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Monday, July 30, 2012
The Michigan Daily - michigandaily.com

A.H. FOODS
From Page 3
uct out."
Knighton added that the
company has no plans to expand
into traditional gluten-based
recipes to expand their product
line.
"This is definitely our niche,"
Knighton said. "It's something

going to stick with.".
Josh Dean, the other vice
president of Arbor Haven Foods,
said the company is betting on the
increased awareness of the health
benefits of gluten abstinence
as well as the growing number
of consumers that are being
diagnosed with gluten allergies
of varying severity. He added
that the market for gluten-free
products is currently worth $3
billion to $5 billion in the United

States.
"That number is expected to
grow at a rate of 30 percent annu-
ally over the next couple of years,"
Josh Dean said. "The crazy thing
is if you go to Europe, gluten-free
is a much larger thing than gluten
food is ... they have a much higher
(rate) of celiac (medical term for
gluten allergy) incidence per cap-
ita."
Steve Dean said the company

snickerdoodle cookie within a few
months. Down the road, the com-
pany plans to produce gluten-free
flatbreads before tackling tradi-
tional breads.
The cookies are currently
retailing at $2.50-$2.85 and are
available at all Espresso Royale
locations. They are also used in
ice cream sandwiches at Iorio's
Gelateria. Bulk orders are also
available directly from the


RELEASE DATE- Monday, July 30, 2012
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Little plot, but
enough dancing to
entice audience
By JACOB AXELRAD
Editor in Chief
It's refreshingto see a movie play
to its strengths, which is precisely
what "Step Up Revolution" - the
fourth install-
ment in the fran-
chise - does so
well. Itgives audi- Step Up
ences approxi- Revolution
mately two hours
of punch-you-in- AtQuality16
the-gut, street- and Rave
wise, bootylicious
dancing. More Summit
succinctly, there's
very little in the way of storyline,
dialogue or acting. And that's OK.
The minds behind these films have
finally accepted that they don'tneed
to ask their dancer-stars to pretend
to act. That's not whatbrings people
to the theater.
What's required, rather, is a plot
that requires little thought on the
part of the audience.'So long as the
exquisitely constructed perfor-
mances connect in a kind of lin-
ear fashion, we suspend disbelief.
Because the artistry - and yes,
there is real artistic achievement
here - lies in director Scott Speer's
ability to film flash mobs the way
Peter Jackson films Middle Earth:
with a fetishistic obsession that

Monday, July 30, 2012
The Michigan Daily - michigandaily.tom 1
'Step Up' delivers the. right moves

makes them larger than life, almost
majestic.
We open with Sean (newcomer
Ryan Guzman) turning to best-
friend Eddy (Misha Gabriel, "Clerks
II") and asking, "You ready?" Eddy
smirks. "You're kidding, right?" he
responds. The two buddies then
step out of the car, initiating a flash
mob smack in the middle of Miami.
Like a dance number from a clas-
sic Hollywood musical, the street
erupts into a choreographed frenzy
showcasing the latest moves from
The Mob, an underground dance
crew trying to make a name for
themselves by winning a YouTube
competition.
The video soon goes viral, gen-
erating millions of hits within days.
And The Mob seems poised for star-
dom, but complications arise when
Sean, The Mob's front man, falls
for Emily (Kathryn McCormick,
"Fame"), the daughter of wealthy
businessman Bill Anderson (Peter
Gallagher, "American Beauty").
Anderson is intent on developing a
hotel in a historic district of Miami
where The Mob holds strong roots.
His plans don't go over well with
The Mob or his daughter, an aspir-
ing dancer with hopes of dancing in
a professional company. She joins
The Mob - both for love and to
inject a sense of "danger" into her
otherwise safe style of dance - and
a modern-day David-and-Goliath
story unfolds in dance-battle fash-
ion.
The result is an extended music
video of sorts. Imagine the best

