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dailywildcat.com/wildlife

B4 B3Check out our picks for the Academy Awards

Gearing ‘Up’ for Oscars

wednesday, march ,

Steven KwanArts Editor520•621•3106arts@wildcat.arizona.edu l ifeWild

You no longer have to be Denzel Washington to enjoy an intimate audience with Spike Lee . The award-winning director will be coming to Centennial Hall on March 31 . Students can buy presale tickets on Thursday and Friday for $5, limit two per CatCard, at the Centennial Hall box offi ce. Tickets go on sale to the general public Monday.

Famous for spearheading such socially relevant fi lms as “Malcolm X,”

“Summer of Sam,” and “25th Hour,” Lee will be delivering a lecture hosted by the University Activities Board . As one of the most respected — or at least recognizable — African-American fi lmmakers of the 20th century, Lee is famous for both the thought-provoking and the controversial. His works have explored such sensitive social issues as rape (“She’s Gotta Have It” ), murder (“Summer of Sam”), bigotry (“Do the Right Thing” ) and, more

recently, the wreckage of post-Hurricane Katrina New Orleans in his Emmy-winning documentary “When The Levees Broke: A Requiem in Four Acts.” What the director will have to say to a UA audience is anyone’s guess.

Not content with just being in the same room as Lee? The activities board will be holding a contest to select six students to meet the director in person before the lecture. Winners will be

selected based on their response to the prompt, “Why I want to meet Spike Lee,” which can take the form of a written letter, a fi lm script or an original fi lm. Contest applications can be picked up at the front desk of the Center for Student Involvement and Leadership , at the Gallagher Theater box offi ce or in the Student Union Memorial Center Games Room . Submissions are due by March 22.

Lee’s lecture will mark the fi rst of the

activities board’s “An Evening with …” series. More lectures will be announced over the semester.

— Brandon Specktor

If You GoAn Evening with Spike LeeMarch 31, 7 p.m.Centennial Hall$5 presale tickets for UA students only

available on March 4 and 5

Head to Red Rock CountryIf a trip to the rowdy Vegas casinos isn’t in the cards

this year, why not try somewhere closer to home? While Sedona, Ariz., is not the craziest of spring break destinations, the many activities and natural splendor of the “Red Rock Country” and is enough to keep you hopping from dawn to, well, dawn. Plus, you probably have less of a chance of waking up the next morning with a tiger in your bathroom.

With outdoor adventures like rugged Jeep tours, hot air balloon rides and more than 100 hiking trails, as well as shops and exquisite dining, Sedona is an ideal destination for many reasons. And did I mention that Sedona is a spiritual power spot, home to several metaphysical vortexes?

Visit http://www.visitsedona.com/ for more information.

—Dallas Williamson

Take in some surf ‘n’ turfNot up for partying 24/7 with your friends? For

a low-key spring break, consider a road trip to San Diego. Less than a seven hour drive from Tucson, it’s worth packing up the car and heading out for some food, fun and culture. San Diego has tons to offer. It boasts a vibrant nightlife, a plethora of museums (right next to the San Diego Zoo in Balboa Park) and great food. For killer steaks and seafood, try Saska’s at Mission Beach and while in the area, be sure to check out the classic wooden coaster at Mission Beach — before you eat. For more information, directions and trip planning help, visit www.sandiego.com.

—Ali Freedman

Ride the railsIf you’re looking for a taste of old-world glamour

and adventure this spring break, look no further than the Amtrak Texas Eagle. From Tucson’s historic train station downtown, you can take the Amtrak to

41 cities in eight states. It’s about 30 hours to Austin or a day and a half to New Orleans, and tickets hover around $100, depending on the time of day — less than a plane ticket or the price of gas. Plus, nothing’s quite as romantic as that clickety-clack sound underneath you as the train chugs through the beautiful Southwest. For a steeper price (add about $230), you can book a room in a sleeper car.

400 E. Toole Ave. Visit www.texaseagle.com or call 623-4442 for travel

planning and ticketing information.—Heather Price-Wright

Have a snow dayThere’s been quite a bit of snowfall up north,

so take a trip from wherever you are, bring your friends and go play in the snow. Flagstaff, Ariz., has a multitude of hikes, ski resorts and snow play areas that are sure to provide fodder for your snowball cannons. You can fi ll your hungry stomachs with Flagstaff’s famous “Bun Huggers” hamburgers and fried zucchini at 901 S. Milton Road. Come just for the day or stay at a hostel for $18 per night and make it a longer visit. Go to http://snowplayaz.com for details.

—Kellie Mejdrich

Work it outStuck in Tucson? You do not need to travel far to

experience a little rest and relaxation. Work out the semester’s tension and treat yourself to a massage. Feeling the urge to shake it up? Try a hot stone massage, shiatsu or myofascial release. The Lotus Massage Wellness Center, 2850 E. Grant Road , is close to campus and will not break the bank the way Elizabeth Arden would ($68 for an hour versus $130 for 50 minutes). For more information, check out www.lotustucson.com or call 326-7700.

—Kim Kotel

The anti-spring breakMost people end up soaking up rays on beaches or

skiing in Colorado. If you want something new, do the opposite. Geek out! Stay indoors and learn something. Study for the GMAT, fi nish that video game or fi nally build that beer pong table you’ve dreamed of. Work on whitening up that tan, while kicking it with a “Harry Potter” novel.

—Kathleen Roosa

Go skywalking at the Grand CanyonSome tourist traps simply aren’t worth it. This one

is. The reinforced glass walkway hangs a dizzying 3,600 feet above the basin and the view is defi nitely worth the drive. Take a few of your buddies and be sure to get some good food on the way home.

—Joe Dusbabek

Bar hop with the bandsThis spring break, stay as far as you can from the

bars of Mexico; you’ll just get dysentery anyway. Instead, head to Austin, Texas, for the SXSW festival March 12-21. It’s like Coachella, except a thousand times less pretentious and with an actual city to have fun in. All of the clubs are hosting shows, including Nas with Damien Marley, Minus the Bear, The Jesus Lizard, Spoon, Flying Lotus, Surfer Blood, Stone Temple Pilots, Drive-By Truckers, The xx, Murder By Death, Lucero, Bear in Heaven, The Very Best and Japandroids .

