by Dani Norton

Staff writer

Gary Ross’ “The Hunger Games,” adapted from the book of the same name by Suzanne Collins, now holds the record for biggest box office debut for a non-sequel. It also enjoyed the third best opening weekend in box office history with $152 million, behind the final “Harry Potter” installment and “The Dark Knight.” That’s a lot of hype to live up to, so did Ross and the rest of the gang earn those impressive numbers?

“The Hunger Games” is set in the futuristic, dystopian nation of Panem, which is divided into 12 poverty-stricken districts and one wealthy capital. The districts are poor because 75 years earlier, the nation rebelled against its government. And it lost. Badly.

Now, as a reminder of everything lost during the rebellion, each district is required to offer two of its children, a boy and a girl, as tribute to the Hunger Games, an arena-style battle where only one child comes out alive.

Katniss Everdeen, played by Jennifer Lawrence, is the story’s protagonist whose younger sister is chosen as tribute (by having her name drawn during a process ominously referred to as “the Reaping”) for their home of District 12.  Katniss volunteers herself to go in her sister’s place, and she travels to the Capitol to begin her struggle to survive the Hunger Games.

As with any book adaptation, much of the fat of a story must be trimmed to make a good movie. This must be a horrifically difficult task since so few filmmakers can get it right. However, “The Hunger Games” makes decent use of its time, most likely because the book’s author helped write the screenplay.

There were still moments where those who haven’t read the books might be missing out on some key information. These blank spots weren’t necessarily plot holes, just areas where some rich storytelling had to be sacrificed to keep the film below a three hour runtime.

For example, one of the most common criticisms from fans of the series is that Katniss’ relationship with her fellow tribute Peeta Mellark is somewhat downplayed in the movie, despite it being a huge part of the book.

While a generic love story is not exactly the most exciting aspect of the series, it is omissions like this that make the film version feel a little empty. Without the interpersonal conflicts that built strong character identity in the book, “The Hunger Games” is basically just about a girl running around in the woods with a bow and arrow, trying to avoid getting stabbed.

The Games are certainly the focus of the story, but if you’re going to see this movie on a whim, don’t expect to find out why the citizens of the capital like to watch children kill each other for sport, or why there are little presents floating down from the sky to Katniss. Small things like that were sort of lost in translation.

Additionally, the graphic violence described in the novel was toned down to suit the younger audiences who would undoubtedly flock to see the film.

This was probably a wise decision, but Ross seems to have traded in a little extra gore for a shaky handheld camera that only adds about 30 extra unwatchable minutes to his movie, rather than subtly distort the violence that otherwise would have landed the movie an R rating.

The rough cinematography lends itself to the stark, grainy approach Ross took overall, but it also makes some scenes appear to be nothing more than blurs and people falling over.

“The Hunger Games” got one thing absolutely right, and that was casting Jennifer Lawrence as Katniss Everdeen. Lawrence was able to bring her character amazing depth and emotion, which is quite the feat considering the script had little of either.

Lawrence received critical acclaim in 2010 for her performance in the indie “Winter’s Bone.” Relatively unknown up until that point, Lawrence was nominated for an Oscar for Best Actress for the role.

Her performance in “The Hunger Games” stayed true to the poignant, determined character Collins wrote for the book. Lawrence manages to portray a young woman who is all at once iron-willed and incredibly vulnerable as she ventures out into the world beyond District 12 for the first time in her life.

It is dangerous to try to bring any beloved book to the big screen, but “The Hunger Games” does a fine job of hitting the high notes of an incredibly complex story. Though there were some problems with character development, the franchise will likely see three or four more releases in which to explore the issue.

by Kendra Germany

Staff writer

Oklahoma rockers the All-American Rejects released their fourth album “Kids in the Streets” on March 26, failing to capture the raw rock ‘n’ roll attitude of past records.

It has been almost five years since the boys from Stillwater’s last album “When the World Comes Down” was released.

The All-American Rejects blew onto the scene in 2003 with the hit song “Swing, Swing” that was an anthem for angst-driven teens in love in the early 2000s.

But it wasn’t until the release of the band’s sophomore album “Move Along” that the band received mainstream success.

After songs like “Swing, Swing,” “Move Along,” “Dirty Little Secret” and “Gives You Hell,” there were high hopes that their new album “Kids in the Streets” would hold just as many hits as the past three.

However, the newest installment fails to catch that distinct vibe that the band is famous for. Many of the songs, though lyrically well-written, sound overproduced on “Kids in the Street.”

The raw sound and emotion that was poured into the early albums is what made most fans fall in love with the All-American Rejects.

On the new album, the true talent of the band gets lost in the sound.

With that being said, there are a few songs on the album that shine through the noise.

One song in particular that is truly a breath of fresh air is “The Beekeeper’s Daughter.” The song has both an infectious beat and catchy lyrics that make it easy to listen too.

