What do Josh Hutcherson, Emma Stone and Leonardo DiCaprio have in common? They’re all headliners in some of 2012’s most anticipated movies. With the Oscar season starting again and summer blockbusters just around the corner, let’s take a look at some of the looked-for, star-studded films of 2012.

Since buzz about Suzanne Collins’s bestseller trilogy-turned-franchise has already reached a fever pitch, there’s really not much left to say. The Hunger Games has a built-in audience, the young adult demographic that made it #1 on the Nielsen’s Bookscan list of bestsellers for 2011. It could be the next entertainment phenomenon, stepping into the void left by Harry Potter, which finished up last summer, and the Twilight Saga, which will end this November. If the movie satisfies the fans’ expectations, the obsession will continue for a projected three more films (with final book Mockingjay split into two parts). Jennifer Lawrence, Josh Hutcherson and Liam Hemsworth play Katniss, Peeta and Gale respectively and establish themselves as stars in the making.

Even in a field of movies heavy with star power, The Avengers outdoes its competition. With big names like Robert Downey, Jr., Scarlett Johansson, Chris Evans and Mark Ruffalo, The Avengers is jam-packed with stars.

The topnotch cast makes up the collective of superheroes known as the Avengers, which includes heroes Iron Man, Captain America, Thor, the Incredible Hulk, Hawkeye, and Black Widow. Led by Nick Fury (Samuel L. Jackson), the team comes together to fight evil being Loki (Tom Hiddleston) and save the world.

Spider-Man 3 was released only five years ago. Is it really time for another installment in the Spider-Man franchise? Maybe not, but I’m up for just about any movie that puts talents the likes of Andrew Garfield and Emma Stone onscreen together.

This reboot goes back to the beginning with Spider-Man in high school again. The title role is played by Garfield, while Stone co-stars as his high school crush, Gwen Stacy. In this newly-imagined spin on the Spider-Man story, Peter Parker goes on a quest to understand his parents’ disappearance, learning about life, love and destiny along the way.

This follow up to critical and commercial success The Dark Knight features an arsenal of stars. Christian Bale reprises his role as Bruce Wayne/Batman and is supported by a stellar cast. Michael Caine returns as Alfred, while Anne Hathaway makes her first appearance as Catwoman. The film shows Batman dealing with the aftermath of taking the rap for Harvey Dent’s crimes and fighting Bane (Tom Hardy) to save Gotham City.

The big question in my mind? Whether or not The Dark Knight Rises will nab a Best Picture nomination, something The Dark Knight failed to do, now that the Academy’s selection process has changed.

The final installment of the Twilight Saga should bring a fitting end to Stephenie Meyer’s little franchise that could. Fans will  have been kept waiting a year in between the two Breaking Dawn films, but if Part 2 lives up to the book, it will be worth it. Robert Pattinson, Kristen Stewart and Taylor Lautner reprise their roles as Edward, Bella and Jacob as they prepare for a final showdown against the Volturi.

It feels as if we’ve been waiting for this movie for more than a decade. Oh, wait—we have. Lord of the Rings fans were speculating about a proper Hobbit film back when The Fellowship of the Ring was released in 2001. The Hobbit went through its own journey to become a film, battling copyright entanglements, casting issues and studio bankruptcy over the last 10 years.

The Hobbit is directed by Peter Jackson and stars familiar faces like Ian McKellen as Gandalf, Andy Serkis as Gollum and Cate Blanchett as Galadriel, as well as newcomer Martin Freeman as Bilbo. This fantasy set in Tolkien’s Middle-earth will be warmly welcomed when it finally comes to theaters.

The F. Scott Fitzgerald classic has had many onscreen incarnations over the years. Could this new adaptation, starring Leonardo DiCaprio in the title role and Carey Mulligan as the iconic character Daisy Buchanan, be the best one yet?

While the film is still in post-production and a trailer has not yet been released, the stills so far look gorgeous, and the strong supporting cast, including Tobey Maguire and Isla Fisher, holds promise. It’s too early in the Oscar season to tell, but The Great Gatsby could be a contender if it lives up its potential.

Tobey Maguire, Leonardo DiCaprio, Carey Mulligan and Joel Edgerton fake ennui in a production still from The Great Gatsby. Photo courtesy of Warner Bros. Pictures.

Sure, sure, the Oscars are meant for honoring the greatest achievements of the movie industry, but every fashionista knows it’s all about the dresses.

They are like grand celeb-studded fashion shows where the stars of Hollywood dress to impress. Last Sunday, at the 84^th Annual Academy Awards, the women were nothing less than glamorous and the men were oh-so charming.

The theme of the star-studded night was “old Hollywood glamour” and the stars did not disappoint, especially the ladies.

The signature style gown on the Oscar red carpet was strapless. Those that wore colors chose gowns that were either muted, or outrageously bold, with bright shades of red or coral.

Michelle Williams, who was nominated for her leading role in My Week with Marilyn, was classy and adorable as always in her bight coral Louis Vuitton strapless number with ruffled bodice and very little jewelry. She added a dash of her highly feminine personal style with a jeweled bow detail at the waist and a girly pale pink clutch.

Others chose stark white, like Gwyneth Paltrow, who owned one of my favorite looks of the night. She looked stunning and chic in her Tom Ford fitted gown.  On the red carpet, she wore a matching white cape  on her shoulders that I wasn’t really a fan of.  Once she ditched the hideous cape, her look was truly breathtaking.

There were few black gowns to be seen, and those who did choose dark colors wore sequins, or daring styles. Jessica Chastain, who was nominated for her supporting role in The Help, wore an Alexander McQueen creation, which featured the most intricate gold embroidery on the bodice and the skirt.

Although a majority of the actresses were looking stunning in strapless dresses, the one-shoulder gown worn by Milla Jovovich captured my eye and quickly became my favorite look of the entire night. She looked absolutely gorgeous in a white, beaded dress that looked like it sparkled every time a camera would flash. She matched the romance of her Elie Saab gown with a curled up-do and ruby red lips.

Stacy Kiebler may not be a big-screen actress, but she was definitely a star on the red carpet. With the always-handsome George Clooney by her side, she very much resembled a trophy in her expertly draped gold Marchesa gown. With a deep side part and sun-kissed skin, Kiebler couldn’t have looked any more polished on her boyfriend’s big night.

Unfortunately, not all the stars met their glam potential on the big Oscar night. As much as I love Miss Emma Stone, I cringed when I saw her step out onto the red carpet in a sleeveless fire engine red Jean Baptista Valdi halter dress with a huge red bow tied at the neck. It seriously looked like it was going to eat her head at any moment. Stone’s look was just a wee bit too dramatic for her.

Melissa McCarthy, who was nominated for her supporting role in Bridesmaids, was yet another fashion disaster of the night. She wore a blush-colored empire-waisted Marino Rimaldi dress with a jeweled belt and collar and three-quarter length sleeves. The gown just wasn’t as flattering as it could have been. Maybe it was the renaissance style sleeves we were so opposed to?

Sandra Bullock is known for her poise and class on the red carpet, but this weird T-shirt over a long gown look didn’t really float my boat. It was elegant, but the top half really needed to be more fitted if it was to work in the red carpet environment.Now enough about the women, my hat goes off to the handsome men of Hollywood. Of course they are not meant to outshine the ladies, but that doesn’t make them any less show-stopping.

Two words that sum up Oscar night for the guys? Bow ties. I saw them in a variety of color on 32 different actors and filmmakers throughout the night. Stars like Jonah Hill and Bradley Cooper supported this new trend while looking sharp and sophisticated. So, ladies, take note for your man: bow ties are in.

The stage is set for the 2012 Oscars. Nine films are up for Best Picture, their stories ranging from the lighthearted to the heartbreaking. Watch the show Feb. 26 at 7 p.m. on ABC to see who takes home the big prizes.

The Descendants

George Clooney, Shailene Woodley and Amara Miller struggle to stay a family in The Descendents. Photo courtesy of Fox Searchlight Pictures.

Alexander Payne’s thoughtful family drama may look like a George Clooney vehicle at first, but ultimately it’s a strong ensemble film.

Clooney holds his own in a poignant performance, conveying heartrending emotion with ease, but it’s the strength of the cast and development of each character that makes The Descendants great. Payne’s attention to the little moments that make up life guarantees that the story never feels forced.

Clooney is nominated for Best Actor as Matt King, a land baron in Hawaii who is trying to put the pieces of his family back together after his wife’s boating accident. Shailene Woodley and Amara Miller shine as well, playing his daughters, Alexandra and Scottie. Woodley got a Best Supporting Actress nomination for her captivating performance and established herself as one to watch.

Extremely Loud & Incredibly Close

Extremely Loud & Incredibly Close was a long shot for a Best Picture, coming in as the biggest surprise when the nominations were announced Jan. 24.

A story “not about 9/11, but about every day after,” Extremely is about a young boy (Thomas Horn) who is trying to move on after losing his father (Tom Hanks) in the 9/11 World Trade Center attacks. It also stars Sandra Bullock as his mother and Max von Sydow as the mysterious Renter. Sydow is nominated for Best Supporting Actor.

Hugo

Directed by Martin Scorsese and set in 1930s Paris, Hugo is the tale of a boy on a quest to find his past. Played by Asa Butterfield, Hugo becomes entangled in a mystery while trying to learn more about his dead father. His only connection to his father, a former inventor, is an automaton that needs a heart-shaped key to work.

It stars both new faces like Chloe Grace Moretz and heavyweights like Christopher Lee, Ben Kingsley and Sacha Baron Cohen. Hugo stands out in the field because of its whimsical fairytale atmosphere. Hugo also stands out due to its sheer amount of nominations: 11 in all, more than any other film. The nominations include achievements in directing, cinematography, costume design, film editing and more.

Midnight in Paris

Woody Allen’s fanciful homage to the City of Lights charms effortlessly, depicting the truth that no time seems quite as fascinating as one other than our own.

Owen Wilson is Gil, a Hollywood writer who aspires to be a great novelist. He is captivated by famous figures of the 1920s like Ernest Hemingway, Pablo Picasso and Cole Porter. Wilson wanders the streets of Paris, hoping to find himself as an author but instead finding exactly how magical the city can be at midnight.

The stellar supporting cast includes Rachel McAdams as his gorgeous but obnoxious fiancée, Inez, and Marion Cotillard in a wistful turn as Adriana, a beautiful young woman who is as entranced by another time as Gil is by her. Midnight in Paris is also nominated for Best Director, Best Original Screenplay and Best Art Direction.

The Tree of Life

Acclaimed director Terrence Malick is known for spending years working on his films and taking time off in between them. The Tree of Life is only his fifth feature film in 38 years. In it, Malick contemplates the mysteries of birth, life and death through the story of a 1950s family with three sons.

Far from a typical coming-of-age story, The Tree of Life is told more through feel than dialogue. The kaleidoscope-esque camera work shifts quickly through different scenes in the lives of the family members, both during the 1950s and 20 years later. The Tree of Life is also nominated for Best Director and Best Cinematography.

War Horse

This World War I story is built around the friendship between a man and his horse. Albert, played by Jeremy Irvine, trains a horse named Joey. The two are inseparable until Albert’s farmer father has to sell Joey because the harvest has failed. Joey is sold to the British cavalry and shipped to France. Meanwhile, Albert becomes a private in WWII and eventually is reunited with Joey.

War Horse was nominated for six Oscars total, including Best Cinematography, but director Steven Spielberg did not receive a nomination, making a win highly unlikely.

Editor’s Pick: The Descendants

When it comes to snacks, most people’s cravings go straight to chips, cookies and those yummy pudding cups, but that’s not the way to go, my friends. You would be experiencing what I like to call a “snack attack”.

The problem nowadays is that we think snacks are supposed to fill us up. Rule of thumb: snacks are not mini-meals. They are supposed to tide you over until your next meal.

Eating chips and cookies until your tummy is satisfied has the rest of your body screaming for help. No worries, my fellow snackers. There are other ways to satisfy the “muchies” other than starving yourself between each meal.

Despite popular belief, snacks can actually help you achieve a slimmer shape. Opting for healthier snacks will not only help get your metabolism pumping and your body burning calories, but will give you the perfect solution to surviving the “snack attack”.

Grapes & Grahams

Take one graham cracker and split it into two squares. Spread each square with a light layer of cream cheese. Then sprinkle eight halved grapes over the top. It sounds strange, but it’s so delicious. It’s perfect for that little “sweet tooth” we tend to get in between classes.

Pear/Apple & String Cheese

To curb your sugar cravings, have a piece of fruit with a side of cheesy protein. Cheese is packed with calcium and according to WebMD, calcium “can help adjust your body’s fat-burning machinery.” The fruits that taste best with cheese are apples, pears and grapes.

Greek Yogurt

Have a cup of Greek yogurt. If you don’t want it plain, try adding some chunks of fruit to plop on top. Greek yogurt is packed with protein, which will keep you feeling full. Plus, it has a lot of calcium. Greek yogurt can be found at any grocery store in a wide variety of flavors.

Hummus & Veggies

If you need some more green in your diet, but want to avoid fatty dressings, try mixing your veggies with hummus. It is rich in protein and fiber. It is low in fat and is very filling. Hummus can also be paired with whole-wheat crackers or pita bread slices.

Ensemble film The Help is carried by great performances from Emma Stone, Octavia Spencer, Viola Davis and more. Photo courtesy of DreamWorks II Distribution Co., LLC.

What makes a movie truly inspirational is a balance of clever lines and acting with heart. Nominated for Best Motion Picture and Best Performance by an Actress in the Academy Awards, The Help accomplishes just this.

Writer and director Tate Taylor wanted to produce a film that captured the gripping emotion and action of how individuals dealt with social inequality in the Civil Rights era. Taylor said he aspired to tell a story through the eyes of an African-American during this time period, and The Help is a beautiful portrayal of his intentions.

Emma Stone plays the spunky, ambitious Skeeter. Photo courtesy of DreamWorks II Distribution Co., LLC.