—Zachary Smith

Save some bucks in BisbeeSave some money and boost the local economy by

taking a trip to Bisbee, Ariz. Besides being a haven for eclectic art, the small town offers good food, hole-in-the-wall bars and scenic hillsides. If you decide to stay the night, check out the (supposedly haunted) Copper Queen Hotel or the Letson Loft

Hotel, which has large bay windows that look out on Bisbee’s main street.

http://bisbeearizona.com/content/http://www.copperqueen.com/http://www.letsonlofthotel.com/index.shtml

—Emily Bowen

Do what you’ve been meaning to doWhether it’s something from your personal to-do

list or our “Before You Graduate” feature, make it your goal to check a few things off. Been wanting to camp? Visit Mount Lemmon or, better yet, the expansive, secluded Colossal Cave Mountain Park. Just trying to relax? Book one night at a hotel. Even lower-end accommodations like La Siesta, 1602 N. Oracle Rd., or the Randolph Park Hotel, 102 N. Alvernon Way, which have low rates and frequent specials, make a normal night a vacation. Assemble your own low-budget, custom-tailored spring break experience.

—Christy Delehanty

Go skydivingWho wants to jump out of a perfectly good

airplane? You do! If you’re looking for an adventure that doesn’t require much travel, skydiving is your best bet. Skydive Arizona is located just north of Tucson in Eloy, Ariz. Tandem jumps cost $179 for students, but the experience is worth the price. For more information, go to skydiveaz.com or call 466-3753.

—Katie Gault

Just hit the roadGetting away for spring break doesn’t have to

confl ict with a tight budget. Grab a few reliable friends, a car and head off to relative’s house (preferably a cool cousin in California) and let the fun commence. All you will have to pay for is food and gas. You’ll get a change of scenery without breaking the bank.

—Emily Moore

Dive into spring break

Plans for spring break falling through? Try one of these on-the-fly options

Acclaimed director Spike Lee to come to Centennial Hall

An Evening with Spike LeeMarch 31, 7 p.m., Centennial Hall

$5 presale tickets for UA students only available on March 4 and 5

Starting March 8, student tickets at $5, $10, $15General public $10, $20, $30Contest deadline March 22

Illustration by Ken Wright/Arizona Daily Wildcat

Who to see at UA Jazz Week

All that jazz

Watercooler gossip with Angela and Erin

‘The Office’ online

To-Do List

B2 • wednesday, march 3, 2010 • arizona daily wildcat

Mexican cinema afi cionados and newcomers alike will have a chance to not only see free screenings of award-winning Mexican fi lms, but also speak with directors this Thursday through Sunday.

Tucson Cine Mexico 2010, a fi lm festival sponsored by the UA’s Hanson Film Institute and the Consulate of Mexico in Tucson , is screening a collection of Mexican fi lms from the past decade, focusing on releases from 2008 and 2009.

A screening of “El General” (“The General”) kicks off the event on Thursday at 6 p.m. at Harkins Theatres Tucson Spectrum 18, 5455 S. Calle Santa Cruz, with director Natalia Almada in attendance. The festival will then host an opening night party at the Tucson Museum of Art, 140 N. Main Ave., at 8:30 p.m. Thursday. Following the party, “Trópico de Cáncer” (“Tropic of Cancer”) will be shown at the museum at 9 p.m.

All fi lms except “Trópico de Cáncer” will be shown at Harkins Theatres Tucson Spectrum 18.

The festival will host screenings of a total of eight fi lms, three of which the directors will attend. Director Mariana Chenillo will attend her fi lm “Cinco días sin Nora” (“Nora’s Will”) on Saturday at 6 p.m. , and co-directors Ana Paola Rodriguez España and Amanda Sucar will present their documentary “Tijuaneados Anonimos: Una Lagrima, Una Sonrisa” (“Tijuanans Anonymous: A Teardrop, A Smile”) on Sunday at 2 p.m.

The fi lms being presented provide insight into the cultural, political and social aspects that make Mexico a fascinating subject and point of origin for aspiring fi lmmakers. Subjects range from immigration politics, as in the “Los Bastardos” (“The Bastards”) showing on Friday at 10 p.m. , to Mexico’s complex political and revolutionary history, as in “El General.” The festival also includes Mexico’s costliest and most successful fi lm to date, “Arráncame La Vida” (“Tear This Heart Out”) on Saturday at 8:30 p.m., an adaptation of a book by Ángeles Mastretta about a young woman’s search for identity in 1930s Mexico.

All of these fi lms have won awards from various international fi lm festivals before making their Arizona premiere. Attendees are sure to experience some of Mexico’s best fi lms to date, all for free. For more information, visit the Center for Center for Latin American Studies’ Web site at clas.arizona.edu/cinemexico or call Harkins Spectrum 18 for tickets and showtimes at 889-5588.

EVENTS SCHEDULE Thursday, March 4El General (The General)2008, 83 mins6 p.m. Harkins Spectrum 18, 5455 S. Calle Santa CruzIn person: Director Natalia Almada

Festival Opening Night Party, 8:30 p.m. at the Tucson Museum of Art:Guest fi lmmakers, presenters, fi lm, live Music 10 p.m. - midnight, food and drinksIn collaboration with the Tucson Museum of Art, 140 N. Main Ave.

Trópico de Cáncer (Tropic of Cancer)2004, 53 minsPresented by Carlos Gutierrez, co-director of Cinema Tropical9 p.m. in the lobby of the Tucson Museum of Art

Friday, March 5Voy a Explotar (I’m Gonna Explode) 2007, 105 mins6 p.m. at Harkins Spectrum 18

Alamar (To the Sea) 2009, 75 mins8:30 p.m. at Harkins Spectrum

Los Bastardos (The Bastards)2008, 90 mins10 p.m. at Harkins Spectrum 18

Saturday, March 6Cinco Días Sin Nora (Nora’s Will)2008, 100 mins6 p.m. at Harkins Spectrum 18In person: Director Marianna Chenillo

Arráncame La Vida (Tear this Heart Out)2008, 111 mins8:30 p.m. at Harkins Spectrum 18

Sunday, March 7Tijuaneados Anonimos: Una Lagrima, Una Sonrisa (Tijuanans Anonymous: A Teardrop, A Smile)2009, 82 mins2 p.m. at Harkins Spectrum 18In person: Co-director Ana Paola Rodriguez España and Amanda Sucar, outreach coordinator for Ambulante

WEDNESDAY, MARCH 3Leslie and the LY’s will play with

Christopher the Conquered and The Signals at Club Congress, 311 E. Congress St. The headlining band spawned from an open mic trio in 2004 and frontwoman Leslie Hall composes most of the music herself using the Apple program, Garage Band . 8 p.m. $8 advance, $10 day of show. 21+.

