Note: New Blog

As readers probably noticed, this blog has been lacking in updates. Well, put simply, this became an archive for my Pitt News clips, and I no longer work for the Pitt News since I graduated in April.

All new blogging updates can be found at the blog at my personal website; please go to http://l-gula.weebly.com/ and click on the "Eclectic Corner: Personal Blog" link on the sidebar.

Thank you!

‘Lockout’ only good for a laugh

‘Lockout’ only good for a laugh

http://pittnews.com/newsstory/lockout-only-good-for-a-laugh/

“Lockout”
Directors: James Mather & Stephen St. Leger
Starring: Guy Pearce, Maggie Grace, Vincent Regan
Grade: C

Silly and predictable action films can still be entertaining, as long as the viewer is in the right mindset.

The French sci-fi action movie “Lockout” is one such film, featuring a simultaneously quick and lazy plot set in 2079, in which a man who goes by the name “Snow” (Guy Pearce) is arrested and framed for a crime he did not commit. He’s convicted and set to be shipped off to the orbiting space prison MS One. Since prisoners sent to MS One serve their sentences in a frozen state, the correctional facility is known for having a perfect prison record.

But before Snow can be sent to the maximum-security prison, a prisoner manages to escape. The other convicts inside are then set loose and overrun the prison. Two inmates, Alex (Vincent Regan) and the psychotic Hydell (Joseph Gilgun), quickly take command.

Since the prison break took place while the president’s daughter, Emilie (Maggie Grace), was visiting the site, Snow is offered a deal: earn his freedom by rescuing Emilie. For the majority of the film, Snow attempts to board MS One and then escape.

By cinematic standards, “Lockout” does not qualify as a good film. It’s predictable and straightforward, and as a result, it’s silly. Even by sci-fi standards, the level of incredulity an audience member will experience during this film is absurd. “Lockout” does not make much sense.

But for some viewers, the actors and writing might make up for the lack of originality in the story and plotlines. The cliches might even make this film entertaining.

Snow comes across as a witty badass, never panicking and almost always keeping his cool. He cracks jokes at just the right moments throughout the movie. The indifferent action hero is nothing new, but that doesn’t mean Pearce’s portrayal of the trope isn’t enjoyable. From the start of the film, Snow showcases his personality. During an interrogation scene, he answers every question with a wisecrack, receives a punch in the head and then repeats the process five or six times. But every remark makes the audience smile.

Emilie is not an entirely useless damsel in distress. She acts bravely in her attempt to watch over the other people trapped in the overrun prison, despite Snow’s orders to rescue her and take her back to her father.

This does not mean the characters have a strong relationship. In fact, it’s quite the opposite. The interactions between most of the characters in this film are entertaining during the movie, but shallow in hindsight.

In the end, “Lockout” primarily does what viewers expect from an action flick — ignores character development, creates basic personalities for the leads and moves forward with the action. Unfortunately, sci-fi films like “Lockout” tend to overlook potential undertones of government corruption and illegal activity in favor of outlandish plot elements.

Despite — or rather, because — it’s a mess of a movie, “Lockout” is a film that viewers can enjoy but will not recommend to others. It’s a shallow popcorn action flick — nothing more, but nothing less.

Improv group does it on its feet

Improv group does it on its feet

http://pittnews.com/newsstory/improv-group-does-it-on-its-feet/

improv4_HW_web

 

When a group of comedians spontaneously decided to “transform” into zombies before a Monday night show and chase their fearful teammates around the Steel City Improv theater, intern Connor McCanlus could only shake his head and say, “You never know what to expect during improv.”
These are words that improv performers live by, especially in Pittsburgh where the improv comedy scene, once tiny and disjointed, has transformed and surprised locals with the ways it’s changed in the last few years.

Improv, short for improvisation, is the performed action of creating something on the spot, usually in response to another person or to how the performer feels.

In recent years, the number of local improv performers has increased in the area. While the city once hosted the same handful of people jumping between troupes, several new improv show stages, including Steel City, have now provided regular performances and a gathering space for more than 10 improv troupes.

Some troupes have two people, such as Tragic Bliss, which features Beth Meenan and Steel City Improv house manager Donald Kingsbury. Other troupes feature as many as seven members, like the Hush Hush Consensus.

Despite the number of troupes, the overlap between groups is still there. For example, Meenan also performs in the Hush Hush Consensus.

“There are a number of people associated with Steel City Improv who do the Thursday night Improv Jam downtown,” McCanlus said. “There’s a lot of overlap with Irony City. And a lot of people on the college scenes find their way to those shows.”

Pittsburgh’s improv scene has developed from the college setting. The comedy show Friday Nite Improvs, or FNI, has been running for 22 years on Pitt’s campus and is the longest-running comedy show in the country, according to the show’s hosts.

Originally, FNI was nothing more than a small group of bored graduate students who wanted to learn improv, explained co-host John Feightner. They would gather on Friday nights, make up silly games on the spot and test each other’s performing abilities, trying to make their buddies laugh as they played for several hours at a time.