The lyrics are provocative yet adorable. “You’re a pretty little flower, I’m a busy little bee. Honey that’s all you need to see,” croons lead singer Tyson Ritter in his trademark scratchy yet sophisticated voice.

Even though the album is not up to par with the past albums released by the band, there are songs that save the album from being a total loss.

However, instead of buying the whole album, buying the singles on iTunes would be a better option.

by Lornna Bates

Managing editor

Children dancing in the aisles, songs teaching grammar and punctuation, characters based on multiple personalities of a teacher. Is all of this typical?

It is if you attended the production of “Schoolhouse Rock Live!”

The American Association of University Women and Theatre at Southeastern presented the children’s theatre performance.

The one-time only public production, directed and choreographed by Riley Risso Coker, assistant professor in theatre, was held in the newly renovated Montgomery Auditorium Thursday, April 5.

Dustin Curry, actor extraordinaire, plays a new teacher debating how to arrange his lesson plan for his first day of classes.

In an effort to distract himself from his anxiety, Curry turns on his TV, only to have his living room bombarded by the cast of “Schoolhouse Rock.”

Children growing up during the ’70s and ’80s could watch the “Schoolhouse Rock” cartoon shorts on ABC Saturday mornings. The show offered educational programming that taught children such things as multiplication tables, punctuation, grammar and government through stimulating tunes and clever, memorable lyrics.

The Emmy-award winning children’s show has begun to gain popularity once again. In 2010, Disney released a 30th Anniversary Special Edition DVD of “Schoolhouse Rock,” which contains all of the songs from the original cartoon episodes.

Even though I am not very familiar with this particular children’s feature, the play was entertaining. Apparently, I was one of the few in attendance unaware of the original premise of the show.

I noticed the adults and children around me singing along with the ensemble, which leads me to believe that I was left out of something as a child.

And perhaps the most enjoyable part of the feature, at least for me, was the 10th and final song the cast performed. “Ay-yah (Hippy Hop Bump)” has Boomer Lowrie singing and playing guitar along with a beat-box accompaniment provided by Tanner Risner. The song was incredibly catchy, and the sound was infectious.

After now witnessing numerous productions from the Theatre at Southeastern, I am beginning to wonder if there is anything that the versatile and very talented Lowrie cannot do. The boy has some dance moves that are seriously smooth and innovative (at least for what I have witnessed thus far on campus).

In fact, the movement involved in the production overall was good. Coker’s choreography maintained audience attention with visual appeal.

The theater was inhabited by scores of young children with their eyes glued to the stage, held rapt by the action they were seeing from all corners.

Curry’s rendition of “Electricity” was also a must-see. If there was to be another performance of the play, I would probably go again just to get the chance to see his insane gyrations while he jammed out alone on the stage.

Occasionally the actors lined the aisles, inviting the people to join in the antics.

Children around the theater stared in fascination at the performers, reminding me of fans who are faced with a celebrity and can only stand there staring in awe and wonder.

The musical offered something for both children and parents in attendance. Parents were touched by a moment of nostalgia, possibly for the innocence and care-free times of childhood they miss so much, and children were delighted by the music, fun and fanfare of learning.

To me there is nothing cuter than watching a little ones giggling uncontrollably while chasing a seemingly endless supply of bubbles and balloons, which is how the play concluded.

The cast included Kevin Anastasio, Jessica Black, Victoria Cook, Brianne Cothran, Curry, Taylor Donaldson, Sheridan Hill, Domanick Hubbard, Lowrie, Noel McDaniel, Kylie Page, Rowdy Peacock, Trent Pratt, Aaron Rains, Risner, Minda Rocha, Ashleigh Self and Rebecca Sparks.

by Dani Norton

Staff writer

“Silent House” is a remake of the 2010 Uruguay film of the same name. It is a ghost story of sorts, starring Elizabeth Olsen. There are several very intense moments, but her performance is really what makes this movie as entertaining as it is.

Olsen stars as Sarah, a young woman visiting her family’s summer home with her father, played by Adam Trese. He disappears, and Sarah is left on her own in the darkness of the huge house with an inexplicable number of creaky doors and shadowy corners.

She begins to hear scratching, breathing, scuttling and various other creepy noises that suggest she is not as alone as she thought.

The ghost story gets pretty heavy at this point, though the scares are nothing we haven’t seen before.

After the first half of the movie, it becomes apparent that storytelling has been abandoned in favor of cheap thrills. That works here since we usually don’t go see this kind of movie expecting anything different.

The resolution felt forced and, perhaps, a bit slapped together, but that didn’t make the movie altogether unsatisfying.

“Silent House” is watchable for two reasons. When the trailers for the film were released, the gimmick was that this movie was shot as one continuous scene. It boasted 85 minutes of uninterrupted terror, a feat that would have been impressive if executed properly.

