The Michigan Daily - michigancaily.com Monday, January 30, 2012 - 5A Missing 'Community' The premiering fil, "For a Good Time, Call ..." was offered a $2 million distribution deal from Focus Features. Sun dance delivers Independent film festival brought raunchy fun to A2 By ADITI MISHRA Daily Arts Writer The streets surrounding East Liberty were swarmed late Thursday night as the Michigan Theater played host to a little piece of Sundance Film Festival. The lines streaming out of the theater - though bested by those filled with hopeful attendees of * President Obama's speech out- side the Union earlier the same day - illustrated the amount of support and curiosity for the independent cinema hosted at the theater. Inside, the usually noticeable staircase and chandelier were lost in a sea of heads. All who entered were greeted by gigantic, golden snowflakes projected onto the opulent ceiling. When executive director Russ Collins finally walked out to introduce the premiering film, "For a Good Time, Call ...," he was greeted by deafening applause. Attendees sent a loud and clear message - they were there for an event, not just a movie. The film's director, Jamie Travis, aroused the expectant crowd's attention by saying: "I know you're here for something raunchy ... I hope you're satisfied." Judging by the laughter echo- ing through the theater's main hall in the hour-and-a-half that followed, Travis's wish may very well have come true. The audi- ence viewed a "Bridesmaids"- esque female comedy revolving around two college enemies united after graduation by their mutual friend Jesse (Justin Long, "Funny People"). Katie (Ari Graynor, "The Sitter") needs a roommate to help pay her apart- ment's steep rent and Lauren (Lauren Miller, "50/50") needs somewhere to live after getting dumped by her egocentric boy- friend Charlie (James Wolk, "You Again"). When Lauren loses her job, she joins Katie as a business partner in her secret night-time business: a phone sex hotline. According to first-time screenwriter Katie Anne Naylon, this premise wasn't just a figment of her imagination. "I briefly had a phone sex line in my college dorm," said the Florida State alum. Producers Naylon and Miller found the initial funding to create the project from Miller's brother, investment banker Dan Miller. Naylon later contacted Travis after reading a New York Times profile on him, and he was on board within a matter of weeks. "I loved how 'estrogenic' this was. I loved how daring this was. We automatically formed this great group of four at Lauren's table and created the film," Tra- vis recalled. It seems Dan Miller wasn't the only one who valued the script's bravado. Twenty-four hours after premiering in Sun- dance, the film was offered a $2 million distribution deal by Focus Features, joining a group of 11 other Sundance films that garnered distributors. But Thursday night wasn't about distribution deals for the individuals behind "For a Good Time, Call ..." - it was about the people in the audience. "Although we've already had our world premiere, this feels more like one because the people (who) are watching this film (are) the people we made this film for," Travis said. He added: "The response was great ... I kept thinking, 'You guys are missing all the jokes, stop laughing!"' The audience also heard sexy jokes told by members of the film's crew present for the event, including Miller, Naylon, Travis and 'U' alum Wolk. At one point, Miller dished about the only statement co-star Mimi Rog- ers made about ex-husband Tom Cruise during filming - "He real- ly likes riding motorcycles." For Travis, the night ended on a hopeful note: "I'm going to Can- ada tomorrow to do a KFC com- mercial, but if the film continues to do so well, hopefully I'll be back in the movie business really soon." Fifty-three days have passed since the most recent episode of "Com- munity" aired. In those 53 days, Liz Lemon got a boyfriend, "Jus- tified" returned and "Homeland" won a Golden Globe. But none of these successes can make me forget about the blatant lack of Green- dale in my KAYLA life. I can't UPADHYAVA stop thinking about all of the unreal- ized Jeff Winger speeches, Troy and Abed shenanigans, and Britta leather jackets that we've been denied. This past November, NBC omi- nously announced a midseason schedule devoid of "Community," the oft-experimental and most innovative sitcom you're appar- ently not watching. Instantly, Twitter and Facebook erupted in a fury of expletives and witty references. I'm still pumping out tweets ending with "#savecom- munity" and urging my friends to kidnap their unfriendly neighbor- hood NBC execs or occupy Rob- ert Greenblatt's office. NBC has assured distressed fans that the show will finish filming and air at least the rest of the season (Troy and Abed in the ... TBD). But it's clear "Com- munity" hasn't brought in the revenue necessary to keep the big bad network execs satisfied, and there's little we Human Beings can do to stop them from huffing and puffing and blow- ing Greendale all the way to the Dark Timeline. Not even Abed as Batman can save us. The Legion of Mainstream Awards Shows was our only hope, and now it might be too late. I've been following red carpet events long enough to know that when it comes to television, nomination committees just can't seem to get it right. I'm still not convinced that the Hollywood Foreign Press Association actually watches television. As much as I hate giving so much power to awards