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Arts

Fear factor: These film fest frights keep you on the edge of your seat

Who says you can’t celebrate a holiday for two weekends in a row? Halloween may be on the 31st, but the Virginia Film Festival continues the fright with creepy offerings to audiences every night during its four days in Charlottesville beginning on Thursday.

THURSDAY:The waters haven’t been this unsafe since Jaws in Thursday night’s mockumentary thriller The Bay, the story of a deadly parasitic infestation of the Chesapeake Bay. Three years after the gruesome and mysterious deaths of roughly 700 Bay-area residents, a reporter sets free some footage revealing the truth about that fateful Independence Day. Combining Barry Levinson with the forces behind Paranormal Activity, the film’s central premise of a biological murderer and its cover-up by a small town’s authorities isn’t only a chance for mile-a-minute scares – it’s timely and ecologically aware.

FRIDAY: Not that it needs much introduction, but terror takes a turn for the extraterrestrial in sci-fi classic Aliens on Friday night. It may have taken a more action-oriented route than its predecessor, but James Cameron’s second entry in the infamous series continues to frighten nearly 20 years later. Sigourney Weaver’s Ellen Ripley once again finds herself face to face with the alien beasts 57 years after the initial attack on the ill-fated Nostromo, thanks to a mysterious disappearance from planet LV-426 and some fortunately advanced stasis.

SATURDAY: We’ve all heard Sartre’s “hell is other people” bit, but what happens when family becomes those other people? That’s the idea behind Saturday night’s House Hunting, which tosses two families into a horrifying purgatory in the form of a haunted and inescapable piece of real estate. Locked away in the secluded home, the families begin working together to escape only to quickly degrade as they learn – from the mouth of a prior owner’s spirit, no less – that only one family will make it off of the property alive. This is competitive real estate at its finest, folks.

SUNDAY:Because the found footage theme continues to grip the horror genre, Sunday night’s Irish flick Portrait of a Zombie similarly uses the mockumentary style as the narrative revolves around an American documentary crew keeping its lenses locked on a family whose son has fallen victim to the zombie outbreak racing across Dublin. Family is one of those ties that bind and all, but when Billy’s parents decide to keep him around even as he craves brains and blood, people are reasonably upset. But hey, it’s the 21st century, and family is all about unconditional love, right?

Whatever your preference – maybe it’s the action-packed terrors of space, or perhaps the ecological commentary found in parasitic infestations – the Virginia Film Festival won’t let Halloween disappear at the stroke at midnight. Horror is alive and well – make that un-dead and well in some cases – all weekend. Complete details at virginiafilmfestival.org.

Virginia Film Festival/November 1-4 

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News

Local biotech firm’s technology could prevent drug contamination, tragedies like meningitis outbreak

Months after thousands of people in the eastern U.S. were given back injections tainted with black mold, more than 300 have contracted fungal meningitis and 28 have died, including two in Virginia. As doctors scramble to treat those affected, regulators are trying to unravel what happened at the Massachusetts pharmacy that produced the drug. Whatever the cause, technology that could prevent a similar disaster already exists—and it was developed right here in Charlottesville.

Jim Veale was fresh out of UVA’s graduate physics department when he started Lighthouse Instruments in 1995 with a patent for a high-sensitivity laser. Five years later, he’d developed a revolutionary way to use the technology to check the integrity of sterile pharmaceuticals.

Injectables and other drugs packaged in small vials usually have a cushion of pure air, or “headspace,” sealed in above them. If the gas balance in that space is off—if there’s suddenly too much oxygen, for instance—it’s a clue that there’s a leak, and if air can get in, so can microbes. In Lighthouse’s early days, Veale learned that the standard method of testing headspace was, by necessity, destructive: In order to get a sample, pharmaceutical companies had to break open random vials. If they found a problem with one, they might have to scrap tens of thousands of doses.

“That’s when I had the idea,” Veale said. “Why couldn’t we do that measurement with this laser we have? The end user wouldn’t have to destructively test or open up the vial.” And what’s more, the technology would allow for 100 percent inspection.

Today, said Veale, Lighthouse employs 26 people, and its headspace systems are widely used by pharmaceutical companies around the world. “We have some competition, but we’re really the only ones offering this kind of laser technology,” he said.

And advancements are marching forward. They’re running final tests on new equipment designed to detect big drops in oxygen in vials, which would indicate the presence of microbes or other contaminants sealed in during the manufacturing process.

