“Model” citizens

Wes Lawson

Daily Egyptian

‘Role Models’

Rated R

Starring: Paul Rudd, Seann William Scott, Jane Lynch

Directed by David Wain

Run time:

3.5 out of 5 stars

After skewering teen movies and the Bible in two of this decade’s best comedies, “Wet Hot American Summer” and “The Ten,” director David Wain has set his sights on another topic ripe for parody: the inspirational buddy movie.

Though “Role Models” occasionally falls prey to the conventions of the genre where little kids and adults learn from each other, “Role Models” is an incredibly funny film that proves, once and for all, that Paul Rudd is one of the funniest people working in movies today.

Rudd plays Danny and Seann William Scott plays Wheeler, two guys who sell an energy drink called Minotaur as a way to keep kids off drugs. Danny hates his job where he has spent 10 years and his life in general, whereas Wheeler loves every minute of it and spends his days chasing women. After Danny breaks up with his girlfriend (Elizabeth Banks) and blows a Minotaur speech at a school, he manages to get in trouble with the law in a scene that Carbondale residents will love, which involves sticking it to a tow truck driver.

Anyway, the two guys are sentenced to 150 hours of community service at Sturdy Wings, a big brother- type program where older people mentor younger people. Danny’s kid is Augie (Christopher Mintz-Plasse), who is obsessed with a role playing game called FAIRE, and Wheeler’s kid is Ronnie (Bobb’e J. Thompson), a foul mouthed troublemaker that has gone through several big brothers.

Needless to say, they all learn from each other and it leads to a super happy ending. But what makes “Role Models” different from other movies of this type is its vulgarity and the fierce edge it brings to the material. It’s not a cutting satire or anything like that, but because Danny, wheeler, and the kids are on the fringe of society, they are far more interesting than simply kids with troubles. They drink, smoke, go on camping trips, and debate the sexual connotations of KISS songs. Danny and Wheeler don’t treat the kids like they are kids, and that makes the film all the more refreshing, because it’s not condescending or dumbed down.

A large bulk of the film is taken up by the FAIRE role playing game, which is essentially “Lord of the Rings” re-enacted in parks with plastic swords. It’s funny to watch because the scenes are played as deadly serious, and director Wain doesn’t make fun of these people who clearly think that this is the most important thing in the world. The final battle, in which Augie and Danny finally take charge, is the film’s funniest scene, especially when several party members are killed off.

The film is filled with wonderful comedic performances, Rudd and Scott among them. Jane Lynch, as the ex-druggie who runs Sturdy Wings, nearly runs away with the movie during her moments. And though Plasse essentially plays McLovin again, he stil gets big laughs, as does Thompson, who will be a big celebrity one day.

The film is perhaps not as funny as it could have been, and it drags a bit in the middle while the characters catch up with the plot. We certainly could have done without the evil parent characters that always pop up in movies like this, although they are funny in and of themselves.

“Role Models” is no masterpiece of comedy the way “Wet Hot” was, but it’s still pretty funny and worthy of a matinee ticket. Just don’t expect to look at buddy movies the same way for a while.

I get high on white powder

By: Audra Ord

I got into rock climbing about two years ago when a friend of mine invited me to check out a climbing club meeting. I went to the meeting, climbed with some club members the next weekend and have been hooked every since.

There’s nothing like climbing; it’s a totally natural and organic sport. At it’s most basic, all you need are a pair of shoes. It’s an amazing full-body workout that pushes you to your physical and mental limits, and it’s a great opportunity to get outside and actively participate with the natural world.

There are four main branches of rock climbing: top-roping, sport climbing, trad climbing and bouldering.

In top-roping, the rope goes up from the ground, through anchors at the top of the climbing route and back to the ground. It is the safest form of climbing.

In sport climbing, the climber attaches the rope to the wall using permanent, pre-placed bolts and removable gear called quickdraws.

Trad, or traditional, climbing is similar to sport climbing, only there is no permanent gear; the climber places the gear himself in the cracks, fissues and natural features of the rock and removes it when they’re finished climbing.

Bouldering is, as the name suggests, climbing on boulders. No ropes or gear is necessary, though climbers often use crash pads as a cushion in case of a fall or dropping off of the climb.

I typically boulder because I like the athletic and gymnastic aspects of it — and I’m afraid of heights. Gasp! Yes, you can suffer from vertigo and still be a rock climber.

I encourage anyone even remotely interested in trying rock climbing to check it out. You don’t have to be strong or even comfortable with heights to climb — all you need is a willingness to try. I promise you won’t regret it.