Students began to bring friends and classmates, and the small group eventually grew too big to fit into the normal-sized classrooms and dorm rooms. Participants began paying an entrance fee, saving up so they could rent some space on campus.

“They then slowly built a show where anyone could show up and try out improv in a low-stake performance space,” Feightner said.

While a number of those involved in the show are Pitt alumni, FNI, which is not affiliated with Pitt or its theater department, is now run by people who have already graduated — the result of FNI’s rental contracts and insurance.

FNI, which ended its season this year early because of the ongoing bomb threats at Pitt, differs from a number of other improv stages in Pittsburgh. The nature of the show allows anyone to perform during one of six or seven improv games that provide structure for short bursts of on-the-spot comedy, all based on one-word suggestions from the audience.

Ben Mayer, a Pitt graduate who currently works as a lawyer, has hosted FNI since 1998. Throughout the years, Mayer has categorized more than 40 team games, guessing games and story-telling games — just some of the different improv activities.

Mayer’s favorite game to watch is called musical improv. In this game, performers create a silly song on the spot within the context of a scene that a member of the audience suggests.

“A lot of the games are more or less passed along between improv shows and groups,” Feightner said. “A lot of improv groups do play more or less the same game under a different name with minor changes.”

Improv shows use the game system for short-form improv or short comedy scenes. But not every improv show uses this system. Steel City Improv, which opened in January 2011, allows performers to try their hand at long-form improv.

“You still take an audience’s suggestion, but then you spark an entire show on the spot off of that one word,” explained Kingsbury. “A single scene in long-form improv can last over 20 minutes.”
While short-form improv has been long-established in Pittsburgh, long-form improv has increased in popularity recently. The Pittsburgh Improv Jam, which opened two years ago at the Cabaret, also provides a stage for long-form improv.

“What I have noticed is a move away from short-form shows to long-form shows,” said Cabaret manager Randy Kirk, who wanted to provide space for long-form improv precisely for this reason. “So there are more improvised plays or longer scenes with commitment.”

The appeal of long-form is that “you see people... sustain actual scenes,” Kirk explained.
“These are performers who can create something complex out of one word over 20 minutes. It’s like watching a play being created out of nothing,” he said.

While a long-form scene may chronicle two people bonding during their attempt to escape a cave filled with demons, short-form may involve just two minutes of raunchy and silly exchanges between two rival super-villains who bump into each other in the doctor’s office.

But these differences in comedy are why “it’s definitely good that there’s a balance of both in the city,” McCanlus said.

“Short-form is absolutely hilarious,” he said. “I look at it as getting both dinner and dessert, and everyone has a different palate and different tastes.”

It’s not just the local scene that has evolved and changed over the years either. The improvers themselves have changed their performance styles over time as they have learned their craft.
Learning the art of improvisation used to be much trickier. Originally, performers hunted down books in libraries and practiced in shows to learn improv skills. Now, interested performers are told to invest in classes with Steel City when possible.

Liz Labacz, an improvist and co-host at FNI, described a good improv scene as a conversation between two performers who listen and respond to each other; although, she couldn’t describe exactly how that conversations works.

“Both performers need to take turns shaping a scene,” she said. “It’s all about watching for people the same way you do in a conversation. You just know.”

And even after mastering the conversation of good improv, a number of improvers need to learn to break the habit of creating repeat characters and gags to use on stage.

“I think that while every performer has a trick, or a safe zone, you can’t plan anything, and you can’t limit yourself,” McCanlus said. “After a certain point, things stop being improvised, and they become planned, or they become gags.”

There are exceptions to every rule though. Feightner uses several flexible stock characters when performing.

“I play clueless, angry dad a lot,” he said. “I play a lot of dumb guy characters. I also love playing little kids because I love the crazy imaginations they have. I love boastful or dumb characters or kids.”

But whatever a performer’s style and level of experience, the best thing about Pittsburgh’s improv scene is how it welcomes everyone on stage, Kingsbury said.

“[In my opinion,] this is the best place to be for improv,” Kingsbury said on the communal feeling that a smaller city like Pittsburgh offers. “Improv is only going to grow here, and I think we’ll surpass the scenes in Chicago or New York.”

Students’ voices quieted by voting apathy

Students’ voices quieted by voting apathy

http://pittnews.com/newsstory/students-voices-quieted-by-voting-apathy/

MCT Campus

While students don't vote as much as older adults, they get involved in politics in other ways, like protesting.

Students are the invested, but uninvolved.

Specifically, they’re not involved in politics the way prior generations have been. Though members of this generation continually take up causes to change the world, it’s still missing one crucial factor in affecting politics: voting. Consequently, politicians often pass it by.

Although she fundraises for local causes through her sorority, Delta Delta Delta, and is considering volunteering for Planned Parenthood, senior Caity Garvey doubts she’ll vote in the upcoming presidential election.

The English writing and history major voted in the 2008 presidential election along with a record number of her classmates, but lately she finds herself avoiding politics, even though she feels she should be more involved. Bluntly stated, voting feels “pointless.”

