directed by: Roman Polanski
and starring: Even McGregor, Pierce Brosnan, Kim Cattrall

Roman Polanski’s new work, “The Ghost Writer,” is a suspenseful political thriller that engages and provokes the viewer throughout. The film has unfortunately gained notoriety because of Polanski’s legal troubles in Switzerland and the United States. Regardless of his past indiscretions, Polanski’s skills behind the camera are undisputed. He has directed masterpieces such as “Chinatown” and “The Pianist,” both of which were cinematic triumphs. While “The Ghost Writer” may not live up to its illustrious predecessors, it effectively demonstrates Polanski’s significant and well-honed filmmaking abilities.

The film focuses on the eponymous character, a nameless writer (played by Ewan McGregor) whose job is to “ghostwrite” autobiographies of famous people. His latest assignment is to edit and finish writing the autobiography of former British Prime Minister Adam Lang (played by a somewhat lackluster Pierce Brosnan). Lang’s tenure as prime minister was extremely contentious. It concluded with a forced resignation over his role in the wars in Iraq and Afghanistan. To escape the media frenzy surrounding his tenure, he and his entourage (including a fantastic Kim Cattrall as his loyal assistant and Olivia Williams as his wife Ruth) have escaped to a secluded seaside retreat in Martha’s Vineyard.

Even though Martha’s Vineyard usually conjures images of sunshine and beaches among well-manicured mansions, Polanski uses the island’s gray and desolate winter landscape to create a haunting atmosphere. This is fitting given the isolation and tension present between Lang and his entourage throughout the film. The Ghost enters this secluded and bleak world because the first ghostwriter mysteriously drowned while trying to complete Lang’s memoir. To add to this hostile environment, shortly after the new ghostwriter arrives, Lang is accused of committing crimes against humanity by The Hague.

This atmosphere continues to become more ominous throughout the rest of the film. While writing the memoir, the Ghost begins to uncover facts about Lang’s past that could have significant geopolitical ramifications. This leads him to begin an ad hoc investigation that could endanger both his life and Lang’s. This results in a suspenseful chase to uncover the truth before the publication of the memoir. But unlike many recent political thrillers, “The Ghost Writer” avoids becoming achingly predictable or impossibly convoluted.

The success of “The Ghost Writer” lies with Polanski, whose direction elevates the film. He is able to create a level of suspense and intrigue that differentiates “The Ghost Writer” from most other political thrillers. Even though there are consistently strong acting performances, especially those of McGregor and Cattrall, the true star of the film is Polanski. The sense of menace he creates out of the seemingly mundane task of being a ghostwriter for an autobiography is remarkable. There is seldom a moment when the film does not completely capture the viewer’s attention.

Roman Polanski’s “The Ghost Writer” is a well-executed political thriller that consistently enraptures the audience. Polanski’s ability to create a suspenseful and intriguing atmosphere is essential to the film’s success. While it may not be one of his most memorable works, “The Ghost Writer” demonstrates Polanski’s significant cinematic abilities. Even though “The Ghost Writer” does not redefine cinema, or even the political thriller genre, it exemplifies how a talented and thoughtful director can create a memorable and enjoyable work from almost any story line.

(Left to right) Molly (Alice Eve) runs into her handsome ex, Cam (Geoff Stults) to the dismay of Kirk (Jay Baruchel), an average Joe who just can’t believe that she has fallen for him in the DreamWorks Pictures comedy “She’s Out of My League,” a Paramount Pictures release. (Darren Michaels | Dreamworks)

I remember when Steven Karp was a freshman at UNEC and he lost his virginity to his floormate Lizzie on “Undeclared.” This makes me remember when Lindsay Weir decided to hang with the freaks at William McKinley High School in “Freaks and Geeks.” And this makes me teary eyed with nostalgia and furious at the narrow-minded television executives who would rather produce “American Idol XXXVII” than two of the most rewarding series to ever grace the barren wasteland of network TV. But I digress. I should focus on the present. And the present isn’t too bad now that I have just finished watching an enjoyable and reasonably funny movie that makes me believe my next girlfriend could be as hot as Alice Eve.