Emma Stone stars as the spunky, curious Eugenia “Skeeter” Phelan, who returns to her hometown of Jackson, Miss., to be a writer. Stepping down from past acting roles of mischief and adventure, Stone becomes a down-to-earth, southern girl who takes on prejudice in a flawless performance.

Oscar-nominee Viola Davis, plays the nurturing role of Aibileen Clark, an African-American maid whose words to her young charge, “You is kind, you is smart, and you is impo’tant” uphold a positive reminder despite negative afflictions.

With Aibileen and Minny Jackson’s (Octavia Spencer) help, Skeeter is able to write a novel about the experiences women have while taking care of white families.

Similar to the setting of Remember the Titans, this motion picture unveils a different side of discrimination against African-American women and the unique friendships created. The film offers insights on segregated restrooms, restaurants, and even the back row seating on a public bus. Viewers are drawn into the fiery divide that incites the African-American community to speak courageously against inequality and prejudice.

Although there are scenes suggesting domestic violence and profane language is often used, they are necessary to each actor’s role.

The Help is a touching, dramatic movie that offers an unforgettable storyline for any adult audience to enjoy.

Why it could win: The Help found Oscar success with four nominations. It received both critical and box office success when released in August 2011.

One significant award included Best Acting Ensemble at the Screen Actors Guild awards, which proves the portrayal of each character was at its finest. Not only is the acting dynamic, but also the setting of Mississippi in the 1960s adds to the authenticity of one actually being there.

Why it won’t: The Help is carried mostly by its natural, likeable cast, however, its lack of a Best Director nod makes a Best Picture win unlikely.

Jean Dujardin and Berenice Bejo charm in classic black and white as they perform a tap dance number reminiscent of '30s musicals. Photo courtesy of The Weinstein Company.

In a time when too many films are populated by CGI characters and driven by noise, The Artist is an exception.

Nominated for 10 Academy Awards, including Best Picture and Best Director, The Artist might be the freshest thing onscreen in a while—in spite of the fact that it is a black and white, mostly silent film.

Going against the mold by making a silent film is a daring thing today, but director and writer Michel Hazanavicius pulls off his vision with aplomb and gives us an incredibly beautiful film in the process. Making a silent film about the transition from silents to talkies is an intrepid but surprisingly simple idea. What better way to show the tumult within the film industry during the switch to talkies than through this story of an aging film star’s fall?

Jean Dujardin stars as George Valentin, a hugely popular silent film actor whose career wanes when talkies come along. In this Oscar-nominated role, Dujardin turns in a warm, faceted performance, conveying the story almost through expression alone.

His character represents many film stars who fell from heaven during the switch to talkies. John Gilbert of “I love you, I love you, I love you” infamy is probably the most well known, but film history shows that during the upheaval hardly any stars survived.

While George is on his way to becoming a has-been, ambitious starlet Peppy Miller (Bérénice Bejo) is on her way up. After a tip from George on how to stand out from the crowd, Peppy gradually earns bigger roles in silent films. It’s when audiences turn to talkies, however, that she finally becomes a star (her rise mirroring Joan Crawford’s, who also started out in silents but became a popular star in talkies).

“Why do you think audiences love you so much?” asks a reporter. “Well,” says Peppy, “I think it’s because I can talk and they can hear me.” In a typical show biz irony, Peppy becomes the next big thing at the same time that George’s career fails. Bejo glows onscreen, infusing Peppy with heart and charisma. It’s never difficult to believe her rise from background extra to studio royalty.

Photo courtesy of The Weinstein Company.

Bejo and Dujardin’s chemistry, along with Hazanavicius’s crisp, vibrant direction, carries the film. The limitations placed on the actors by making the film mostly silent never get in the way of their expressive performances, and the exquisite black and white cinematography says more than all the explosions of the Transformers movies ever could. The Artist reminds jaded modern audiences what movies are really about.

Why it could win: The Artist was nominated for 10 awards, coming in second only to Hugo (nominated for 11). It was a film festival favorite, something that usually appeals to the Academy. The Artist has also enjoyed a slow but steady build. It was first released in Belgium back in October, not coming to American theaters until this January; however, as of this past weekend, it has passed the $20 million mark and increasingly drawn audiences.

Why it won’t: A substantial part of The Artist’s magic lies in its novelty as a silent film. The simple plotline might not have enough clout to impress the Academy, especially since it will have tough contenders in Alexander Payne’s richly drawn family drama, The Descendants, or Woody Allen’s cleverly charming tribute to the city of lights, Midnight in Paris.

The Artist is rated PG-13 and is in select theaters now.

The next hopeful TV hit Smash is set to debut Feb. 6 following the Superbowl, and it could pull NBC out of fourth place in the lineup of major networks.

While Smash should please its most obvious audience, the solid Glee fan base, the Steven Spielberg-produced venture could turn out to be an even bigger hit if it lives up to its ambitious premise.

The show is set in the New York theatre scene and built around the writing and casting of a new musical, the next would-be smash on Broadway. It’s not just any musical, though: Smash’s hook is that the new show is about the life of the beautiful, talented, tragic Marilyn Monroe.

Featuring splashy, star-turning numbers galore, Marilyn: The Musical could be the next big hit, and everyone wants in on it, including aspiring Broadway stars Karen Cartwright (Katharine McPhee) and Ivy Lynn (Megan Hilty). While blond, voluptuous Ivy is the most obvious choice for Marilyn, it’s Karen that embodies the freshness and vulnerability of Marilyn at her best. The two actresses competing for the role of a lifetime makes for entertaining television.

Hilty and McPhee both shine onscreen, standing out even among the talented cast. The ensemble also includes Debra Messing and Christian Borle as the show-within-a-show’s ambitious writers, Jack Davenport as a sleazy but talented choregraphor, and Anjelica Huston as the cynical producer.

Smash’s stylish, mostly believeable musical numbers and focused writing are a refreshing change of pace from the camp of Glee, and the theatre shop talk used in the show reveals that its writers did their research. The best thing about Smash is that it lets its audience into another world, the one of New York theatre. It isn’t always pretty, but that’s show biz. As Huston’s character says, “There’s a broken heart for every light on Broadway.”

Being on a budget and staying on that budget is a difficult process for anyone, but giving a Major League Baseball general manager a low budget and telling him to beat the Yankees’ billion dollar franchise is nearly impossible.

Oakland Athletics’ GM Billy Beane turned the unlucky odds and low-budgeted season into a super team that had a 20-game winning streak and set a new American League record in 2002. In Moneyball, which was nominated for seven Oscars, including best picture, director Bennet Miller not only captured the hearts of baseball fans but also gave a new understanding of the business behind baseball to those who aren’t a fan of the game.

Known for Capote and his documentary, The Cruise, Miller portrayed this heroic story of Beane with great skill. The historic highlighted clips of the Oakland A’s were shown, but cut at perfect times so it wasn’t like watching a documentary. Along with the concise flashbacks of Beane’s failing baseball career, Miller develops a plot line that keeps the audience intrigued and entertained through scenes which portrays not only the struggles Beane faced, but also the joy he has for the art of baseball.

Brad Pitt is nominated for Best Actor for his portrayal of Beane. He captures the audience’s attention by depicting Beane with great charisma as he aspires to make a team that wins, and not only wins one or two, but wins it all. Beane hires his trusty “numbers guy” Peter Brand (Jonah Hill), and from that moment the film shows the growing bond between the two.

Hill, who was nominated for Best Supporting Actor, plays the pudgy, smart youngster Brand phenomenally with his nervous responses to the outlandish, bold attitude of Beane. The bond between Brand and Beane is shown to the audience with laughs that are less provoked by funny lines and more by the humor underlying in the characters’ personalities.

With little knowledge of the 2002 Oakland A’s season, I watched Moneyball with new eyes and ears, astounded that there could be a mathematical equation for picking baseball players. Brand sorts all the players’ stats of past seasons into a computer generated equation and through that he picks what players would be best for the Oakland A’s at the lowest cost.

Baseball is a business and Beane’s business was to make money by taking a low-budgeted, losing team to the World Series. While fans can only see baseball from the outside looking in and appreciate it as a sport, Beane had to do the opposite by cutting, trading and training players to ensure a game-winning season. Anyone can appreciate the tactics of business and love for baseball shown in Moneyball.

A show with a real Prince Charming Who could not be a fan? ABC’s Once Upon a Time is a combination of fantasy and drama bundled together and thrown into the present day. This concoction is what has the masses of this decade swarming to the midnight showings of movies like Harry Potter and especially Twilight.

The show is another example of good versus evil, in a family friendly way, and will most likely bring lots of twists, turns, and interest. Nothing less could be expected from the writers of Lost, Edward Kitsis and Adam Horowitz.

Compared with the other new arrival on prime time, NBC’s Grimm, Once Upon a Time is a refreshing way to bring fantasy to television. Grimm is the same old detective story, except now the killers are fantasy beasts, à la “Little Red Riding Hood.”

Once Upon a Time, instead of giving you terrorizing, child-killing beasts in the woods, gives you instead a feeling much like the one you get after watching Disney’s Enchanted.

The relation to Disney is not imagined. The characters in the show can almost all be found in a past Disney movie. There is Maleficent, the archenemy in Sleeping Beauty, the Evil Queen, the actual Prince Charming from Snow White, and even Jiminy Cricket from Pinnochio, who ends up a shrink. How does he become a shrink? The Evil Queen comes up with a horrendous curse, sending all the fairy tale characters to our world, to a little town called Storybrooke, Maine.

All of the characters take on new identities. Snow White is a lovely teacher named Mary Margaret Blanchard, and The Evil Queen gets to be the mayor. She is also the only one who remembers where they came from. The Queen has in her possession a little adopted boy named Henry, played by a very talented Jared S. Gilmore.

Henry happens to be the son of Snow White and Prince Charming’s daughter, Emma, who was able to escape the curse through a magical tree as a newborn. She was sent to our world alone and has grown up to be a tough and lonely bounty hunter. She also is the only one who can break the curse.

Emma is brought to Storybrooke when Henry comes to find her. She takes him home, and everything is set in motion. The interest of the show lies more in the characters than it does the story. It is the characters that will carry the show and flesh it out.

Lines like Henry’s speech to his mother, “It’s okay. I know why you gave me away. You wanted to give me my best chance,” the delivery of which almost makes you shed a tear, reveal there is more to this show than just fantasy and action. It is about exploring human beings and their relationships with each other.

If for nothing else, Once Upon a Time deserves a chance for being the only show of its kind, and more importantly, an entertaining and fun show the entire family can watch together.

Will (Justin Timberlake) and Sylvia (Amanda Seyfried) flee with a bounty on their heads in an action sequence from In Time.

In Time is set in a world where, like the Poor Richard saying, time is money. Only literally.

Written and directed by Andrew Niccol, the dystopian thriller begins on a novel concept: Time to live has become the currency. People are genetically engineered to stop aging, but when they reach 25, they get only one more year of life and have to earn any more time they get. The rich can live forever, while the poor barely survive from day to day. Survival is about getting more time before it runs out.

The premise is interesting but flimsy; with a more well-crafted plot, In Time could have been a truly clever and innovative offering to the science fiction genre. As it stands, In Time is purely entertaining, never requiring its audience to think too hard, but rewarding them with plenty of action and romance.

Justin Timberlake (The Social Network) stars as Will Salas, a factory worker from the ghetto who has become accustomed to living from one day to another. He lives with his 50-year-old mother, Rachel, ironically played by Olivia Wilde, who in real life is actually younger than Timberlake.

They are happy in spite of never having much, until Rachel tragically dies when she runs out of time trying to get home one night. Meanwhile, Will has unexpectedly gained incredible wealth: more than a century in time. It was given to him by a man named Hamilton who had lived for more a century in real time already. “Your mind can be tired even if your body’s not,” says Hamilton. After Will rescues him from the Minutemen, a gang that steals other people’s time by force, Hamilton gives Will his time and “times out” on purpose.

Having all the time in the world for the first time in his life, Will sets off for New Greenwich, the time zone where the absurdly rich live virtually forever. He meets a beautiful heiress named Sylvia (Amanda Seyfried) after winning time from her father, Philippe (Vincent Kartheiser of Mad Men). Sylvia is the poor little rich girl who has never really gotten to experience life.

“The poor die, and the rich don’t live,” Sylvia says, summing up the dichotomy of their world. The two end up on the run after Will is accused of murder by a Timekeeper named Raymond, played by Cillian Murphy (Inception, Batman Begins).

Will and Sylvia’s adventures come over something like a cross between Bonnie and Clyde and Soylent Green as they set off in Niccol’s brave new world.

Timberlake and Seyfried are believable enough to pull of the requisite love story, and their banter adds some humor along the way whenever things get too serious. There’s a lot of Timberlake looking intense, Seyfried running in impossibly high heels, and Murphy stalking about in a long black coat.

Niccol creates a world that the audience can live in for a while, complete with its own culture and catchphrases. The stylish but sometimes incredulous tale works well as entertainment.

Was it meant it to be anything more? Perhaps. The film also works as a parable about today’s world. We may not have unlimited time, but the truth that some have nothing while others have more than enough still stands.

Alaina Mullinax, junior broadcast media, adds a touch of lace to her ensamble.

Cold weather has arrived with a bang.. With the beginning of this new season, a shopping trip for the latest fall and winter fashions is a must, but it isn’t always easy. Keeping the dress code in mind, I’m here to offer some stylish tips.

1. Mustard and Navy: The dynamic duo

For this fall, mustard is the must-have color. I don’t really see it as the highlight color for most outfits, but more of an accent. So, don’t go too crazy with this color. Instead, try a mustard peacoat or cardigan to throw over your favorite fall color or try mustard accessories like a cashmere scarf or handbag.

Mustard goes surprisingly well with wine tones as well as this winter’s color, navy blue. Navy blue and mustard complement each other very well by bringing a warm chic look to an everyday outfit. Mustard also pairs well with the obvious earth tones: browns, olive greens, beige, etc. Navy, on the other hand, can be paired with whites and reds, if you’re into the nautical look which is another popular trend this winter. These two classy colors are very dynamic, but when you bring them together, they are like two peas in a pod.