“I do not think we’re apathetic when it comes to our communities and when it comes to what we want to gain in our lives,” Garvey said about students. “But I definitely think we’re apathetic toward the voting process.”

The Difference Between Young and Old

Garvey’s mindset is increasingly the norm among potential young voters, said Russell Dalton, a professor of political science at the University of California, Irvine.

“Young people are typically less politically engaged [than adults] because they are busy with school, finding a partner, getting a job and so forth,” Dalton said in an email.

Dalton explained that there are some crucial differences in how the youth view politics compared to their parents’ generation. For example, he said that young people are more likely to criticize all politicians rather than vote based on a party alliance.

Pitt sociology professor Jackie Smith said that this fits in with what many view as a problem with the current polarized two-party system, where difficulty compromising on important issues makes policy difficult. Additionally, the recent rise in corporate and lobbyist power has also resulted in politicians focusing more on the people funding their campaigns and less on the American people, she said.

“To run for office and have an impact on voting, politicians have to appeal to corporate interests, and that further narrows the options and discussion,” Smith said. “If people don’t hear things of interest to them being discussed, they’re less likely to participate in politics.” This creates disconnect among all voters, especially students.

This often means less student representation at the polls.

In 2000, the youth-voter turnout — ages 18 to 24 — reached 36 percent. In the 2004 and 2008 elections, the numbers for that group spiked to 47 and 51 percent, respectively, according to Center for Information & Research on Civic Learning and Engagement, a nonprofit civic action research group. But participation fell in 2010 to 20.9 percent.

That falls well short of the voter turnout of the general population as well. In 2000, 51 percent of Americans over 18 voted; in 2004 it was 55 percent, according to the American Presidency Project, an online database from the University of California, Santa Barbara. In the highest youth turnout year, 2008, 55 percent of the eligible population voted, according to the database.

While Dalton believes that students should vote and be involved in choosing the leaders that shape America’s policies, he’s not surprised by the low youth-voter turnouts.

“Rather than just a sign of disinterest, it may also be a sign that young people are turned off by the nature of partisan politics,” Dalton said. “Watching Washington these days, this seems like a realistic perspective rather than apathy.”

The Changing Climate for Student Involvement

Government, policy and campaign tactics these days are far different from politics of the past. Smith said that several factors over time have created a culture that largely discourages youth involvement in politics. While many point to the ’60s and ’70s as the height of student political involvement, Smith said that it’s pointless to compare now to then.

“The system is very different in the range of political discussion,” Smith said. For starters, few politicians speak to students directly about issues, making the youth less inclined to feel involved in politics or to vote, she said.

Despite these factors and the mixed responses to politics among college students, Oakland is usually rife with people asking students to register to vote in the fall. Additionally, student groups such as the Pitt College Democrats and Pitt College Republicans are filled with students who consider it their civic duty to vote and even campaign for the politicians they support.

Smith considers it “normal for students in this age group to not be thinking about the larger society” and to grow more involved in the process later in life.

But there’s undoubtedly political involvement at Pitt. Aside from the booths and fundraisers directed toward social causes, senior Richard Hill, public relations director for the Pitt College Republicans, noted that more students have attended the group’s meetings since the GOP debates began. He believes the larger turnouts demonstrate an interest in current issues.

“I think there’s actually a political culture at Pitt, but it doesn’t translate into numbers,” Hill said. “I also think social causes are very visible on campus. So while [student] political groups just table, there are social causes who do outreach more often and who do special projects. I think those are more visible than political parties.”

Lara Sullivan, president of the Pitt College Democrats, agreed, stating in an email that while there will always be some apathetic students, many do get involved somehow.

“I believe that students express their views on politics and the country by other means than simply voting: by participating in clubs involving social movements important to them, volunteering in the community and even participating in demonstrations and protests,” she said.

And considering how politics works, this disinterest in voting is not that surprising, according to Matthew DiFiore, a past Pitt College Democrats president who graduated in December.

“Voting is no guarantee that the actions that you want done will get done, since the entire government is made from checks and balances,” he said. “From social movement perspectives, it’s much more effective to use grassroots efforts and protests to demand change.”

Where Are the Young Voters?

For many students, efforts toward change come in the form of tackling specific issues. Freshman Gabrielle Joyce is currently involved in Pitt’s chapter of FeelGood where she educates others about poverty and hunger issues. She said she feels as if she’s raising awareness in a way that could potentially make a positive impact on the issue. Still, she feels disconnected from politics.

“If politics was like that, where people went out and fixed or created things, maybe I’d be more active,” she said. “But politics are inflexible in a world where you need to be flexible.”

This is a catch-22 that students acknowledge: If students don’t vote, politicians will continue to consider them to be apathetic and won’t address them.

Voter turnout for most age groups is rarely “high,” but there’s a major difference between how generations engage in politics. Those who use the Internet as part of their lives — particularly students — are able to respond through these platforms, Dalton said. He said this presents an opportunity for young people to change politics by forcing politicians to acknowledge them in ways they didn’t have to previously.

