rises,” “The Amazing Spider-Man” and “The Avengers” which unites Iron Man, The Hulk, Thor and Captain America.

Laughs, tears and song: A look back at 2011's theater scene

As 2011 comes to close it is clear that a vibrant theater scene continues to thrive in North Conway, N.H. North Conway’s two community theater companies, Arts in Motions and M&D Productions, and one professional company, Mount Washington Valley Theatre Company, put on a wide range of comedies, dramas and musicals over the course of the last 12 months. Here are highlights for each of the companies’ seasons.

Arts in Motion
Arts in Motion started the year off with “The Fantasticks,” a light, frothy entertainment that was a showcase for its, mostly, young cast including Matt Stoker, Rafe Matregrano and Emilie Jensen. Jensen in particularly left a lasting impression thanks to assured comic timing and powerhouse vocals. In the show's best number “Round and Round,” through clever choreography that was performed with precision, it appeared as if Matregrano was controlling Jensen's movements like a puppeteer.

Matregrano later appeared in “Jesus Christ Superstar,” reprising the role of Jesus Christ, which he previously played in M&D’s “Godspell.” The role allowed Matregrano to show off his impressive vocal range, but he wasn’t the only one in the cast that made an impact. Paul Allen in the relatively small but crucial role of Pontius Pilate had a powerful voice matched by commanding stage presence. Holly Reville brought warmth and compassion to Mary Magdalene. She had a pure, clear and beautiful voice. Matregrano, Allen and Reville didn’t merely sing the songs, but put genuine conviction, passion and turmoil into them.

Kennett High School teamed with Arts in Motion for “Guys and Dolls,” a production whose rehearsal schedule didn’t mesh with Mother Nature’s schedule. Canceled rehearsals led to a stressful but rewarding run up to opening night. The principal leads of the show, Taylor Hill, Hannah Paven, Philip Mathieu and Kevin Ahearn, had roles that allowed them to stretch and play against their usual types. “It was a completely different role from things I've done in the past,” Hill said. “Sarah is really conservative. I'm not really used to playing a conservative role, so I guess that was challenge in itself.”

Arts in Motions’ best show of the year was “The Miracle Worker,” the moving and inspiring story of Helen Keller, a deaf and blind girl, who, thanks to the love, support and perseverance of her live-in tutor, Anne Sullivan, overcomes her handicap in a time when no one thought it was possible. Limited by a clunky first act that is a flaw of the show rather than the production, director Barbara Spoffard and the actors found the heart and soul of this true story. Julie Lanoie was a solid Sullivan and found the delicate balance between self-assuredness and a fear of failure. The power of the scenes in the second act in which Lanoie worked one on one with Megan Perrin as Helen was undeniable.

M&D Productions
M&D Productions had a busy year with nine productions. The year’s strongest for M&D was “The Diary of Anne Frank,” an emotionally draining production that was a moving tribute to all those who died during the Holocaust. Under the direction of Dennis O'Neil, all the actors gave performances that nearly a year later still linger. Jessica Biggio was quite the revelation as Anne Frank. At 14, she showed skills well beyond her years and handled the role with grace and poise. Richard Russo as the patriarch of the family had a final monologue that was profoundly moving.

A close second for raw power was “Misery’s Child,” an adaptation of Stephen King’s “Misery,” the story of an author held captive by his self-proclaimed number one fan after a nearly fatal car accident. This is just a two-person cast, but the caliber of the performances and direction by Ken Martin made the production an engrossing and unrelentingly tense experience. Once again Russo, this time as author Paul Sheldon, gave a subtle, quiet, restrained and precisely timed performance. Janette Kondrat as his nurse/captor Annie Wilkes gave a surprising performance unlike anything she had done previously. The way she turned in a moment from sunny and nearly childlike to angry, spiteful and violent was deeply disturbing.

The provocative musical “Spring Awakening” was another high point of the year that had the company bringing in a few professional actors. It is a testament to the level of talent of our local “amateurs” that the cast blended together seamlessly. The pros didn’t come down to a lesser level, everyone comes up to their level ability. Of those locals, the best of the cast was Molly Paven, who had strong vocal and acting range.

A reliable talent throughout the season was Eric Jordan, a consummate scene stealer of the highest order. His work as the Scarecrow in “The Wizard of Oz” was a highlight of that production. It was a wonderful physical performance that took its toll on the actor, but that was worth it. In “The Odd Couple: The Female Version” Jordan along with Doug Collomy, completely re-energize the second act as the hilarious Costazuela brothers. Jordan even showed off low-key romantic charm as the only male cast member of “Five Women Wearing the Same Dress.”

Another constant throughout the year was set designer Deborah Jasien who consistently created astounding sets in the limited space at Your Theatre. In addition to her work for M&D, she did set designing for Arts in Motions’ “The Miracle Worker.”

Mount Washington Valley Theatre Company
The Mount Washington Valley Theatre Company returned for its 41st season of professional summer musical theater and put on five shows and added a sixth show, “Barefoot in the Park,” in the fall. “Barefoot in the Park,” a Neil Simon play, marked a departure for the company which has traditionally stuck with musical theater. Real-life couple Grant and Liz Golson, regulars with the Mount Washington Valley Theatre Company, returned for this special fall production to play newlyweds who have their love put to the test when moving into a small New York apartment. Grant Golson proved himself to be an excellent physical comedian and Liz brought a bright smile and bubbly and likable personality.

The Golsons had already proven their worth earlier in the season. Grant Golson had the title role in “Sweeney Todd,” the season’s best production. It is a darkly satiric, musically complex tragedy of revenge that isn’t easy to perform, but the ensemble pulls it off. Director Andrew Glant-Linden and set designer Daniel Thobias developed their own unique staging of the production. The show opens at an insane asylum with the inmates forming a chorus that sets up the show. As the show begins proper, the padded cell walls of the set are pushed and pulled to transform into 19th-century London and the inmates become the characters of the play. It was a fascinating choice that added a subtext that all of London was mad. At the center of the show was Grant Golson, who was in fine form vocally.

Liz Golson had a memorable performance in “A Chorus Line,” a show with the simple plot of potential dancers auditioning for a director (the mostly disembodied voice of Grant Golson). She gets the show’s biggest laughs as Val, who on the bawdy “Dance Ten; Looks Three” explains how she got plastic surgery to make her body match her dance abilities. It is a hilarious number and Liz Golson brings it across exceptionally well. “A Chorus Line” is an ensemble show, though, and as such there were other highlights in the cast including Jack Haynie, who gave an exposed, vulnerable and moving monologue about his character growing up and struggling with his homosexuality and finding himself as a dancer in a drag show.