Where to find it: Forever 21, Target and Belk

How to wear it at NGU: Match a cute tea-length navy dress with a mustard colored cardigan and throw on some brown or neutral colored tights.

2. A touch of lace

It’s no big news that lace is a classic, but this season it becomes polished too. It’s also one of this season’s most romantic trends. Lace comes in a great amount of different versions, from simple and soft to printed and colorful. Used mostly for gowns and blouses, lace oozes femininity. Lace looks exceptionally pretty on cardigans and sweaters by adding just enough “sweetness” to your look. Dresses with a touch of lace are also in this season. Lace clothing and accessories can be found in almost every department store. Jewelry, scarves and even handbags that incorporate lace are perfect ways to add a touch of femininity.

Where to find it: Old Navy, Target and other department stores

How to wear it at NGU: To have the classic and polished look, try a neutral lace scarf that you can find at any Target and match it with a striped or other patterned top. Lace accessories are your best bet. They add just enough without going overboard.

3. Oxfords: Adding a little antebellum

Oxfords are my favorite shoes for this season. I wear them all the time because they are comfortable for walking around campus and they go with a variety of clothing.

Vintage is in this season and oxfords will definitely bring out the “old-timey” look in your outfit. Oxfords are very colonial in design because they age back to the 17^th century when mostly men would wear them. I wouldn’t be surprised if most of your grandparents have a pair of their own up in their attic.

Oxfords are a must-have for vintage lovers, but they are also perfect for adding a little flair for those who do not want to travel too far back in time. They come in a variety of colors and designs. Flat oxfords are perfect to wear with denim skinny jeans while oxfords with heels are cute to wear with dresses, skirts, or trousers. From browns and neutrals to floral and glitter, oxfords come in an array of styles to fit your personality.

Where to find it: Target and Forever 21

How to wear it at NGU: Oxfords look great with skinny jeans or even trousers or slacks. If you want to dress it up a bit, match a pair of oxfords with a cute vintage dress and leggings. Make sure to wear a pair of oxfords that bring out a low-toned color in your outfit. That will make your look pop.

4. Novelty sweatshirts: Bummin’ it with style

You’re all about looking fashionable, but admit it, there are some days where you just don’t feel like trying to put together an outfit. We all have those days where we want to pull up our hair and throw on some sweatpants and a hoodie. What if I told you that you can “bum it” while still being a “fashionista”? Yes, you heard me correctly. This season, yesterday’s classics are back. Novelty sweatshirts are perfect for the days you want to be laid-back and comfortable.

Sweatshirts are perfect for fall and winter, especially if you get them with classic characters on them. Stores like Forever 21 and Charlotte Russe have a whole line dedicated to vintage novelty. Forever 21 has a separate Disney line featuring 12 classic Disney movie sweatshirts. These sweatshirts can be mixed and matched with jeans and sweatpants, which make them perfect for the cold weather expected this winter.

Where to find it: Forever 21 and Charlotte Russe

How to wear it at NGU: Match a Lion King novelty sweatshirt from Forever 21 with your favorite pair of jeans, colored pants or sweatpants and make it to those 8 a.m. classes just in time.

5. The Big Bag Theory

I think we should all step aside and take a lesson from Mary Poppins this fall and winter.  Big bags compliment even the dullest outfit. Bright bold colors like red, mustard, blue and magenta add that splash of color to your fashion ensemble. The greatest feature of big bags is that they are versatile. You can carry one with whatever you are wearing and still feel fashionable.

Where to find it: Belk and Forever 21

How to wear it at NGU: Put your big bag to use and stuff a few snacks from the Stud in there on your way to class.

6. Chic it up a notch: The pencil skirt

Need a professional look for your presentation on Friday, but don’t feel like emptying the wallet? You don’t have to. This fall and winter the fashion trends are screaming professionalism, which favors college students entering into the working world. This season’s trend is all about pencil skirts. They are perfect for making you look and feel powerful. How to wear it at NGU: Match your tea-length pencil skirt skirt from Dots with a solid ruffled blouse and add a blazer, and you’ll be ready for that class presentation.

7. Feathers, feathers, and more feathers

From feather hair extensions to feather jewelry to feather covered shoes, it’s no secret that feathers are in this season. Quail feathers are in this fall because of their rustic colors. They look absolutely stunning with this season’s color, mustard.  Feathers are diverse and can be put with an assortment of outfits. So go on out and feather it up these upcoming seasons.

Where to find it: Ulta Beauty and Target

How to wear it at NGU: Match a cute pair of pastel colored feather earrings or necklace with a solid black top.

Like Crazy explores an age-old theme: love and the obstacles that stand in our way of finding and keeping it. While the Sundance Film Festival favorite breaks no new ground, its spare, intimate style is a relatable and refreshing change from the usual romance movie.

Jacob (Anton Yelchin) and Anna (Felicity Jones) are lovers torn apart, not by Nicholas Sparks staples like cancer or disapproving parents, but by something altogether mundane: paperwork.

Anna is a British student who meets Jacob, an American, in college. After graduation, she refuses to leave him, violating her student visa. She flies to England after the summer, intending only to stay a few days to see her family, but she is not allowed to return.

At an impasse, Anna and Jacob struggle through the ups and downs of trying a long-distance relationship. They eventually move on instead of continuing the heartbreak of loving each other from so far away.

Jacob attempts to forget Anna by spending time with a gorgeous co-worker named Sam (Jennifer Lawrence). Lawrence’s talents are under-used in this film, however, and her character never really develops. Both she and Simon (Charlie Bewley), Anna’s would-be substitute for Jacob, only serve as placeholders until the pair decides to give it yet another try.

Jacob and Anna’s battle to stay together makes for a romance that manages to be neither cliché nor overdone. The indie’s director, Drake Doremus, doesn’t attempt anything grand or sweeping; instead, he turns in a film made up of little moments, reminding us in the process that life itself is made up of those small but cataclysmic instances that change everything.

Yelchin and Jones have a chemistry that transcends the simple plotline and for the most part carries the script, which was almost entirely improvisation. Jones, who won the Sundance special jury prize for best actress, especially stands out as one to watch. She has a gorgeously tremulous quality as Anna, a delicate yet resilient something that makes her as genuine as she is unattainable.

Like Crazy is not without its flaws. The shaky home movie feel to the cinematography can be distracting and occasionally confusing, while the improvised script is almost overly simple. But the film comes across as a piece of life, snapshots of a romance that over time make an imperfect picture. Like Crazy may have its flaws, but if so it is as fascinatingly, irresistibly flawed as love itself.

Like Crazy is rated PG-13 and is in select theatres now.

There are books that should be consumed like a nice slice of chocolate cake in one delicious sitting, then there are others which should be savored as a box of chocolates and the leftovers tossed in the fridge for later consumption.

At 224 pages, Stories for Nighttime and Some for the Day by Ben Loory is an anthology slim enough to inhale in one night, but should definitely be nibbled on bit by bit until the last page is swallowed.

This is one of those books that sit well-worn and dog-eared on the nightstand propped up against the lamp and that loved book of poems.

Each of the 40 hauntingly dissonant tales is reminiscent of ancient fables and fairytales, and reads like a bedtime picture book for adults minus illustrations. These tales are to be read multiple times, sampled during the day but mostly at night, and pondered over, perhaps even ripped out of the book and tacked up on the wall.

The tales take an innocent, distant view on heavy topics staring humans and non-humans alike (and the occasional Martian), providing a compelling fresh perspective on both humanity and morality in metaphorical instances that resonate within the soul.

Loory’s world is like that of those favorite childhood tales, where anything is possible: even a TV that writes—and sings—an opera, a walking tree caged by humans, and octopuses who live forever and have nephews who visit from the sea. And as each person and creature transmogrifies in this magical and sometimes horrifying world, we start sprouting our own butterfly wings.

Some tales are incredible short, such as “Shadows,” which is only 21 words, but somehow contain just enough words to convey each compelling proverbial message. Loory’s stories are always unexpected—unfamiliar enough not to know what is going to happen next, but still familiar enough to relate with.

However, some of Loory’s stories are far too esoteric to be unwrapped, and seem to end abruptly with just a hint of a message so buried and confusing to be extracted on the first read.

Some even seem intended for that one specific person who has the life experience and mindset to understand, such as “The Woman and the Basement,” which is tied together exactly with the symbol of the thermos: but the message is too fleeting to grasp without spending much time closely analyzing the text.

But for the most part, these stories can be enjoyed by all ages with their clever premises and creative cast, whether the reader reaches Loory’s cryptic messages or not.

Adam (Alex Kendrick) has trouble connecting with his son, Dylan (Rusty Mitchell). Photo courtesy of Sherwood Pictures.

Courageous ranked number four at the box office with its Sep. 30 release. In one month, the film made roughly 12 times its cost, an estimated budget of $2 million.

Courageous stars Alex Kendrick (co-producer of Flywheel, Facing the Giants, and Fireproof) as Adam Mitchell, Ken Bevel (Fireproof) as Nathan Hayes, Ben Davies as David Thomson, Kevin Downes as Shane Fuller, and Robert Amaya as Javier Martinez.

This invigorating tale really forces the men of our generation to wake up and pay attention. Courageous informs viewers that hard circumstances are not worthy excuses for giving up; in fact, this movie implies that those hard times are a gift from God.

Five ordinary men, who live with five typical family situations, are forced to recognize that their lives are not glorifying God as much as they could be. Tragic circumstances lead these friends to commit to becoming better men, specifically better fathers.

Courageous can be considered excellent not only because it shows why the characters resolved to focus on God and how this resolution changes their lives, but it also shows the realities of making such a resolution. After committing to become better men, some of the characters face tough, every-day decisions that force them to live out their faith.

The effects of each man’s choices are clearly displayed in the lives of their surrounding families and friends. Throughout the entire film, Joshua 24: 15b is subtly enforced: “…but as for me and my house, we will serve the LORD.”

Not all doom and gloom, Courageous contains a surprising amount of unexpected action and humor. Opening with an intense, adrenalin-powered car chase, Courageous only gets better from there. Drugs, death, discovery and even dating are involved in this wonderfully organized plot. Some scenes cause gasps of horror, while others bring on roaring fits of laughter and still more scenes leave flowing tears of both joy and anguish to mark audience faces.

All in all, there is little to criticize in this film. The only possible improvement would have been more specific details concerning how to become a better father; however, at more than two hours, Courageous was already considered by some audience members to be too long.

This movie is truly amazing in that it makes you laugh and makes you cry as it becomes a part of you while helping you to focus on God.

With the release of “Vice Verses,” California-based powerhouse Switchfoot proves they are still strong after 15 years. The album, released Sep. 23, is the band’s eighth full-length record.

The band gained popularity with 2003’s The Beautiful Letdown, but has been constantly evolving since. Now, two years after Hello Hurricane, the band has come back with 12 new songs to entertain fans.

The album starts out strong with “Afterlife,” a grungy song that highlighted lead singer Jon Foreman’s raw vocals. The rest of the songs follow this grunge format, with a lot of guitars and even some vocal distortion.

There were a few slow pieces, such as “Souvenirs,” which is a reflection on life and fond memories. “Selling the News” and “Blinding Light” take on American culture with typical Switchfoot snark.

“Blinding Light” exposes the pitfalls of American culture, with Foreman singing “We are the nation that eats our youth.” “Selling the News” mocks American media biases while laying down a catchy funk feel.

Vice Verses is a continuation of Switchfoot’s growing emphasis on their faith. While many call them a Christian band, Switchfoot has never claimed to be distinctly Christian. They have instead said  they wanted to reach a broader audience while living their faith.

With Hello Hurricane, released in 2009, the band members began putting more emphasis on their religious beliefs. “Everyday, a choice is made. Everyday, I choose my faith,” sings Foreman on “Afterlife.”

Switchfoot’s early albums, while still upbeat and somewhat sarcastic, had a mellow feel, with an emphasis on smooth vocals. Starting with The Beautiful Letdown, Switchfoot adopted a grunge feel with more electronics and effects.

The growing maturity of the band is evident throughout the album. While their debut album, The Legend of Chin, covered such topics as crushes and high school chemistry, Vice Verses focuses on memories and long-lasting love.

After more than a decade together, most bands would be well past their peak. Switchfoot, however, seems to be going strong, ready to continue to spread its infectious tunes with the world.

If there’s one thing Steven Spielberg is good at, it’s his ability to create an entirely new world. Along with popular producers Peter Chernin, Rene Echevarria and Brannon Braga among many others, Spielberg introduces the new sci-fi drama Terra Nova that everyone has been talking about.

Beginning in the year 2149 when Earth, stripped of its natural resources and barren of vegetation, is on the brink of extinction, the show follows the Shannon family as they escape to Terra Nova, a community formed by scientists, military experts and other societal elites searching for a new beginning for humankind. Here’s the spin: this group of Chicagoans has discovered a fracture in time that allows them to transport people 85 million years into the past.

Thankful for a new life in this utopian terrain, Jim and Elisabeth, along with their children, teenagers Josh and Maddy and five-year-old Zoe, struggle with the challenges of settling into an unknown community plagued by an enemy faction and, of course, carnivorous dinosaurs hunting for prey.

The whole thing has a very Lost-meets-Jurassic Park feel, which in some ways establishes a nice, familiar atmosphere, one unrealized since Lost first graced the nighttime television network in 2006. But the setup, ultimately, is the show’s major downfall. Very little of the action feels genuine, and the characters lack the dynamic qualities that made Lost such a success.

In spite of that, there’s something exciting at times about the contrast between futuristic technology and Cretaceous wildlife. The action scenes between man and dinosaur are by far the highlight of each episode, but the overhyped melodrama between characters feels forced, leaving viewers confused as to why they should care about the problems at hand. Furthermore, the family-friendly content, though a relief from some of the more explicit television shows, is cheesy and overplayed.

Though the cast is solid, the writing is, in many ways, sub-par. That along with CGI effects that are barely realistic makes Terra Nova a hit-and-miss just shy of the revolutionary television show it so hoped to be.