For example, now students can make their voices heard through Internet petitions, which allow citizens to weigh in without sending a letter, making a phone call or marching in Washington.

But students seem to prefer these methods over voting..Students like Sullivan and Hill work with their groups to get students like Garvey and Joyce to vote.

“Voting is the simplest form of expressing one’s opinion of the current state of politics,” she said. “I believe that many people, especially young people, do not vote because they simply do not feel informed enough about the issues to make a decision on candidates.”

To help inform their classmates, political student groups table around campus and hold screenings, debates and discussions about political candidates more often during elections. They aim to encourage their classmates to vote and offer resources to help students feel less overwhelmed by the political process.

Students like Joyce, though, still don’t plan on voting this year.

“I think a lot of my friends and I, as freshmen, don’t feel that inclined to get involved,” she said. “We’re still worried about picking majors more than anything.”

‘John Carter’ full of special effects, little substance

‘John Carter’ full of special effects, little substance

http://pittnews.com/newsstory/john-carter-full-of-special-effects-little-substance/

“John Carter”

Directed by Andrew Stanton

Starring Taylor Kitsch, Lynn Collins, Samantha Morton

Grade: C+

A movie that uses all archetypes and clichés ends up a has-been of sorts. The audience has seen other versions of it a hundred times.

Unfortunately for Disney, the studio’s recent film “John Carter” — based on the book “A Princess of Mars” by Edgar Rice Burroughs — suffers from this issue. While it entertains an audience well enough with its grand special effects, a viewer looking for more than a typical blockbuster with no substance would be very disappointed by the clichés in the film.

“John Carter” certainly fits into a specific genre: sci-fi action. The problem comes not from the genre of film, but from the predictability of the genre and the film’s refusal to divert from its pulp fiction origins.

It begins with a battle scene on Mars, where a nameless villain is given the power to take over the dying planet and conquer the other cultures living there.

Cut back to 1881 in New York, where main character and former Civil War captain John Carter (Taylor Kitsch) is followed by a strange man. Moments later, Carter is found dead. A family member Carter sent for before his death receives his journal, and the real story begins as the boy begins to read.

The rest of the film is told in a flashback. Devastated after the death of his family, Carter searches for a “cave of gold” and avoids civilization. During his search, Native Americans and a cavalry start hunting him. When he escapes to a desert cave, he’s transported to the planet Mars, known as Barsoom by the locals.

There, Carter finds the eggs of a strange-looking alien race known as the Tharks. Unable to communicate with the Tharks, Carter is taken hostage. Unbeknownst to him, humans — or at least aliens who look like humans — are waging war on the planet and the Tharks.

Carter quickly learns about the situation when Dejah Thoris, Princess of Helium (Lynn Collins), arrives to the Thark community while fleeing from an arranged marriage that could end the fighting. It’s here viewers discover that the villain from the opening, Sab Than, Prince of Zodanga (Dominic West) was also Dejah Thoris’ betrothed. Despite his attempts to lie low and just return home, Carter soon finds himself swept up into the conflict.

This movie — despite its potential and impressive special effects — never pushes its boundaries. Perhaps in an attempt to stay close to the source material, the film follows a predictable formula, and the characters fit into the narrowest of film archetypes.

There is a villain with no back-story or motivation who wants to take over the planet. The main character, who is ex-military, feels homeless and wants to be left alone. The princess, a warrior in her own right, wants to marry for love only.

And while the actors and actresses certainly try to breathe life and personality into these characters — though the acting in this movie may be more hammy than good — little time goes into developing the stories behind the faces. In many cases, potentially important characters are not explained at all. Even the conflict is very dry, and its origins are barely explained. The war, which is the driving force behind the plot, merely provides the backdrop for the film rather than being the focus.

Even ignoring the clichés and overused plot, the film suffers from sporadic pacing and tone issues. Some important scenes fly by, while others slow the film down in inappropriate moments. Similarly, some scenes try to insert too much humor into a serious exchange between characters.

The 3-D is mediocre, becoming more apparent in some scenes while almost nonexistent in others.

Sadly, the interesting parts of the film are completely ignored. Cultural differences between Carter and the Tharks, as well as the complex undertones of both political and social issues, are disregarded in favor of a quick and simple plot comprised of a contrived romance and gratuitous fighting.

The film struggles to make its pieces gel together, and its most interesting elements are outshined by pure action. And while the action scenes in this film are enjoyable and certainly entertaining by themselves, the movie taken as a whole is silly, unvaried and unmemorable.

‘The Secret World of Arrietty’ a grand adventure through small eyes

http://pittnews.com/newsstory/the-secret-world-of-arrietty-a-grand-adventure-through-small-eyes/

‘The Secret World of Arrietty’ a grand adventure through small eyes

Courtesy Walt Disney Studios

“The Secret World of Arrietty”

Directed by Hiromasa Yonebayashi

Starring Bridgit Mendler, David Henrie, Will Arnett

Grade: B+

Everyone loves a good adventure. And a journey experienced through the eyes of a girl no more than a few inches tall who lives under the floorboards of a house is one of the biggest adventures movie audiences can go on.