The season also featured old favorites “Annie” and “Damn Yankees” that were well mounted and remained fun, but overly familiar. The bright and buoyant energy of the youthful “Hairspray” was a welcomed variation that provided breezy fun.

New Holmes adventure is a fun 'game' to watch

Director Guy Ritchie joins forces once again with Robert Downey Jr. and Jude Law for another revisionist take on Sir Arthur Conan Doyle’s beloved detective Sherlock Holmes in “Sherlock Holmes: A Game of Shadows.”

As was true with 2009’s “Sherlock Holmes,” this is not Doyle’s Holmes, and purists who were turned off by Ritchie and Downey’s interpretation of Holmes the first time will continue to be unimpressed by the second go around.

In many respects, this Holmes is a 19th-century James Bond. He is still an analytic genius with the ability to see the big picture, but he is no longer a man of quiet, introspective thought. Here he is a man of action. Not only is Holmes a thinker, he is a fighter. Scratch that, he’s a brawler.

The scale of events in the film are also on a Bond level with Holmes’ arch-nemesis, Professor James Moriarty (Jared Harris), plotting to create world war for his own financial gain.

Harris, a character actor who some may recognize, but aren’t likely to remember from where, is ideally cast as Moriarty. There had been rumors that Brad Pitt was to be cast as Holmes’ intellectual match, but Harris was the right choice. Having someone as big as Pitt in the role would’ve been distracting.

The world of Ritchie’s Holmes is very over-the-top, but Harris isn’t, which creates an interesting push and pull with the material. Instead he is quiet and controlled in a way that is unsettling. There is an air of arrogant superiority and condescension about him that makes an audience love to hate him.

Holmes fans who have been repulsed by this version of the detective should at least take some solace in the fact that the dynamic between Holmes and Moriarty feels in tone with the source material. While Holmes has numerous brutal physical altercations throughout the film, his battles with Moriarty are of the wits. The climax of the film is a thrilling mental match up over a game of chess.

Much of the success of these new Holmes movies falls squarely on Downey. He brings a high energy to the character and a perfect balance of serious acting with winking humor. Once again, Law returns as the much put upon Dr. Holmes and, as was true in the first outing, Downey and Law have a fantastic dynamic.

Holmes is struggling with the fact that he is losing his only true friend and his partner in crime fighting to married life. There’s an interesting, playful tension between the two of them.

Rachel McAdams also returns as Holmes’ love, but the plot quickly dispatches her. The new female lead is Noomi Rapace (of the original “Girl with the Dragon Tattoo” movies) as a gypsy who may have unintentional ties to Moriarty’s plot. It is clear she is a talented and interesting actress, but she isn’t given much to do.

Stephen Fry gets the juicy role of the “other Holmes” as Sherlock’s brother Mycroft. It is a fun, dry comic performance. There is a particularly funny scene in which the completely nude Mycroft greets Watson’s wife (Kelly Reilly) and is completely oblivious to how uncomfortable she is by his birthday suit.

The best thing Ritchie adds to the Holmesian lore is what could be termed as “Holmes vision.” In slow motion we see the way Holmes’ mind works as he plots out his plan of attack against attacking adversaries. This is something that worked brilliantly in the first film and it continues to work well here.

Above everything else, though, even when Ritchie can’t resist maniac editing or huge explosions, there is a cleverly written script by Michele and Kieran Mulroney that is full of wit and twists that work. The ending is genuinely surprising, funny and completely satisfying.

Arts in Motion's 'Life' is heartwarming theater

“It’s a Wonderful Life” has been a holiday film classic for decades. For some the holidays aren’t complete without watching Jimmy Stewart as George Bailey, the man who doesn’t realize how significant his life truly is. But Arts in Motion is offering the chance to see a different version of this familiar favorite.

This play version of “It’s a Wonderful Life,” adapted from the film by playwright James W. Rogers, is being performed at the Leura Hill Eastman Performing Arts Center in Fryeburg, Maine Saturday, Dec. 17, at 1, 4 and 7 p.m. and Sunday, Dec. 18, at 1 and 4 p.m.

Directed by Mary Bastoni-Rebmann, the production is an impressive technical achievement. It snows on that stage and it is pretty magical to see. There is some wonderful period costumes by Patty Hibbert. The set designed by Tom Rebmann effectively evokes the small-town quality of Bedford Falls. Many set pieces are wheeled in when necessary, the best being the bridge in which George (John Paiva) is contemplating his suicide.

Paiva has a challenging role not just because he’s the lead, but because Jimmy Stewart’s performance is so iconic and ingrained in people’s minds. The temptation is to do an impersonation, but then what’s the point in watching the new version?

Paiva doesn’t merely imitate, which is good, but there’s something ever so slightly off about his performance and it is hard to pinpoint. Stewart has a naturalness to his performance that Paiva doesn’t quite have. He isn’t bad. He does have a strong stage presence and likability and in isolated moments he is solid.

The “You want the moon?” scene with Julie Lanoie as Mary Hatch, George’s love interest, is cute and sweet. Outside of the heartwarming conclusion, the most emotionally powerful and satisfying scene is when George and Mary decide to use their own money to keep the Building and Loan open during a low point in The Depression.

This is a large cast full of well-known characters like Clarence the angel (Craig Holden), Uncle Billy (Marshall Allen) and mean old Mr. Potter (Gino Funicella). Allen does nice work as the absent-minded Billy. Funicella has moments of menace as Potter, but is perhaps a bit too hammy. Holden was an obvious choice for Clarence, but sometimes typecasting works well.

It is in the second act of the show that we get the often parodied plot device of George getting to see what the world would be like if he was never born. During these scenes the show is building emotional energy, but then the dramatic thrust is brought to a halt with a scene involving carolers. The scene runs long, but is being tweaked before the show’s opening Saturday.

The show ends brightly. The conclusion to “It’s a Wonderful Life,” much like “A Christmas Carol,” is full of such warmth and positivity that only the most bitter and cynical person would not be moved by it. In spite of myself, I felt some tears well up as George learned he truly does have a wonderful life.

For more information call the box office at (207) 935-9232 or visit www.fryeburgacademy.org/pac.

'Chances Are' offers early example of Downey's talent

In honor of the release of “Sherlock Holmes: A Game of Shadows,” Robert Downey Jr.’s second time inhabiting the shoes of the famous detective, I wanted to take a look at a film early in Mr. Jr.’s career.