Watch out, Glee. There’s a “New Girl” in town and her name is Jess Day. Day, a likeable, quirky teacher in her late-20’s is the lead character in Fox’s brand new sitcom, New Girl.

New Girl premiered on Tuesday, Sep. 20, bringing in an impressive 10.2 million viewers. Most of New Girl’s success is brought by Zooey Deschanel whom stars as Day.

Deschanel brings her charisma to the screen as she portrays a newly single woman who is trying to get over a breakup with her boyfriend. She decides to move into an apartment with three single guys including a bartender, a modern-day Casanova and an athletic trainer. To round off this unlikely bunch is Day’s attractive, street-smart model friend.

Sounds like drama in the making, right? With a rocky start, the group forms a friendship where they help Day learn about love, life and most importantly herself. With Deschanel’s spunky humor and the undeniable chemistry between the characters, there’s no doubt New Girl will continue to be Fox’s #1 hit for the rest of the season.

A new episode of New Girl will air Tuesday, Nov. 1. Visit www.fox.com/new-girl for more information and special features.

“Always a trophy; never a wife.”  That’s how NBC tags the star of its fresh new comedy Whitney.  The sitcom follows the lives of Whitney (Whitney Cummings) and her boyfriend Alex (Chris D’Elia) as they face ripples in their relationship and deal with Whitney’s ever-quirky personality.  Surrounding them are Lily (Zoe Lister-Jones) and Neal (Maulik Pancholy), the overly sappy in-love couple; Roxanne (Rhea Seehorn), the sarcastic and newly divorced blonde; and Mark (Dan O’Brien), the tough bachelor cop.  Putting a new spin on a group of six friends living in a big city, Whitney brings a fun, romantic flavor back to comedy night.

While Whitney brings laughs, it does not surprise audiences.  The humor follows the typical sitcom routine of trial and error, and the endings are predictable.  Most of the laughs also stem from sexual innuendo and drama that comes from a couple living together.

One new feature Whitney brings back to comedy night is a live audience, which is a nice switch up from the “mockumentary” style of Parks and Recreation and The Office.

If you’re looking for a light-hearted alternative from crime dramas, or just a quick study break, Whitney delivers.  Time will tell if the characters develop enough to sustain the series.

Tune in Thursdays at 9:30 p.m. or online at nbc.com.

What drives CBS’s new fall drama Unforgettable is not the plot, but the character interaction and reaction.

Carrie Wells (Poppy Montgomery) is a former Syracuse detective who suffers from hyperthymesia, a condition where she is unable to forget anything she has experienced, which is seemingly perfect for her job. As a child, she found her sister dead in the forest, then came face-to-face with the murderer; however, Wells is unable to remember when it counts the most.

After bumping into Wells on a crime scene, Al Burns (Dylan Walsh), her previous partner and ex-boyfriend, convinces her to help out on a no-lead case, and ultimately join his homicide unit in Brooklyn.

While Wells’ condition is the main attribute that allows her to almost single-handedly solve each case, her experience with grief establishes a better connection with certain characters, thus providing new insight to the case. Wells is also mature in her reaction to the other characters. She manages to keep her friendship with Burns, and ultimately befriend some of her enemies instead of verbally attacking.

The way Montgomery handles her character is far different from and more realistic than other similarly afflicted detectives, such as Adrian Monk or Shawn Spenser. She rarely makes light of her condition, but shows the strain and emotional ramifications, especially since she began remembering more about her sister’s death and the face of her murderer.

The plot in the pilot was a basic, predictable case for murder-mystery fanatics, but by the third episode, the plot twisted so much that it was nearly impossible to identify the murderer until the credits.

While Wells is a strong main character, she seems to be a one-woman homicide unit, and rarely relies on others in her unit for aid besides Burns, and even then only as a boss. Mike Costello (Micheal Gaston), Roe Saunders (Kevin Rankin), and Nina Inara (Daya Vaidya) each are somewhat developed, but are more extras than anything else as far as solving the case goes.

CBS has a strong start with Unforgettable, but if it fails to unite the unit and give each reoccurring character a persona, this series will become forgettable.

Unforgettable is on CBS Tuesdays at 10 p.m.

Pan Am’s 1960s setting immediately labels it a rival for the attention of the Mad Men audience. Calling it a contender against AMC’s hit, however, is giving Pan Am entirely too much credit. The show, a period drama about the pilots and flight attendants of Pan American World Airways at its height, lacks the depth that makes Mad Men great.

While Pan Am weaves the lives of both flight attendants and pilots through their respective dramas, it’s mainly about the women on the show. Margot Robbie is Laura, the good girl from a wealthy family who ran away from her wedding to pursue adventure with the renowned airline. Her sister, Kate, played by Kelli Garner, is caught up both in family drama with her sister and in foreign intrigue as she works for U.S. intelligence. Christina Ricci adds the most flair to the show through her character, a sassy veteran flight attendant named Maggie. Rounding out the four mains is Karine Vanesse as Colette, a foreign beauty who falls in love in Paris only to find out that the man is married.

These back stories, however, unfold a bit too quickly, making Pan Am’s characters come across more like Tom Tierney paper dolls than flesh and blood people. Pan Am is too heavy on gloss to be substantial, but is entertaining and stylish in spite of its flaws. Its characters should at least be given the chance to develop, something which unfortunately may not happen with dropping ratings. Catch a flight on the Jet Age with Pan Am—just don’t expect another Mad Men.

Watch Pan Am Sundays at 10 p.m. on ABC.

Tim Allen hits television again on ABC’s new comedy Last Man Standing. Allen (Mike) is living in a home of all women; his wife and three daughters, along with his grandson.

Mike Baxter gets “grounded” to working on a website design for his outdoor sporting goods shop instead of jetting off to Costa Rica to work on a catalogue. He then decides to webcast a video of himself getting real with men about how they should be more of the “macho men” less in touch with their sensitive sides, much like Tool Time in Home Improvement.  Mike also has to deal with the struggles of raising three daughters instead of the three boys like Home Improvement.

This new sitcom is full of laughter, especially when it pokes at Mike’s age when it comes to current world issues. With all the similarities with the two shows, Last Man Standing is guaranteed to offer the same comic relief and favoritism as Home Improvement.

If you are looking for clean comic relief to a night of studying, check out Last Man Standing Tuesday nights at 8 p.m. or online at abc.go.com.

Taylor Lautner and Lily Collins share a moment in between the action sequences in Abduction.

The action-packed Abduction, starring Taylor Lautner (best known as Jacob Black of The Twilight Saga), consists of blowing things up, fighting to the death, running for your life and figuring out who you really are.

Newcomer Lily Collins (The Blind Side) stars as Lautner’s love interest. The romance between these two characters progresses at a surprisingly reasonable pace.

At the beginning of the film, the actors are slightly awkward together and not in touch with the needed responses toward their characters. It is not until the last half of the film that the relationship between the two characters becomes more believable and the two actors reach the point where they click and work well off each other.

The acting in this film is great on Lautner’s part. He is believable and seemed to be in touch with his character’s goals and knows what his character was reaching for. Lautner has a great ability to charm audiences and absolutely makes the film worth watching.

On the other hand, Collin’s acting is difficult to watch at times. She does not seem to have a strong grasp on what her character really wants and she seems to struggle with direction. Fortunately, her acting improves toward the end, partly due to the chemistry between her and Lautner. Her experience in Abduction should help in her next big project, the upcoming Mortal Instruments.

The morals in this film are not obvious right away, but they can be found. Nathan shows bravery, loyalty, chivalry and thoughtfulness. He values the life of Karen and he is willing to put her life before himself.

Karen shows a willingness to risk her own life to stay by Nathan’s side and does her best to comfort Nathan in his time of need. Both of these characters show love and care for one another and a willingness to sacrifice themselves for each other.

Abduction is completely unrealistic and lacks legitimate substance, having some major plot holes—but, hey, with excitement, explosions and entertainment, what more can you ask for?

Abduction is rated PG-13 and is in theaters now.

Jennifer Lawrence plays heroine Katniss Everdeen in the upcoming Hunger Games film, which is set to release in March. Photo courtesy of Lionsgate.

One Prince Charming used to be enough. That was before Bella agonized between Edward and Jacob in possibly the most divisive love triangle of all time—when it comes to teenage girls. Stephenie Meyer struck a chord with the female young adult demographic with Bella’s impossible choice between a vampire and a werewolf. Team Edward or Team Jacob? Things were so much simpler for Cinderella—but not nearly as exciting.

Meyer’s Twilight saga began with the first book in 2005 and exploded as a franchise in 2008 with the advent of the movie. It was after Twilight’s popularity that love triangles began to dominate popular fiction.

“I think they thrive in this market because everyone loves escapism and classic good vs. evil stories,” said Laura Donovan,  entertainment news writer and online editor for The Daily Caller.

The Hunger Games, published in 2008 with follow-ups Catching Fire and Mockingjay released in 2009 and 2010, featured another heroine conflicted between two soul mates. Suzanne Collins’s trilogy has been hailed as the next Twilight, something that could turn out to be a blessing or a curse. With the movie set to release March 2012, The Hunger Games is poised to be the next power franchise. The plot’s love story concerns Katniss Everdeen and her indecision between Gale, her best friend, and Peeta, her unlikely ally on their intense journey.

Nikki Grey, news-press correspondent for the Santa Barbara News-Press, has written her own (yet to be published) science fiction novel partly influenced by books like Twilight and The Hunger Games. She credits the popularity of these fantasy works to the connection Meyer and other authors have with their audience.

“Contemporary young adult authors do a good job at not talking down to readers,” said Grey. “They recognize that young adults aren’t stupid just because they are young. Adolescence is one of the most confusing stages in life and these books focus on those emotions a lot.”

Even the crazy love triangles are something to which girls can relate.

“Love triangles add excitement,” explained Grey. “What girl wouldn’t want that problem? For anyone, having to make a choice like that would be a character-defining  moment. People have to make hard choices all the time. Even if they haven’t had to choose between love interests, they may have had to make other hard choices that evoke the same emotions.”

The Twilight and Hunger Games books are in the young adult category, a demographic defined as ages 12-18 by the Young Adult Library Services Association, a division of the American Library Association. Their power is found in their cross-genre appeal. Twilight and Hunger Games combine fantasy, romance and adventure for an irresistible combination.

“One reason books like Twilight and The Hunger Games are popular is the character development,” said Lara Eller, North Greenville University print media instructor.  “You feel as if you know them.”

“Suzanne Collins is brilliant,” said Grey. “She created a world with flawed, multi-dimensional people who seem so real.”

Yet another love triangle hit shelves and the bestseller lists in November 2010 with Ally Condie’s Matched, the first of a proposed trilogy (the sequel, Crossed, will be released this fall). In Condie’s dystopian romance, heroine Cassia has to decide between two matches and two futures.

In The Hunger Games and Matched, another shared theme is big government. While they differ in style and setting, both trilogies are set in dystopian societies where the government is in complete control. Do these themes reflect society today or just show readers’ interests?

“I think that the themes do question government’s role in the lives of individuals, but more than that I think they question people,” Grey said. “Are people inherently good or bad? There is always a struggle with power.”

Donovan said, “The Hunger Games reflects not so much big government but societal regression. The high ratings of shows like Jersey Shore suggest that we viewers love to watch what’s bad for us. Hunger Games hints that we’re going down the wrong road and could actually revert back to barbaric behavior if we keep this up.”

While the themes in today’s reigning fiction may reflect society’s interests, book popularity really boils down to whether or not the story is compelling.

“I read to escape, not to analyze,” said Eller. “I believe the books are popular because real life is real enough and good fiction can be a wonderful stress reliever. Even with the hardships the characters face, the resolution is satisfying.” In a modern world, that’s about as close as it gets to happily ever after.

Dale Savidge and Thomas Sieberhagen act in NGU's production of The Great Divorce. Photo by Ashley Marquiss.

After The Great Divorce premiered on the North Greenville University theatre stage, many students became excited and curious about the upcoming plays.

This year North Greenville University’s theatre department is really trying to mix up the genres involving its theatre productions.

So far it has had drama, The Great Divorce, under its belt and next up is comedy, Arsenic and Old Lace, which has already been cast and is planned to premiere in mid November. Casting will be taking place in November for the musical Little Women, which is planned to come to Billingsley Theater in mid March.

Tommy Holcomb, sophomore theatre, stated that this year the department is trying to cater to the wider range of entertainment.  Though The Great Divorce was a very intellectual play written by the great C.S. Lewis, they are also planning on bringing in light humor along with musical stylings to open up the door to the new major, musical theatre.

In his excitement about the program Holcomb stated, “The theater department is really excited about the upcoming plays and the new major because it is allowing NGU students to get a better taste of the program and take part in an entertainment field that has a chance to interact with the students.”

Timothy Whitson, sophomore theatre, has been a major part of North Greenville’s programs. He said, “I have earnestly desired to be a part of this program since thinking about starting college and I am enjoying every bit of it.”

As it seems North Greenville has a lot of new things to check out with three more plays this year, there is still time to take a peek at what goes on in the Billingsley Theatre.

Emily Marshall and Liz Wood play an acoustic set together. Photo by Will Swett.

Local singer-songwriters Elizabeth Wood and Emily Marshall will be playing at Grille 33 in downtown Greenville on Sep. 24. Their set begins at 7:30 p.m. and includes both some of the old and the new in acoustic arrangements.

A love of music comes naturally to Wood, an NGU alumna with a B.A. in print media and a minor in visual art, and Marshall, a high school junior from Greer, S.C. Both grew up in music-loving families. Marshall’s parents sing, and her mother is also a piano teacher, while Wood’s father and brother play guitar.

Both girls discovered a talent for music at a young age. Marshall started playing piano at four or five; Wood picked up guitar in sixth grade and mostly taught herself. Singing, however, took a little longer.

“I was really shy, so I didn’t care to go that way,” said Wood. “It wasn’t until ninth grade that I discovered I had a voice and could do something with it. I started writing songs at 13 or 14, but I would have died if anyone had heard it.”