“The Secret World of Arrietty” — originally titled “The Borrower Arrietty” — finally debuted in the United States two years after its Japanese release. This marks the widest distribution of a film by Studio Ghibli — sort of like Japan’s Pixar — in the United States.

Based on first book in Mary Norton’s children’s series “The Borrowers,” the film focuses on the Clock family, a group of three people who are almost exactly like normal humans — except for the fact that they measure no more than four inches tall.

The Clocks live underneath a country house in Japan. The main character, 14-year-old Arrietty (Bridgit Mendler), is a free spirit who often ventures outside of the safety of the family’s tiny home to gather flowers and herbs, despite the constant risk of being eaten by cats or birds — or worse, being spotted by a normal human.

This is exactly what happens, though, when a boy named Shawn (David Henrie) arrives in the country. Shawn, plagued with a weak heart and preparing to undergo surgery, spots little Arrietty while she and her father (Will Arnett) are “borrowing,” or collecting supplies within the house in the middle of the night.

While Shawn is curious about the little family and desperate for friends to talk to, the Clocks face a difficult decision. According to the rules of the Borrowers, as soon as they are seen, the small family should move immediately to avoid trouble. As the Borrowers struggle to make a decision, Shawn continues to try to contact and even help them in any way he can — and the housekeeper, Hara, (Carol Burnett) begins to suspect that there are uninvited guests.

Surprisingly, relatively little happens in terms of tension and action during this film — the extent of these occur when Arrietty avoids being eaten by a cat and a crow, as well as when Hara slowly closes in on the family of Borrowers. Still, the feelings of wonder and excitement that come with going on an adventure shine through because of the amazing world created on screen. It’s a very recognizable world, and yet, seen through Arrietty’s eyes, the mundane becomes marvelous and fanciful.

Like all Studio Ghibli films, “Arrietty” features fantastic animation. Fans of the studio have come to expect hand-drawn animation mixed with water-colored landscapes, and “Arrietty” does not disappoint, as the artwork highlights basic details like texture on normal household items, giving the film a feeling of authenticity.

Additionally, Ghibli films have an uncanny ability to touch on several important themes, and “Arrietty” is no exception. Viewers can expect the characters to deal with friendship across cultural divides, the discussion of recycling versus stealing, illness and the finality of death, and even an — admittedly brief — look at the plight of refugees.

Great characters are also what fans have come to expect from Ghibli films. Arrietty perfectly balances the emotions of a young girl with strength and courage. Her trademark outfit throughout the film — a red dress, boots and a pin that rests at her side like a sword — only highlights her strong personality.

Balancing out the cast, Arrietty’s father acts as a calm leader, and her mother as the worrying caretaker. The housekeeper, whose cackle is as menacing as her size to the Borrowers, adds the right amount of tension while also providing an element of humor.

What’s arguably missing in this film is magic, which has appeared in most of Ghibli’s past films. And while Ghilbi’s films almost always take place in fantastic lands inspired by Japanese myth, “Arrietty” takes place in the real world.

But this is not necessarily a bad thing. Looking at a home through the eyes of a tiny, passionate girl is certainly not boring, especially when the animators take the time to emphasize the slightest of details. This is a world where postage stamps become wall decorations and small droplets of water amount to heavy bucket loads. Kitchen counters become mountains for Arrietty and her father to rappel down, curtains become cliffs that need to be scaled, and a field of old forgotten nails and staples form stairs and stepping-stones.

Through sheer scaling and strong characterization, the normal world has become foreign, strange and magical. So while “The Secret World of Arrietty” lacks the intensity of Ghibli films like “Princess Mononoke” and “Spirited Away,” it remains an enjoyable piece of work that breaks step with typical computer-animated children’s films, opting for a slower — but still grand — adventure.

Forget blockbuster movies, explore cinematic art at Pittsburgh film theaters

Forget blockbuster movies, explore cinematic art at Pittsburgh film theaters

http://pittnews.com/newsstory/forget-blockbuster-movies-explore-cinematic-art-at-pittsburgh-film-theaters/

It’s easy to get caught in the Hollywood rut. Moviegoers in Pittsburgh often gravitate toward the two big-budget movie theaters: SouthSide Works Cinema or the AMC Loews Waterfront 22.

But for the blockbuster cinema cynics and the cash-strapped scholars, Pittsburgh has several affordable and more indie movie venues. Thanks to Pittsburgh Filmmakers and the Hollywood Theater, there’s no reason cinephiles need to find themselves hungering for something artsier.

Hollywood Theater

1449 Potomac Ave.

www.thehollywooddormont.org

Travel to Dormont, and students can find the single-screen, 80-year-old Hollywood Theater. It runs a variety of films, from anime to classics — such as “Gone with the Wind” — to documentaries to cult classics. (“The Room” is shown at least once every month.)