shows, they do affect television ratings. The viewership of "Mad Men" increased significantly after the show raked in several consecu- tive awards, and "Modern Fam- ily" became Wednesday night's highest rated program after win- ning its Emmy. After years of my favorite shows getting snubbed, you'd think I wouldn't get too worked up during nomination announce- ments. But the fact that people aren't throwing all the awards at "Community" continues to baffle me. It all comes down to the eccen- tricity of "Community." It's a show about a community college study group, but it's also a show about alternate realities, apoca- lyptic paintball battles, space buses and secret-air-conditioner- repairman societies. The scruffy and sassy genius Dan Harmon created "Community" for an odd- ball audience made up of people who wear costumes to midnight releases of comic-book-based films, speak in puns and still haven't recovered from the can- cellation of "Freaks and Geeks" or "Arrested Development." Unfortunately, though we make up about 90 percent of Twitter users, we're a small demographic of inter-nerds and TV junkies who have many a limited-edition collector's lunch box but nary a Nielson box. But the value of a fresh and daring show like "Community" isn't something a Nielson box can calculate. And while the Golden Globes are always trying to be "edgy" and "new" in order to attract a younger and more diverse audi- ence, they are about as cutting- edge as an episode of "The Big Bang Theory," CBS's time-slot competitor to "Community." Some of the best comedies are those that break the sitcom mold and take risks, but these shows don't necessarily bring in awards. "30 Rock," which can be as bizarre as "Community," is an obvious exception, as it has received countless awards. But one of its huge pulls is the popu- larity of its stars, Tina Fey and Alec Baldwin. "Community" has comedy veteran Chevy Chase and Joel McHale of "The Soup," but they aren't the focus - it's an ensemble show, and many of its actors are still newbies by Hol- lywood standards. Awards shons also love com- edies that mix feel-good comedy with social issues. "Glee" caters to this notion, dedicating epi- sodes to issues like homophobia or teen drinking, resolving prob- lems quickly and then dropping the issue or watering it down with a song and dance. The seri- ous moments are obvious and trite, making it mindless comedy. "Modern Family" is sometimes guilty of this, too. Too good for the red carpet. "Community" makes us think. At the surface level, it's a whirlwind of pop culture refer- ences and absurdity. But these characters are real people with real problems - problems that can't be resolved in one episode or even a whole season. Jeff has been dealing with his compli- cated feelings toward Annie since season one, Abed's familial issues are a recurring theme and Britta is always struggling to balance her abrasive personality with a desire to fit in. No other sitcom can pull off a Christmas claymation episode crafted with equal parts wit and character development, or an episode about a normal gather- ing of friends and pizza that turns into an ingeniously spun web of six alternate timelines. This show wasn't designed for the masses or for mainstream- awards attention, but if the all-powerful peacock decides to make "Community" join Horse- bot 3000 in its grave, NBC won't just be forcing us to say goodbye to the best ensemble on televi- sion - they'll be setting back comedy and condemning uncon- ventionality in sitcoms. Let's be real, they'll be Britta-ing televi- sion for the rest of us. Upadhyaya is stalking Alison Brie. To intervene, e-mail kaylau@umich.edu. Alluring 'Lost Girl' combines sexy, sci-fi Neeson prevails in 'Grey' By KAYLA UPADHYAYA Senior Arts Editor In the world of genre tele- vision, there seems to be an assumption that a bigger budget 4 makes a better show. In some ways, this holds true - despite Lost Girl the obvious lack of character Pilot development Mondays at and inconsis- tent writing in 10P.m. "True Blood," Syy millions of viewers tune in every week to see the fantastic, heavily stylized visual effects. But some of the best genre shows of all time, such as "Buffy the Vampire Slayer" and its spinoff "Angel," operated on modest budgets, relying instead on the abilities of their casts and strength of their stories to craft spellbinding, evolving shows. "Lost Girl" - a supernatu- ral crime drama that debuted in Canada in 2010 before being picked up by Syfy this year - has low production value, but that hardly detracts from the show. Yes, the makeup and costumes are sometimes hideous, and the special effects are painstakingly '90s-esque. And of course itwould be nice for all genre shows to have the production value of "Game of Thrones," "The Vampire Diaries" or "The Walking Dead." But "Lost Girl" has plenty going for it, and to simply write it off because it looks cheap would be unfair. The show follows Bo (Anna Silk, "Being Erica"), a stunningly beautiful bartender who is irre- sistible to just about everyone. But Bo can't get physically close to This isn't Sunnydale, where most anyone --everyoneshe kisses ends humans were completely oblivi- up dead, an eerie smile plastered pus to supernatural activity. The across their lifeless face. After Fae are discreet, but they work rescuing a girl by killing a sexual in the human world. Human-Fae predator in an elevator, Bo decides relationships are frowned upon she has to start her life over