Lionel Hann | MCT

Yes, I’m defending Megan Fox, the 23-year-old sex symbol/actress who has been impossible to avoid these past few months. Fox’s currently supernova-ing celebrity might make you think that she doesn’t need any sort of defending, but I disagree. As long as people like Princeton Hynes are deriding her as a “skank” in our very own college newspaper, I will be there to come to the defense of the woman I have lost my heart to for all eternity.

One of the first complaints people make about Fox is that she hasn’t proven herself as an actress. Well, no one, including Fox, denies her fame has nothing to do with her acting. She is upfront about the fact that the Transformers films are not about the “acting experience,” and she has told GQ, “Really, my only job is to look attractive.” Fox is famous because she was lucky enough to be cast in “Transformers,” and Hollywood, the entertainment media and the public immediately anointed her America’s newest sex symbol. Our culture has a long tradition of turning women into sex symbols regardless of talent, and to hold this tradition against Fox is simply irrational.

Furthermore, the various pejorative insults launched against Fox—that she’s trashy and a “skank”—are completely unwarranted. Unlike the trainwreck girls who dominated the tabloids for most of the decade, Fox keeps out of trouble, and is never seen wasted and coked out like Lindsay, Britney or Paris were in their prime.  By all accounts, in her private life Fox is responsible and behaves respectably (especially compared to some of her peers).

Fox may be less promiscuous and less prone to binge-drinking than a large percentage of Wash. U. students, but Hynes still has a problem with what Fox chooses to wear on the red carpet. Fox’s outfits are consistently over the top, flagrantly acknowledging the sex appeal responsible for her career in the first place. To Hynes, this is unacceptable, but in my opinion it’s a smart move. It demonstrates that Fox is aware of her celebrity persona and that she knows how to manipulate it. This is America, and Hollywood is a business—why blame Fox for playing the right publicity cards?

Fox’s red-carpet aesthetic is also an honest reflection of the culture that put her in the spotlight. It’s an unapologetic, in-your-face display of a truth most people would prefer to ignore: Our culture still loves to objectify its women. Fox has no intention of pretending that isn’t the case, and, considering the source of her fame, it’s ridiculous to expect her to. Fox is honest, even in her dress, and that’s a trait that’s getting harder and harder to find in the media these days. Personally, I find it refreshing. Fox doesn’t sell the Disney fairy tales Hynes wants her to, but that’s not her job, and the expectation for her to do so is completely outmoded.

But enough about Fox’s appearance. In addition to having perfect bone structure, Fox is one of the funniest starlets to grace magazine covers in a long time. Fox has a biting, sarcastic sense of humor, and she doesn’t censor herself in interviews. When asked by an Entertainment Weekly reporter what she thought could be the worst-case scenario for her career five years in the future, she responded, “Umm…that I’d be on ‘The Hills?’” She dryly describes her first movie, “Confessions of a Teenage Drama Queen,” as “one of the cinematic greats.” She claims to be Alan Alda’s doppelganger. Her take on “High School Musical” is surreal: She told “Esquire,” “Let me tell you what it’s really about. ‘High School Musical’ is about this group of boys who are all being molested by the basketball coach, who is Zac Efron’s dad. It’s about them struggling to cope with this molestation. And they have these little girlfriends, who are their beards. Oh, and somehow there’s music involved.” Oh, and she adds, “You have to get stoned and watch it.” What’s not to love?

Shortly after we’re introduced to Wendy, her car breaks down in an unnamed town in Oregon, setting off a chain of events culminating with the loss of Lucy. As Wendy attempts to better her situation, she interacts with a limited but compelling cast of characters, including a sympathetic security guard (Wally Dalton) and a terrifying, unhinged homeless man (Larry Fessenden).

The film doesn’t tell us much about Wendy’s past, but, regardless of the level of responsibility she may have for her present situation, it’s almost impossible not to sympathize with her. Her borderline poverty places a severe weight on the decision to spend just a few dollars, even when it’s for food.

If she has parents, they’re no longer in the picture, and her sister, whom she calls after losing Lucy, is more than cold toward her. Her dog is the only warmly-emotional bond she has. As Lucy continues to be lost, the desperation that creeps into Wendy’s voice is genuine. The bond between the pair could have easily been manipulated to falsely exploit the viewer’s emotion, but, to her credit, director Kelly Reichardt keeps the film grounded in honesty.

Williams turns in an incredible per-formance as the beaten-down Wendy. Life has obviously taken its toll on the poor girl, and she’s responded by emotionally closing herself off. Wendy is a woman of few words, and her expression rarely breaks from one of sad, numbed resignation. After her traumatic encounter with Fessenden’s homeless man, she finally does break down, and Williams’s performance, full of desperation and distress, strikes with a deep poignancy.