As it turns out, directors Chris Kentis and Laura Lau did not film the entire thing in one take. Instead, it was a series of about 10 shots that were, admittedly, expertly edited together to appear continuous.

It was disappointing to learn that what made this movie so appealing to begin with wasn’t actually genuine, but the editing gave it the same feel.

The most commendable thing about “Silent House” is Olsen’s incredibly convincing performance.

Younger sister to Mary-Kate and Ashley, Elizabeth Olsen used this past year to prove that she can stand on her own two feet, out of her sisters’ shadows.

With the release of “Martha Marcy May Marlene” in 2011, Olsen surprised audiences and critics alike with her breakout performance as a woman who had just escaped from an abusive cult.

She spent the duration of the film trying to re-assimilate to life with her family after being brainwashed and abused. Olsen was nominated for just about every award under the sun for this role, and it was well deserved.

In “Silent House,” Olsen brings the same sort of panic and tension felt in “Martha,” only this time it is more intense and constant.

What she does seems effortless, not overdone or corny. Her face conveys terror more effectively than most horror movie heroines can muster with a blood curdling scream.

She is believable, and that is what makes for frightening entertainment.

“Silent House” is not a perfect film by any means, but it gets the job done despite a plot hole or two and an unconvincing resolution.

Olsen is building quite an impressive resume, and it will be interesting to see what else she is capable of.

Elizabeth Olsen stars in the horror film “Silent House.” (Courtesy photo from http://www.imdb.com)

by Kendra Germany

Staff writer

Theatre at Southeastern presented the hilarious musical “Xanadu” in the Montgomery Auditorium on Feb. 23 through Feb. 25, bringing a little bit of 1980s cheesiness to SE.

“Xanadu” the musical is actually a spoof of the terribly, ridiculously bad Olivia Newton-John movie from the ’80s.

“Xanadu” follows a Greek goddess Clio as she and her sisters mystically travel to the mortal world to help struggling artist Sonny Malone finish is artwork. Along the way Clio changes her name to Kira and picks up an Australian accent.

When Kira arrives in Venice Beach to help Sonny, Kira does the one thing Greek gods sent to Earth must not do: She begins to fall in love with a mortal, and her jealous sisters devise a plan that just might send Kira to the underworld forever.

The cast did an excellent job during this production. Senior Julia Castro played the part of Kira perfectly. Castro’s fake Australian accent alone was enough to make the audience fall in love with the character.

Another cast member that stood out was Senior Boomer Lowery playing the part of Sonny Malone. Lowery kept the audience laughing with his short shorts and his character’s totally chill persona.

However, it was Kira’s jealous sisters that stole the show.

Freshman Minda Rocha and junior Rebecca Sparks play Calliope and Melpomene. Both Rocha and Sparks had the audience laughing with their hilarious facial expression and even funnier lines.

Rocha and Sparks’ rendition of “Evil Woman” was brilliantly funny and stole the show.

“Xanadu” was the first performance in Montgomery Auditorium since the auditorium’s recent renovations, and it was the perfect play to showcase the new light system. The lights were a nice touch, adding to the ’80s vibe that makes the play so perfect.

Overall, “Xanadu” was very entertaining and fun-filled play that brought just enough of that cheesy goodness of the ’80s to the stage.

Boomer Lowrie and Julia Castro star in ‘Xanadu’ as Sonny Malone (Lowrie) and Clio/Kira (Castro). (Courtesy photo)

by Lornna Bates

Managing editor

While I am in no way an expert on television shows or reality TV, I have discovered a channel that has captured my attention with a couple of shows that are addictive, to say the least.

TruTV, a network that supplies actual court hearings as they progress and true accounts of infamous crimes, is also creating an entertaining array of shows involving repossessions, friends embarrassing friends and “The World’s Dumbest (insert ANY topic here)” series, among others.

While I am almost embarrassed to admit this, three shows in particular keep me flipping to channel 63 (truTV at my house) most nights of the week.

First and foremost, “Impractical Jokers,” airing new episodes on Thursday nights at 9 p.m. is a new reality classic. Four friends since childhood, Murr, Sal, Q and Joe, invest a half-hour time slot solely to the mission of embarrassing each other.

Different skits are formulated by the four men to test the daring of the other cast members. At any given time, there are at least two of the cast members holding microphones, relaying instructions into an earpiece worn by the participant(s). As the man/men respond in the situation, the others are telling the participant(s) how to act, what to say and what actions to perform.

The choice is theirs: continue with the skit and repeat what is instructed or don’t. Simple, right?

Not so simple when, for example, Murr is standing in a crowded park in the middle of the day with a bull horn held to his mouth, pretending to say, “I hate all you Americans!” Unfortunately for Murr, he does not know what is being said at any time, as Q is the one speaking into the microphone while Murr is standing there for everyone to see.