Marshall began writing her own songs at age 15. She played her first song for her youth worship leader, who encouraged her to play at The Channel.

The girls first met at Fairview Baptist Church, where Marshall’s dad, Cliff Marshall, was the youth pastor. He started the church Freedom Fellowship and is currently the senior pastor there.

Both Wood and Marshall tried out for the worship band at Freedom Fellowship, and their audition was the first time they played together. Their first public appearance as a duo was at Café Mundo (now known as The Mason Jar) in downtown Greer. After those first few times playing together, the rest was history.

Besides playing music for fun, Wood and Marshall both use it to show their Christian faith in everyday life. “I don’t label my music ‘Christian,’” said Wood. “It’s music written by a Christian. It’s reality; it’s life.”

“My favorite way to write a song is to take a piece of Scripture and make it a song,” said Marshall. One of the songs she will play at the Sep. 24 show is based on Psalm 27.

While neither is pursuing a career in music right now, both girls enjoy getting to share music with others.

“Mostly it’s just fun. We’re getting to play music,” said Wood.

Timothy Whitson and Tiffany Webb make dialogue up on the spot.

“That’s a toilet you’re puttin’ arms on!” is probably the last thing a North Greenville University student would expect to hear yelled in Turner Chapel. Then again, the unexpected seems to be the norm for members of Raising the Random, NGU’s improvisational theatre group.

Raising the Random consists of nine performers, including Jordan Massey, senior youth ministries, the group’s leader. Massey became interested in improvisational performance in high school when he and his friends watched Whose Line Is It Anyway? Massey said, “We would just get together on our own and play the games to try and get better at them.”

“We allow others who want to participate, to join us in our practices,” Massey added. From suggesting locations for scenes to writing dialogue for the performers, the audience during the Sep. 12 practice seemed to add a necessary dynamic to the group’s performance.

Malorie Cunningham, sophomore theatre performance, reaffirmed that the audience is vital to the group’s success. “We couldn’t do improv without audience participation. I would encourage anyone who needs a study break, or just wants to laugh, to join us on Mondays and Wednesdays at 9 p.m.  in the chapel.”

When asked how an audience member could make the transition to on-stage improvisational performer Tim Whitson, sophomore theatre, said, “There were tryouts at the beginning of the year, and they will be held again at the beginning of next semester.” Cunningham advised anyone interested in joining the group not to be afraid of looking stupid. Cunningham added, “Chances are, if you’re not looking stupid, you’re not doing the job.”

Whitson provided insight into how NGU students could enjoy all Raising the Random has to offer. He said, “We have shows around two or three times a semester, [and] we always perform a little bit at Poetry Night. We are currently working on opening up performance opportunities in the surrounding area.”

The biggest commonality seen between all Crusaders who enjoy improvisational performance is their view of improv as a catharsis. “It’s almost therapeutic to go twice a week and be a fool for an hour,” Whitson said.

“Blessed be those who have no idols.” These words serve as a sort of thesis statement for the latest album by frontman Mike Hranica and his five bandmates, who are known as The Devil Wears Prada.

This sextet from Dayton, Ohio, whose name was inspired by the title of the best-selling novel and focuses on the deceitfully attractive nature of evil and materialism, has been taking the music world by storm since debuting its infectious infusion of hardcore, metal, pop-punk and techno in 2006.

With their fourth full-length album, Dead Throne, The Devil Wears Prada has moved toward a more mature sound. Their latest offering features some of the most personal content Hranica has written and shows a new level of technical proficiency from the musicians. Dead Throne has an undeniably higher ratio of serious moments than the band’s previous records, but there are still plenty of playful parts fans old and new alike will appreciate.

As suggested by the opening words of Born to Lose, Dead Throne focuses a lot on the idea of idolatry. This choice was interesting, since idolatry is typically viewed as an outdated concept and rarely discussed in the modern arena. In true form, The Devil Wears Prada goes where many bands and many Christians will not.

On the fearsome opening title track, Hranica claims “we’ve put the world up onto a dead throne.” As explained by Hranica in an interview, “Those things won’t stay up there, and they’re not meant to be up there.”

These idols are presented throughout the rest of the album as people, relationships, money, religiousness, hopelessness and self. An offshoot of the idea of idolatry is the unfolding story of a lost love Hranica paints throughout the album.

In a moment of climax, the lost love and the idol become one as Hranica cries, “I once lived for you, and I’ve never ever been so wrong.”

While much of the album does focus on the negativity of idolatry, loss, confusion and sadness, there are uplifting moments as well. The album is split down the middle by Kansas, a full length instrumental that is absolutely beautiful and will surprise most listeners. Dead Throne also ends on an uplifting note with the great track Holdfast, which reads as a rejection of the idols and a clinging to the hope of Jesus Christ.

Anyone who has heard The Devil Wears Prada before will quickly notice that Dead Throne features quite a bit of change in Hranica’s vocals. The smooth screams of past albums seem to have been worn down to a more raw sound. While this may put off some listeners at first, the difference seems less and less important with each listen. The rawness of his voice proves devastatingly beautiful on Chicago, a track that puts the heartbroken cries of the vocalist over sparse and mellow instrumentation.

Also noticeable on the record is the improved intricacy and creativity of the musicianship, particularly on Kansas and Untidaled, the latter of which features both a fairly standard but immensely fun breakdown and a fantastic half-guitar, half-bass breakdown. For song structure, Dead Throne sees a bit of experimentation as well as a move more toward short and catchy choruses rather than the band’s older style of more integrated clean passages.

As one of the most influential heavy bands of the past few years, it’s good to see The Devil Wears Prada bring another honest and thought-provoking album to its vast array of listeners. The music has matured well without losing its sense of fun, and Dead Throne is destined to be another fan favorite.

Dead Throne releases online and in stores on Sep. 13, and The Devil Wears Prada will be playing in Charlotte, N.C., on Dec. 7.

Captain America

Captain America: The First Avenger is set in the year 1942.  WWII has started, and all American men are being called to service. After being rejected yet again, Steve Rogers (Chris Evans, Fantastic Four) realizes his lifelong dream of being a solider in the Army is far from reality.

As luck would have it, he meets Dr. Abraham Erskine (Stanley Tucci) and Howard Stark (Dominique Cooper), who will change his life forever. He goes from a small, weak boy to a super human soldier.

Rogers is finally brought to challenge the Nazi Germany head Johann Schmidt (Hugo Weaving, The Matrix), putting all his skills to the ultimate test.

Captain America also stars Samuel L. Jackson, Toby Jones, Tommy Lee Jones, Hayley Atwell. It is rated PG-13 for intense sequences of sci-fi violence and action.

Harry Potter and the Deathly Hallows: Part 2

Harry, Ron and Hermione continue on their journey to destroy the remaining Horcruxes, the items that keep the evil Dark Lord Voldemort powerful and immortal. All questions are finally answered, as the characters become who they were destined to be.

Potter stars Daniel Radcliffe, Emma Watson, Rupert Grint, Ralph Fienes, Alan Rickman, and Helana Bohnam Carter. It is rated PG-13 for some frightening images, sequences of intense action and violence.

X-Men: First Class

X-Men: First Class is the beginning of the epic saga.  Before Professor X, Magneto and the Private School for Young Mutants, there were only two: Charles Xavier (James McAvoy, Wanted) and Erik Lehnsherr (Michael Fassbender, Inglorious Basterds) who try to come to grips with the powers they possess.

Before they were rivals, they were the best of friends, coming together for the common good of humanity. They set out on a search around the country for other mutants to form the first all-mutant group for the US Government.

X-Men also stars Kevin Bacon, Rose Byrne, January Jones and Zoe Kravitz and is rated PG-13 for action and violence.

Post-hardcore rock band Emery has come a long way since its formation in Rock Hill, S.C., in 2001. After four studio albums, a pair of EPs and quite a few style changes, the group has unleashed its fifth and perhaps strongest album, We Do What We Want.

Emery’s latest record comes as something of a landmark in the band’s extensive repertoire. Since debut album The Weak’s End, Emery has consistently changed its sound with each record.

Beginning as a screamo act, the band spent three more albums and an EP experimenting with alternative/emo, electronic southern rock and post-hardcore.

With the latest record, the band seems to have finally found its sound in a deft and tasteful combination of its previous work.

In addition to being the first album with a sense of sonic stability, We Do What We Want is also notable for being the first work not to feature co-vocalist Devin Shelton. Prior to the album’s release, Shelton announced that he would be taking an indefinite hiatus from the band to focus on other things.

The dual vocals of Shelton and fellow front man Toby Morrell has always been a signature of Emery, so many fans were concerned about the vocals on the new record. Morrell, however, did an excellent job picking up the parts of the songs that had been written for Shelton, and screamer Josh Head filled in the gaps well.

As for the music itself, Emery has never sounded stronger. The band has always been known for complex song structures, but this record seems to be especially well written. Peaceful melodies, impressive instrumentals, heavy breakdowns and catchy choruses coexist harmoniously, sometimes in a matter of 30 seconds.

One of the singles, Scissors, knocks out three breakdowns, a surprisingly melodic verse and one of the catchiest choruses of the year within the first minute.

The album as a whole sounds quite versatile as well, breaking out of the slight rut the band fell into with its previous album. Though the overall feel of the album is fairly unified, the songs themselves differ widely.

Daddy’s Little Peach breaks into new territory while drawing from the group’s sound on I’m Only a Man. Fix Me and I Never Got to See the West Coast opt for a largely acoustic sound and also highlight the group’s southern origins. Addicted to Bad Decisions crosses The Question and In Shallow Seas We Sail in a new yet familiar way.

Lyrically, We Do What We Want provides some of the freshest material Emery fans have heard in a while. The band’s last effort was largely a breakup album, but this album only has room for one relationship-gone-wrong song.

Instead, the majority of album time is given to the theme of selfishness, as could be expected from the title and thought-provoking cover art.

Spirituality is also more present than it has been in most of Emery’s work. The album closer, Fix Me, stands out as a desperate prayer to Christ for a renewed heart, while I Never Got to See the West Coast tells of a young man contemplating suicide who changes his mind for hope of eternal love.

For Emery fans, We Do What We Want is a promising step forward with many a nod to the band’s previous works. For those who have never given the native South Carolinians a good listen, this album certainly has something for everyone.

Scissors and I’m Not Here for Rage I’m Here for Revenge will hit the spot for listeners who have a penchant for the heavy, while those who prefer the softer side of things will enjoy I Never Got to See the West Coast and Fix Me. Finally, anyone just looking for a good fun rock song will take to The Curse of Perfect Days and Addicted to Bad Decisions.

We Do What We Want was released March 29 through Tooth & Nail Records.

Recently released on DVD and BluRay, Disney’s Tangled weaves a brilliant film around the classic story of Rapunzel.

The plot of the movie keeps close to the original story while taking liberty in the details.

The character Rapunzel (voiced by Mandy Moore) is full of curiosity and a sense of adventure. Her eagerness for freedom engages audiences as they follow Rapunzel’s adventure on screen. Her numerous songs are catchy and well-placed in the plot.

Flynn Rider (voiced by Zachary Levi) is not the typical storybook hero. His character is dynamic and constantly shifting throughout the storyline. The energetic playfulness of Rapunzel softens the rough edges of Flynn Rider’s bravado.

The contemporary animation and colorful representation of the characters are enchanting. The plot is simple and easy for young children to understand. Imaginations are captured by the unbelievable amount of hair involved in the film.

Adults will love the humor and spin on a well-known fable. Be sure to keep an eye on Rapunzel’s little chameleon Pascal, who often steals the show and offers many laughs from his antics.

At the film’s beginning, the young Rapunzel is taken from her loving parents by the wicked Mother Gothel (voiced by Donna Murphy), who wishes to use Rapunzel’s magical golden hair to stay forever young and healthy. Mother Gothel keeps Rapunzel locked away in a high tower, evading discovery, until her eighteenth birthday.

Then, Flynn Rider crashes onto the scene. Flynn is an egotistical bandit seeking a treasure to get a new start in life. Joined by two fellow thugs, Flynn attracts the attention of the palace guards as he steals a priceless crown.

While trying to escape from the guards, Flynn ditches his partners and takes the treasure for himself. Flynn escapes from his belligerent companions and the palace guards by climbing into Rapunzel’s tower. Rapunzel knocks the intruder unconscious with a skillet. After hiding the thief in the closet, Rapunzel devises a plan to get Mother Gothel to go on a journey so she can talk to this stranger without her mother finding out.

With mother gone, Rapunzel convinces Flynn Rider to take her to see the strange lights she has seen from the tower window every year on her birthday. After much convincing and some leverage, Flynn Rider and Rapunzel set off on their journey. Rapunzel is amazed by the world outside of her tower. Her curiosity leads the duo to meet several interesting characters including ruffians, townspeople, and a ruthless horse bent on capturing Flynn Rider.

Disney’s Tangled provides entertainment that entire family can enjoy. This film is rated PG and is available on DVD and BluRay.

After a sudden shark attack that left her with only one arm, competitive surfer Bethany Hamilton (Anna Sophia Robb, Bridge to Terabithia) questions how such a terrible event could possibly be God’s plan for her life.

She finds the answer through an amazing journey in which she learns the powers of faith, family and love are greater than any limitations.

Soul Surfer begins telling Hamilton’s true story by giving viewers a look at her life before the attack. She seems to have everything going for her: a loving family, good friends and a successful surfing career on the horizon. But her life takes a drastic turn. While training for the regional surfing competition, a shark attacks and bites off one of her arms.

After surviving the traumatic attack with the help of her friends and trainer, Hamilton must learn to adjust to life with only one arm.

In the beginning, she never doubts that she will get in the ocean and surf again, but after a disappointing regional competition, Hamilton seriously questions the plausibility of her surfing dreams and wonders what kind of life she would be left with if she had to give them up.

Soul Surfer’s amazingly true story is, for the most part, well told through film. Robb shines in the lead role, winning audiences’ hearts as they cheer for her to do what seems impossible.