This conventional, but very pleasurable, teen comedy is “She’s Out of My League.” The premise is simple. Kirk (Jay Baruchel) is a goofy, directionless security guard with the Transportation Security Administration who is a complete pushover when it comes to women. He is such a wimp that he does not stop his ex-girlfriend Marnie (Lindsay Sloane) from coming over to his house to hang out with his family.

Unfortunately, Kirk’s family does not help with his self-esteem issues or lack of confidence. They consistently deride Kirk and offer him about as much moral support as Cardinal fans give to Chicago Cubs supporters.

A chance encounter at the airport results in Kirk meeting and going out on a date with Molly (Alice Eve). Molly is a gorgeous and successful event planner that looks like she should be dating Brad Pitt. But the two hit it off and they soon become an item. Their budding romance has left almost all of the people in Kirk’s life, including his goofball friends Stainer, Jack and Devon (played by the funny trio of TJ Miller, Nate Torrence and Mike Vogel) flabbergasted at the attractiveness of his new girlfriend. The rest of the movie follows a predictable storyline that tracks the high and low points of the new romance between Kirk and Molly.

Even though the movie has a predictable plot, there are some very funny moments throughout. The best parts usually involve Kirk’s friends at the airport. Devon is particularly memorable as a hopeless romantic who knows more about Disney movies than most 10-year-old girls. The group’s banter and antics, whether they are at a bowling alley or preparing Kirk to have sex with Molly, almost always bought a smile to my face produced laughter from the audience. One of the highlights of the movie is seeing Stainer’s Hall and Oates “tribute band” perform an emotionally charged set at a birthday party for Molly’s sister.

Not every movie needs to set trends or be the best movie of the year. Movies are about escaping reality for a few hours, even if you know what will happen in the end. In movies, as in life, the journey can be more important than the destination. This is unquestionably the case with “She’s Out of My League,” a movie that works within standard conventions to produce a memorable and funny feel-good comedy.

Directed by: Jim Field Smith
Starring: Jay Baruchel, Alice Eve, TJ Miller

One of the most glaring deficiencies of “Play On” is the fact that most of the tracks are generic pop songs that do little to captivate the listener. Songs such as “Undo It,” “Songs Like This” and “Unapologize” offer nothing noteworthy. They sound listless and stale. There is little to distinguish them from any other modern pop song, and Ms. Underwood’s impressive voice cannot repair the damages. Even when Ms. Underwood tries creative flourishes to salvage a song, such as featuring the country band Sons of Sylvia on “What Can I Say,” the results are disappointing. Instead of being a heartfelt duet, “What Can I Say” becomes a vehicle for Ms. Underwood to pointlessly sing at the top of her lungs and obscure the contributions of Sons of Sylvia.

To add insult to injury, some of the most memorable songs on “Play On” are noteworthy because of their insincerity or absurdity. In  “Change,” Ms. Underwood mulls over poverty and homelessness, initially asserting, “Smallest thing can make all the difference/Love is a luck.” I was dumbfounded and confused by this conclusion, which seems non-sensical. Eventually, Ms. Underwood communicates her message that any small act of charity is noteworthy, but by that point, the song has already come across as insincere. This inability to express a meaningful thought or feeling is also present in “Mama’s Song.” Instead of writing a heartfelt song about the relationship between a mother and daughter, Ms. Underwood butchers the song and transforms it into a sappy love song in which she proclaims that she has found a man “who treats [her] like a man should.”

Fortunately, there are a few salvageable tracks on the album. Some are even memorable for their quality of musicianship. Ms. Underwood demonstrates her ability to both be charming and sing with passion on “Quitter.” Unlike most of the songs on the album, “Quitter” has a rollicking melody that is truly enjoyable. It also features one of Ms. Underwood’s most subtle and satisfying vocal performances. Ms. Underwood demonstrates her ability to be witty and perform a semi-edgy song with “Songs Like This.” Unfortunately, this charm that Ms. Underwood has is absent throughout most of the album.

Carrie Underwood’s newest release, “Play On,” is unfortunately a monotonous and listless album that does little to highlight Ms. Underwood’s vocal talents and inherent charm. Most of the album is generic and stale, offering listeners few pleasurable moments. A few of the songs do highlight Ms. Underwood’s talents, demonstrating how she can be quite enjoyable. Unfortunately, these moments are few and far between, and most of the album feels staid and boring.