“Wendy and Lucy” may be small, but that doesn’t change the fact that it is an impressive accomplishment for Reinhardt, further establishing her status as a talented indie filmmaker to keep an eye on. The film is strong in its own right, and it takes on an even greater significance when placed in the context of current events.

Student Life talked to Wahlberg about the film (and “SNL’s” “Mark Walhberg Talks to Animals” skit), to Kunis about her extensive KGB (former Russian secret police) experience and to Ludacris about how he almost played a 60-year-old white man.

SL: We were just wondering…what attracted [you] to the role of Max?

Mark Wahlberg: Well, I’d been looking to do something with some action, some energy, some intensity. After doing “The Lovely Bones” and doing M. Night [Shyamalan]’s movie “The Happening,” I definitely wanted to do something where I could really go off.

SL: What did you do to physically and psychologically prepare for the role of Max Payne?

MW: Well physically, I didn’t have to do all that much. I’ve been training to do a boxing movie for two years now so I kinda came in in shape. But psychologically, I would say I just had to put myself in that headspace of imagining that something horrific happened to my family. Which is not a fun place to go, you know. I had to stay in that space for the course of the 12 weeks of production.

SL: We were just wondering what your feelings were on the [“Saturday Night Live”] sketch from last week, “Mark Wahlberg Talks to Animals.”

MW: Well, it certainly wasn’t as funny as Tina Fey doing Sarah Palin. I haven’t really watched “Saturday Night Live” for a while. …It was okay. It was kinda funny. It was funnier than that movie he did, “Hot Shots.” [“Hot Rods,” the 2007 film starring Andy Samberg.]

SL: Is that the kind of thing that comes out of nowhere, or did you have any idea that that was airing?

MW: No, but tell that guy I said, “Say hi to your mother for me.”

SL: Chris, have you played “Max Payne” [the video game]? If so, how close do you think the movie and the video game are?

Ludacris: I definitely did get a chance to play the video game. I think that the whole story line of the movie is loosely based off the video game, but it takes it to a whole other exciting and action-packed level…I got the part, and it was definitely written for a 60-year-old white man at first. So, you know, it’s very ironic.

SL: How [did] you guys [film] the “bullet time” sequences?

MW: We didn’t use any wires or anything. We used a new 1,000-frames-per-second camera, and I actually was just jumping off a bunch of apple boxes and landing on my face or body.

SL: [Mila,] you’ve become really well known for you comedic work in “Forgetting Sarah Marshall,” “That ’70s Show” and, our personal favorite, “Family Guy.” Was the switch to drama a calculated move? How is it different from the comedic work you’ve done?

Mila Kunis: I mean, no. It’s as calculated as anything is. It’s one of those things where you get the opportunity to do a movie like this, you jump at the chance…It’s not like I made a conscious decision “oh, the next film I do is going to be an action movie starring Ludacris and Mark Wahlberg.” It doesn’t quite work that way.

SL: Is the Russian mobster character a stretch for you or do you enjoy playing a badass?

MK: Well, it’s amazing. When I was in the KGB, in my youth, they taught me a lot. I got to really play off my personal experiences with Putin. He really taught me well back in the mother country. No! I mean, of course it’s a stretch!

SL: [Ludacris,] with the new album being released soon and your role in “Max Payne,” are you able to balance rapping and acting? Or do you focus on one at a time?

L: I focus on one at a time, but luckily, when you shoot movies, it takes them almost a year to turn them around. When you’re doing music, you can do that and put it right out. So, it just so happens that both projects are coming out right around the same time, because I stopped both of the movies earlier this year or last year, and the album I’ve been recording over the past four months.

SL: What was it like to work with a unique director with such a diverse background like John Moore, who has made films ranging from family fare like “Flight of the Phoenix” to horror films like “The Omen”? What did he bring to the table for you?

MK: He is by far one of the most passionate, enthusiastic directors I’ve ever had the pleasure of working with. You know very well the second you finish speaking if the take is good or bad, because the second the last word comes out of your mouth you either hear a groan or a very loud scream. I mean, literally, take for take John would get so excited and/or not, but you definitely knew if you nailed it.

Readers can view all the nailed “Max Payne” scenes now, in all participating theaters.

The premiere introduced a number of plotlines which are sure to direct the courses of the next few episodes. Holly Flax, the new HR representative, is still around as the potential love interest of Michael. Amy Ryan deserves a lot of credit here; creating a likeable and sane character who is believably interested in Michael is an impressive accomplishment.

One of the most exciting developments for the new “Office” season was the unexpected return of Ryan Howard. His slimy character and superiority complex were amplified by his promotion to VP last season, and his tumble back down to the bottom of the ladder is ripe for The Office’s dry sense of humor.

Jim and Pam’s relationship may have actually been the least interesting part of the episode, but thankfully the writers spiced up the rather mundane long-distance relationship storyline with a surprising twist sure to excite loyal fans of the show.

“Weight Loss” may not have been a top 10 kind of episode, but it was a great way to kick off the new season.