parts of Fox's "So You Think You
Can Dance" combined with eye-
popping visual effects and cin-
ematography. In one scene a fine
art museum becomes The Mob's
stage as the dancers, clad in cam-
ouflaged costumes, peel off of the
paintings, literally bringing the art
to life. In another scene The Mob
turns to protest art as they "mob" a
city council meeting in an attempt
to save their neighborhood. This
time they adorn themselves in suits
and fedoras, mechanically mov-
ing throughout the office building,
dollar bills fluttering in the air. It
could easily be the background to
a Michael Jackson number as they
dance in fluid synchronization.
Mesmerizing doesn't even begin
to capture the feeling that's creat-
ed as camera meets dancer in this
duet for the digital age.
Unfortunately, there are occa-
sional cringe-inducing moments
where these gorgeous people have
to actually (gasp) act. In these
scenes it's disheartening to think
that you root for the villain, as
Gallagher - the only real actor of
the bunch - dominates the screen.
His lines are cheesy. His char-
acter is as thinly drawn as they
come. But this is still the man who
charmed legions of fans as Sandy
Cohen in "The O.C". He reveals
depth where the other characters
reveal little more than beautiful
smiles atop beautiful bodies.
On top of the gratuitous shots of
bikini-clad wdmen lounging pool-
side (We get it. We're in Miami)

the biggest flawisthat"Revolution"
is still restricted by the traditional
restraints of story. The poor waiter.
The rich girl with artistic ambi-
tions. The oppressive father. Corpo-
rate conglomerates pushing out the
little guy. It's like the screenwriters
reached into a bag and pulled out
the most obvious plot points that
have worked in similar movies of
the genre. Yes, Patrick Swayze and
Jennifer Grey made sparks fly as,
you guessed it, a poor waiter and
a wealthy girl in "Step Up" 's '80s
equivalent "Dirty Dancing".
But there's no need for "Revolu-
tion" to include a lame reproduc-
tion of that movie. Better to take
a note from Bollywood and let

the movement do the talking. No
pulpy emotions injected unneces-
sarily between performances. No
preachy voice-over monologues.
No moments of startling irony
(spoiler alert: the movie's finale
prompts a Nike representative
to ask The Mob if they want to
be the new face of the company.
They accept. The fact that they
work the whole movie to stave off
a hotel chain, only to sell out to a
corporation that's been accused
of using sweatshop labor since the
'70s is a paradox that's difficult to
swallow). All we really need are
the types of dance that make us
drool with envy and awe. Anything
"movie"related is secondary.

Happy- ever after, or not

By ANNA SADOVSKAYA
ManagingArtsEditor
Cinderella had a glass slipper;
Snow White had seven dwarfs; I
had a Little Mermaid costume.
Growing up with the classic Disney
princess movies, I imagined my life
os a fairytale: I'd have flowing locks,
a handsome prince and a talking
animal friend. There was some-
thing brilliant about the old movies,
despite their setbacks.
No doubt classic Disney movies
are steeped in stereotypes and rely

on sexist ideals to carry the plot,
but considering the time period in
which the Fairytale-world back-
drop was created, it made sense.
When Disney came out with
"Snow White and the Seven
Dwarfs" in 1937, women were the
center of a household - support-
ing their families by keeping a tidy
home, raising children and not
being wasteful with money. "If you
let me stay, I'll keep house for you.
I'll wash and sew and sweep and
cook ... " says Snow White when the
dwarfs find her sleeping in their

beds. She automatically concedes
to the female role of the 1930s,
presenting her usefulness and
value through the homemaker
personality.
Likewise, released in 1950,
"Cinderella" echoed America's
attitude towards women - obe-
dient wives, obedient daughters.
Cinderella was a quiet, compliant
girl that cleaned and cooked. She
was rewarded for her submissive
behavior with a Prince - someone
to give her a bigger, nicer home to
See FAIRYTALE, Page 8


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07/30/12