The high-concept romantic farce,“Chances Are” from 1989 has fallen off of every one’s radar, but it is a fine early example of Downey’s abilities as a comic actor and a film worth seeking out.

In the first scenes of the film, the happily married Louie Jeffries (Christopher McDonald) dies in an accident and is whisked up to a heaven similar to the one that appeared in Warren Beatty’s “Heaven Can Wait,” a film “Chances Are” owes a lot to in terms of tone and theme.

In this case heaven is a way station for souls waiting to be reincarnated. Louie does not take death well and is allowed to skip the line and be reborn. The problem is he didn’t receive an inoculation shot that will erase the memories of his previous life with his wife, Corinne (Sybil Shepherd), and best friend, Philip (Ryan O’Neal).

Louie is born again as Alex, who, 22 years later, takes the form of Downey. Alex winds up meeting and falling for Louie’s daughter (Mary Stuart Masterson) and eventually meeting both Corinne and Philip. Once Alex enter’s Louie’s house all the old memories come flooding back leading to some very confused emotions.

Turns out Corrine has been carrying an unhealthy torch for Louie this whole time. Philip has become a surrogate husband and father, but never officially took over either role despite secretly loving Corrine.

Now that Alex has Louie’s memories he is repulsed by Miranda’s advances, which leads to several great awkward exchanges. Similarly, the scenes in which Alex must convince Corrine he is in fact Louie are played just right. It is even funnier when Corrine not only accepts, but embraces it. This is further complicate by Philip deciding he finally will profess his love to Corrine.

In essence you have a Shakespearean case of mistaken identities except in this case the two identities are housed in one person. I love quadrangle develops between Alex and Miranda, Louie and Corrine, and Corrine and Philip.

As with any comedy of errors, despite the odds, everything neatly works out and everyone winds up with the correct partner. When done poorly this can be groan inducing, but when done correctly it is breezy, feel-good fun. The latter is the case with “Chances Are,” which features a witty script by Perry and Randy Howze. The movie strikes a nice balance to between frothy comedy and low-key romance.

The film certainly has its flaws. The great composer Maurice Jarre, who wrote scores for such films as “Lawrence of Arabia” and “Doctor Zhivago,” provides a similarly epic score to “Chances Are” when it needs something more whimsical. The score is too overwrought and on-the-nose with telling you how to feel that it becomes laughable and distracting. This is a minor shortcoming and in a way has its own charms. I began to predict when the music would swell on the score with a knowing grin.

Through it all you have Downey at the center in a performance that allows him to be charming, goofy and tender. In “Chances Are,” Downey has a light touch and shows his apt timing for physical comedy in several fine set pieces. It is very likely it is this performance that helped get him the title role in “Chaplin,” arguable his break-out role and one that lead to his first Oscar nomination.

In the years since Downey made his comeback from his public downward spiral into drugs, he hasn’t made a blatant romantic comedy like “Chances Are,” but his assured comedic timing and finesse with dialogue are the key to the success of so many of his characterizations. The way he banters with Gwyneth Paltrow in the “Iron Man” movies and Jude Law as Watson in the “Sherlock Holmes” films follows the beats of screwball comedy.

Over the years, Downey has developed impeccable line delivery. He does snarky one-liners better than just about anyone, but underneath even the most barbed dialogue there’s a genuineness that makes even narcissistic jerks like Tony Stark in “Iron Man” likable. Cynical sincerity is what helped make Downey a star.

A good Scrooge carries M&D's 'Carol'

What would the month of December be without a local production or two of “A Christmas Carol?” Now one man can only take so much of the beloved Charles Dickens' tale of a cold-hearted, penny-pinching cynic who finds the spirit of Christmas and carries it all year. So, here I am reviewing M&D Productions’ good, but unremarkable production of “A Christmas Carol.”

M&D Productions went a slightly different route with the classic. The production, which opened at Your Theatre in North Conway, N.H. Thursday, Dec. 8 and is running Thursday through Sunday for the next two, is based on an adaptation by playwright Doris Baizley, which adds a story frame of a bitter stage manager (Bill Knolla) gathering a traveling troupe of actors together to mount a production of “A Christmas Carol.” But the actor playing Ebenezer Scrooge has gone rogue, forcing the stage manager to step up to fill the role.

After that set up, the show begins proper and more or less stays true to the Dickens' story. There is a playful moment in which Knolla, now as Scrooge, flubs his first use of “Bah humbug” and has to be coached by the actor playing Scrooge's nephew Fred (Robbie Distasio) on how to do the line. It is funny bit, and more of that sort of self-aware winking would’ve helped add an extra twist to the material. Alas Baizley’s adaptation drops the theater inside jokes after that exchange.

“A Christmas Carol” is such a timeless tale it is hard to screw it up, but there’s also only so much you can do with it. How successful a production of “A Christmas Carol” lies almost solely on the quality of actor playing Scrooge. In Knolla, M&D Production has found a most excellent Scrooge.

Knolla contorts his face into a believable nasty, grimace. He spits out iconic lines like “If they would rather die they had better do it, and decrease the surplus population” with a venomous vigor. When Scrooge has his change of heart, Knolla makes his childlike jubilation apparent.

As the narrator, Shelly Morin brings seemingly boundless and joyous energy to the proceedings. Her bright smile is full of good cheer that easily transfers over to the audience. She also doubles as Jacob Marley, Scrooge’s former partner who warns of the three spirits, who will come to visit Scrooge. She makes a fittingly frightening Marley.

Elsewhere the cast is hit and miss, but other highlights include Steve Hoyt as an effectively earnst Bob Cratchit, Oliver Clay Storm as a charming Tiny Tim and Elaine Kondrat makes a pretty good Ghost of Christmas Past.

The show is punctuated by moments of the cast breaking into carols making the show a semi-musical. The songs are brief, but well sung.

People often forget how dark “A Christmas Carol” is, and in one scene in particular M&D’s Productions stages a truly creepy moment. The Ghost of Christmas Yet to Come scene concludes with the entire cast donning Scrooge masks and tormenting the real Scrooge. It is an unsettling moment that is enhanced by moody lighting.

The set is sparse, with Scrooge’s bed as the centerpiece. Other furniture and chairs are brought in as necessary, but this is a simplistic staging and it works at achieving its modest goals. At around 80 minutes it is a quick and efficient production that gets the audience in and out and ends brightly.