George Thorogood and the Destroyers will play at the Rialto Theatre, 318 E. Congress St. Famous for songs such as “Bad to the Bone,” the band is pure and simple rock. 8 p.m. $35 general admission, $39 reserved balcony.

THURSDAY, MARCH 4Odyssey Storytelling Presents “New

Shoes: The Fashion Show” at Club Congress, 311 E. Congress St. Six people will have 10 minutes to tell stories on the topic “New Shoes: Fashion Show.” 6:30 p.m. $7.

Metal bands Killswitch Engage will play with Devil Wears Prada and Dark Tranquility at the Rialto Theatre, 318 E. Congress St. 8 p.m. $29.50 advance, $32 day of show.

FRIDAY, MARCH 5Harlem, a locally-conceived band which

has since relocated to Austin, Texas, will play at Club Congress with The Matadors, 311 E. Congress St. 9 p.m. $5. 21+.

Registration for a scooter rally will take place at Club Congress, 311 E. Congress St., at 6 p.m.

Ozomatli will play at the Rialto Theatre, 318 E. Congress St. Their music is a combination of styles such as cumbia, samba, salsa, reggae and R&B . 8 p.m. $23 advance, $25 day of show.

Scorpion vs. Tarantula, The Labor Party and Bordertown Devils will be playing at the Surly Wench Pub, 424 N. Fourth Ave. midnight

SATURDAY, MARCH 6LuLuBell Toy Bodega will hold an

opening reception for “To Have and To Hold,” an exhibit of works by David Christiana. The exhibition continues through March 31. Gallery hours are noon to 6 p.m., Tuesday through Saturday. Free.

The Hut, 305 N. Fourth Ave ., will be hosting the Friki Tiki Garage Festival and Scooter Rally starting at 9 a.m. The rally consists of rides, dinners and concerts, and will continue on March 7 at 11 a.m.

The Arizona Bass Players Festival will take place at the Pima Community College Center for the Arts, 2202 W. Anklam Rd. The festival includes jam sessions, performances and master classes. 9:30 a.m. Registration is $120 for participants, but evening concerts are free.

SUNDAY, MARCH 7An Irish Cook-Off will take place at

Maynards Market and Kitchen, 400 N. Toole Ave. 2 - 5 p.m. Food will include corned beef, Irish stew, soda bread and desserts. Proceeds benefi t St. Patrick’s Day Parade Committee. $10.

Fox Oscar Night America will take place at the Fox Theatre, 17 W. Congress St. There will be a pre-show cocktail hour with food and drinks at 5 p.m., followed by a showing of the Academy Awards show at 6 p.m. $23 general, $123 VIP.

MONDAY, MARCH 8Ricky Shimo will play at Plush, 340 E.

Sixth St. His music encompasses New Wave style and Spanish lyrics. 9:30 p.m. Free. 21+.

TUESDAY, MARCH 9 Wine tasting at the Grill at Hacienda

del Sol, 5601 N. Hacienda del Sol Rd. 5 p.m. - 6:30- p.m. Free.

—compiled by Emily Bowen

OUR

PICK

UApresents is set to showcase comedy legend Lily Tomlin on Saturday at 8 p.m. in Centennial Hall .

Tomlin has received many awards in her 40-year career. She has won two Tonys, six Emmys and a Grammy, as well as receiving an Oscar nomination for her first film, “Nashville.”

The comedian was also honored with the Mark Twain Prize for American Humor in 2003. She has appeared in shows such as “Desperate Housewives,” “The West Wing” and “The Simpsons.”

As a friend to the Broadway stage, Tomlin has starred in Jane Wagner’s one-woman show “The Search for Signs of Intelligent Life in the Universe.” She also recorded a comedy album, This is a Recording, which won her a Grammy award .

Tickets range from $15 to $64. For an extra special evening, pay $150 for Section -A seating and a post-performance reception with Tomlin. Call the UApresents box o� ce at 621-3341 or visit www.uapresents.org for more information.

—Bryan Ponton

local scene

Cine Mexico 2010 brings famous Mexican films to Tucson

By Kellie MejdrichARIZONA DAILY WILDCAT

Photo courtesy of Kino International

Evening with Beckett beautiful but baffling

It takes a special kind of person to enjoy a Samuel Beckett play. After seeing three in one evening, I’m still fi guring out if I’m that kind of person.

The Rogue Theatre, Tucson’s bastion of highbrow entertainment, chose three Beckett one-acts for its penultimate show of the season. The plays, “Act Without Words,” “Not I” and “Krapp’s Last Tape,” create an illuminating, if bizarre, evening.

The plays are not for the faint of heart or those new to experimental theater. The fi rst, “Act Without Words,” is a half-hour pantomime about the futility of life. Patty Gallagher plays a clown trapped on a desert island and tormented by an unseen force, indicated by a carnival whoosh-ing sound. The noise morphs into another character, as it, he or whatever, plays increasingly vicious jokes on the clown.

Gallagher is physically impeccable with the timing of a well-trained mime combined with bulging blue

eyes in a face so expressive each twitch signals numerous emotional nuances. Still, the piece is a bit tedious, albeit deliberately. Even Gallagher’s luminous stage presence cannot fully absorb an audience used to constant stimulation.

The next piece, “Not I,” is even weirder. It is the only one with two players, though calling both “players” is a stretch. The Auditor, played again by Gallagher, stands with her back to the audience in a heavy hooded robe and occasionally points.Cynthia Meier plays the Mouth. She is also robed, and a spotlight illuminates only her red-lipsticked mouth. She talks incessantly in a monologue that fl ows forth as a fractured prose poem, repeating, circling back on itself, building and ebbing into a mesmerizing rhythm.