The four men embark on a quest to push the limits of embarrassment and test how far they will go before they choose to save themselves from having to perform the outrageous stunt or say the shocking statement they have been instructed to do.

At the end of the show, the man who lost the most times in the show has to fulfill the ultimate embarrassment, whether it be by stopping the skit or failing to convince someone into giving them a tip while acting like a fool serving them, for example. You would have to watch the show to see the end games, but suffice it to say, the loser is not aware of what is coming and has no choice but to follow through with the matter.

And quickly becoming my all-time favorite is “Lizard Lick Towing,” the story of husband and wife team, Ronnie and Amy Shirley, and their long-time friend Bobby Brantley. The couple own the towing agency featured in the show, Lizard Lick Towing.

Shirley and Brantley, both big dudes (although big does not always imply muscle), routinely go out and tow an unsuspecting person’s vehicle (although they quit paying for it, so surely they knew that it was coming).

Shirley is mouthy and quite fond of redneck phrases but rarely has the capability to back his mouth up. Brantley, on the other hand, has Shirley’s back, serves as a distraction during the process and has an uncanny ability to grab a man by the neck and plant him on his back in less than two seconds.

Even more impressive than Brantley’s mad skill is Amy, who I have seen push a man three times her weight out the door of the shop and onto his back.

The man had the nerve to shove her because he did not agree with the policies or practices of the company, which none do in that situation. He is one of many she has bested in her quest to protect the place.

The show is nothing but drama and, in my personal opinion, is so full of ridiculousness and insanity that it soon becomes a necessity that I cannot live without. I look forward to Monday evenings at 9 p.m. for the newest installment of redneck excitement.

An example of one of Ronnie Shirley’s many words of wisdom: “That is nuttier than a port-a-potty at a peanut festival.” Now who could not be abhorred, yet strangely intrigued by a statement like this?

Finally, my least favorite is “The World’s Dumbest” series. There literally is no end to the topics that you could choose to make a show out of this. Criminals (1,2,3…), police chases (1,2,3…), dare devils (1,2,3…), crashes (1,2,3…), etc. Do you see where I am going with this?

The best part for me is the steady stream of guest hosts who are featured on the show. Tonya Harding, Todd Bridges, Leif Garrett, Amy Fisher and Danny Bonaduce, all famous for various shocking criminal activities in the past, host the show with a multitude of other guests and comedians, varying by show, commenting on the idiocy of the people caught on film.

It is rewarding on so many different levels. Sometimes you just need to watch a show that makes you laugh at the misfortune of others, due to their own dumba–edness.

As I mentioned though, this is my least favorite. I am never guaranteed a great show, or a topic that I will even find entertaining. There are times that I will fight my other half to change the channel because the stupidity is just too much to handle.

And just when I think that I am complete in my lazy, down-time entertainment, while I am writing this, another truTV show debuts for the season called “South Beach Tow” and it is hilarious.

With one episode and the promise of even more action-packed insanity and entertainment, how could I resist?

Actors Daniel Baldwin, Danny Bonaduce and Todd Bridges, as well as Olympic skater Tonya Harding, are among the co-hosts of “The World’s Dumbest” on truTV. (Courtesy photo from www.trutv.com)

by Kendra Germany

Staff writer

The Fray released its third album “Scars and Stories” on Feb. 7, proving that they are not just a one-hit wonder.

The Fray’s sophomore album “The Fray” did not fair as well in sales as their 2005 album “How to Save a Life.” Their song “How to Save a Life” peaked at No. 3 on the Billboard Hot 100 for three weeks and received over 3 million downloads.

With the release of “Scars and Stories,” The Fray had something to prove. The band wanted to show the world that The Fray is not just a one-trick pony.

“Scars and Stories” is a great album worth listening to over and over. No two songs sound the same, and the lyricism of the album is out of this world. Each song tells a story that draws you into the moment.

One example of the amazing lyrics in this album would be the song “I Can Barely Say.” Lead singer Isaac Slade pours his soul out with these lyrics: “Cause I’ve been gone so long, I can barely say. All I know is I want to stay. Has it been to long since I went away? Cause I’m trying to find the words but I can barely say.”

The song paints a picture that is relatable, and you can feel the passion that is poured into the song.

Another song that deserves praise is “The Fighter.” This song is one of those anthem songs that you sing at the top of your lungs when you are driving in your car.

“What breaks your bones is not the load you’re carrying. What breaks you down is all in how you carry,” sings Slade. This song has strong potential to be a hit.

“Scars and Stories” is definitely an album worth buying. Each song is beautifully written and has a sound that is smooth and soulful.

The Fray definitely proved that the members of this band are true musician and not just one-hit wonders.

Courtesy photo from americansongwriter.com