Helen Hunt and Dennis Quaid, who play Hamilton’s parents, also give genuine performances as they portray the dual struggle of trying to encourage their daughter while at the same time wrestling with their own difficult questions.

Supporting cast members Lorraine Nicholson and Sonya Balmores also do well in their roles as Hamilton’s best friend Alana Blanchard and her surfing nemesis Malina Burch.

Carrie Underwood’s appearance as Hamilton’s youth pastor Sarah Hill, however, is a bit jarring. Though Underwood’s acting is not bad, she feels out of place, harming the audiences’ ability to connect with her character.

The visual effects were average. Hamilton’s missing arm was believable, though the shark in the attack scene was not convincing. Music was also well-integrated into the film, its diverse elements varying from traditional Hawaiian-sounding beats to catchy Christian tunes that flow together well. One of the highlights of the production is the breathtaking beauty of Hawaii, where the film was shot on location.

Director Sean McNamara highlights many important messages in this story. The Hamilton family’s Christian faith is neither buried nor blatant, but is believably represented throughout the film.

McNamara focuses on Bethany Hamilton’s courage and perseverance, but does not portray her as perfect. He devotes much time to showing she must first come to understand that there is more to life than surfing before she can become the best surfer she can be. Hamilton learns love is “bigger than any tidal wave, more powerful than any fear” and with faith, anything is possible.

Jordan Ecarma

Indie rock band Ocean is Theory is set to release its first full-length album this fall. The record is titled Future Fears and was recorded in LA over the summer of 2010.

The Atlanta-based group formed in 2007 and is composed of four members: lead vocalist Josh Williams, guitarist Nick Novak, bassist Kevin Cerbone and Clay Carter on drums. They first gained ground in the local Atlanta scene and the Southeast with two self-released EPs: Into the Mouths of Lions in 2007 and In My Blood Again in 2009.

With music characterized by strong vocals and intense rock influences, Ocean is Theory built up a solid fan base. After selling more than 6,000 copies of Into the Mouths of Lions independently, the band caught the attention of retailers. Self-described as “indie pop rock,” Ocean is Theory signed in November 2010 with independent entertainment company Razor & Tie, a New York-based label that is also home to artists ranging from Norma Jean to Vanessa Carlton.

When it comes to the music, Ocean is Theory’s songs are a collaborative effort. Williams writes most of the melody and lyrics, with the other members contributing their parts on drums and guitar. In a recent interview at the Chris Sligh Benefit Concert at The Channel in Greenville, Williams had glowing things to say about the new album.

“It’s really all about songwriting,” Williams said. “We spent so much time writing and perfecting this record.”

Ocean is Theory worked on the album with producers Stacy Jones (Ingrid Michaelson, Plain White T’s) and Bill Lefler (Dashboard Confessional). Razor & Tie will be releasing the record. In the meantime, the band will be busy touring from April to July, playing shows in Orlando, Fl., Atlanta, Ga., Charlotte, N.C. and more. New single Best Intentions will be released May 10, and a Future Fears EP will be available on iTunes May 24.

For music, pictures, tour dates and more, find Ocean is Theory on MySpace or Facebook.

Jenna Ecarma

Beastly is directed by Daniel Barnz and stars Alex Pettier as Kyle and High School Musical’s Vanessa Hudgens as Lindy. This movie is based on the classic fairytale Beauty and the Beast but is a modern retelling. While the movie has the same basic plot, inner beauty is what truly matters, the setting is in modern New York City.

Kyle has just become the new president of his high school’s Green Committee and is looked up to by hundreds of students. His campaign? “How you look is all that matters. If you’re beautiful, who cares what you do? You can do whatever you want.”

Kyle’s enemy Kendra (played by Mary-Kate Olsen) decides to teach Kyle a lesson and puts a curse on him, making him hideously ugly, so hideous that Kyle drops out of high school and his father moves him to an apartment where he goes into hiding. Kendra tells him the only way this curse can be broken is if within a year’s time someone says “I love you” to Kyle.

The movie has several parallels to the fairytale. The character Kyle is the prince who has been changed into a beast. Lindy is Beauty; she thinks of others, and she feels lost and trapped in a strange place. Kendra is the enchantress. She uses magic and transforms Kyle into a monster to teach him a lesson. But instead of an old abandoned castle, Lindy is taken to a secluded apartment.

All of Kyle’s hope of changing back vanishes when his own father continuously puts off seeing him and eventually abandons him all together. He finally goes to Kendra and pleads with her to remove the curse from him. She refuses and sends him away.

The only company he has is the maid and cook Zola (played by Lisa Gay Hamilton) and his blind tutor Will (Neil Patrick Harris), who is the comic relief of the movie.

Zola longs to have her children there in America with her, and Will wishes to have his sight. As the movie progresses Kyle begins to think of them rather than focusing solely on himself and his problems. Kyle also turns his attention to Lindy.

One night Kyle follows Lindy to her apartment where she finds her father being threatened by two men demanding money that he does not have. Kyle goes to help and stops the men from hurting her father. Yet, one of the men threatens he will come for Lindy one day and take her away. So Kyle offers to take Lindy for a while to keep her safe. Her father agrees, much to Lindy’s dismay. Despite all this, Kyle begins his attempt to win over Lindy’s heart.

The style of the movie is modern fairytale. It’s romance meets fantasy with touches of drama and comedy. This movie appeals to older teenagers and young adults because they can relate to the plot and enjoy the story.

As far as the acting goes in this movie, Hudgens has definitely improved over the years. She is believable and likable in this movie. Pettier’s acting is intense, but he has sweet moments that can be seen in how much his character cares for Lindy.

While the film does not include explicit Christian elements, the plot could be related to Proverbs 31:30, “Charm is deceitful, and beauty is passing.” Lindy loves Kyle for who he is inside and the way he respects her. Kyle becomes a better person when he realizes inner beauty is far more important than physical.

The film’s tagline “Love is Never Ugly” sums up the theme of the movie well.

Local singer-songwriter act Erin Elizabeth is launching at a special concert at The Channel on March 27.

Sisters Erin Bailey and Meagan Elizabeth Brown, both of whom have attended North Greenville University, make up Erin Elizabeth. Bailey graduated in 2009 with a degree in interdisciplinary studies, while Brown is currently a junior interdisciplinary studies major. They recently released an eponymous debut album and are using The Channel concert to promote the record.

Their music, which is a blend of alternative pop and contemporary Christian styling, seems to have come as an unexpected gift.

“We might be outside, doing something, and [a song] would just hit me,” explained Bailey. “I would have this melody in my head and these words, and so I would run inside to the piano. ”

“The songs are very emotionally and spiritually connected to our life story, and we’ll be able to share that with other people,” said Brown.

Erin Elizabeth is truly a family affair. Bailey and Brown collaborate on songs, sing and play keyboard and drums, respectively. On this self-titled debut project, their father, Mark Brown, even joined in on guitar.

While the actual recording of the 10-track indie record took about a year, the project was a long time in the making.

“We’ve wanted to do this project for years,” said Brown. “We just waited ‘til the time was right.” The sisters began writing songs at early ages, Bailey at 16 and Brown at 13, but it took about seven years for the album to develop.

As Brown described it, “We weren’t like, ‘oh, let’s make a CD.’ The songs were because God has made us musical. When you’re going through a hard time, the melody and the song and then the lyrics would hit you, and in 15 minutes, there was a song that was enough to where somebody else could relate to [it].”

“The Lord put on my heart . . . take whatever I’ve given you and use it,” said Bailey.

The songs were written at various times of struggle for the sisters, and it shows in their music.

“They’re pretty much prayers and what God said to us in the process. You’ll hear that in the songs. You’ll hear the struggle a lot in the verses, and then you’ll hear in the chorus or the bridge, this is what the Lord said back to us,” explained Brown. As an example of the song-writing process, she described how a particular track, Give It Up, came to be written. “I came home, and it was at the end of a very, very emotional and trying day, and I came home, and I just snapped. I sat down and wrote the song in 10 minutes,” she said.

While writing the songs seems to come naturally, the CD’s production was a more difficult process.

Bailey met their producer, Tim Pecoraro, while she was working with Miracle Hill Industries. Pecoraro is a fellow musician who owns an independent recording studio, Peculiar Productions. Bailey’s husband, Stuart Bailey, handles the business end. He graduated from NGU in December 2007 with a degree in business administration.

“We shared the same passion [and] felt the same, and so everybody just kind of pulled together. It was very much a learning experience,” said Bailey.

Bailey also had something to say about the struggles in the process.

“It was not an easy experience, and we saw Satan attack in a lot of ways,” she said. “That’s one thing we want to share with people, that if you’re going through tough times and you feel that every time you turn around Satan’s just hitting you with something new, be encouraged, because that means you’re making a difference for the Lord.”

Erin Elizabeth has been spreading through word of mouth and Facebook. Brown and Bailey’s sweet, pliant voices and their messages about the hope and peace that are found in God are influencing people across the country.

As to what the future holds for their music, the sisters are uncertain right now.

“We’re just going to try to make ourselves available and see where God leads,” said Bailey.

For now, they’re happy simply to be sharing their music and God-given talent with others.

For more information on their music or the launch concert, find Erin Elizabeth on Facebook or MySpace.

“I promise to pray for you every day, ask for forgiveness, grant you the same and be your friend always.” These are the words penned on the “Grace Card,” a slip of paper written by police officer and pastor Sam Wright’s (Michael Higgenbottom) great-great grandfather to his former slave master.

Church-made film The Grace Card takes those messages of forgiveness and friendship to the streets of Memphis with a surprising degree of skill.

Mac McDonald (Michael Joiner) is a Memphis police officer whose life is held together by a thread. With his marriage failing, teenage son rebelling and financial life in ruins, the last thing McDonald needs is to be passed up for a long-awaited promotion at the station. But that is exactly what happens. Officer and part-time reverend Sam Wright is promoted in McDonald’s stead and assigned to be McDonald’s partner. Lone ranger McDonald is far from thrilled with the idea, especially since a tragic accident in the past has left him with a deep prejudice against African-Americans like Wright.

McDonald and Wright butt heads throughout the story as McDonald’s home life spins out of control, and Wright feels as though he has failed his congregation while struggling to love McDonald despite his apparent racism. In one scene, Wright shares his feelings with his grandfather, George Wright (Louis Grossett Jr., An Officer and a Gentleman). George then shows him the “Grace Card.”

Though he knows those truths are just as true today as when they were written nearly 150 years ago, Wright’s change of heart does not happen immediately. It takes a tragedy striking McDonald and his family for Wright finally to love and serve his partner wholeheartedly; in the process, he also teaches McDonald the lessons of the “Grace Card.”

The Grace Card is the first film made by Calvary Pictures, the movie ministry of Calvary Church in Memphis. Though inspired by Sherwood Pictures, The Grace Card is far superior to Sherwood’s first film venture, Flywheel, and rivals even their latest success, Fireproof, in quality. The Grace Card benefits from an interesting plot, thoughtful script and well-done camerawork, but it is not without its issues.

When it comes to acting, the leads, though they have their lackluster moments, are generally good; however, supporting characters like McDonald’s wife, Sara (Joy Moore), and Wright’s wife, Debra (Dawntoya Thomanson), struggle to give convincing performances. Grossett’s acting experience shows as he gives the best performance of the cast.

The Grace Card struggled musically as well. Though at times the score added to the emotion of a scene, viewers were jarred from a few key moments by songs that were inappropriately placed.

But despite the stumbles expected of Calvary’s first motion picture, The Grace Card delivers powerful messages and even confronts a touchy subject like racism. The Grace Card is a film that is not afraid to take a look at the harshness of life and teaches that, though difficult, extending grace and forgiveness is always worth it.

Catherine Hardwicke just can’t seem to get away from werewolves.

Granted, her turn in Stephenie Meyer’s vampire/werewolf saga only involved directing first installment Twilight, which gave just a foreshadowing of the wolves featured in the later films. But it could also have served as a glimpse into her latest onscreen offering, Red Riding Hood.

Set in a medieval village in an unnamed century and laced with both old world superstition and storybook references, this lush, fantastic gothic fairytale about a young girl and a mysterious werewolf is an unusual mix of fantasy, thriller and whodunit.

Amanda Seyfried is Valerie, a girl who has spent her whole life in the small village and has always been a little bit different. Shiloh Fernandez as Peter and Max Irons as Henry co-star as the two very different men who are both in love with her. Peter is Valerie’s friend from childhood, the son of a woodcutter with no prospects in sight, while Henry represents the wealth that Valerie’s mother always wanted.
Valerie’s parents arrange for her to marry Henry, even while she is planning to run away with Peter. So far, so fairytale. But this princess story is more Brothers Grimm than Walt Disney.

Before Valerie and Peter can run away, Valerie receives terrible news: her sister has been killed by the werewolf that periodically terrorizes their village. For years, the wolf has been kept at bay by a nightly offering of a goat or a pig. But for some unknown reason, Valerie’s sister, Lucy, was out on the wolf night and was brutally killed. As the deaths continue, the faith Valerie has in the people around her gradually crumbles, and one question fills her mind: Who is the wolf?

Like Twilight, Red Riding Hood is obvious teenage girl bait: a love story slash fantasy. But under the glamour, Red Riding Hood has some interesting layers.

There’s something peculiarly haunting about Seyfried. Her ripe, wide-eyed brand of beauty lends itself well to the fairytale setting. But while the film features her well, it still plays more like an ensemble piece than just a Seyfried vehicle, strengthening the overall production. One of Red Riding Hood’s main strengths is the talent and variety of its cast.

Hardwicke’s direction waxes too heavy-handed at times, especially near the beginning where the tension feels overwrought, but the story still builds well, climaxing in a final twist that is masterfully done.

Other vital elements include the soundtrack, which is eerie and pulsing and surprisingly rich, and the gorgeous coloring that ranges from soft and romantic to dark and striking. But all these elements aside, the reason why Red Riding Hood works is the seed of truth at its core: Our greatest fears and hopes are always closer to home than we think.

The animated feature film Rango is about a lonely lizard on the path to self-discovery who finds himself as the hero of a dying western town called Dirt.