Rating: 1.5/5
For fans of: Taylor Hicks, Kelly Clarkson, American Idol
Tracks to download: ‘Quitter’, ‘Songs Like This’

5) The free food:

Yes, this happens every year. And it is possible to argue that there isn’t anything special about free barbequed chicken and pizza. This would also mean you aren’t in college.

4) Observing oblivious freshmen:

Once again, this happens every year. It is also a fact that one of the joys of being an upperclassman at W.I.L.D. is being able to sigh and say, “Those freshmen are ridiculous. There is no way I looked that absurd when I was their age.” (You did.)

3) George Clinton singing in the rain:

The only thing better is him singing in a frat house in “PCU.”

2) Making the big time:

Seeing an unknown act that eventually makes it to the big-time. That way you can say, “I saw them when…”  (Disclaimer: this hasn’t happened yet. It is just something that would be cool. I’ll keep my fingers crossed. My money’s on Rahzel.)

1) Gaining access to the VIP “Hospitality Tent”:

This is what separates the men from the boys. If you are able to make it into this tent, your W.I.L.D. will be one for the record books.  To W.I.L.D. newbies, this tent is opposite the entrance to Brookings quad. The bouncers wearing blue polos with the words “EMT” emphasize the tent’s exclusivity.

One of the strongest aspects of Matisyahu’s new album is his willingness to go beyond pure dub music. Even though this experimentation is not always successful, some of the best songs on the album show him attempting to expand his palette. In “One Day,” he makes a plea for world peace and the hope that his children will encounter a better world. Its religious imagery recalls some of reggae’s classic artists, and Matisyahu’s voice is in stellar form. On “I Will Be Light,” his use of religious metaphor and traditional reggae rhythms would make his song sound right at home on a playlist with Bob Marley and Desmond Dekker. Unfortunately, his experimentation is not always successful. Songs such as “Motivate” and “Struggla” are hindered by awkward attempts at musical expansion, such as a misplaced guitar solo in “Motivate.”

Matisyahu’s experimentation, though not always successful, is worth applause. Even tracks such as “Motivate” and “Struggla” are noteworthy because they strive for originality. What causes the album to lose its luster are a number of bland songs. Tracks such as “Escape,” “So Hi, So Lo” and  “For You” can be considered Sean Paul knockoffs at best. Matisyahu sounds staid and listless on these tracks. His unconventional lyrics are unable to mask generic songs that contain almost no traces of originality. That is not to say all of Matisyahu’s attempts at dub are disasters. Songs such as the opener, “Smash Lies,” and “Darkness into Light” are danceable and original. They demonstrate his deft ability to combine singing and rapping in a way that is perfectly fitted for dub.

The ability of Matisyahu to produce top-notch dub music is laudable. Some of his songs, especially as he looks to move beyond pure dance-hall reggae, are original and insightful. Unfortunately, his tendency to rest on his laurels and produce generic dance tracks hinder his latest album. So even though it is not perfect, “Light” is at times engaging and original. It shows that if Matisyahu continues to search for original means of musical expression, the results could be spectacular. For now we will have to settle for occasional glimpses of his potential.

3/5 stars

For fans of: Shaggy, Ziggy Marley, Vavamuffins, Sean Paul

Tracks to download: ‘One Day,’ ‘Darkness into Light,’ ‘On Nature’

Jack Donaghy: Lemmon, I’m impressed! You’re beginning to think like a businessman

Liz Lemmon: A Business “Woman”

Jack Donaghy: I don’t think that’s a word

Dearest Jack (or as Don Geiss likes to say Jacky-Boy),

            I am writing this letter not to testify how you’ve helped make “30 Rock” one of the best shows on TV; that goes without saying. No, this letter is written to admire, and bat my eyelashes lovingly towards, the unadulterated determination that has made you an American icon. Your name will be as well known as Ronald McDonald’s, Abraham Lincoln’s, George Washington’s and Lebron James’s names combined. Your unshakeable resolve to rise to the top of GE has defined what it means to be a true American.