It’s possible that’s what happened at the New England Compounding Center, the source of the tainted drugs blamed for the meningitis outbreak. Officials have found problems at the plant, including puddles and dirty floor mats near areas that were supposed to be sterile.

Tom Thorpe is CEO of Afton Scientific, a small-batch drug maker. He’s also one of Veale’s best friends, and their companies share office space in Belmont. He knows full well how vigilant manufacturers have to be to avoid contamination. From air filters to fingertips, everything has to be cleaner than clean.

“You have to be constantly afraid of making a mistake,” he said.

But compounding pharmacies like the Massachusetts company are regulated far less strictly by the FDA than pharmaceutical manufacturers, Thorpe said, even though they often make similar products. Unless the government says test, companies won’t test. But the meningitis outbreak—and the arrival of technology that can assure safety while reducing waste—might shift the risk-benefit analysis for everybody in the industry.

“A lot of this technology adoption is driven by regulatory requirements,” said Veale. “Right now, I think everybody’s taking a wait-and-see attitude about how that regulatory environment is going to change.”

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Arts

Aliens invade! WTJU broadcasts “War of the Worlds”

Don’t be surprised if you hear about crop circles and UFOs landing on farms in Crozet tonight. Halloween has arrived, and WTJU 91.1FM is broadcasting a re-imagining of “The War of the Worlds,” the infamous Orson Welles alien invasion radio drama that terrified the country 74 years ago tonight.
The UVA public radio station will air the show tonight at 7pm, and features eight UVA drama students and 12 members of WTJU.
“There has been an amazing rediscovery of radio-drama and audio storytelling at community and public radio stations around the country,” said Nathan Moore, WTJU’s general manager, in a press release about the broadcast. “I’m so glad that we can be part of this movement. It not only provides an outlet for creative expression, it’s also fun for both WTJU listeners and WTJU volunteers.”
The 1938 CBS production was based on H.G. Wells’ science fiction novel about an alien invasion, and was adapted to name locations listeners would recognize. CBS used a realistic news-bulletin format, causing panic among some listeners. Moore said WTJU doesn’t want to recreate the mass fear, but thinks an updated version will make for great Halloween night radio.
Two volunteers at the station—UVA senior and WTJU’s director of public affairs Lewis Reining and producer and host of WTJU’s “Soundboard” news program, and UVA graduate Rebecca Barlas—co-directed and produced WTJU’s “The War of the Worlds” after Barlas got the idea from listening to an old radio broadcast in Washington, D.C. The original broadcast was about 60 minutes, but WTJU’s will only last a half hour, and will be available online tonight at wtju.net and for two weeks in the archives.
So grab your radios—or laptops—gather close to the fire, and bundle up while you stay informed about tonight’s imminent alien invasion.
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Arts

Boyd Tinsley’s film debut is a distinctly Charlottesville experience

When Boyd Tinsley set out to make Faces in the Mirror, it was more of a calling than a choice. After years of plotting out film projects in casual conversation, the ideas that formed his first feature came fast and furious. “Making a movie is something that I’ve thought about doing since the mid-’90s,” said Tinsley. “All these different elements came together to where I had to make a movie.”

When inspiration struck, the violinist for the Dave Matthews Band acted quickly to form his team with executive producer Fenton Williams and follow the urging of his cinematic muse. So quick, in fact, that the score was composed first. The musician in Tinsley had channeled the music before the cameras were turned on.

The film was shot with little use of a script, and was made in reverse using the score as the guideline for the imagery and plot. “We had to literally dance the movie around the music,” he said. “We made the movie move with the music. We made the movie feel like the music.”

The film stars Ryan Orr as an emotionally conflicted son on the day of his father’s funeral. The death serves as the catalyst for a trippy journey through discovery and forgiveness. “There is very little dialogue, so a lot of the movie is expressed by Ryan Orr, who is a modern day silent picture star, in my opinion,” said Tinsley. “Ryan goes through most of this movie without saying a word, but you are absolutely intrigued by him.”

Haunting music, led by Tinsley’s signature violin playing and a long list of talented performers, serves as the dramatic device to Orr’s mostly silent narrative as it moves viewers through heart-rending flashbacks, moments of grief, and mysteriously sexy scenes like the pivotal bonfire dance. “I love to feel things in movies. Music is a really important element of that for me,” he said. “When what I see and what I hear come together and dance together, I want to feel something.”