With sexually suggestive comments, spurts of inappropriate language and references to old Clint Eastwood westerns, the film hardly lives up to its must-see reviews.

The movie carries a heavy message through the lizard’s question of “Who am I?” at the beginning of the film.

After being forced out of his comfortable home during a cross-country drive, the nameless reptile is left alone and thirsty in the dangerous desert. Upon discovering the town of Dirt, the lizard assumes a false identity under the made-up name of Rango and becomes an unlikely hero, going on a quest to get to the bottom of the town’s water crisis.

The storyline is clever and teaches a valuable lesson about being true to yourself, even if you are considered a nobody.

The problem is in the delivery of the story. The film pushes the boundaries of animated kids’ movies. The use of what is considered mild profanity exists in several scenes of the movie and makes viewers second guess if they heard correctly. The same goes for the comments containing sexual references. Besides the cute animated creatures and the moments of slapstick humor, much of the dialogue is beyond a child’s comprehension.

Every good story, especially one that takes place in the Wild West, needs a villain. Rattlesnake Jake fills the villain boots for this film and stirs up quite a bit of trouble upon his arrival. Unfortunately, trouble is not the only thing this character stirs up. His large and intimidating appearance is a little too much for a kid’s flick and came on a little too strong. In many animated movies, the villain is a little scary, but has his quirky and comical moments. Simply the appearance of Rattlesnake Jake would be enough to give a child nightmares, especially one who isn’t too fond of snakes. His character could have definitely been taken down a notch or two.

In terms of length, Rango ran a little long for a kid’s movie and seemed to drag on in some areas. In the end, it wasn’t a total waste of time; however, there were several scenes the film could have gone without. It’s one of those kids’ movies that should be thought twice about before allowing a young child to view it.

Ally Condie’s dystopian love story Matched may become a modern classic. Her clear, vivid prose flows like water, effortlessly pulling the reader along, and the book is nearly impossible to put down. Its style is simple but resonant, and Condie’s futuristic tale comes across in a surprisingly believable, relatable way.

Matched is a refreshing change of pace from the onslaught of fantasy that has poured into bookstore shelves. A modern Brave New World, it could be seen as something of a warning. The people of Matched are completely controlled by the government, and their lives are directed by technology.

Matched’s main character is a girl named Cassia. She is 17, on the brink of growing up. In Condie’s world, set in an unnamed future year, people’s lives are completely controlled by the officials. They decide what jobs people have, where they live, whom they marry and even when they die.

At the age of 17, people who have opted to marry are “matched.” Their information is fed into a machine, which uses the data to find their future mate. Because their data corresponds, the two people who are matched are supposed to be perfect together.

Cassia has looked forward to being matched her whole life. At the match banquet, the 17-year-olds get to wear beautiful dress clothes rather than their usual “plain clothes” and find out their match. Cassia learns her match is Xander, a boy whom she has known her whole life, her best friend. She is both thrilled and disappointed: happy to be with someone she cares about but a little regretful that there are no surprises when it comes to her match.

The twist in the plot comes when Cassia finds out she actually has two matches. People who have been matched are given a micro-card with information about their match. When Cassia looks up the information on her micro-card, Xander’s picture comes up—only to be replaced by a picture of another boy, Ky.

Cassia is conflicted between the two choices before her, but her indecision does not just come from not knowing which boy she was meant to be with. Slowly, her true choice unfolds: Should she continue obeying the officials and living a life controlled by others, or should she rebel and decide her own fate?

Matched is the first in a projected trilogy. Look for its sequel, Crossed, coming this November. Find out more at www.matched-book.com or www.allysoncondie.com.

Gnomeo & Juliet is the latest take on William Shakespeare’s classic play Romeo and Juliet. Using CG-animation, Touchstone Pictures sets this timeless story in the world of garden gnomes.

Gnomeo & Juliet follows the feud between the Capulet and Montague households. Very much like Toy Story, the gnomes are inanimate objects until humans look away. Separated by colors (red gnomes and blue gnomes), two youths struggle to be together in a forbidden romance.

Avoiding the violence of swords and bloodshed, the red-versus-blue gnome battle consists of lawnmower races. Gnomeo & Juliet struggle to quench the hatred between their families and to incite peace. Familiar to the classic story, the climax features tragedy. But unlike Shakespeare’s tragic tale, Gnomeo & Juliet has a happy ending.

Those who are not well versed in the plot of the original play, Romeo and Juliet, may be confused by the storyline. The plot moves quickly and is best enjoyed by those with a little background in Shakespeare. Fans of Shakespeare in particular will enjoy the puns throughout the movie. Shakespeare himself makes an appearance in the form of a statue and offers Gnomeo some familiar advice.

Overall, viewers will be pleasantly surprised. The characters are fun and likeable. Even the secondary characters have great personalities and tend to steal the show occasionally. Watch for the pink flamingo—he will have you laughing the whole time.

Children will be captivated by the imagination and colorful animation, while adults will indulge in the humor. The many pop culture references are familiar and quite hilarious when portrayed by garden gnomes.

Audiences can also appreciate the details of the film. Great care was taken to give the gnomes the weathered look of being outdoors. Consistently, the viewer is reminded of the dangers of being a small, breakable lawn ornament. From the tinkling sound of their ceramic bodies moving to the tragic smashing of Tybalt, the gnomes borrow sympathy for their plight.

This movie is enjoyable for kids, adults and college students. Gnomeo & Juliet is a cute film for anyone wanting a few laughs and a happier end to Shakespeare’s timeless tale.

The “star-crossed lovers,” Gnomeo and Juliet, are voiced by James McAvoy and Emily Blunt, respectively. The film is directed by Kelly Asbury, who also directed Shrek 2. Another notable name associated with this film is Elton John, who provides most of the score. Many of Elton’s well-known songs are reworked for the film, and new songs are added.

Other voices used in the film include those of Ozzy Osbourne, Hulk Hogan, Michael Caine and Dolly Parton.

This adorable film is rated G and is in theaters now. It is also available in 3D.

The Oscars seem to have settled well into the new practice of nominating 10 films for Best Picture. Last year’s Academy Awards was the first time in 60 years that 10 slots were available, and the change sparked new life into an old movie tradition. This year’s mix of films shows variety in nearly every way, from acting to style to direction.

Audiences were thrilled and confused by Inception and Black Swan, brought down to earth by True Grit and inspired by The King’s Speech. After all the movie watching, now all that remains is to sit back and enjoy the show. The 83^rd Academy Awards airs Sunday, Feb. 27, at 8 p.m. on ABC.

Black Swan

Natalie Portman earned a Best Actress nomination for her portrayal of a dancer sucked into the strange, obsessive side of ballet. Mila Kunis co-stars as her competition. This edgy psychological thriller blurs dream and reality for a shocking and disturbingly beautiful experience.

Inception

Christopher Nolan’s vision of dreams within dreams entertained and bewildered audiences last summer. The intricate plot stays balanced through tight cinematography and editing, while Leonardo DiCaprio’s moving performance keeps it believable.

The King’s Speech

A period piece that is never stuffy, The King’s Speech manages to connect a story about royalty in the early 20^th century to modern-day audiences. It blends heartfelt and hilarious moments into a fresh, inspiring story. Both Colin Firth and Geoffrey Rush earned nods for their performances, Best Actor and Best Supporting Actor respectively.

The Social Network

The immediacy of The Social Network lies in its biting wit and relentless irony. Modern, pulsing and relevant, the story of Facebook’s beginning could not have been timelier. Jesse Eisenberg received a Best Actor nomination for his wry and strangely captivating portrayal of Mark Zuckerberg. Andrew Garfield as Zuckerberg’s former best friend Eduardo turns in a stunning performance that is alternately impassioned and understated, while David Fincher’s taut direction and Aaron Sorkin’s dazzling screenplay keep things fast-paced and witty.

True Grit

The Coen Brothers made True Grit far more than a remake of a John Wayne classic: They revisited the novel and made the story of a young girl intent on avenging her father’s death something new, probably depicting the old west in more honest a light than the original. Stark but intimate, True Grit serves as a reminder that judgment is God’s, not man’s. Jeff Bridges as the classic character Rooster Cogburn was nominated for Best Actor, while new face Hailee Steinfeld’s tough, honest portrayal of Mattie Ross earned her critical acclaim.

Editor’s Pick: The Social Network.

For more information and a complete list of nominees, visit www.oscars.org.

Based on the novel The Eagle of the Ninth by Rosemary Sutcliff, The Eagle is a compelling story that is almost overshadowed by unnecessary violence.

Directed by Kevin Macdonald, The Eagle tells the story of Marcus Aquila (Channing Tatum, Dear John), a Roman soldier driven by the search for restoration and truth. Marcus’ father, also a Roman soldier, vanished along with 5000 of his men and their treasured eagle emblem when Marcus was a young boy. The damage this brings to his family’s honor ignites Marcus’ determination to solve the mystery of his father’s disappearance and return the eagle to Rome.

In order to accomplish his mission, Marcus must venture outside the borders of Rome into wildly beautiful and unconquered northern Britain, where his father’s legion was last seen. At the insistence of his uncle (Donald Sutherland, Pride & Prejudice), Esca (Jamie Bell, King Kong), an enslaved Briton whose life Marcus saved, accompanies Marcus on his quest. Together, the two must brave the untamed country beyond Rome with its brutal tribes hateful of everything Roman.

During their journey, Marcus and Esca come face to face with the brutality and honor shown by men, whether Romans or Britons. In the process, they also form a strong, brotherly bond. Each by the end of the story is willing to risk death to save the other.

The valuable lessons of honor, loyalty and friendship, however, too often sacrifice center stage to the film’s frequent, violent battles. The viewer is nearly always on edge, waiting for the next band of barbaric warriors to leap from the trees, slashing and stabbing. Though at times the battles are an effective means to endear the audience to the characters by displaying acts of heroism, more often than not they are thrown in for entertainment purposes only.

Technically, the movie was well put together. The acting, score and cinematography were good but not exceptional. One aspect that did stand out was the scenery. The beautiful visuals from Hungary and Scotland added depth and mystery to the film’s atmosphere.

The Eagle has an interesting plot, convincing performances and timeless morals to capture the hearts of its viewers. Unfortunately, the filmmakers’ tendency to show off the violence and gore rather than lingering on the touching character moments harms the movie’s ability to do so. The moving scenes are well done, but the amount of brutality the audience has to endure in order to experience them may make them wonder if they are worth it.

Romantic comedy is a favorite movie genre for Valentine’s Day, but finding a worthwhile “rom com” to watch is not always easy.

It seems like a simple enough tale: attractive boy meets attractive girl, they fall in love and live happily ever after. But the well-made rom com is actually an elusive thing. The truth is the perfect romantic comedy is as rare and unpredictable as love itself. It does exist, however, and here are 10 truly great rom coms to break out for this Valentine’s Day.

10. How to Lose a Guy in 10 Days (2003)

Kate Hudson is at her best in this fresh, effortless rom com as Andie Anderson, the reporter writing a how-to story on getting a guy to break up with you. Matthew McConaughey complements her well as Ben Barry, the guy she uses to test her theories on. And who can forget that yellow dress?

9. My Big Fat Greek Wedding (2002)

Starring Nia Vardalos and John Corbett, My Big Fat Greek Wedding follows the straight leads and crazy family members formula. When good Greek girl Toula (Vardalos) meets nice but non-Greek boy Ian (Corbett), her family has a lot to say about it, and hilarity ensues. The two mains come across as the only sane people in the film, but it works.

8. He’s Just Not That Into You (2009)

The star-studded He’s Just Not That Into You features the likes of Jennifer Aniston, Scarlett Johansson, Justin Long, Ben Affleck and more. Its intertwining stories of several different couples could have gotten messy, but instead the film is stylish and modern, with witty dialogue and relatable storylines.

7. While You Were Sleeping (1995)

Sandra Bullock charms as Lucy, the lonely girl who finds love and a family in this classic. Sweet and disarming but never saccharine, While You Were Sleeping rides mostly on the appeal of its leads, Bullock and Bill Pullman at his best, making romantic comedy look easy.

6. Dan in Real Life (2007)

Known best for his zany antics in The Office, Steve Carell shows his sweeter side in this quirky film about an advice columnist who falls for his brother’s girl. Dan (Carell) learns the importance of living life to the fullest, supporting family through everything and  giving love a second chance.

5. Sabrina (1954 and 1995)

Whether you prefer the ‘50s original with Audrey Hepburn, Bill Holden and Humphrey Bogart or the ‘90s remake with Julia Ormond, Harrison Ford and Greg Kinnear, you can’t go wrong with this Cinderella story slash romance about Sabrina Fairchild, the chauffeur’s daughter who has to choose between the two wealthy brothers who are in love with her.

4. Sleepless in Seattle (1993)

It really doesn’t get much better than this. Tom Hanks and Meg Ryan alternate easily between sweet, wrenching and funny in this story about one man’s journey across the country to find love. Hanks and Ryan’s chemistry is incredible, especially considering the fact they don’t even meet until the last scene of the movie. But, hey, audiences knew it was meant to be.

3. Moonstruck (1987)

In this unabashedly over-the-top comedy about Italian-style love in New York, Cher and Nicolas Cage heat up the screen. Cher is Loretta, a widow about to get remarried to a man named Johnny—that is, until she meets his brother, Ronny (Cage). Love, comedy and opera mingle delightfully, resulting in an entertaining romantic tale.

2. It Happened One Night (1934)

Frank Capra’s brilliant little romance has been called the first romantic comedy, and it could still very well be the best. It stars Claudette Colbert and Clark Gable and won five Oscars, including Best Picture, Best Actor and Best Actress. The story of the spoiled heiress who falls for a reporter is just as fresh and funny as it was 70-plus years ago.

1. You’ve Got Mail (1998)

Joe Fox (Tom Hanks) falls for Kathleen Kelly (Meg Ryan). While their chemistry is perfect, they have never actually met, since they communicate by e-mail. Hanks and Ryan, with some help from Greg Kinnear, carry the film with humor and style. Alternately touching and hilarious, You’ve Got Mail stands as a classic example of the best romantic comedy has to offer.