Get familiar

By: Luke McCormick

We are not able to cover every new music release we would like to each week and therefore miss out on some worthwhile pieces.

Here are a couple of newer albums, which are worth a listen or two or 26.

Blitzen Trapper

“Furr”

Release Date: 9/23

Record Label: Sub Pop

4 out of 5

Every band emulates their influences and make a sound all their own. Some do it better than others.

On Blitzen Trapper’s newest they dust off their Neil Young, The Band and Kinks records to create a backwoods, folk-rock modern classic.

The rootsy record is awash in nature and old times as frontman Eric Earley spins yarns about his flesh turning into fur and communing with wolves on the title track or a cowboy going on a murderous rampage on “Black River Killer.”

The album is indebted to many past folk-rock legends but also taps into 90s indie rock ethos with ragged guitar work popping up amidst the album.

“Furr” is a beautiful, meandering piece of work in just the beginning stages of a very exciting young band.

Killer Mike

“I Pledge Allegiance to the Grind Vol. 2”

Release Date: 07/08

Record Label: Smc Records

3.5 out of 5

Killer Mike is pissed off. Polictics bother him, the government bothers him, the state of hip-hop bothers him, the hood bothers him and this is his testament to change.

Rapping with a fervor rarely seen in rap music anymore, Mike’s spitfire flow is a slap in the face. He raps over each beat as if it would be his last bars and that sincerity makes this one engaging hip-hop record.

On standout track, “God in the Building” he raps about some old ladies in his church asking him “Why you rap when you know you should preach?” Mike does indeed preach all over this record. He’s just in front of the mic instead of a pulpit.

The Gaslight Anthem

“The ’59 Sound”

Release Date: 10/19

Record Label: Side One Dummy Records

4.5 out of 5

All the big talk about TV on the Radio and Deerhunter releasing the best albums of the year can be put aside. This New Jersey punk outfit, as of right now holds the crown.

I hesitate to call this a punk record, because there is so much more context here than your normal punk rock record. However, the three chords and cloud of dust are still there coupled with a few great ballads.

The band relies on a workingman/blue-collar aesthetic the same way Jersey’s favorite son (no, not Bon Jovi) has been doing for years.

Songs about lost loves, redemption and the death of close friends make for one heartache of a record, but never do the songs feel like total downers. They are wrapped up in enough soaring, sing-along choruses, rapid-fire drums and throaty vocals to not get too immersed in the travesties happening within each track. But, sometimes listening to these characters’ pain can be a soothing thing, and frontman Brian Fallon has created some great tales.

Put this ‘Q-Tip’ in your ear

By: Luke McCormick

Q-Tip

provided photo

“The Renaissance”

Release Date: 11/4

Record Label: Universal Motown

4 out of 5

Q-Tip has a voice which some might classify as an acquired taste. His nasally laidback flow is a changeup from the harsh braggadocio utilized by many of the big names in hip-hop right now.

As the listener, if this taste is one you can acquire, you are in for a treat.

The emcee’s flow rides “The Renaissance’s” jazz-soul-funk inflected beats like the first ride on a brand new Schwinn.

Effortlessly the former A Tribe Called Quest frontman has a created a batch of smile-inducing, harmless hip-hop songs which harkens back to the days of his classic group.

Things start off wonderfully with the new soul of “Johnny’s Dead” as a jumping off point for the overall funkiness of the rest of the record.

The guest spots are limited and relegated to voices only singing the choruses of their respective songs.

Norah Jones unexpectedly turns up with an airy vocal turn on the Jamiraqui-esque “Life is Better.” Raphael Saadiq and D’Angelo also lend their voices to the record and it is always a treat to have a reminder of the greatness of D’Angelo.

“Move” is another gem from the vaults of the late, great hip-hop producer J Dilla. Over an old soul sample and a chorus which evokes the stuttering chours of A Tribe Called Quest’s “Scenario.”

The record is a like your favorite sweatshirt. You’ve had it for years and no matter how many times you wear it or people see you rocking it, it’s just so comfortable it cannot be retired. Q-Tip brings that same feeling with his newest. The laidback feel he helped pioneer with his days in Tribe is all over this record.

It’s been nearly a decade since the rapper’s other solo outing (2002’s Kamaal the Abstract was shelved) and here is to hoping he doesn’t stay away for another ten.