Once you get past the creepiness of “Not I,” the piece is beautiful. It makes sense, though on a frequency far below

the literal. The words feel like walking somewhere unfamiliar in the dark; you’re often left with the impression that you’ve been there before, but can never quite get your bearings. Meier’s voice is rich and resonant, imbuing the words with as much importance as their

meaning. If you listen closely enough, a loose plot emerges through the chaos. I even understood the title, which fi lled me with an inordinate amount of pride. Perhaps it is possible to “get,” and even to enjoy, Beckett.

After a much-needed intermission, “Krapp’s Last Tape” commences.

This last piece most closely resembles the traditional idea of a play. Joseph McGrath plays Krapp, an old man listening to recordings of his younger self on reel-to-reel tapes. McGrath’s Krapp shuffl es, snuffl es, grunts and grumbles, and eats copious bananas in a performance that borrows more from

Charlie Chaplin than existentialism. The humor and concrete plot are welcome departures from the weirdness of the fi rst two pieces, and McGrath’s performance is warm and endearing. There is an ample serving of Beckett — 10 or more second pauses, incomplete, baffl ing speeches — but “Krapp’s Last Tape” is still lovely.

After an hour and 40 minutes of Beckett, I’m disoriented and wild-eyed. Luckily, The Rogue Theatre hosts discussions after performances, so the audience can digest what it has just seen. Director David Morden asks us what themes we saw between the three pieces. People volunteered death, the madness just before death, desperation and futility. I contributed isolation, and was proud when he nods approvingly. We muddle through our impressions of the three plays, and it feels good not to have been the only one lost and fumbling through the evening.

As the discussion drew to a close, one audience member says, “I feel very hopeful with Beckett.”

And I think, I think, I do, too.

By Heather Price-WrightARIZONA DAILY WILDCAT

IF YOU GOBeckett One-ActsThe Rogue Theatre

300 E. University Blvd.Feb. 27- March 14

Weekends, 2 & 7:30 p.m.$24, call 551-2053

Photo courtesy of UApresents

B3 arizona daily wildcat • wednesday, march 3, 2010 •

The UA’s 32nd annual Jazz Week features more concerts and a talent-stacked program this year, including local alum-ni, faculty and famous soloists from all over the country.

Starting Sunday and continu-ing through March 13, the week is packed with concerts, master classes and lectures open to music students and the public.

“All the concerts are going to be high-energy; They’re going to get you tapping your feet,” said Moisés Paiewonsky , an assistant professor of music at the UA who teaches trombone and directs the UA Studio Jazz Ensemble .

Paiewonsky is playing on Monday night at 7:30 in Crowder Hall for the faculty jazz night with Jimmy Cobb on drums . Cobb played drums with Miles Davis on the album “Kind of Blue ,” one of the most famous jazz recordings ever made.

Among his other appearances, Paiewonsky is also co-directing the UA Studio Jazz Ensemble performances at 7:30 p.m. on Wednesday March 12 with fellow faculty member Jeff Haskell . These concerts feature Chris Potter , a renowned saxophonist within the jazz community, and UA alumna

and vocalist Katherine Byrnes .“Tenor sax artist Chris

Potter is one of the best tenor sax soloists alive,” Paiewonsky said. “It will be a new experience for all the students as well as the community.”

Paiewonsky said that getting these kinds of world-class solo-ists involves a planning process that has been going on since last year’s Jazz Week.

Other notable performances include a Latin Jazz night on March 11 at 7:30 p.m. at Crowder Hall , performed by the group Salsarengue , led by Tony Thomas . The group invites guests to dance salsa during the second half of the concert after a brief lesson from the group.

The fi nal concert, the “John

Denman Memorial Concert,” is another big performance on the week’s list, featuring solo-ist Eric Schneider on clarinet and saxophone, a Chicagoan who has performed nationally and abroad.

Byrnes commented on what an opportunity performing at her alma mater was for her as a stu-dent and what it means for her as a music professional today.

“You take for granted the big ensembles, professional-ism, materials. … To be able to come back and perform with a big ensemble is just amazing,” Byrnes said.

Tickets range from free to $9, with more information at the UA School of Music Web site www.music.arizona.edu.

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FREE CDGIVEAWAYKAMP Student Radio is giving away thousands

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Wednesday, March 3rd from 12pm-1pm.

Take as many CDs as you can carry !

The UA and Tucson communities have a unique chance Monday, to see the Moscow State Radio Symphony Orchestra play some of Russia’s

greatest music.The orchestra will play a

program entirely devoted to one of Russia’s most famous composers, Pyotr Iliych Tchaikovsky, at 7:30 p.m. at Centennial Hall .

The performance will

include pieces such as the Hamlet Fantasy Overture after Shakespeare in F minor, Opus 67, one of the

composer’s most famous and exciting violin concertos recounting the story of Shakespeare’s “Hamlet;” Violin Concerto in D Major, Op. 35 and Symphony No. 6 in B minor, Op. 29 “Pathétique,” the last work composed by Tchaikovsky before his death.

Conductor Alexei Kornienko

will be leading the orchestra with violin soloist Nadezda Tokareva accompanying the rest of the musicians.

The Moscow State Radio Symphony Orchestra was created in 1978 to educate Russians about their musical history , and has since toured all over the world, achieving a

great level of success, both in performances and recordings.

While ticket prices range from as high as $72 for the best seats, UA students, faculty and staff have the chance to pay only $15 to see these world-renowned musicians pay homage to one of history’s most revered composers.

Bringing a little bit of Russia to Tucson

IF YOU GO Centennial Hall

7:30 p.m.$15-$72

Visit www.uapresents.orgor call 621-3341

for more information

By Kellie MejdrichArizona Daily Wildcat

By Kellie MejdrichArizona Daily Wildcat

UA Jazz Week a star-studded lineupPhoto courtesy of UApresents

Photo courtesy of UA School of MusicJimmy Cobb

B4 • wednesday, march 3, 2010 • arizona daily wildcat B5 arizona daily wildcat • wednesday, march 3, 2010 •

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And the oscar goes to...

Leading ActorJe� Bridges in “Crazy Heart”: 5 votes Bridges could put on an acting clinic with his

work in this fi lm. He cascades from comedic pathos to tragic disillusionment to unfettered helplessness in a devastatingly human performance. He fi lters Bad Blake’s misery through profoundly affecting eye work and pitch-perfect body language, creating a train wreck of a man. Bridges owns the character of Bad Blake, and his work in this fi lm obfuscates the line between an actor and his craft. Nobody could ever do this role better.