For more information or tickets, call the box office at 662-7591.

Offbeat, quirky songs for the holidays

Over the years I've written quite a few lists of off-beat, dark, subversive Christmas songs. These songs are the alternatives to the familiar ones saturating the airwaves. I have now compiled them all in one piece and added five more. Enjoy.

“Cool Yule” — Tony Rodelle Larson (1962)

I discovered this a few years back mis-labeled as being performed by William Shatner. It is easy to understand the confusion as Larson's broken speech patterns do indeed bring to mind Shatner's riffs on such songs as “Rocket Man.” This beatnik take on “Twas Night the Night Before Christmas” is most definitely way out.

“Monster’s Holiday” — Bobby "Boris" Pickett (1962)

After the “Monster Mash” became a hit this quickie sequel was churned out. There are some amusing riffs on holiday classics, but it is mostly a shameless rewrite of the original. It was a minor hit, but didn’t remain a holiday classic.

"Silver Bells" — Paul Simon and Steve Martin (Sometime in the late 1970s)

This rare show rehearsal starts out simple enough with Simon doing a lovely version of this classic song, but soon Simon's singing becomes mere backdrop for Martin deadpanning through a cynical monologue on the true meaning of Christmas that ranges from goofy to racy.

"Father Christmas" — The Kinks (1977)

Leave it to The Kinks, the same band that sang about an encounter with the transvestite "Lola," to write a song about mugging Santa. Ray Davies' sunny delivery masks the nastiness in lyrics such as "Father Christmas, give us some money/Don't mess around with those silly toys/Well beat you up if you don't hand it over."

"Christmas in the Stars" (from the "Star Wars" Christmas album of the same name) (1980)

Strange and frightening things began to happen after the tremendous success of the original "Star Wars" including an astounding awful 1978 Christmas special. Lessons weren't learned, though, and two years later came a Christmas album. "Christmas in the Stars" is so bad as to become campy fun.

“There Ain't No Sanity Clause” — The Damned (1980)

English punk band The Damned released this song just in time for the holiday season, but it failed to chart perhaps because no one wanted to have the Santa Claus bubble popped for the youngest yuletide revelers. The lyrics are barely intelligible, but, it is the sing-a-long anthem-like chorus that brings this one home.

"Christmas in Heaven" — Monty Python (1983)

Monty Python was always known for loopy songs that often pointed out the hypocrisies or the idiosyncrasies of society. In the film "The Meaning of Life," Graham Chapman sings a caustic song about the consumerism and commercialism that runs rampant during the holiday season that includes lyrics like: "There's great films on TV/"The Sound of Music" twice an hour/And ‘Jaws’ one, two, and three."

"Christmas In Hollis" — Run DMC (1987)

This is a happy hip hop holiday song about Christmas in Queens, N.Y. The song includes such endearingly goofy lyrics as "It was December 24th on Hollis Avenue in the dark/When I seen a man chilling with his dog in the park/I approached very slowly with my heart full of fear/Looked at his dog, oh my God, an ill reindeer."

"Merry Christmas (I Don't Want to Fight Tonight)" — The Ramones (1989)

The Ramones were still kicking around in the late 1980s cranking out three-cord ditties. Surprisingly, one of the best songs from this era is a Christmas song that manages to capture the tension of the season.

“Santa Song” — Adam Sandler (1993)

Everyone is familiar with Sandler’s "Chanukah Song," but he actually did a Christmas themed song that pre-dates its by a year. In this one Sandler sings about all the reasons he won’t be getting a visit from Santa. Best line: “Santa don't like bad boys — especially Jewish ones.”

“12 Days of Yaksmas” — Ren and Stimpy (1993)

There have been numerous parodies of the “12 Days of Christmas." Which is your favorite really comes down to personal preference. As a youth in the 1990s, I’ll always have a special place in my heart for the warped antics of this dog and cat team.

"Little Drum Machine Boy" — Beck (1996)

"The Little Drummer Boy" gets morphed into an odd dance and rap flavored Chanukah anthem featuring "the holiday Chanukah robot of funk." Beck is a chameleon-like musician who blends different genres with amazing skill. It is hardly traditional, but certainly original and memorable.

"The Night Santa Went Crazy" — Weird Al Yankovic (1996)

Don't be fooled by the sweet guitar strumming of the opening. This Christmas carol turns humorously sour fast. Yankovic turns his twisted mind on Christmas in the story of the night Santa finally snapped and became a "big, fat, disgruntled yuletide Rambo."

"I Won't Be Home for Christmas" — Blink 182 (1997)

Goofball pop/punk rockers wrote this anthem for all those who are driven up the wall by the holiday season. The song features bitter, but funny lyrics like: "It's time to be nice to the people you can't stand all year/I'm growing tired of all this Christmas cheer"

"O Holy Night" — Eric Cartman (1999)

"South Park" dedicated a whole episode to satirizing holiday music back in 1999. This is one of the tamer songs from the episode with the spoiled Cartman butchering the holiday classic to hilarious effect.

"Bizarre Christmas Incident" — Ben Folds (2002)

This aptly named song from the tongue-in-cheek piano man unfolds a dark tale of a man encountering Santa in the night. The song answer the question of what would happen if Santa got stuck in the chimney. Needless to say, it doesn't end pretty. Best in enjoyed by those who like their humor black.

“Elf’s Lament” — Barenaked Ladies (2004)

On “Barenaked for the Holidays” the Ladies presented a collection of Christmas favorites as well as original songs featuring their quirky sense of humor. On this song an elf complains “I make toys, but I've got aspirations.” Bonus: this song features vocals from Michael Bublé.

"Mr. Heat Miser" — Big Bad Voodoo Daddy (2004)

The song first appeared in the 1974 stop-motion animation special "The Year Without Santa." Thirty years later the swing revival group Big Bad Voodoo Daddy recorded the definitive version of the song for their holiday album "Everything You Want for Christmas."

“I'm Getting Nuttin' for Christmas” — Relient K (2007)

Christian punk/pop band Relient K's does a fast, rocking cover of the novelty song “I'm Getting Nuttin' for Christmas.” The snarling punk attitude and crunching guitars suit lyrics like “I broke my bat on Johnny's head/Somebody snitched on me” quite well.

“Another Christmas Song” — Stephen Colbert (2008)

Satirical pundit Stephen Colbert did a hilarious parody of holiday specials. The special's songs either subverted pre-existing songs or, in this case, are something completely new. Lyrics like “The tree is frozen, the winter’s bright/Who’d have thought the wise men look so white” are made all the funnier by Colbert's authentic crooning.