As the seasons turn, so do the playlists

By Luke McCormick

I often find myself curbing my listening to the changing of the seasons. With the winter months quickly approaching I’d like to offer up some classics for the cold, icy times coming our way (unless these 75 degree days keep up).

Bon Iver

“For Emma, Forever Ago”

Jagjaguwar Records

2008

Justin Vernon recorded this sparse masterpiece as he was holed up in his father’s cabin in the blistering chill of a Wisconsin winter.

The record is an intensely, intimate affair of acoustic guitar and the pain of failed relationships.

Vernon’s warbling falsetto is so full of heartache this is going to be a cornerstone breakup record for years to come.

The dark, close to the heart music and lyrics make for a great listen when you just don’t want to leave your house on a gloomy December morning.

Lucero

“Tennessee”

Madjack Records

2002

The sophomore outing from these alt-country mainstays is a bruising, working man’s piece of Americana that borrows from the likes of The Replacements, Steve Earle and Bruce Sprinsteen (we’ll get to him later).

Frontman Ben Nichols’ rasp breaks throughout songs of lost loves and growing up.

The twang of the guitars and the ruminative lyrics evoke warmer Southern nights during the tepid winter months.

A great record from a severely underrated band.

Ghostface Killah

“Ironman”

CBS/Epic Records

1996

This Ghostface Killah record is a compelling insight into street politics, violence and the usual offbeat nature of the emcee’s lyrics.

Over signature, sample-fueled, horn filled RZA beats Ghost’s claustrophobic flow is a perfect accompaniment.

When trapped indoors during the winter and feeling like pulling your hair out, this record is a perfect way to get some stress out and fend off the harshness of cold weather.

Bruce Springsteen

“Nebraska”

Sony Records

1982

The Boss threw the world of popular music a curveball with the release of this folk masterpiece.

After a decade of becoming one of the biggest names in rock ‘n’ roll, Springsteen dropped his backing band and released this batch of blue-collar, acoustic numbers.

Death is the predominant theme throughout the record as he also touches on the harrowing problems which might pop up in the everyman’s life. His characters have debts to pay, jobs to keep and redemption to earn.

The record is a stark, haunting portrait of America and belongs on every single winter playlist.

Remember radio?

By: Luke McCormick

WIDB will be moving out of their 4th Floor Student Center studios this week for remote broadcasts around campus.

The station is doing these to promote the first ever Free Fall Music Festival at P Mac’s Music on Saturday.

There will be local bands and prizes given out. The festival will run from 11 a.m. to 4 p.m.

As radio becomes a forgotten format, WIDB offers a great variety. Since I found out about the station during my first semester here last winter I always check the station when I hop in my car.

I might hear some fresh new indie rock or some underground hip-hop or a forgotten jazz gem. The possibilities of what might come on are what should have people coming back.

As I spoke to station general manager Joe Davis this week he said part of the remote broadcasts is letting students know the station needs more DJ’s for the spring semester. If you are one of those people who has given up on radio and always have your iPod switched on in the car, get in touch with the station and help continue making this radio station worthwhile.

So, next time you get in the car, don’t automatically go for a CD or your iPod, give WIDB a chance. You just might be pleasantly surprised.

Those interested in becoming a DJ should send an e-mail to personnel@widb.net

Watching “Porno”

Provided Photo

Wes Lawson
Daily Egyptian
“Zack and Miri Make A Porno”
Rated R
Starring: Seth Rogen, Elizabeth Banks, Craig Robinson
Directed by Kevin Smith
Run time:  101 minutes
4.5 out of 5 stars