The Hollywood re-opened last June after extensive remodeling of the seating area and the sound systems.

“People love the balcony,” executive director John Maggio said. “We’re one of the few theaters with a tier balcony. People love our enormous screen, and it’s also curved. It just makes the experience even better when you’re watching the film.”

The Hollywood obtained nonprofit status one month ago, giving it more flexibility in its ability to screen films and maintain its operations. But the Hollywood is not just a theater — it’s a community resource, drawing extra business to local shops in the evening or during the day.

Screenings here are based on a mix of research and public suggestions, so students with a particular film in mind are always welcome to submit their ideas. Maggio noted that many films screened here end the same way: in applause.

“It doesn’t get any better than hearing people clapping at the end of a film,” he said.

Melwood Screening Room

477 Melwood Ave.

www.pittsburghfilmmakers.com

The Melwood Screening Room found a home in a converted warehouse that also houses the headquarters of its parent nonprofit, Pittsburgh Filmmakers. It is one of the group’s three theaters in the city.

Pittsburgh Filmmakers aims to raise public awareness and understanding about film and visual arts. To promote this, the nonprofit offers classrooms and art galleries at the Melwood location.

The films screened here should be viewed as works of art, said Gary Kaboly, Pittsburgh Filmmakers’ director of exhibition.

The theater itself is an intimate venue — a very simple room with enough seats for 130 people to watch films flicker on the big screen. Kaboly said it’s an ideal place to view films.

“Because [the films] are works of art, it is important that they be seen in the medium in which they were created, on a big screen in a darkened room with others sharing the experience,” Kaboly said, adding that what sets films at the Melwood apart from those at places like the Waterfront is the content of the films, not the theater itself.

The Melwood plays fewer movies than some of the bigger theaters in the city, but the scheduling is diverse. Some are classics, some didn’t get a national release and some are locally made.

Check out http://theaters.pittsburgharts.org for titles and times of the films running here and at other Pittsburgh Filmmakers theaters. Tickets for students with valid IDs at all Pittsburgh Filmmaker theaters are generally $4.

Harris Theater

809 Liberty Ave.

www.pittsburghfilmmakers.com

The Harris Theater, also owned by Pittsburgh Filmmakers, emanates a nostalgic feel. With little graduation in the rows of armless seats, the theater seats 200 people between the lower level and the balcony.

The theater is named after Pittsburgh businessman John P. Harris, recognized as the first man in the world to open a Motion Picture theater. Pittsburgh Filmmakers has only owned and operated the theater since 1995; the theater itself has been open since 1931.

Films screened here tend to include contemporary, foreign and indie films, as well as some documentaries. When selecting films to run, Pittsburgh Filmmakers organizers monitor both the commercial film markets and film festivals for potential candidates, Kaboly said.

“If it’s not set for a local commercial release and we feel that the film deserves a local premiere, we then contact the distributor,” Kaboly said. “As long as we feel the film is artistically or culturally significant, then it may play on one of our screens.”

Harris is the only movie theater located Downtown and is open seven days a week.

Regent Square Theater

1035 South Braddock Ave.

www.pittsburghfilmmakers.com

The Regent Square Theater, Pittsburgh Filmmakers’ third theater, is one of the last single-screen neighborhood theaters in the region. Built in 1938, the theater is now surrounded by small local shops and cafés in Regent Square and tends to run better-known classic and artistic films.

Older viewers often remember seeing films such as “The Day the Earth Stood Still” and “Vertigo” at this theater in the past. This tradition continues with the Sunday night classic film series.

“We often get compliments on our Sunday night classic series at Regent Square,” Kaboly said. “Patrons thank us for the opportunity to see an older film on the big screen the way it was meant to be seen.”

Planned renovations promise that this old theater will remain comfortable and stylish.

Rereleased Disney movies add to recent 3D hype

Rereleased Disney movies add to recent 3D hype

http://pittnews.com/newsstory/rereleased-disney-movies-add-to-recent-3d-hype/

By: Larissa Gula and Adelia Mohan / The Pitt News Staff

Courtesy Walt Disney Pictures

“The Lion King” first reigned over the box office nearly 20 years ago, in the midst of a Disney heyday that defined a generation. A revisiting of “The Lion King” in theaters in September 2011 proved that Simba could still sway the masses — the film pulled away as September’s highest grossing movie. This past weekend, “Beauty and the Beast” graced the big screen for the first time in decades. And just like “The Lion King,” it was in a format unlike the original.

Disney’s recent commitment to Hollywood’s fascination with 3-D has spurred a movement to revisit its classics. “The Little Mermaid,” “Finding Nemo” and “Monsters, Inc.” will be retreated.

The 3-D craze has enjoyed great success, but a notable divide among movie fans became evident following the success of eye-candy blockbuster “Avatar.” Two camps were formed: those who absolutely love seeing movies in 3-D and those who desperately wish it would go away. Even the critics are spilt — Roger Ebert dedicated an entire blog post to explaining why he is against 3-D.