“Present Face” — Garfunkel and Oates (2008)

This female comedy-folk duo combines disarming charming and simple hooks with goofy and/or raunchy lyrics. In this case the duo leans toward the silly side as they sing about the all too familiar face people make when the get a present they don’t like.

“Christmas Tree” — Lady Gaga featuring Space Cowboy (2008)

Leave it to Lady Gaga, the reigning pop queen of weirdness, to co-write a Christmas song filled with dance beats and dripping with sexual innuendos. It is most definitely not family friendly, but the audacity is admirable.

“Merry Something to You” — Devo (2009)

Yep, Devo, those quirky new wavers, recorded a song for the holidays. Blending cheery, generic holiday music with the synthesizers and drum beats they are known for, the band creates an infectious little ditty. Devo often used songs to satirize society, and that's most definitely the case here as the band proclaims: “Believe what you want nothing's really true.”

"It's Christmastime!" — Mad Tea Party (2009)

This uke-abilly band vents its frustration for Christmas in this infectious two-minute ditty. The cynical lyrics include sentiments that anyone can relate to, if only fleetingly: "It's Christmas, forgot about the pagans and Jews/It's Christmas and it makes me blue."

"Christmas Night of the Living Dead" — MxPx (2009)

It was perhaps inevitable that there would be a zombie-themed Christmas song. Punk rockers MxPx present this bloody tale of Christmas carnage featuring the chorus: "Christmas night of the living dead/My face is green and the snow is red."

It's the return of the Muppets: Yaaaaaaaaay!

It's time to play the music, it's time to light the lights, it’s time to re-meet the Muppets and it is quite the sight. Yes, after a more than a decade-long hiatus from the big screen the Muppets have returned in all their glory in “The Muppets.”

In “The Muppets,” Kermit the Frog and the rest of the gang have broken up and have been largely forgotten by the world. A trio of fans, Gary (Jason Segel), his girlfriend Mary (Amy Adams) and Gary’s adopted brother Walter, who is a Muppet, but doesn’t seem to be aware of that fact, head to Los Angeles to tour the now decrepit Muppet Studio.

Through chance, Walter discovers an evil tycoon (Chris Cooper, in a gloriously campy performance) wants to tear the studio down to drill for oil. Gary, Mary and Walter seek out Kermit and gather everyone together to put on a telethon in the style of the old “Muppet Show.” That's it in terms of plot and that’s really all you need.

Segel, a huge Muppets fan in real life, co-wrote the script with Nick Stoller and their love of the characters comes through in every moment of the movie. This is a joyful tribute to the characters and a throwback to the original show and the first few films. Much like “The Muppet Movie” there is a self-aware tone to the material that is fun. The script is full of real wit and even some heart-tugging pathos.

Jim Henson’s felt friends became an unlikely sensation in 1976 on “The Muppet Show,” which spawned three films from 1979 to 1984, “The Muppet Movie,” “The Great Muppet Caper” and “Muppets Take Manhattan.”

Following Henson’s death in 1990 it was unclear if the Muppets would go on without him, but his son, Brian, continued the legacy in a new series of films from 1992 to 1999 with “The Muppet Christmas Carol,” “Muppet Treasure Island” and “Muppets from Space.”

In 2000 Jim Henson’s children sold the Jim Henson Company to a German company. Shortly after the purchase that company faced financial difficulties and Henson’s children struggled to buy back their father’s company. They did and, in 2004, sold the all rights to Disney.

All this back and forth with the company may explain why in the new millennium the Muppets were relegated to TV movies, commercials and music videos. In the entertainment world, there was much discussion to whether the Muppets were even cultural relevant anymore, and so it is fitting that the new film uses that as a jumping off point.

It was a series of video on YouTube, including the Muppets’ take of “Bohemian Rhapsody,” that helped prove that the Muppets popularity hadn’t waned and paved the way for the new film.

“The Muppets,” as with the previous films, is a musical, and a rather effective one, too. Familiar songs like “The Muppet Show Theme” and “The Rainbow Connection” are recreated, but there are several new songs written by Bret McKenzie, one half of the New Zealand folk comedy duo Flight of the Conchords. His songs are bright, catchy and funny. Highlights include “Life’s a Happy Song,” “Me Party” and, my personal favorite, “Man or Muppet” in which Gary and Walter each ponder if they’re a “Muppet of a man or a very manly Muppet.”

Directed by James Bobin, who worked with McKenzie on the “Flight of the Conchords” TV series, there is an irreverent, but never vulgar tone to the material. This is gentle family friendly material that will appeal to both kids and adults.

All the favorite Muppets are here including Kermit, Fozzie, Miss Piggy, Gonzo, Scooter, the Swedish Chef, etc. Everyone gets their due, even if only briefly. As was the case with “The Muppet Movie,” this new film is full of celebrity cameos. Some are very funny and some are gratuitous, but everyone seems happy to be on screen with these beloved characters.

Segel and Adams as the human stars of the movie are cheery and energetic. They may have too much screen time, after all this is a Muppets movie, but they are good company and play well off the Muppets.

The film is made in such a way as to appeal to fans, but also reintroduces the characters to a new audience. Above everything else this is a genuine feel-good movie that will have you smiling as you leave the theater. I was grinning like a fool from beginning to end.

Student Artist Profile: Matt Stoker's 'eye opening' journey in theater

Matt Stoker, a senior at Fryeburg Academy in Fryeburg, Maine, has acted throughout the valley in numerous productions for M&D and Arts in Motion including “Dog Sees God,” “Rent,” “Seussical: The Musical” and “The Fantasticks.” Last December, thanks to a contest through Dove Haircare, he performed as part of Alpenglow at Radio City Music Hall in New York City. He will next be seen in Arts in Motions’ production of “It’s a Wonderful Life” at the Leura Hill Eastman Performing Arts Center at Fryeburg Academy Saturday, Dec. 17 at 1, 4 and 7 p.m. and Sunday, Dec. 18 at 1 and 4 p.m.

It has been a year almost since the whole Radio City Music Hall thing. How’s it been?

I was actually just thinking about that earlier. It has been good. Definitely looking back on that, that’s got to be my fondest performing arts memory by far. It is incredible to think that roughly this time last year we were scrambling around trying to get votes from the community and pull everything together. I’m really glad that it happened and I kind of wish I was doing something exciting this Christmas. It is kind of lax around here.

That was crazy. Even just from my perspective.