In an age of comedy filmmaking that is largely dominated by Judd Apatow and his crew of misfits, it’s interesting to see how the original master of the vulgar, Kevin Smith, fits into the comedic landscape. Ironically, his new film, “Zack and Miri Make A Porno,” feels like a merger between the freewheeling improvisation of an Apatow film and the verbose sexual dialogue that Smith is so well known for.
“Zack and Miri,” his first film in almost two years, is a sweet little comedy that also delivers big laughs, which is not exactly expected from a movie with this title. Smith has long been criticized for making movies that are remarkably similar, but the critics fail to realize that this is his unique voice, and in this film, it comes through loud and clear and produces one of the best romantic comedies in ages.
The film’s plot is pretty much right there in the title. Zack (Rogen) and Miri (Banks) indeed make a porno. Zack and Miri have been best friends since the first grade and now live together in destitution in the town they grew up in. They decide to make a porno shortly after their 10-year high school reunion, when they are completely broke and lacking heat, water, and basic amenities. OF course, they are completely clueless on how to actually go about making a porno, so they enlist a guy from their high school class who used to shoot basketball games, one of Zack’s coworkers (Robinson) and a variety of amateur talent to craft a film whose title cannot be revealed in the context of a review. And of course, while producing the film, Zack and Miri are forced to acknowledge that they had feelings for each other all along, which is difficult to do when you are getting paid to have sex on camera.
The film has been the subject of controversy for some time now, mainly because of its title, and it even got banned from a theater in Utah for being too sexual. Judging by what is actually in the film, the Utah theater owners never saw the film. Yes, there is full frontal male and female nudity, and there is plenty of on screen sex, but it’s all played for laughs and the sex isn’t much more titillating than what you would see in countless other R-rated films. Most of the horrible sex content is in the dialogue, which Smith is well known for, and even then, it’s not much worse than other films, even though it comes at such an overwhelming clip that it’s hard to keep up in the midst of the laughter and fun.
Even though this is the first film by Smith to not take place in New Jersey, it stil has a distinctly small town feel and an intimacy between the characters that is completely organic and fun to watch. Rogen and Banks have great chemistry together, and the supporting cast gets numerous chances to shine. Props should also go to Smith for utilizing two real porn actors (Traci Lords and Katie Morgan) as actors within the fake porn film, and actually giving them something to do other than have raunchy sex. Jason Mewes and Jeff Anderson, two Smith regulars, are in the film as an actor and the cinematographer, respectively, although Mewes gets one of the film’s biggest laughs in describing a sex technique that no one in the audience will ever have heard of.
For a film that is so funny and so completely raunchy, it’s also surprisingly sweet. The love story between Zack and Miri is believable, if a bit underdeveloped, and their final scene together is remarkably tender. Really, the film’s only flaw is that this part of the story didn’t get enough time to develop, but it’s a minor quibble in a movie that pretty much does everything right.
Kevin Smith has delivered another winner as a writer/director. “Zack and Miri” is a film that will stand the test of time far better than some of the films Judd Apatow has put out, and in a few years, when the great comedies of this decade are listed, this one will certainly be on it.

Take a lesson in ‘Cardinology’

By: Luke McCormick

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Ryan Adams & The Cardinals

“Cardinology”

Release Date: 10/28

Record Label: Lost Highway

3.5 out of 5 stars

Ryan Adams’ solo debut, “Heartbreaker” is one of my top 10 records of this decade. Sadly, his output since his 2000 masterpiece has been inconsistent at best. Sure, there have been flashes of former brilliance, but never encapsulated for a full album as the man did on his first outing.

In 2005, he began recording with a backing band known as The Cardinals. They released a couple records that year, with “Jacksonville City Nights” being a severely overlooked piece of Southern rock nostalgia.

Well, “Cardinology” is not another masterpiece, but definitely a strong outing, especially the record’s back half.

Adams & Co.’s newest is more subdued than their past efforts. The stomping, bar room brawl anthems and winding jam sessions have been replaced with a much more laid back vibe.

The one time the group strays from this aesthetic on “Magick,” the results are dire. The track could have easily been a b-side from the dire, “Rock N Roll.” Big, chunky guitar riffs clog the track as Adams drops some cringe-worthy lyrics. The chorus of “Turn the radio up loud and get down,” along with other high school rock band-esque notepad lyrics make this one sound like it was thrown together at the last minute.

While there a few low points on the record, the highlights are much more frequent. When Adams is good, he’s really good. The man can write a melody and the album’s latter half is listen-able proof.

“Crossed Out Name” tells the tale of a lover scorned (I’m thinking about Adams’ messy relationship with Parker Posey for this one) over what starts as a few simple acoustic chords. Then picking up minor keyboard swells to give the song the seriously melancholy backdrop it had to have.

The brightest moment of the record’s backside, sonically at least, comes with “Like Yesterday.” A great exercise in classic rock pandering, complete with Allman Brothers-esque guitars and some simple harmonizing between Adams and the band.

Adams would be the guy to title the closer of an album “Stop,” he sure exudes the confidence/ego of a guy who doesn’t care what others think about his actions. The final track is a heartbreaking (no pun intended) piano ballad which puts a morose stamp on a fine record.

The album sounds like a more complete Ryan Adams affair than his work starting around the middle of the decade. The man is terribly prolific and sometimes to a fault.