Tinsley praised director Aaron Farrington for his “brilliant creative mind” and the ability to interpret his artistic vision. “Boyd never told me we were filming in reverse,” said Farrington. “It kind of made sense. When it came time to start shooting, there was all this music. That was the information that I had—the music. I tried to use it to inform everything we did onscreen. Not necessarily specifically, but music as a whole to the movie as a whole.”

While Orr is the central character of the film, it’s Charlottesville that steals the show visually. Johnny St. Ours’ cinematography guides viewers through a dreamy landscape via aerial shots, pans from moving vehicles, dramatic sweeps over historical properties, and many other familiar landmarks. The cast and crew are primarily local as well.

“Charlottesville is a really important part of this movie,” said Tinsley. “Everybody knew it was going on, but nobody really talked about it. It felt like the biggest known secret in Charlottesville. And there was a sense of anticipation, the same sense of anticipation that we had in making the film.”

Tinsley connects the evident sadness in the film to his own grief over the loss of friend and bandmate, LeRoi Moore. “It was [conceptualized at] a pretty dark time for me. It was right after LeRoi had died. It was in that fall, and I was down. Roi was really close, he was a mentor of mine, a really good friend of mine, and so it brought me down. I was in a dark place and I think that some of it comes from that.”

The most important take away for Tinsley is an emotional reaction. “It should be an emotional thing that goes through your body. It should be more than just something that you see—it should be something that you feel. When things are truly from the heart, you cannot help but feel it. Everybody will feel this differently.”

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Keys to the kingdom: Things to watch for on election day

So here we are. After what seems like the longest presidential campaign in human history, the election is just days away. And, while we are firmly on record predicting an Obama win (both nationally and in Virginia), nothing—and we mean nothing—is ever certain in politics (just ask alternative-universe President Thomas E. Dewey). With that in mind, we thought it might be instructive to take a closer look at the various pieces of Virginia’s electoral vote puzzle, and pinpoint the major factors that could swing the outcome one way or the other.

Romney’s debate bump: Goode enough?

There’s certainly no denying that Mitt Romney’s poll numbers improved markedly following the first presidential debate. And of all the swing states, Virginia’s shift was among the most significant, bringing Romney into a statistical tie with President Obama.

But the president’s subsequent strong debate performances, coupled with a relentless campaign schedule, have muted Romney’s surge, and now it looks like anybody’s game. Which is why the relative performance of third-party candidate Virgil Goode will be so crucial. While there’s no way that our favorite blow-dried blowhard will win (hell, he couldn’t even win a debate against Libertarian Gary “Legalize It” Johnson), if he breaks even 1 percent on

election day, Romney
is toast.

Turnout vs.
burnout

Obama won Virginia in 2008 by dominating traditional Democratic strongholds like Arlington and Richmond, while also squeaking out unexpected wins in traditionally conservative areas like Loudoun and Prince William counties. This victory was made possible by Obama’s outsized performance among black and Hispanic voters, who preferred him by large margins (92 and 67 percent, respectively). Obama is counting on the Commonwealth’s growing Hispanic population—along with his traditional base of students, women, African-Americans and latte-sipping Caucasians—to help him repeat this impressive feat. But the real question is whether or not the Obama campaign’s vaunted get-out-the-vote operation can match its stunning 2008 performance. Which brings us to…

Block the vote

Perhaps the biggest variable in this entire election is the effect of the GOP’s vote-suppression tactics. While they will deny it all day long, there’s really no doubt that Virginia’s Republican-backed voter ID law was crafted—like other similar state laws—to disenfranchise poor, elderly and minority voters. Add to that the recent scandal in which an employee of Pinpoint, a company contracted by the Republican Party of Virginia to register voters, was caught throwing away Democratic registration forms, and a disturbing pattern begins to emerge.

Now, something tells us that Attorney General Ken Cuccinelli—who was finally instructed to look into the matter after a week of stonewalling by the Republican-controlled State Board of Elections—will dismiss this as an isolated incident. But considering that acts of fraud by the Pinpoint-affiliated company Strategic Allied Consulting have been reported nationwide, it seems more and more than likely that registration fraud is, as Democratic Party of Virginia chairman Brian Moran put it, “a central feature of the GOP campaign effort this year.”