Yeah, it was a whirlwind all right.

Did you feel any different? Do you think anything changed in the wake of that?

Yeah, I mean now I can put in all my bios for my shows that I performed on Broadway. That’s quite an accomplishment. That always brings up some conversation. But being on such a big stage, I didn’t think it was going to feel different than being around here, I mean I did, but not that different. I got out on stage and looked up and there was just tiers and tiers of people and I was like “Wow, this is what it feels like to be one of the big stars, the big leagues.” That’s incredible. So, yeah it definitely has changed my perspective on where I want to go and what I want to do with my life. It was eye opening.

So, it did solidify that this is what you want to do, that you want to be a performer?

Yeah, yeah, definitely. Hopefully that’s going to be where I am. I'll be there permanently. Hopefully. We’ll see.

When did you first get into performance?

Wow. Well, I’ve been singing since I was very little. Back in England, I used to sing in a choir and at my church. Since then I’ve grown up and didn’t really do anything seriously until high school, until I came to the academy with Brent Lacasce. I really got into music and I heard about auditions around North Conway with M&D Productions and I went out thinking maybe it's something I’ll give a shot. And it turned out to be one of the best experiences in my life. It really did show me that musical theater was for me, so I’m very thankful for that and to M&D for that. Since then I’ve had a lot of opportunities open up for me and it has really steered me in the right direction, so it is good. I’m excited about it.

Coming from this as a singer and then trying acting, how did you take to acting?

It was harder. It was definitely harder. Singing for me always came as a natural thing. My grandfather was an incredible tenor. I’ve always just enjoyed singing. I’ll sing badly to the auto-tuned stuff on the radio now. My mom hates it. It was a lot harder acting. Getting on stage and portraying a character who maybe is suicidal or is mentally disturbed in a way or something that is totally outside of the box, outside of what I am and what I am comfortable with is hard at first, but after awhile you get into the character and it becomes something you are more familiar with and it definitely opens your eyes. I don’t know. It is really hard to describe. It is definitely something you need to fall into. It is something you need to get used to, sitting on stage and having the lights blaring down on you. But it is what I live for: the adrenaline, everything, just when I am on stage and everyone is just enjoying what I am doing and what I am putting out there for them.

Now with “Dog Sees God,” was that your first non-musical?

It was. That was an interesting show. I wasn’t quite sure I was prepared for what the show was going to be. I flipped through the script when M&D told me about it and I said “Yeah, I’d love to audition for this” and I got cast as the very reclusive piano player that was gay and everyone hated him for being gay. I ended up finding out a lot more about myself through that character than I have probably through any of my other characters. It was a fun role to play. It was eye opening. Was that the only straight [non-musical] show I’ve done? I think it is. I’ve definitely stuck more to musicals. I am in a straight show right now, “It’s a Wonderful Life” and that will be going up the middle of December in Fryeburg.

What role are you playing in that?

I am Sam Wainwright. Now I am going to be honest: I’ve never actually seen the movie, so I know people are going to be like: “What? You have not seen that movie?” I just haven’t. I know who that is now reading through the script, but yeah that's who I ended up playing.

Are you looking forward to it?

I am looking forward to it. It is going to be a great show. Mary [Bastoni-Rebmann] is, oh my gosh, by far one of the best directors I’ve ever worked with. Going to New York with Mary, we’ve become very close. It is like working with one of my best friends and it is a lot of fun, so I’m very excited to do this show.

What would say your favorite performance is, outside of Alpenglow?

I’m going to have to go with “Rent.” It was a tough role for me vocally as well as acting wise. It is probably the first role I struggled with the way I was going to sing it, the way I was going portray the character. It was interesting being a character who was on the outside looking in, not as much being a part of the story. That was hard to portray, being more of the narrator role instead of being an actual character in the story. I think the camaraderie that came from the cast, we were together for months on end, day in, day out throughout the summer of 2010. It was definitely one of the best casts I’ve ever worked with and I’ve become like family to them and them to me. We still talk and we hang. That was definitely one of the best experiences in theater for me.

What are you hoping to do after high school?

That’s a million-dollar question. I am going to college definitely. I’ve actually got to go home and send off some college applications. As for what I am doing, I’m going to do computer programming and I’m also going to double major in musical theater. Now those are very different things, but hopefully I’ll find, when I get there, I lean one way or the other and I’ll kind of just fall more into that, but it could be I double major the entire way and I get a major in both. We’ll see how that goes. Let’s be honest, actors don’t make a lot of money. Even in the big leagues, the flow of cash isn’t secure, so that’s the reasoning behind the computer programing.

That’s not a bad idea. On the side you can just do some freelance Web designing, make some money that way.

Exactly. Hopefully I’ll be all set in that regard.

Do you have any final thoughts on why you do what you do?

Not really besides to say thank you to all those who inspired me throughout the years: to M&D for helping me find my love of musical theater; to Arts in Motion for providing me with some of the most incredible casts I’ve worked with and most incredible shows; to Brent Lacasce for helping me become the singer that I am today through his vigorous vocal jazz exercises; and to, of course, my mom, who drives me around to all these crazy places. She is definitely a force to be reckoned with, but she’s probably the most inspiring person in my life.

Breaking yawn

Another year brings another “Twilight” movie, this time “Breaking Dawn,” the adaptation of the final book of the vampire/human/werewolf love story. Alas this is not the final film of intense brooding and angst as “Twilight” is going the way of “Harry Potter” and splitting the final novel into two films.

This time next year look for “The Twlight Saga: Breaking Dawn: Part 2.” Fans are already lining up, everyone else is stocking up on garlic and stakes. If only it were that simple, though. Author Stephanie Meyer created a new breed of vampires for her series that can’t be killed by conventional vampire slaying methods. Vampires are supposed to burst into flames in sunlight not sparkle like diamonds.

But “Breaking Dawn” the film can’t even follow the rules established by its creator. There is a extended sequence with vampire Edward (Robert Pattinson) enjoying some Brazilian sun and there’s not a sparkle to be seen.

In this installment, Edward and his human girlfriend Bella (Kristen Stewart) finally get married much to the chagrin of Bella’s best friend the werewolf Jacob (Taylor Lautner). The “Twilight” series has been one long allegory for abstinence with Bella begging to be turned into a vampire and Edward refusing unless they get married first. With marriage out of the way, Bella can finally get her vamp on, but first she wants to get it on with some human-on-vampire action in the bedroom.