It seems that between getting sober and being out of a relationship, the man took the time to craft some genuinely good tunes. I’m not holding out hope he’ll craft another “Heartbreaker,” but I think he has passed that stage of his career. The place he has seemed to settle, the more adult alternative Adams is a nice fit. Even if it means his alt-country masterpiece days are behind him.

Not worth the hunt

By: Luke McCormick

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Deerhunter

“Microcastles”

Release Date: 10/28

Record Label: Kranky

Website: www.deerhuntertheband.blogspot.com

2.5 out of 5 stars

First of all let me exhale a great big YAWN over this record. Critics have been falling over Deerhunter for the past couple of years and I am really at a loss of words for why.

They are not doing anything groundbreaking and what they are doing is not even a mind blowing send-up of past sounds.

At least their newest venture strays from some of the drone and ambience of their sophomore effort, “Cryptograms.” Now don’t get me wrong here, I’m all for some slow-tempo, navel gazing rock music, but I can just put on some shoegaze band who was doing it better in the early 90s.

This time around, the band even decided to include some hooks, and at times they are quite convincing. “Nothing Ever Happened” could possibly evoke some toe-tapping instead of the band’s usual nap inducing rhythms. With a solid backbeat, jangly guitar and searing keyboards this is certainly the record’s stand out track.

Then there are tracks like “Little Kids.” The track begins as what sounds like a mid-90s indie rock gem which gains steam as the track’s guitars build and build. Instead of a crashing crescendo the band escapes into another ambient soundscape, which just seems like the easy way out for this group since they have been doing it for a while now. I can’t say that for a track to be good it needs a balls-out rocking high point, but at least a mess of guitars or feedback or intense rhythm would have been an excellent second half to this song.

It is admirable of the band for semi-switching things up on this record, but just not enough to garner the kind of love they have been receiving.

Don’t see this “Saw”

Provided Photo

By: Wes Lawson

“Saw 5”
Rated R
Starring: Tobin Bell, Julie Benz, Costas Mandylor, Meagan Good
Directed by David Hackl
Run time: 88 minutes
1.5 out of 5 stars

(Note: This review discusses key plot points from the previous “Saw” films, since it’s difficult to review the fifth without mentioning some of them. It’s doubtful that anyone reading this review won’t have seen them, but in any case, I issue a SPOILER WARNING at the outset. )
Another Halloween, another “Saw” movie. Another series of traps, another ludicrously complicated plot, another patching up of the various plot holes from previous installments, and another twist ending.
But speaking as a die-hard “Saw” fan, I must say that this is the first in the series where I was completely bored and uninterested. After five movies, this franchise is out of gas and out of ideas and it needs to be put out of its misery.
The fourth film hinted that Agent Hoffman (Mandylor), who was in charge of the Jigsaw investigation, has now taken Jigsaw’s place after his death. Officer Strahm, another character who apparently we were supposed to know from the previous films, is hot on his trail. Meanwhile, Hoffman has set up another game for five more people, in which they run the risk of getting decapitated, blown up, electrocuted or bled to death.
Really, the plot is of little importance, since there isn’t much of it to speak of.

If “Saw” had stopped at number 3, with the death of Tobin Bell as the original Jigsaw, then the series might have remained an effective little horror trilogy. By continuing on without him, the filmmakers have shot themselves in the foot, having to rely on copious flashbacks to fill in the blanks of the previous films and keep Jigsaw around to keep things interesting. Hoffman is not an interesting character, and about forty percent of the film is flashbacks showing how he became Jigsaw’s right hand man. Apparently Jigsaw was the smartest man who ever lived and could juggle two henchmen without them ever running into each other and plan the most elaborate traps and plots fifty steps ahead of everyone trying to get him.
Worse is the subplot involving the game played by the five connected people, who share a bond over something stupid. Their story is completely pointless and it only serves to alleviate the tedium of the flashback sequences. The traps, which are the only reason to see these films anymore, are getting to be kind of boring, and the twist ending is so nonsensical and unearned that it reminds us of how effective the twists in the previous films were.
Director David Hackl has learned from director Darren Lynn Bousman and pretty much has the same directorial techniques and grungy interiors as the previous films. But no matter how hard he tries, he can’t overcome the deficiencies of the screenplay, which humanize Jigsaw to the point where we don’t care anymore, and provides us a new killer who is about as interesting as a piece of paper.
I’m done with “Saw.” I was willing to give it another chance after the disastrous fourth installment, but there’s only so much I can take. Jigsaw needs to go on break for a few years and get some new writers and directors if he ever wants people to be interested in his story again. But as of right now, the makers of “Saw 5” should call it quits.