—Zachary Smith

Colin Firth in “A Single Man”: 4 votesMorgan Freeman in “Inictus”: 2 votesGeorge Clooney in “Up in the Air”: 3 votesJeremy Renner in “The Hurt Locker”: 1 vote

Leading Actress (TIE)Sandra Bullock in “The Blind Side”: 3 votesNormally left with clichéd “girl next door”

roles, Sandra Bullock has fi nally found her “Erin Brockovich.” Her experience playing the quirky, romantic ingénue is not entirely absent in her “Blind Side” performance. As wealthy Memphis housewife Leigh Anne Tuohy, Bullock meshes the subtleties of comedic timing with a mature understanding of dramatics to create a dynamically brash modern woman worthy of an Oscar.

—Jessica Leftault

Gabourey Sidibe in “Precious”: 3 votesListen. Gabourey Sidibe is a long shot to win,

but this girl deserves it nonetheless. Did you see “Precious?” Probably not, but that’s beside the point. Her portrayal of Precious, an illiterate teenage girl who has been physically and mentally abused by her mother, raped and twice impregnated by her father, was heartwrenching. The depth of

the performance was unlike anything I’ve seen from an

actress so new to the screen. Sidibe has never acted in a fi lm before and, because

of her specifi c look and Hollywood’s obsession with tall, blonde leading ladies, she may never have the opportunity to play the lead in a feature fi lm again. It’s unfortunate, but it’s how the world works. For all these reasons — Gaby for the win.

—Katie Gault

Meryl Streep in “Julia & Julia”: 3 votesFrom my Aug. 10 review of “Julia & Julia”: “Meryl

Streep is Julia Child in this movie. Her uncanny performance brings to life Child’s spirit of humor and optimism, recalling the joie de vivre of her PBS shows. Whether it’s discovering the deliciousness of sole meunière or buying all sorts of gadgets for her kitchen, watching Streep portray all of Child’s physical and vocal mannerisms is a joy.” Enough said.

—Steven Kwan

Helen Mirren: 0 votesCarey Mulligan: 0 votes

Animated FeatureUp: 8 votesIt is probably no surprise that “Up” takes the

trophy hands-down in the Best Animated Feature category. It sold me in the opening sequence. Not a single movie to date has caused me to shed tears, but “Up” came the closest with its heartwrenchingly realistic opening montage about breaking into the bank and setting your dreams aside. The wide audience appeal, breathtaking computer graphics and storyline make it a shoe-in for a winner. Come on, who doesn’t like hot air balloons?

—Marisa D. Fisher

Fantastic Mr. Fox: 4 votesCoraline: 3 votesThe Princess and the Frog: 1 voteThe Secret of Kells: 0 votes

Best PictureInglourious Basterds: 4 votesWhile it isn’t as easy a fi lm to digest as “The Hurt

Locker” or “Up in the Air,” it’s better than both. It features Christophe Waltz alongside the best acting ensemble of the year, a hilariously irreverent and creative script, stunning editing and Tarantino’s strongest directing yet. “Basterds” is the perfect showcase for Tarantino’s non-linear, massive cast storytelling, allowing his scathing witticisms to

dazzle just as much as his blistering imagery. Some people outright hated the fi lm, but put it this way: No other movie was as impressive a feat as “Inglourious Basterds.”

—Zachary Smith

The Hurt Locker: 2 votesA Serious Man: 2 votesAn Education: 1 voteDistrict 9: 1 voteThe Blind Side: 1 voteUp: 1 voteUp in the Air: 1 voteAvatar: 0 votesPrecious: 0 votes

Original ScreenplayInglourious Basterds: 8 votes

There are World War II movies, and then there’s “Inglorious Basterds.”

Finally, a Tarantino movie that’s cinematically explosive and still makes sense for those of us who just didn’t get “Reservoir Dogs.” The best parts: Brad Pitt drawling

through Italian, an infamous American soldier fond of

scalping Nazis, beautiful femme fatales who kick Hitler’s

arse and Christoph Waltz as a wickedly delightful German offi cer. With awesome amounts of violence, a plethora of quirky characters

and more plot lines than laces on Gestapo boots, we’ll see if the Academy is ready for this war comedy — America sure was.

—Kathleen Roosa

A Serious Man: 3 votesHurt Locker: 2 votesUp: 1 voteUp in the Air: 1 vote

Adapted Screenplay (TIE)In The Loop: 4 votesOr, “How I Stopped Worrying and Started a War

in the Middle East.” From the hilarious BBC series “The Thick of It” comes this vulgar lampoon of the British and American political systems, following the chain of publicity blunders and surreptitious spin-doctor sessions that lead to the declaration of war. Amid the all-too-familiar representations of shifty defense secretaries and bi-partisan bickering is a script that is as raunchily hilarious as it is satirical. Some of the better insults tossed around in the juvenile chambers of government include “Nazi Julie Andrews,” “master race of highly-gifted toddlers,” “ass-spraying mayhem” and a new expression of exasperation for the ages: “diffi cult, diffi cult, lemon-diffi cult.” We’ll see if it can spin the win.

—Brandon Specktor

An Education: 4 votes“An Education” is based on the memoir

by British reporter Lynn Barber . It was fi rst printed in issue 82 of the magazine Granta in 2003 before its solo debut alongside the movie in 2009. Nick Hornby, author of “Fever Pitch,” “High Fidelity” and “About A Boy,” rolled up his sleeves and took the plunge. With an author’s eye for minute details and a natural

talent of manipulating content for fi lm, Hornby captures Barber’s ruthless — sometimes serious, sometimes humorous — thoughts, magnifying them with tasteful subtlety to fi t on the big screen.

—Kim Kotel

District 9: 3 votesUp in the Air: 1 votePrecious: 1 votes

DirectingQuentin Tarantino: 5 votes Some might immediately point to the directors

of “Avatar” or “The Hurt Locker” for this award, but neither of those technically-impressive fi lms worked on as

many levels as “Basterds.” Tarantino worked with four languages, three plotlines and approximately 2000 genres and never missed a beat. The fi rst scene alone is enough reason for him to win this award. Despite being the most unorthodox war fi lm since “Apocalypse Now,” “Basterds” succeeded because Tarantino coaxed lights-out performances from all of his actors and assembled the best-staged fi nale from last year.