Naturally, their sexual adventures end in a pregnancy. The fast-growing fetus is “incompatible” with Bella and is destroying her from the inside. As if that wasn’t enough drama, the news of the pregnancy has the wolves in Jacob’s pack vowing to kill this vampire/human spawn. This leads to a lot of people trying to look intense and distressed, but generally just coming off as constipated.

There’s also a controversial development involving Jacob’s character that has already stirred much debate. Without spoiling anything, this development can best be described as creepy and not in a good way.

During the film’s many pregnant pauses, my mind began to wander and wonder about the logistics of vampire sex and impregnation. If a vampire doesn’t have a heart that beats blood then how can they become aroused? Furthermore how would they produce sperm? And even if they did wouldn’t it be venomous and turn a human into a vampire? The world may never know.

The movie is competently made by Bill Condon the talented filmmaker behind such films as “Gods and Monsters” and “Dreamgirls,” but there’s really only so much that can be done with material this silly and superficial.

There are isolated moments that break up the angst-ridding monotony. An all-too-brief flashback of Edward’s darker past that is shot in the black-and-white style of 1930s horror movie creates more atmosphere in a few minutes than anything in the rest of the movie.

Bella’s father’s (Billy Burke) wedding speech is good for a laugh as he reminds everyone he is a cop with a gun he knows how to use. Anna Kendrick as a catty frenemy also gets some choice one-liners. On the flip side, the film is at its most unintentionally hilarious when we get to hear the thoughts of the snarling wolf pack.

There would be need to be a drastic rewrite of the source material to find anything interesting here, but Melissa Rosenberg’s screenplay is slavishly faithful to the novel. This is great news for the die hard fans of the series, but dire news for those hoping for something more.

In truth, Meyer’s first “Twilight” had some promise, but that got watered down over a series of films that dwelled on shallow characters who mistake obsessive devotion with love. These are the kind of whiny self-absorbed people whose lives would be great if they could just get over themselves. It’s not much fun to be around people like this in real life and it is worse being trapped with them in a movie theater.

Student Artist Profile: Shelby Noble hits the road

Shelby Noble, a senior at Kennett High School, has been acting since the age of 10 and has appeared in numerous productions of Arts in Motion Theater Company. She recently was accepted to tour with Up With People, an international educational and cultural program. Noble, the daughter of Glenn and Jane Noble, will join Cast B 2012 for a world tour that begins in July. Each year hundreds of young men and women between the ages of 17-29 apply to join the international, educational and cultural program for a one- or two-semester experience that visits diverse communities on a multi-continent tour.

Tell me about Up With People.

It is an organization like People to People except the difference is they perform for communities instead of just helping communities.

And what will you be doing with them?

I will be touring with them. I don’t get a final printed schedule until January of all the places I’ll be going to. Basically, I leave July 1 to go to Colorado and I meet with all the other people that have been chosen and then I get to learn the show and we start touring all around the world.

Do you know what sort of things you’ll be performing?

The only general overview that I have are the videos they have on their website, and then on YouTube they have videos of their shows. That’s all that I’ve seen so far.

What sort of things have they done in the past?

In the past, they do everything from like Macy’s Day Parade to the Olympics. They do all sorts of different performances. Usually, they go to a specific community, like last year when Haiti was undergoing all their distress, they went there and built reforms and helped with their community and then at the end of the week they put on a big show. That’s basically what they do.

How did you find out about this or get chosen?

My dad had someone he had in his theater shows back in the day and eventually he went on to do Up with People and that’s how my dad heard about it. We’ve always talked about it and it wasn’t until this year that I was like “Hey, that might be something I’d want to do.”

What was the process like for the selection?

First you need to apply online. There’s a standard $20 fee. Then you just fill out what you’ve done community-service wise, performance-wise. I actually knew a guy because my dad is also trying to get Up with People to come into town and do performances with Arts in Motion. So, this guy named Brad Good was e-mailing me before that and saying he was excited to have an interview with you. Then I had an interview and after the interview they were like, “We’ll let you know in a few weeks at how you placed or whether you got in” and then a few weeks later I got an e-mail saying congratulations and I got a phone call. That’s the general process.

And when did you first become interested in performing in general?

I think it is just in my blood because my dad went to college to be an actor and then he came up with the non-profit organization Arts in Motion, and so ever since I was really outgoing. I just started acting when I think I was 10 or 11 and my first production was “Alice in Wonderland.” That was when I first started.

What was your first role?

The Gryphon. It is not in the movie so your probably have no idea what I am talking about. That was my first role. It wasn’t a very big role.

What would you consider your favorite performance?

Probably Annelle in “Steel Magnolias” because I am named after the movie, so it is special to me and the opportunity to be in it was really cool because I went there to try out and I was like “There all these older people and I’m only 16 years old.” I didn’t even think I was going to place because my mom was going to try out with me. So I was like, “Alright, I’ll go for support” and when I got a role I was really surprised. That was definitely my favorite.

That was a fun performance.

Yeah, I like working with close-knit casts of only a few people because you get to know everyone better.

What was it like doing “Ordinary People” because that’s obviously a fairly dark show?

Yeah, “Ordinary People” was definitely a lot different than all the other shows I have done — well, I don’t know, it was kind of like “Steel Magnolias” with the tight-knit cast thing. It was a dark show because I’m used to doing musicals and happy things, but I prefer when I watch a show or I am in one for it to be more dark. I feel like it challenges people to act a certain way because I am obviously not in this gloomy life, but when I’m asked to be in a show like that I just think that is more of an opportunity.

And how do you get to a darker or gloomier place?

I don’t really know. I don’t know I act a certain way. I guess to try to take on the whole character and be that character when I am on stage. I don’t have things constantly going through my mind like, “Oooh, what am I going to do after this.” I’m thinking of if I was that person how would I be acting, so I guess that’s how I get to any place when I take on a role.

What are you hoping to do after high school?

After high school I leave July 1 for Up With People and when I get back I plan on applying to colleges. I don’t know where yet though. I had some in mind, but I’m not sure. I do want to pursue acting as my major though.

And will you continue to participate in community theater?

Probably, yeah. Community theater is where I started. I feel like obviously I’d have to continue.

Double your displeasure with 'Jack and Jill'

Just in time for Thanksgiving, Adam Sandler has released his biggest turkey yet. “Jack and Jill,” a supposed family comedy in which Sandler gets to play his own twin sister, may not be his worst movie, but it is easily his laziest.