But the extra dimension in movies isn’t entirely a new fad. It saw fleeting popularity in the 1930s and then again in the 1950s. What separate’s today’s 3-D from that of yesteryear are the large leaps in technological innovation. According to Jeff Hinkelman, video collections manager and instructor at Carnegie Mellon University, most theaters have now upgraded their viewing technology to better support and showcase 3-D movies.

Put simply, the sweeping 3-D development owes much to the new advancements that allow local theaters to properly handle the format.

But Will Zavala, an instructor at Pittsburgh Filmmakers, voiced the questions of film fans and experts alike: Is 3-D here to stay as the next advancement in film, or will it fade once again from the screen? Considering that 3-D has actually worsened the movie going experience for some with its increased prices and side effects such as headaches, many feel the trend has room for improvement.

Three-D might previously have been used as a marketing gimmick, but if utilized correctly, the product can be astounding. DreamWorks 2010 film “How to Train Your Dragon” did not disappoint, and in fact had a stunning effect. Many directors and producers have properly wielded 3-D as a visual enhancement. Even Ebert couldn’t help but admit that he enjoyed the 3-D graphics in “Hugo” and “The Adventures of Tintin.”

Even considering the stigma against 3-D and the format’s uncertain future, the numbers pulled in by the rereleased Disney movies (“The Lion King” took in at least $61 million, and “Beauty and the Beast” earned $18.5 million its first weekend) display an opposition to the 3-D grievances.

Despite the success of the Disney rereleases, many were initially concerned for whether 3-D could be rendered to a hand drawn film and argued that the styles belonged to separate spheres and were simply incompatible.

Yet after seeing “The Lion King” in 3-D, many noted a distinct beneficial element that 3-D animation added to the movie experience. A few scenes looked better in their original 2-D depictions, but the feelings of inclusion that 3-D brought to the stampede and battle scenes were worth the price of admission.

Even if the 3-D had fallen completely flat, the movie would still have seen box-office success. The primary reason for the film’s successful monetary performance wasn’t its 3-D aspect, but the movie itself.

“The Lion King” and “Beauty and the Beast” are classic Disney films that already have a built-in following. The 3-D animation adds or detracts from the experience, but it does not desecrate the story.

Ultimately, the possibility of a bad 3-D movie can’t ruin the magic of Disney. And with directors employing 3-D to enhance a film’s visuals rather than as a marketing technique, the 3-D experience is set to see improvement in quality and viewer reception.

Gray skies bring SAD

Gray skies bring SAD

http://pittnews.com/newsstory/gray-skies-bring-sad/

As Pittsburgh’s weather turns grim, Ann Stone finds it harder and harder to stay awake during the last push to get her art degree.

The Carnegie Mellon student drags herself out of bed in the morning and starts to feel sleepy by 6 or 7 p.m. Even though she said it “sounds ridiculous,” she finds that gray skies always seem to put her in a melancholic or lethargic mood, making it difficult to do the things she loves, like reading and writing.

While it’s not uncommon for students to feel a bit lethargic as they transition back into their classes, for some people, behavior like Stone’s is a sign of seasonal affective disorder, also known as SAD.

SAD is a type of mood disorder and is recognized as recurring depression with seasonal onset and seasonal remission, said Marian Vanek, director of Student Health Service.

Symptoms of both SAD and depression include depressed mood, decreased interest in activities once found enjoyable, loss of focus and attention, increased or decreased appetite, hypersomnia (oversleeping), lack of energy and social withdrawal. The difference between the two is that SAD only occurs during a set time of the year.

Though she has never been diagnosed with SAD or depression, Stone admits that she sometimes displays all of these symptoms. But the symptoms do not always mean a student has depression or SAD, explained Tevya Zukor, the director of Pitt’s Counseling Center.

The disorder, commonly and incorrectly referred to as the “winter blues,” is a form of depression that occurs around the same time each year, typically beginning in October or November and subsiding around March or April.

Though it comes and goes with winter, experts still aren’t entirely sure what triggers SAD. It’s believed that the decreased amount of light in the winter could contribute, Vanek said.

Some treatments for the disorder, like those for depression, involve therapy and medication. Others, however, center on the use of light as a medication. Some people might use special light boxes during certain times of the day or begin waking to alarm clocks, with the intention of being exposed to more light, in which their environment might naturally be lacks.

This is reflected in the prevalence of SAD in different states. The occurrence rate in Maine might be as high as 10 percent, while in Florida it’s as low as 2 percent. Pittsburgh ranks in between at around a 6 or 7 percent occurrence rate, Zukor said.

Data and studies about SAD are fairly limited, but experts estimate that it affects as low as 0 percent and as high as 9.7 percent, depending on the region. Because it’s related to wintry conditions associated with changing seasons, populations up north tend to be more affected, Vanek said.

Some definitions of the disease add that SAD commonly develops in young adults, particularly those in their early twenties.

But Zukor questions whether the disease truly develops at this age or whether, instead, it’s simply identified at this age after a pattern of depression is observed.