So which, if any, of these factors will have a major influence on the election? To be honest, we have absolutely no idea. But luckily, we only have to wait a few more days to find out.

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Arts

A new film from “The Sopranos” creative team opens the Virginia Film Festival

There’s a moment in Not Fade Away, the new film by “The Sopranos” creator David Chase that’s screening as the opening night feature at the Virginia Film Festival, that will simultaneously cause a chill to walk up your spine and a smirk to slide across your face. That reaction is well-known to fans of “The Sopranos,” the groundbreaking series that opened up premium cable, long-form television as the most vital, rich, and satisfying vein for Hollywood’s creative class. Much of that show’s brilliance came from Chase’s ability to weave together menace and humor and take us to whole new places when it comes to sympathizing with, (and passing judgment on), our protagonists.

So when James Gandolfini, a harried, bottled-up pressure-cooker of a New Jersey dad in the early ’60s, leans out a car window and says to his teenaged son, played by John Magaro: “You show up at that restaurant without a tie and a jacket….you and me are going to tangle my friend,” it’s hard not to hear a little bit of Tony. But the reaction of Magaro’s character to his father’s threat—a gentle, rueful, almost invisible smile—shows that although we may be in New Jersey, we’re miles from the mob and the “waste management business.” The smile says that the young man realizes his father is a limited man, and he accepts that the gruff gesture is what passes for affection from the man he’s got to lock horns with in order to earn the right to break out and live the kind of life he wants to live.

Don’t let that little flash of Tony Soprano lull you into thinking that Chase and Gandolfini are haunting the old neighborhood and re-fighting old battles in Not Fade Away. The north Jersey setting and the presence of key members of “The Sopranos” creative team are about the only things that Chase’s first feature film has in common with his television classic. Although Gandolfini’s presence is vital, and his performance deep and rich and moving, the heart of this film is a coming of age story, about kids finding themselves in an era of tumultuous change. And about how music is the key to everything.

“I don’t want to brag about the ’60s,” Chase told press at the New York Film Festival in October. “But the music was great. It was our way into everything. It’s how I first learned about art, fashion, humor, film. It all came from there.”

In Not Fade Away, Chase reached back to his own teenage years, a time when he and his friends were so worked up over the music coming out of their transistor radios that they started a band “for like 15 minutes.” The plot line of kids starting a garage band in the Jersey suburbs served as a platform for Chase to dive into the nuance and texture of the seminal era of rock and roll: “I’ve been saving these songs for this movie. It really is a compilation album of some of my favorite songs, is what it comes down to.” But it also provided a challenge in getting the level of realism Chase wanted: “We had to work it out such that it would be logical, it was right chronologically, and that the band could theoretically do it with their level of expertise.”

To help make that work properly, enter a third alumnus of “The Sopranos”—Steven Van Zandt, who, besides having played strip club owner Silvio Dante on the show, was himself running the streets of Jersey a half dozen years after this film is set, forming bands and alliances and life-long friendships with guys like Southside Johnny and Bruce Springsteen. Chase enlisted Van Zandt’s garage-band cred and encyclopedic knowledge of the history of rock and roll (he programs the Sirius XM radio show “Little Steven’s Underground Garage”) to coach the actors in how to be a band, and to produce the music for the film. “We went to boot camp for like six months in my studio,” said Van Zandt. “They were amazingly dedicated and all learned how to play. They’re a band now, and could literally perform at a party tonight. And that was extraordinary to watch.”

With one key exception, which you’ll have to see the film to learn about, the music they learned to play was all real music from the period. “Part of the authenticity,” said Van Zandt, “is that most bands are cover bands for the first few years of their lives. You spend a few years learning other people’s songs. That’s how you form your identity.”

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Top quality childcare doesn’t come cheap

Charlottesville is home to a broad spectrum of childcare providers, from nanny-shares and under-the- table babysitters to corporate-owned centers that cost as much as college tuition. Parents are faced with tough decisions before even giving birth, and families everywhere have the same question: Why is childcare so expensive?

Tuition for top-notch centers in Charlottesville can run as high as $14,000 a year —comparable to Massachusetts, the state with the nation’s highest average childcare costs. Providers and parents will agree that every child deserves quality care. But the gap between the top tier and the safety net, both in terms of quality and price, is dramatic. The bottom line is you get what you pay for, and for the most expensive childcare, what you’re paying for is a low ratio of kids to educated, highly paid staff.