Before we admire your willpower, lets gawk at your sensitive side. Your affairs with Condoleezza Rice, Maureen Dowd, Katie Couric and (possibly) Martha Stewart are momentous. These women are more powerful than most third world countries. A normal man would quiver at the prospect of having an affair with one of them, but you, Jack Donaghy, are so certain of your romantic skills that you view these queens of the universe like a frat-boy views a prefrosh.

Jack, your romantic abilities are so beyond the scope of mere mortals that you can callously dismiss the possibility of a relationship with Liz Lemmon. Liz is a producer of a hit TV series, and is incredibly shapely. Anyone that can dismiss a hot television producer has more machismo than an Ernest Hemingway novel.

“Work gets me off.” You have said this many times, and I think it sums up some of your best qualities. It demonstrates your dedication and love toward your career. Your unfettered desire to rise to the top is what makes you stand out from the crowd. Even when you were demoted to working in the mailroom, you were not discouraged. In one of the greatest rags-to-riches stories this side of the Beverly Hillbillies, you were able to ascend from working in the mailroom to becoming the CEO of NBC in one day. If that work doesn’t get you off, I don’t know what does.

Your love for GE knows no bounds, and that, my friend, defines both masculinity and patriotism in my book. When GE is about to be tanked by Kathy Geiss, a mentally challenged proxy-CEO, you are willing to try to seduce her to save the company. Even though you never get naughty with her, you were willing, if it would save GE. Only a truly dedicated (or deranged) man would be willing to seduce a woman who wears Dora-the-Explorer underwear and makes her men wear strawberry lip-gloss.

Now I must end my heartfelt letter to you, Jack Donaghy, a man who, “goes to Sbarro’s when he’s angry, the New York Stock Exchange when he’s horny and Christies when he’s depressed.” A man who, in many ways, defines what we all want to be: successful, brash and so cocksure that he makes Nigel Tufnel of Spinal Tap seem modest. Let us all raise our glasses to a true American man. Cheers to you Jack Donaghy!

One of your dearest fans,

Andrew Senter

The Game’s tragic flaw, just like superheroes of old, is his inability to move beyond clichés when he is rapping about gangsters and life in his old neighborhood. Few of his verses on songs like “House of Pain,” “Money,” “Dope Boys” and “State of Emergency” have original lines. His direct references from the Wu-Tang Clan, 2pac, and Notorious B.I.G. repertoire may have been witty if they were used more sparingly. Unfortunately, when many of The Game’s verses seem to mimic those masters verbatim, the songs sound more contrived than referential. This lack of originality, thankfully, isn’t a constant across the album.

On many of the songs The Game rises to the challenge presented to him by his assortment of producers and guest stars. For the most part, The Game’s strongest songs avoid clichés about L.A. gangs and find a way to rap about similar themes with originality. The producers Cool & Dre, who were first propelled to stardom with The Game’s hit, “Hate It or Love It,” produce one of the best songs on the album “My Life.” Featuring a powerful guest spot by Lil Wayne, “My Life” is a thoughtful reflection by The Game about his childhood in Los Angeles. One of The Game’s strongest tracks on the album, in the same reflective vein is, “Letter to the King.” Produced by Hi-Tek and featuring Nas, “Letter to the King” is a provoking song in which Nas and The Game both summon the spirits of Rosa Parks and Martin Luther King Jr.

The Game’s strength as a rapper is also demonstrated on songs that are not as heavy and reflective as “My Life” and “Letter to the King.” “Cali Sunshine” is a fun homage to his hometown. While it may not become a summertime staple, its vivid imagery of a hot and sweaty summertime should earn it a place on most pool party playlists. “Touchdown” is another song that shows The Game’s dexterity when it comes to song topics.

Even though The Game’s new album “L.A.X” has moments of greatness, it is rife with moments of true mediocrity. If the album were more concise, it might be easier to overlook the weaker songs. But at 19 tracks and pushing 80 minutes, “L.A.X” starts to feel tiresome. This is a shame because when The Game is at his best, he is one of the better rappers on the MTV/Top 40 scene today.  Unfortunately “L.A.X” shows only glimpses of this talent and ability.