—Zachary Smith

James Cameron: 4 votesKathryn Bigelow: 3 votesJason Reitman: 1 voteLee Daniels: 0 votes

Best Animated ShortFrench Roast: 3 votes Although it is up against some pretty stiff competition

such as Javier Recio Gracia’s “The Lady and the Reaper (La Dama y la Muerte)” and the Wallace and Gromit short titled “A Matter of Loaf and Death,” “French Roast” is our pick for the Best Animated Short Film of 2009. The fi rst Academy Award nomination for creator Fabrice O. Joubert, “French Roast” is a lighthearted comedy that chronicles a Parisian businessman’s dilemma when he discovers that he has forgotten his wallet as he goes to pay for his morning coffee. Not only is the fi lm clever and entertaining, but it also gets two thumbs up for delivering a heart-warming message. You can watch the fi lm at http://www.frenchroast.fr/.

—Dallas Williamson

The Lady and the Reaper (La Dama y la Muerte): 2 votesLogorama: 2 votesA Matter of Loaf and Death: 1 vote

Granny O’Grimm’s Sleeping Beauty: 0 votes

storytelling, allowing his scathing witticisms to storytelling, allowing his scathing witticisms to

Locker” or “Up in the Air,” it’s better than both. It features Christophe Waltz alongside the best acting ensemble of the year, a hilariously irreverent and creative script, stunning editing and Tarantino’s strongest directing yet. “Basterds” is the perfect showcase for Tarantino’s non-linear, massive cast

Inglourious Basterds: 8 votesThere are World War II movies, and

then there’s “Inglorious Basterds.” Finally, a Tarantino movie that’s

cinematically explosive and still makes sense for those of us who just didn’t get “Reservoir Dogs.” The best parts: Brad Pitt drawling

through Italian, an infamous American soldier fond of

scalping Nazis, beautiful femme fatales who kick Hitler’s

arse and Christoph Waltz as a wickedly delightful German offi cer. With awesome amounts of violence, a plethora of quirky characters

storytelling, allowing his scathing witticisms to

Photo courtesy of making-of-french-roast.blogspot.com

wednesday, march 3, 2010 • arizona daily wildcat

goes to...

Leading ActorJe� Bridges in “Crazy Heart”: 5 votesBridges could put on an acting clinic with his

work in this fi lm. He cascades from comedic pathos to tragic disillusionment to unfettered helplessness in a devastatingly human performance. He fi lters Bad Blake’s misery through profoundly affecting eye work and pitch-perfect body language, creating a train wreck of a man. Bridges owns the character of Bad Blake, and his work in this fi lm obfuscates the line between an actor and his craft. Nobody could ever do this role better.

Colin Firth in “A Single Man”: 4 votesMorgan Freeman in “Inictus”: 2 votesGeorge Clooney in “Up in the Air”: 3 votesJeremy Renner in “The Hurt Locker”: 1 vote

Leading Actress (TIE)Sandra Bullock in “The Blind Side”: 3 votesNormally left with clichéd “girl next door”

roles, Sandra Bullock has fi nally found her “Erin Brockovich.” Her experience playing the quirky, romantic ingénue is not entirely absent in her “Blind Side” performance. As wealthy Memphis housewife Leigh Anne Tuohy, Bullock meshes the subtleties of comedic timing with a mature understanding of dramatics to create a dynamically brash modern woman worthy of an Oscar.

Gabourey Sidibe in “Precious”: 3 votesListen. Gabourey Sidibe is a long shot to win,

but this girl deserves it nonetheless. Did you see “Precious?” Probably not, but that’s beside the point. Her portrayal of Precious, an illiterate teenage girl who has been physically and mentally abused by her mother, raped and twice impregnated by her father, mother, raped and twice impregnated by her father, was heartwrenching. The depth of was heartwrenching. The depth of

the performance was unlike the performance was unlike anything I’ve seen from an anything I’ve seen from an

actress so new to the actress so new to the screen. Sidibe has screen. Sidibe has never acted in a fi lm never acted in a fi lm before and, because before and, because IF YOU WATCH

82nd Annual Academy Awards

Sunday, 6 p.m.on ABC

Follow our live tweets of the Oscars at dailywildcat.com/

wildlife/oscars

The Academy Awards mark the end of the awards season for movies, and is one of the most anticipated awards shows. This year’s Oscars add an interesting twist: 10 Best Picture nominees instead of � ve. From the usual arthouse � lms to Nazi revenge fantasies and 3-D animation, the Academy of Motion Picture Arts and Sciences has opened up the category in an effort to re� ect American tastes in cinema. The Arizona

Daily Wildcat’s WildLife staff members weighed in on this year’s nominees. (Note: Some staff members

abstained from certain categories, resulting in ties.)

B6 • wednesday, march 3, 2010 • arizona daily wildcat

John’s Spring Break Trip to Mexico

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Every fan of the action genre has been anxiously waiting nearly three years for the release of Sony’s “God of War III,” the Greek mythology-inspired epic coming March 16. Two games in the “God of War” vein were recently released, and I’m here to tell you in five minutes or less which is most likely to ease your impatience during the next two weeks.

DARKSIDERS“Darksiders,” the brainchild

of revered comic book artist Joe Madureira and developer Vigil Games, was released on Jan. 5. You control War, one of the Four Horsemen of the Apocalypse, in his quest to prove his innocence after being framed for starting the apocalypse early. To do this, you’ll traverse varied locales

and dungeon-crawl your way to your eventual goal. Some inventive “Panzer Dragoon”-style parts of missions ease the repetitiveness of the combat by giving you a flying steed. During these sections, you fly on a predetermined path with limited control as you focus

mostly on shooting opposing flying enemies out of the sky.

Overall, the game’s combination of “God of War”-style combat with “Legend of Zelda” exploration sequences works well as you’re forced to be good at both combat and solving complex puzzles. The art style is a standout from other titles in the genre and features a superb use of color never seen before in a game set in the apocalypse. “Darksiders” is one of the rare, slightly derivative games that is much greater than the sum of its parts.