First-time mother Amanda Sovik-Johnston learned the hard way to hang on for dear life to trustworthy caregivers.

“When you find someone you like and trust, you’ve got to do everything you can to keep them happy,” she said. Sovik-Johnston now sends her son to a shared home care provider after a frustrating nanny experience.

Parents want as much one-on-one attention for their kids as possible, from committed staff with experience and education, but some centers retain employees better than others. Many of the centers that target the lower income brackets are forced to pay lower salaries, causing a high turnover rate and less consistency for kids.

Of the 60-plus childcare centers in Charlottesville, only three are accredited by the National Association for the Education of Young Children, the world’s largest organization working on behalf of children with more than 300 state and local affiliates. Two of those NAEYC accredited providers are the corporate-run childcare centers for University of Virginia faculty, staff, students, and medical personnel.

Malcolm W. Cole Child Care Center, the daycare for families employed by the UVA Health System, is accredited by NAEYC and is one of the most expensive options in the area at about $12,000 per year for infants. It’s managed by Bright Horizons Family Solutions, the largest provider of employer-sponsored childcare, and its reputation has made it a top choice for the UVA employees who can afford the cost and the wait.

The daycare uses a priority ranking system, with Medical Center employees who provide direct patient care at the top, followed by other staff, and finally other workers including University faculty, staff, and research professionals.

Katie Newell Leach has one young daughter, and went on the Malcolm Cole waiting list the day she found out she was pregnant in 2011. She said she never looked into other childcare options, and though her husband is a UVA Medical Center resident, the wait was still nearly a year.

“We heard nothing but good things about it from other parents, so there wasn’t really a question for us,” she said.

Jennifer McDonald, who has a bachelor’s degree in early childhood development, has worked in several cities, including New York and Atlanta, and saw a need here for higher quality care. Last September she opened Our Neighborhood Child Development Center, a privately owned facility for infants and toddlers that serves the high end of the market, including some UVA families who prefer it to the University’s options.

“I can’t help everyone and fix everything—we’re only licensed for 43 children,” McDonald said. “But I want to set a standard that parents can see and demand from other places.”

McDonald is outspoken about the fact that not all childcare is created equal. Our Neighborhood operates on a system called continuity of care, which provides stability and consistency for the kids, which McDonald said is essential during those first few years. Most daycare centers move children to the toddler room when they hit 16 months, which can be detrimental if the child doesn’t know anybody or go through any sort of transitional period. So rather than abruptly moving one or two kids at a time, a group and its teacher will spend weeks visiting the new classroom, talk about the upcoming changes, and ultimately move together.

But providing staff who are both qualified and willing to make long-term commitments is one of the biggest challenges McDonald faces. Daycare centers often hire uneducated staff who are looking for temporary work, but McDonald hires teachers —preferably with bachelor’s or even master’s degrees in a child-related field—who demand salaries higher than a high school graduate who enjoys working with kids.

As a member of the Virginia Association for Early Childhood Education, who plays an active role in the local childcare community, McDonald said she has been appalled by practices she’s witnessed at different centers, from questionable ratios to a complete disregard for physical affection.

“I’ve toured places where crying children are being rocked in cribs, not touched at all,” she said. “That’s not comforting.”

Some parents want even more nurturing and one-on-one attention, but they have to be willing to pay for the low ratios.

Mozhdeh Monjezi’s Gentle Care home center has been thriving since 2005, and won’t have any openings until September 2013. She employs two full-time care providers, prepares fresh, homemade meals and snacks for the kids each day, and treats each child like her own.

It’s 1:30pm, and Monjezi’s basement is quiet. The blinds are closed, lights are off, and gentle, soothing music lulls kids to sleep. Monjezi and her staff are able to take care of tasks like wiping down countertops and taking out the lunch trash, and they may even get a few minutes for a deep breath and a quick bite.

But when a whimper comes from the next room, a caregiver drops what she’s doing and within seconds is on the floor, holding and cooing at a drowsy but distraught looking 1-year-old boy. He’s been struggling at naptime lately, but immediately relaxes in the arms of his teacher.

Monjezi’s primary goal is to provide a nurturing, home-like atmosphere for the kids. A mother wouldn’t ignore or harshly shush her crying baby, she said, and neither should a childcare provider.