Sandler in drag has been funny before. One of the most popular sketches he did on “Saturday Night Live” was the Gap girls with David Spade and Chris Farley. But what is funny for five minutes isn’t necessarily funny for 90.

Guys dressed as women can be funny, but the idea isn’t intrinsically funny unto itself. Sure, the visual is good for a quick laugh at first, but after that you need to start writing some actual jokes. Movies like “Some Like It Hot,” “Tootsie” and “Mrs. Doubtfire” knew this and created funny and interesting characters and plots.

In all the above examples you also have characters that are guys who decide to dress up as a woman and so there’s the comic tension of how long the charade will last. With “Jack and Jill,” we’re supposed to accept Jill is an actual woman and that’s not believable on any plane of existence.

This could be excusable if the movie was actually funny. There are admittedly some laughs but, few to none of them come from the Jill character. There’s a reoccurring sight gag in which Sandler’s son tapes things to his body that is amusing and an extended appearance by Al Pacino that is, well, we’ll get to that later.

Any time Jill comes on screen with her shrill voice and obnoxious, loud and disgusting behavior you just want her to go away. If fart jokes are your thing, Jill is your gal. Somehow, despite having no redeemable qualities, we’re supposed to believe that Jack’s entire family falls in love with her.

Jill apparently has no job because she just keeps extending her Thanksgiving visit through to the new year. We’re supposed to feel sorry for her because she’s lonely since the passing of her mother who, other than her pet bird, was her only friend. She isn’t a character, but a very ugly caricature. Jack isn’t any better as Sandler plays his latest in a line of rich jerks.

The rich jerk character first appeared in “Funny People,” but that was a film in which Sandler did some real acting. Believe it or not, Sandler is better than movies like “Jack and Jill.” Sandler is just following the money. Anytime he’s tried something more serious like “Punch Drunk Love” or “Reign Over Me,” the films, despite being quite good, are box office duds. His lazy comedies gross $100 million.

In “Grown Ups,” “Just Go With It” and now “Jack and Jill,” he has played wealthy men who are bitter and self-absorbed and then in the final third of the films learn the error of their ways and become better men.

This has been a similar arc to many of Sandler’s films, but in his films from the 1990s such as “Happy Gilmore” there seemed to be some winking at the audience or some genuine sweetness as in “Big Daddy.” In his latter films there’s a sourness. A father now in real life, it's as if he feels obligated to put heartwarming messages in his films even if they feel disingenuous.

“Jack and Jill” is at least partially saved by Pacino. Pacino, playing himself, falls instantly in love with Jill at a basketball game. This leads to some strange scenes in the final third that are so off-the-wall that they actually work. Pacino seems oddly committed to playing himself.

The scenes with Pacino, particularly one in which he takes a call from Jack in the middle of a live stage production are indeed funny, but they feel like they are coming from an entirely different movie.

The Pacino scenes are worth seeing, but it is not worth sitting through all the fart jokes and lame prat falls. So, here’s the recommendation: Walk in an hour late or better yet, save your money and wait for it show up on YouTube or Netflix or in Red Box.

'Time'ly science fiction

Writer/director Andrew Niccol is a dangerous man in Hollywood. He makes movies about ideas and forces his audience to think. His latest film “In Time” is set in a world in which time literally is money and uses this allegory to comment on the current state of the economy.

“In Time” is set in a future, or perhaps parallel universe, in which all people have been genetically altered to not age past 25. The catch is you are given only one more year to live and you must work, steal, beg or borrow more time to continue living. The rich are essentially immortal whereas the poor literally live day to day and often second to second. 

Niccol does a terrific job fully fleshing out and running with this idea. Characters have a glowing green time code on their forearm clicking off the time that remains. People can loan time by holding each other’s wrists. Time has replaced currency. A cup of coffee costs four minutes. It gives a whole new meaning to the expression: What’s it worth to you? The premise also makes things more urgent. When you’re out of money it may not be the end of your life, but in Niccol’s world if you’re out of time, you’re dead.

This is a brilliant concept for a piece of science fiction, but when Niccol set out to make “In Time” I doubt he realized how timely the film would actually be. Niccol’s film directly addresses many of the same issues at the center of the Occupy movement.

The star of the film is Justin Timberlake, who has done the rare feat of transitioning from pop star to a movie star with genuine acting ability. His character, Will Salas, is a laborer who lives with his mother (Olivia Wilde) and they barely can make it to the next day.

Will meets Henry Hamilton (Matt Bomer) who has lived 102 years and has another century to go. Henry no longer wants to live, and, sensing Will is a good man, gives his remaining time to him. He also lets Will in on a little secret that “for a few immortals to live, many people must die.” The system is staked to ensure that enough people die off so there isn’t over population while the rich live forever.

With this new-found time, Will is allowed into a different “time zone” for only the wealthy, but it also gets the attention of the Time Keepers led by Cillian Murphy. These new form of police make sure that time remains in the right hands and believe that Will murdered Henry.

Now on the run, Will kidnaps Sylvia Weis (Amanda Seyfried), an adventure-seeking heiress, and the film essentially becomes “Bonnie and Clyde” meets “Robin Hood” with Will and Sylvia stealing time from her father’s banks and giving it to the poor.

 After establishing the universe and rules, the film settles into a more traditional action movie with car chases and gun fights. These scenes are slick and well produced and flow naturally from the plot rather than just being arbitrary. There are enough quiet moments that allow for tough moral questions to be asked.

Perhaps the best scene in the film is a high-stakes poker match in which being all in means your life is on the line. There is also a similar, but less effective, to-the-death arm-wrestling match.

The premise also allows for a youthful cast. Apparently in this world, in addition to not aging passed 25, you also remain thin and attractive. Timberlake makes a viable thinking-man’s action hero and does continue to prove his acting chops. He does have one unfortunately laughable crying scene, but the guy has real screen presence and that’s something you can’t fake.

Seyfried is a good and appealing actress who is given an underwritten role. She is only here to serve one purpose: fall in love and aid the hero. Her character does have some arc going from a rich girl to a rebel overthrowing the system, but, ironically, there’s not enough time given to show this transition. Even so Seyfried does what she can with the role and Timberlake and Seyfried make an appealing couple.

Murphy is essentially the Tommy Lee Jones character from “The Fugitive” and he does the dogged, hardened-cop role well. He brings a stoic intensity to the character.

Much like “Gattaca,” which Niccol also wrote and directed, and his screenplay for “The Truman Show,” Niccol uses his sci-fi premise to comment on society, culture or human nature, which is in the tradition of the best science fiction.