DANTE’S INFERNOIn this game inspired by Dante

Alighieri’s “The Divine Comedy,” you control the hero Dante on his quest to rescue his fiancée Beatrice from Hell’s clutches. You do this by carv-ing a bloody path through fantasti-cal creature designs across all seven circles of Hell. Obviously, Electronic Arts has taken some liberties with

poetic license and the story, but to make “Dante’s Inferno” an action game requires a certain amount of flexibility. The level design is rather fantastic, as Visceral Games has created a fasci-nating interpretation of Dante’s Hell, filled with adult themes and at times

an overwhelming sense of disgust. It’s too bad that the rest of the game

doesn’t hold up, because the entire second half is boring, predictable and dull. There’s nothing interesting about the combat system — the highlight of any action game — and it lacks depth. Once the novelty of actually travelling through the circles that have influenced our Western idea of Hell wears off, all you’ve got is a watered-down variant of better games out there. At its core, “Dante’s Inferno” will eventually just serve as an example of why there have been very few games ever based on classic literature.

Verdict: With only enough money and time for one action game to hold you over until the release of “God of War III,” “Darksiders” should earn your vote. It stands tall on its own merits and, despite its shortcomings, it’s easily the most enjoyable title of its kind already released.

Mario Puzo’s novel, “The Godfather,” inspired what many consider some of the greatest movies of all time. The movie series won Oscars and etched itself into the American consciousness. It was more than just the characters and settings that pulled people in, however. It was the rags-to-riches plot, the respect given to men of class who operated outside the law and the equal respect with which the filmmakers treated the audiences who paid to see their films. Even today, these movies are at the top of any movie lover’s list, and they continue to plant themselves into our subconsciousness. Few stories have that kind of staying power. Over the next 20 years, a flurry of Mafia and organized crime movies were released including “The Untouchables,” “Goodfellas,” “Scarface” and “Casino.” The crime genre was born, and the American public was held captive.

After the barrage of these films

in the ‘80s and early ‘90s, the trend had subsided.Interestingly, however, it transferred over to other media in the late 1990s and 2000s. Comic books have seen resurgence in the crime genre since the ‘90s, most notably with the Batman graphic novel “The Long Halloween” and Frank Miller’s “Sin City.”

Most importantly, however, was the introduction of the crime genre into the field of video games. Enter Rockstar’s “Grand Theft Auto” series. Created as a simple top-down crime series in the late ‘90s for the Sony Playstation and PC, it was reinvented on the Playstation 2 in 2001 with the release of “Grand Theft Auto III.” It survived the jump to 3D and captivated seemingly every gamer in the country with its mature storyline and cunning satire. Given tasks to complete by crime lords, you had complete freedom over where you went, what you did and when you did it. “Grand Theft Auto” popularized the “sandbox” genre of video games. The success of the game quickly

spawned a 2002 sequel, “Grand Theft Auto: Vice City.” The games are so highly thought of that review compilation site Metacritic.com gives them scores of 97 and 95 out of 100, respectively.

More than anything, however, the series was created as a loving homage to the modern crime epic. “Grand Theft Auto III” rips directly from “The Godfather,” and “Grand Theft Auto: Vice City” is an obvious loving tribute to “Scarface.” The storylines, settings and character types carried directly over to a new platform of expression through interactive entertainment and sold tens of millions. The genre was essentially resuscitated.

In April 2008, the highly-anticipated next-generation sequel “Grand Theft Auto IV” was released to huge critical acclaim. The game is the third-highest rated game ever released, according to Metacritic.com. It featured an Eastern European protagonist named Niko Bellic and his slow descent into the world of crime after coming to America to chase the “Great American Dream.” In the story,

the further Niko travels into the “real America,” the more he learns there is no such thing as the American Dream. Each criminal to which he indebts himself drags him deeper and deeper into a world much like the one we live in today: a place where you can’t leave your past behind or avoid the consequences of your actions. Unlike its predecessors in cinema, the “Grand Theft Auto” series took the lofty ideals of citizens easily operating outside the law for the common or personal good and distilled them into one new-age message for our generation.

Our parents’ American Dream is no more. We’re living in the American Delusion.

Of course, we saw this descent from the idealistic film opuses of the ’80s and ’90s into the reality-check world of “Grand Theft Auto IV” coming from a mile away, didn’t we? With the economy suffering, it wasn’t too hard to imagine that even our most revered media genre would eventually begin its own fall along with everything else. Instead of

resting on its laurels, the crime genre has evolved into a defunct version of its former self; it has become a caricature of its own former glory.

In hindsight, it hasn’t been all bad. “Grand Theft Auto IV” ushered in a new era of gaming and was enjoyed by people from all backgrounds. There has been a resurgence of the crime genre in other media forms as well, most notably the box office hit “The Dark Knight.” Although the recent entries to the crime genre have been in a darker vein than the original source material, this speaks to the universality of its message: No one and nothing is beyond the possibility of tumbling into recession, not even something as grand as the idea of the American Dream. The American Delusion has become the norm, and we’d be remiss to try to convince ourselves otherwise.

Even so, one has to miss the days when respect was key to success, lofty ideals ruled the day and, more than anything, the potential for achievement had never been so high.

‘Darksiders’ vs. ‘Dante’s Inferno’: Action game showdownBy Joe Dusbabek

Arizona Daily Wildcat

By Joe Dusbabek Arizona Daily Wildcat

‘Grand Theft Auto,’ ‘The Godfather’ and death of the modern crime opus

game on!

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Isn’t it about time Tucson got a little attention on the small screen? Well, we’re in luck. On March 14, Fox premieres its newest comedy, “Sons of Tucson.” Executive producer Justin Berfi eld , best known for his portrayal of Reese on “Malcolm in the Middle,” and actor Tyler Labine (“Reaper,” “Invasion”) will visit Gallagher Theater March 10 at 5 p.m. for a free preview event of the fi rst two episodes of the series. The Arizona Daily Wildcat caught up with Berfi eld to discuss the show.