“You must pay for everything in this world—there is nothing free but the grace of God.”

With these words, the story True Grit makes its dramatic return to the big screen. Jeff Bridges, Matt Damon and newcomer Hailee Steinfeld make up the cast of this Best Picture-nominated remake of a classic western, proving that the age-old ideas of justice and courage still sell at the box office.

After her father’s cold-blooded murder, Mattie Ross (Steinfeld) sets off to bring his killer, Tom Chaney (Josh Brolin, Wall Street: Money Never Sleeps), to justice. While settling her father’s affairs, she meets the infamous U.S. Marshall, Rooster Cogburn (Bridges), a rough and no-nonsense man who she is told can hunt down Chaney. Mattie optimistically hires Cogburn, who has begun to realize the young girl means business.

Also joining in the hunt for Chaney is LaBeouf (Damon, The Bourne Identity), a cocky Texas Ranger who is skeptical of Cogburn’s skills. Together, they set off on a quest that will test their resolve and skill, while fusing them together in ways none of them expect.

If Rooster Cogburn is stubborn, he has met his match in Mattie, whose thirst for vengeance is the driving force behind the mission. When the search for Chaney becomes complicated, the trio realizes that only when they work together will they bring Chaney to justice.

After a close call with the villains, the stakes get higher, and Rooster and LaBeouf reach a plateau in their quest. Only Mattie’s rugged determination keeps the search alive; however, in the process her own life is sent to the brink.

The film True Grit, though it is set in the old west, raises some interesting moral questions that are relevant to this day and age. Is vengeance really a worthy pursuit, or should grace always be given?

Romans 12:19 reads, “‘It is mine to avenge; I will repay,’ says the Lord.” As a people of God saved by grace, should we take the fight for justice into our own hands, like Mattie Ross, or should we leave it to the Lord? True Grit subtly presents this question, and the answer is left for the viewer to decide.

True Grit has all the elements of a classic western with a fresh and simple quality not seen in many of today’s films. With minimal special effects, the actors and the stunning scenery are allowed to speak for themselves.

Steinfeld gives a pure and solid performance, showing promising talent.  Her portrayal of Mattie Ross was very believable, and she held her own with a cast of seasoned actors. Damon slides into the role of Texas Ranger with a good balance of charisma and resolve. Brolin’s performance as the murderous outlaw Chaney was also well done. His chilling mix of desperation and brutality created a formidable antagonist.

Bridges lassoed the difficult job of recreating one of John Wayne’s most famous characters with confidence. He did not mirror Wayne’s portrayal of Rooster Cogburn, but instead added his own personal flair, which paid off.

Directors Joel and Ethan Coen took on the steep challenge of remaking a classic and triumphed in this strong film about having enough passion to get the job done, even when all the odds are stacked in opposition.

As anyone who has ever been caught in a hurricane knows, it is quite a singular experience. From the tell-tale drips of rain and the first gusts of wind, you’re in for a wild ride. This is the same feeling invoked by the opening sounds of Floridian sextet Underoath’s latest offering, Ø Disambiguation.

The album comes across like a metaphorical hurricane, from the midst of the storm (A Divine Eradication), through the eye (Driftwood) and into the disturbed ocean beneath the storm (Paper Lung). Through the sonic tempest, however, is a surprising yet distinct sense of clarity. Perhaps the band intended this exact feeling, as clarity in the midst of storm has been a sort of theme for Underoath lately. In April of this year, fans of the Floridian sextet were shocked to hear of the departure of Underoath’s drummer, clean vocalist and only remaining original member, Aaron Gillespie.

After 11 years with the band, Gillespie felt called to pursue other ministries, notably his side project The Almost, as well as a solo worship music project. Fans were clearly upset at losing the band’s signature clean vocalist, world-renowned drummer and major creative force. Not long after Gillespie’s departure, Underoath announced that they would soon be entering the studio to record their seventh album and revealed the news that ex-Norma Jean drummer and close friend of the band, Daniel Davison, would be recording on drums. This was the band’s first lineup change in more than six years, so fans were understandably concerned about the sound of the new record.

Six months later, the album has finally arrived, and the general consensus is one of positive progress. With Gillespie’s input missing from the new record, lead vocalist Spencer Chamberlain had to take on the responsibility of clean vocals and assume total creative control of the lyrics and vocals.

The result is a more organic soliloquy of an album, rather than the juxtaposed inner-dialogue of the two different vocalists found on the band’s previous two efforts. Without Gillespie, Chamberlain’s contributions seem a bit more caustic, his cries often striking like a gale force and his melodies like cold, thick rain. The integration of screaming and singing has also brought Chamberlain to explore his voice even more, giving splendid results that set him apart from the crowd of metalcore vocalists once more. One particular showcase of his vocal abilities is the song Vacant Mouth, in which listeners can hear the strength, power and unpolished desperation in Chamberlain’s voice, a far cry from the monotone shell of a voice heard six years ago on They’re Only Chasing Safety.

Musically, the men of Underoath have stuck generally to the tried-and-true methods formed on their past two acclaimed efforts but have clearly determined to push the envelope once more with an interesting evolution to their sound. Disambiguation feels undeniably grittier and slightly darker than the almost-otherworldly Lost in the Sound of Separation, utilizing even more of keyboardist Chris Dudley’s critically praised ambience and effects. The hurricane’s force is driven ruthlessly and expertly by newcomer Davison on drums, introducing just a hint of Norma Jean flair to the percussions on the album. Davison writes and performs his part well, using techniques not seen in Gillespie’s previous work.

While structurally the songwriting may not be quite as strong and interesting as previous albums, the growth in musical artistry and aptness still makes every song memorable. The one possible pitfall of the 11-track album comes once the final chords of closer In Completion fade out. For all of the hurricane’s fervor, the ending simply does not seem entirely fitting.

But just as the experience of a hurricane is singular, so is the experience of Ø Disambiguation. This mighty force is worth a listen. While it is not an album for everyone, it is one of the most musically significant releases of the year, as Underoath is known for having the highest-charting albums of any Christian band in more than a decade. The sextet holds immeasurable influence over hundreds of thousands of rock music fans as well as other prominent musicians. Disambiguation is another exciting step forward in Underoath’s significant impact for Christ.

Disambiguation’s release date is Nov. 11.

As alternative Christian bands have begun blending together in recent months and years, it has become increasingly rare to find bands in that genre that are good enough to stand out above the rest of the crowd. Most of these bands concentrate too heavily on gathering their fan base by making sure everyone knows they are blatantly Christian but put the music itself to the wayside.

Deas Vail is not one of these bands. They are a piano-based alternative rock band dedicated not only to following Christ, but also to using the musical talents He gave them to the fullest. Sharing their faith in God is obviously most important to them, as can be found through their lyrics, but their sensitivity and devotion to the elegance of music is also overwhelming.

Deas Vail’s sound is that of sheer beauty. The lead singer, Wes Blaylock, possesses a completely unique voice. His normal vocal range is quite high, which is becoming more common in alternative bands, but none so far have been able to match the skill of Blaylock’s voice.

The rest of the band besides Blaylock includes his wife, Laura Blaylock, who plays keys, Kelsey Harelson, drums, Andy Moore, guitar, and Justin Froning, bass. Every member is incredibly talented at his or her instrument, and they all contribute to the lovely sound of Deas Vail.

Deas Vail is a Christian band, and, according to Jonathan Childs, a past bassist for the band, the purpose of their ministry is “to be overarching and be able to minister to people on a personal level, not just through music.”

Their faith is not just proclaimed in the public scene; however, it is lived out in their private lives. “We pull out our Bibles and read, and pray for each other and take prayer requests every day” said Childs.

Deas Vail has toured with other groups such as Lights and Owl City, but they do not always limit themselves to touring with only Christian musicians bands. Two secular bands that they have opened for are Copeland and Lydia. While being very similar in sound to Deas Vail, neither of these bands call themselves followers of Jesus Christ, which shows that the members of Deas Vail are not only concerned with the fellowship of believers, but also in witnessing to those who do not know Him.

The band’s faith in Christ is clearly evident in its music. Many of their lyrics show this, such as the words: “I’m searching for that clearer water/I’ll never be thirsty again.” These are from the song Balance on their White Lights EP.

Their newest album, Birds & Cages, can obviously be taken by any listener to mean that the band is talking about the cages of sin in this life and being set free from them. In fact, the final lyrics of the song Cages on this album say: Somebody will come and save us all/Somebody will come and let us out, let us out of our cages.

Concerning the lyrics he writes, especially the ones on Birds & Cages, Blaylock said, “I’m a firm believer in asking big questions. I’m trying to write as honestly and personally as I can, and it’s kind of scary for me.”

So far, Deas Vail has released three full-length albums, two EPs and one album of B-sides. This band has been a beautiful public witness for Christ since its first album was released in 2005, and, by the looks of things, they are set to stay in the music scene for a long while.

When the 2009 federal deficit is estimated at more than $1.5 trillion and the deficit projections are no less than half a trillion dollars annually over the next 10 years, some people take it as a call to action. One person that answered the call to fight back with knowledge is producer/director Ray Griggs (Super Capers). On October 25, 2010, Griggs released a documentary that brings the conservative battle to the big screen. I Want Your Money exposes the costly sacrifice of our freedoms and opportunities to support a massive and ever-growing federal government.

“I met [Griggs] and saw his vision. It got me excited for the film,” said Chrysta Johnson, administrative assistant to vice president of student services Tony Beam. “It’s not your normal boring documentary. [Griggs] did a really great job of implementing sarcasm and comedy. The film is definitely important regardless if they agree with current leadership and bills. You need to at least be informed.”

The film, narrated by Griggs with the addition of some funny, animated political humor, contrasts the policies of two iconic presidents, Obama and Reagan. It features views of the modern conservative movement making the case for a return to the less-government-is-better policies of the Reagan years.

Mark Jumper, senior interdisciplinary studies, said, “I usually don’t spend 10 bucks on a ticket for a movie where something doesn’t blow up, but this was an exception. Griggs did a great job of putting the film together. He gives an accurate description of our government’s current financial situation. I realized it’s hard to get people excited to watch an hour and half long documentary about economics, but he did a good job.”

In the Reagan view of the film, taxpayer money is seen as fair compensation for hard work and innovation. It champions the historical American freedoms of life, liberty and the pursuit of a satisfying destiny and celebrates the American character with little government interference.

Obama’s view, as portrayed by the film, says that the federal government should play referee in the leveling out of the nation’s wealth by guaranteeing outcomes to all, regardless of individual effort. It replaces individual achievement with a tax-hungry reapportionment of hard-earned dollars.

Jesse Nugent, freshman biology, said, “I would have to say that it is probably the best written documentary I have seen. It went back and forth between a cartoon animation with caricatures of many prominent political figures and the actual documentary. Its serious parts were very informative and well expressed, and I actually enjoyed it. I would definitely recommend it to anyone who is concerned about politics and the way our country is headed. It really made me think about my duty as a citizen and as a voter to help change the way America is going.”

I Want Your Money is less interested in demonization or finger pointing, but rather calls on its viewers to consider how far we will let our individual liberties be pushed as government tries to act in its citizens’ best interest. It is a call to political action to reclaim the tenets of the “Reagan Revolution” and energize viewers to reconsider what makes American industry a great force for change, innovation and individual prosperity.

You Again is one of those quotable, family-oriented, almost “chick-flicky” movies worthy of “Redboxing” for a dollar.

Even though You Again was well directed with little foul language and slim to no sexual references, the all-star cast, including  acting legend Betty White, Kristen Bell, Jamie Lee Curtis and Victor Garber, couldn’t quite redeem the over-acting and fairly predictable conclusion.

Kristen Bell’s character, Marni Olivia Olsen, dubbed “Moo” by the popular girls, was the epitome of a nerd during her high school years.

At the beginning of the movie, Marni has made it through the metamorphosis from geek to chic, or so she thinks. With a newfound style, the discovery of contacts, no braces and a sweet new job as the VP of her company’s New York office, Marni learns her older brother, Will, is marrying Joanna, the biggest bully to ever walk the halls of Ridgefield High.

Thanks to Marni’s newfound style, Joanna, still beautiful and full of life, doesn’t recognize her at the initial meeting. Now Marni has the chance to let go of the past torture she faced in high school, but she is determined to split the happy couple and expose Joanna’s true colors in a time constraint of four days.

Marni’s mother, played by Jamie Lee Curtis, is a stickler for always giving people second chances – until her ex-best friend, Joanna’s Aunt Ramona, played by Sigourney Weaver, comes swooping into the picture on the wings of success and riches to help plan the last-minute touches of the wedding.

The rest of the family takes beautifully to both Joanna and Aunt Ramona, leaving Marni and her mother in awkward and unspoken competition with the two. As the wedding grows closer, the competition grows stiffer.

If Joanna wasn’t a great enough blast from the past, Marni’s high school dream guy, Paul, looking hunkier and manlier than ever, turns out to be Will’s best man.

Although Marni has shaken off the appearance of a nerd, she couldn’t quite shake her susceptibility to falling and breaking things – usually herself or others nearby. Marni takes a five mile run with Will and Paul a day before the wedding, in hopes of telling Will the truth about Joanna.

Predictably, thanks to tripping and falling into an ant hill, losing her contacts, receiving millions of ant bites and having no choice but to cut her hair due to a fight with her grandmother’s dentures, she looks exactly the same as she once did in high school, leaving Joanna with the upper hand.

The plot thickens at the rehearsal dinner, when Marni’s mother shows up in the same dress as Aunt Ramona, and from that point on, pandemonium ensues.

You Again covers all the situations the average high school girl has experienced: always being second best, being stuck in an awkward fashion rut, having your boyfriend stolen, being mercilessly bullied and more. Fortunately, all hearts can be mended and the desire for revenge appeased.

If your next movie night calls for a slightly cheesy, completely unrealistic but still morally sound movie, then You Again is the way to go.

Rated PG for brief mild language and rude behavior.