When Mozhdeh Monjezi came to Charlottesville from Iran nine years ago, she took a job as a teacher at a local daycare center. As the second of six children, Monjezi spent most of her life surrounded by kids, and went on to study child development in college. She had no doubt that working with young children was her calling, but after a few months she began seeing practices she didn’t agree with, and the day she watched a caregiver wave her hand at a crying baby and say “Oh, he’ll be fine,” she took matters into her own hands.

“I knew I wasn’t going back,” she said. “I knew then that I wanted to be in charge.”

So with a vision of a center that reflected the nurturing environment her own stay-at-home mother created for her and her siblings, Monjezi and her husband finished the basement of their new home and transformed it into a home care center for infants and toddlers.

But it all comes with a cost. Parents sending their kids to Gentle Care fork out $55 per day for part-time care, or $248 per week for full-time—about $13,000 per year.

The tuition covers Monjezi’s food and supplies, as well as licensing and training expenses. But she said she and her husband don’t need the extra money, and her top priority is taking care of her staff.

“Even though they love working with children, they have to make money too,” she said.

Even families who can afford and are willing to pay the highest rates around for childcare have their limits. With combined salaries, Katie Newell Leach said the cost of Malcolm Cole was both manageable and absolutely worth it, but when their second child comes along next year, she’ll likely stay home with both kids. Her daughter thrived at the center and misses the socialization, she said, but the cost of enrolling two in daycare would be too high.

“Working as a teacher and paying double childcare just wouldn’t be worth it,” she said.

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Arts

ARTS Pick: Mock Star’s Ball

Mock ‘n’ roll

The mark of a truly superlative Halloween costume is commitment. Sure, you can get by with a half-hearted zombie nurse, but tame decisions beget tepid treats. Let’s say that you get your band together and tog up like legitimate music legends—now you’re getting somewhere. To really blow away the com-petition, you have to take the stage and remind the teeming masses exactly why these icons are worthy of your emulation. The Southern comes somewhat unstuck in time with the Mock Star’s Ball, featuring the Kings of Belmont as the Beatles, Illville Crew as Dr. Dre, Downbeat Project as Outkast, Anatomy of Frank as Radiohead, and From Here on Blue as Neil Young.

Wednesday 10/31 $10, 8pm. The Southern Café and Music Hall, 103 S. First St. 977-5590.

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Arts

Album reviews: Tift Merritt, Muse and Mumford & Sons

Tift Merritt

Traveling Alone/Yep Roc Records

If you have been a fan of folk or Americana music at any point during the past decade, the chances are good that you have heard Tift Merritt’s arresting vocals, beautiful musical arrangements, and insightful lyrics. Merritt has been casting a spell on audiences and critics since day one, but on Traveling Alone she demonstrates that she is not above tossing out a few surprises. The country blues number “Sweet Spot” encapsulates the album’s main theme of searching for stability and comfort, while the title track progresses from simple acoustic fare to electric guitar-drenched Americana. “Drifted Apart” features a guest appearance from Andrew Bird, who sounds like Roy Orbison here, and “Feeling of Beauty” is easygoing, picturesque folk.

Traveling Alone tends to be more subdued in parts then Merritt’s other albums, relying heavily on ambiance and mood and not just lyrics and vocals. It’s a neat, unexpected tactic that results in a sublime album.

Muse

The 2nd Law/Warner Bros.

Muse’s flair for the dramatic has become increasingly clear in its music over the years. The latest release, The 2nd Law, is no exception, proving once again how much Muse loves the arena rock sound. Singer Matthew Bellamy attacks your eardrums (and seems to assault and absolutely destroy his own vocal cords) on the operatic rock opening track, “Supremacy,” and the Queen influence on the glorious rock ’n’ roll song, “Survival,” is obvious. And if you are up for a scathing portrayal of mankind’s base urges, check out “Animals” and take in the raucous sound bite at the end.

They shift the tempo a bit by letting bassist/rhythm guitarist Christopher Wolstenholme write and sing two of the album’s songs, “Liquid State” and “Save Me,” and while both are quite good, neither track is spellbinding by any means. Origin of Symmetry and Black Holes & Revelations arguably remain the band’s most accomplished records, but The 2nd Law still rocks.