To be diagnosed, a person with SAD must demonstrate a clear history of developing depression during a specific time of the year, Zukor said. If no pattern presents itself, some people might be treated for depression instead, because the symptoms are so similar.

“The expression I use is, there is a difference between depression and ‘sad things make me sad,’” Zukor said. “Everyone has a bad day and could show similar symptoms [to depression] just because of that.

“The real mark we use to try to figure out when something is depression, is ... when people experience a lot of those symptoms for a couple of weeks or so, and it begins to interfere with their life. Then it isn’t a temporary problem.”

Stress is also a major trigger, according to Zukor, who believes the stress levels of students explains why many people begin to notice SAD in college.

“When we think about the stress we experience as students, it makes sense,” he said. “We have the stress of a semester ending. We have the stress of graduation. And during the summer, while there’s stress, it’s a bit different than the academic pressure and responsibilities people have during the rest of the year.”

Treating the disorder can involve certain devices, like the therapeutic lightboxes, that most other disorders do not require.

The person with SAD will sit near a light therapy box, which gives off bright light that mimics natural outdoor light.

“Light therapy basically involves a full-spectrum light,” Zukor explained. “Students who spend time under this light for 30 to 45 minutes every morning tend to report a big increase in their moods.”

Pitt’s Counseling Center has light boxes for student use. Light therapy, however, requires a daily time commitment. For some students, sunrise clocks are a better option and treatment, Zukor said.

“It’s an alarm clock that mimics the sunrise,” he said. “You set an alarm, but instead of beeping, the alarm begins building light intensity and mimicking a sunrise. Most of them come along with audible alarms. And it’s very interesting because they really seem to work. Most of the work, though, happens in your brain before you wake up.”

Zukor expects that many students, Stone included, will feel considerably better later in the year as well.

“March tends to be the month we have spring break, and I always go somewhere warm and sunny,” Stone said. “I come back feeling much better, no matter how the weather is in Pittsburgh.”

But Zukor stresses that anyone who wants or needs help should always use any resources Pitt has to offer.

“Someone who has had depression understands that big difference between having a bad day and being depressed,” he said.

Students who think they have depression or SAD should make appointments either at the Student Health Service or the Counseling Center.

‘Tintin’ reminiscent of childhood adventure dreams

‘Tintin’ reminiscent of childhood adventure dreams

http://pittnews.com/newsstory/tintin-reminiscent-of-childhood-adventure-dreams/

Courtesy Paramount Pictures

“The Adventures of Tintin”

Directed by Steven Spielberg

Starring Jamie Bell, Andy Serkis, Daniel Craig

Grade: B

With danger, secrets, chases and strange lands, Steven Spielberg’s adaptation of “The Adventures of Tintin” feels like a classic comic brought to life on the screen — and with good reason.

The film is based on three titles in a comic series created by artist Hergé (Georges Remi). Set during the 20th century, the series revolves around the adventures of Tintin, a Belgian reporter, who is often aided by a fox terrier named Snowy. Spielberg’s film is only one of many adaptations of the story, and it’s a pretty enjoyable one.

The film opens with Tintin (Jamie Bell) and Snowy wandering the market, where Tintin purchases a model of a ship called the Unicorn. Immediately after the purchase, two men approach the reporter. One warns him about the danger he’s in as long as he’s in posession of this model ship. The other tries to buy the ship from him.

Refusing to sell it, Tintin takes the model home, where Snowy damages it. This reveals a hidden scroll in its mast. While researching the history of the ship on which the model was based, Tintin discovers that it sank during its last voyage, supposedly carrying secret cargo.

Unfortunately, the model is stolen; the only piece left behind is the one Snowy knocked loose. As the film progresses, it becomes increasingly clear that this is the item the thieves wanted. The message is unmistakable when the man who warned Tintin earlier is found shot on his doorstep.

Tintin calls the police and is soon abducted and taken aboard a ship where Captain Haddock (Andy Serkis) is also held. In a drunken stupor, Haddock reveals that he holds a secret about the Unicorn passed down by his family — which he’s forgotten.

This film simply screams of childhood adventure fantasies. The main characters race across the sea to strange lands and back by ship, airplane, camel and car, all while avoiding death or capture by dastardly villains. And at the heart lies a puzzle that could lead them to treasure once sought by pirates.

With the action of three comic books crammed into one film, the plot moves quickly. And because of the source material, almost every scene features an action and adventure film device — from chase scenes to sword fights.

The mystery — rather than the characters themselves — drives the film, the action and the adventure. Fortunately, despite the occasionally bumpy transitions between scenes and speedy pace in general, this is a fairly pleasant movie to watch.

Most of the animation is beautiful and the action scenes are very impressive and visually appealing. The only animation downside: Despite the impressive use of motion capture to translate movement into digital code, the technology clashes with the artistic style, where characters look more like plastic than flesh-and-blood human beings.

All in all, this little adventure film features some impressive animation, decent humor and plenty of swashbuckling and gunfire.