again. by both sides, but they still hap- Before she has a chance to go on pen. When Bo and her human the run, two detectives show up at sidekick Kenzi (Ksenia Solo, "Life the crime scene and deduce that Unexpected") start freelancing the murderer could not have been as private investigators in super- human. Surprise! The detectives natural mysteries, they become aren't human either, and they a bridge between both worlds, quickly find Bo and kidnap her for saving innocent Fae and humans interrogation. alike. Creating a complex world is one thing, but "Lost Girl" also succeeds in populating its world with powerful, captivating char- high returns. acters played by an adept cast. Its leading ladies are particularly outstanding, and their lack of act- ing experience goes completely Bo discovers she is a Fae - a unnoticed - Silk plays Bo with group of supernaturals divided precision, selling the oft-cheesy into two factions: the Light and one-liners and nailing the emo- the Dark. After a steamy scene tional complexities that come with the Light Fae leader's human with the character's identity cri- doctor Lauren (Zoie Palmer, ses. And Solo transforms seam- "The Guard"), Bo learns that she lessly into the best part of this belongs to the succubi species show, Kenzi: a sassy, bouncy day specifically. The two detectives drinker. Solo and Silk's chemistry who brought her in - Dyson (Kris makes Kenzi and Bo's sister-like Holden-Ried, "The Tudors") and closeness even more engaging Hale (K.C. Collins, "Blue Mur- than the succubus-werewolf- der") - are a werewolf and a male doctor love triangle that forms siren, and it turns out there are between Bo, Dyson and Lauren. endless species of Fae, all with The effects might make you ranging abilities. When presented wince, and the show can reach with the choice ofchoosingtojoin laughable levels of camp, but the Light or the Dark, she dramat- the characters in "Lost Girl" are ically chooses neither. Bo wants to instantly lovable, and the writers live her own life, unbound by the take impressive storytelling risks, Fae social contract. giving the show speedy, enthrall- The supernatural world of ing pacing. It's fun, it's sexy, it's "Lost Girl" is expertly crafted, a show about a bisexual, crime- mainly because it is so inter- fighting succubus - what's not to twined with the human world. love? By AKSHAY SETH Daily Arts Writer Liam Neeson punching the shit out of a rabid pack of man- eating wolves - the teenage boy in all of us could ask for nothing more out of two The Grey hours spent in a dirty multi- At Quality 16 plex seat. And and Rave "The Grey," Open Road despite the slightly heavy "true nature of man" philosophy it tries to peddle, doesn't disap- point. The story is at least origi- nal (if not believable), the action is nail-bitingly good, and best of all, there's not a single idiotic pun anywhere. Writer-director Joe Carna- han ("The A-Team"), known for a particularly irritating brand of overblown and over-directed adventure flicks, somehow man- ages to avoid the trap of making set pieces a higher priority than actors. The effects are felt clear- ly at every gripping turn. Each character is properly fleshed out and has a distinctive voice that adds to the rather somber base of morality the film has been built around. But Carnahan and new- comer Ian MacKenzie Jeffers, who wrote the short story that inspired the film, don't give us much of a chance to get too lost in the bleakness, creating raw tension through their surpris- ingly original script. It's obvious from the get-go that Neeson is the driving force behind this film and he adopts the role well, letting his perfor- mance maintain a sense of sub- dued reality in a highly unlikely situation. The character he plays, John Ottoway, is a wolf hunter hired by a large petro- "Take that, Hugh Jackman." OPEN ROAD leum c protect from t quickly way is conflic behind It the But him an crashes northe old ma leader: it's the son pt the me interes a pack trackin Before ompany. Even though he in the theater is silently cheer- s his unsavory colleagues ing as our favorite new wolf he bloodthirsty beasts, it hunter straps sharp glass onto 'becomes clear that Otto- his knuckles to take one of the a very sad man, deeply fiends head-on. ted about the meaning Looking beyond the badass his work. action scenes, it's easy to see that the filmmakers are trying to address deep topics, includ- get ing the meaning of God and how powerless humans are in the lore badass wild. It's all very Jack London, touching nerve with the primi- an punching tve nature of our existence. And to a certain extent, it actually wolves. works, helping us see the more "human" side of the charac- ters being examined. But as the film rolls on, it gets to the point when the plane carrying where we really don't see the id his friends back home reasoning behind Ottoway recit- s into the frigid tundra of ing poetry before killing a wolf. rn Alaska, the conflicted Nevertheless, there's no hon- n takes a back seat and a esty in denying that this is a is born. Cheesy? Yeah, but surprisingly well-made and type of character Nee- entertaining film. Even if he rtrays well. Of course, does take himself a tad too seri- vie really starts getting ously, Liam Neeson will always ting when Ottoway spots have a special place in our heart of hungry wolves silently if he's willing to beat things up ig his impromptu posse. onscreen. "The Grey" is a shin- you know it, everyone ing example of why.