Can you give a quick synopsis of “Sons of Tucson”?The show is about three young boys from New Jersey: Robby, Gary and Brandon. Their father goes to jail for a white collar crime, and he’s going to be away for about 20 to 25 years. So, instead of being forced to go to a foster home, the boys decide to head out west to Tucson, Ariz., where their father has an investment home that no one knows about. But once they make it out there, they realize that they need an adult to send them to school, drive them around and to just be a parent. And what kind of guy is going to take a job like this? Ron Snuffkin (Labine). He’s kind of like the town con artist. He’s always trying to make a buck here and there. So the boys fi nd this guy and pay him 300 bucks a week to be their “dad.” And he’s happy to do it. He was living in his car before he met these boys. It’s out of convenience at fi rst, but, in the end, they learn that they really need one another.

What’s the most unique aspect about “Sons of Tucson”?The show explores the American family. We have these three kids who have all

the money, and they’re the ones calling the shots. It’s something that really hasn’t been seen on television before.

How would you categorize the show? Is it more of a family sitcom, or is it more of a dark comedy?Well, if you’re into family comedies, you’ll like this. But it’s a little dark around the edges as well. It’s not going to be like a “Full House” episode where they’re all hugging at the end. No. These guys are always trying to one-up each other and trying to get the upper hand. So it’s going to be a fun journey that I think the audience, hopefully

after watching the fi rst few episodes, will want to follow.

Why did you choose to set the show in Tucson?It’s a big city and very multicultural . The kids are from New Jersey. Tucson is sort of like the Wild West to these boys. Also, Tucson hasn’t really been explored by television very often, so we’re trying something new.

I love that you’ve chosen to preview the show in Tucson. What kind of reception are you hoping for?I’m hoping that everyone is pumped and excited to see the show, and I can’t wait to answer some questions for everybody. There are very few people, besides the people that work on the show, that have seen the fi rst few episodes. And we’re excited to show it because that’s our audience, right there. Our audience members are college-aged kids. So we’re excited to show it and hear their responses.

Have you ever been to Tucson?I’ve been to Tucson once. I was 15 or 16 years old. Someone I knew was doing a concert, and I went there to watch them perform. I loved it.

Seriously? You loved Tucson?(Laughs) I did. I thought it was a fun city.

How are you able to get the Tucson feel across without actually shooting in Tucson?We love the Southwest feel, and our production designer took photos of Tucson. For the design of the home, especially the interior, we tried to replicate the Southwest feel. And all of our scene transitions are real landscape shots of Tucson. So hopefully people who are from there will recognize some of the little pieces that we try to throw in. We really wanted to shoot in Tucson, but it just didn’t work out. We’re hoping, if we’re fortunate to get a second season, that we’ll be able to shoot at least one episode out there. We’d love for the town to enjoy it if we’re a success.

On a more personal note, you started acting on “Malcolm in the Middle.” And you’re still young. You make me feel like a slacker. Well, I started really young. I started acting when I was fi ve and a half. I’m sort of late now, I guess. I’ve already been in this business almost 20 years.

What made you want to make the switch to producing?I started a production company with my producing partner towards the end of “Malcolm.” I think I was about 18 years old. It felt like I had more control over my future because, especially going through the acting process with (“Malcolm”), there are so many different variables that are out of your control when you’re acting. I wanted to have a little control myself, and I felt like I could through producing. It’s been fun to use my artistic abilities and not just sit in front of the camera, even though I enjoyed that very much. I actually appear in the fi nal episode of the fi rst season (in “Sons of Tucson”). I’m not completely out of it, but it’s just a different thing for me for a little while.

Justin Ber� eld and Tyler Labine will preview the � rst two episodes of “Sons of Tucson” and answer questions on March 10 at 5 p.m. in the Gallagher Theater. “Sons of Tucson” premieres on Fox, March 14, 8:30 p.m. after “Family Guy.”

‘Tucson’ comes to TucsonBy Katie Gault

Arizona Daily Wildcat

Justin Berfield

Executive producer“Sons of Tucson” When television shows fi nd new material

hard to come by, they turn to huge, life-altering events in the characters’ lives in order to boost ratings and renew viewer interest. Ross and Rachel had their moment in “Friends,” Carrie had her “Sex and the City” movie and “The Offi ce” is having a baby.

On Thursday, the now-quintessential TV couple Jim (John Krasinski) and Pam (Jenna Fischer) will fi nally deliver what fans have been waiting seasons for: the Halpert baby.

“They’re a couple that you want to root for. And that makes it very special,” said Angela Kinsey, who plays the self-involved and rigid Angela Martin on the show. Fans have watched Jim and Pam evolve from coworkers to friends, friendly to fl irtatious, dating to engaged, married to expecting. All of that buildup will culminate in the infamous and long-awaited baby episode airing this week.

“We’re a family, you know, and it’s like six years of our lives and all the up and downs and we’ve all been there for each other. And it’s a very unique path to journey with someone to go from waiting tables or answering phones at 1-800-Dentist to then go through this

ride of a hit TV show,” Kinsey said. Anyone who has watched the show from

its conception will know that the characters have developed tremendously. From layoffs to buyouts to sexual harassment workshops, they’ve been through it all. Erin, played by Ellie Kemper , is the newest of the bunch, and she is just thrilled to be a part of it.

In the webisode series called “The Mentor,” which also will be available online Thursday, Angela takes Erin under her wing to mentor her in the fi ne art of accounting.

“Listen, my character has like three shades that you see of her; it’s like pissed, slightly more pissed and really pissed,” Kinsey said.

It would be diffi cult to fi nd more diametrically opposed personalities to put together in a one-on-one scene. But they get along and, as the cliché goes, hilarity ensues. Kemper said that she has a lot of diffi culty keeping a straight face while shooting scenes with Steve Carell during the show.

“I haven’t done this yet, Angela, and again too much information, I wet my pants a lot when I laugh too hard,” Kemper said.

Keep an eye out for this week’s newest additions to “The Offi ce” family. If Kinsey and Kemper have given us any indication, they might make you laugh too hard — just don’t expect Dunder Miffl in to help clean up.

By Marisa D. FisherArizona Daily Wildcat

Angela and Erin of ‘The O� ce’ talk love, labor

Photo courtesy of serieslive.comAngela Kinsey, who plays Angela Martin on NBC’s ‘The Offi ce,’ stars in her own series of webisodes with Ellie Kemper, who plays Erin Hannon. The webisodes will be available online Thursday.