Mumford & Sons

Babel/Glass Note Records

Mumford & Sons is changing the face of modern rock in unpredictable ways. The first single from new album Babel, “I Will Wait,” is a perfect example of using the banjo in a way that makes the instrument seem hip, while the epic love song “Lover’s Eyes” sounds like something the patrons of a Scottish pub would sing. The album gives listeners plenty of thought-provoking material to chew on. “Whispers in the Dark” is one of several songs that focuses on man’s effort to stand up to challenges of various kinds. Similarly, “Hopeless Wanderer” uses time changes, driving rhythms—including a banjo solo —and lyrical content to talk about the difficulties of finding your purpose in an ever-changing world. No distortion, no thunderous drums, and no emo angst: Babel is wonderful modern rock in 2012.

 

Have your say. Drop a line to mailbag@c-ville.com, send a letter to 308 E. Main St., or post a comment at c-ville.com.

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The critic’s picks: Four films you shouldn’t miss at the 25th Virginia Film Festival

You know you’ve got a good film festival, like this year’s Virginia Film Festival, when it gives you a sense of the world seeming small and large all at once. Small for having gathered so many mini-worlds in one place; large for, well, the overall largeness they collectively imply. Bearing in mind that films made beyond America’s shores offer good ways to get out of comfort zones, here’s some fest fare worth seeing not just for its excellence but also for its cosmopolitanism and complacency aversion. Notably these selections include an American director getting to know a Chinese artist, an Indian director reminiscing with Swedes, and an Austrian director working in French (plus a French director working in French, which sort of ruins the pattern here, but not really because most festival-worthy French films are innately worldly anyway). It’s always an epiphany, and one well suited to cinema, to see ostensible foreignness revealed as universality.

Ai Weiwei: Never Sorry
Alison Klayman’s documentary profiles the Chinese art-star activist Ai Weiwei, whose ongoing problems with authority beget increasingly creative solutions. Klayman’s aesthetic sense is a lot less refined than her subject’s, but a more important qualification might be her receptiveness. Ai says early on that he prefers hiring helpers to implement his big ideas (which most often have to do with transparency and persistence), and the filmmaker’s access to him seems, agreeably enough, like a sort of enlistment. Looking cutely aggressive, like some post-punk Buddha, and confronting the surveillance operatives who always seem to follow him around, Ai achieves absurd camera-on-camera standoffs in which opposite tyrannies—of old totalitarianism and new media—stare into each other’s abysses. The essential insight to Klayman’s conscientious, yet unfussy portrait, is about how the contemporary Chinese Communist Party has produced a culture so desperately in need of jamming, and also the jammer it most deserves.

Amour
From the elegantly pitiless Austrian filmmaker Michael Haneke, here’s a chamber play of sorts about the most basic human stuff: love and death. (Significantly, love alone is what the title comes down to.) It stars Jean-Louis Trintignant and Emmanuelle Riva as an elderly Parisian couple coming to terms with the end of their life together, along with Isabelle Huppert as a vexed daughter. The pedigree of talent promises mastery, and in very straightforward terms the story delivers it. Maybe no other living filmmaker can so frankly assay the buildup to bereavement—that universal terror of lost companionship, and certainty, and consolation—as the rigorously intelligent Haneke. Amour draws great power from its maker’s subtlety, and from its main players’ affirmingly lifelike but anti-sentimental intimacy. It’s not just because the leads are elderly that this movie makes so many others seem like trite juvenilia.

Liv & Ingmar: Painfully Connected
What better pretext for a documentary than the profound and complicated relationship between creative soul mates? Especially if the souls in question are those of a titan of international cinema, Ingmar Bergman, and his muse Liv Ullmann? As she puts it here, in her imperfect but telling English: “I used to be a happy person, a very happy person, but you know, five years doing his films, I was also getting a kind of depressed, neurotic person.” Well, that’s just scratching the surface, and filmmaker Dheeraj Akolkar knows his material well enough to go much deeper than surface-level. Ultimately Liv and Ingmar’s painful connection spanned 42 years and a dozen films—several of which still stand as pinnacles of the art form. And in Akolkar’s project, Ullmann’s cinematic assets—her great face, her depth of feeling, her fearlessness—again are on display. It’s a bracing reminder not only that most films are too shallow, but also that if you’re not careful, so might be your life.

Polisse
As it happens, the penchant for ripping procedural melodrama from the headlines is not exclusively American. The French have been doing it beautifully for generations. Polisse, an extraordinary ensemble drama from 2011 just now arriving stateside, plays out very much like a grand, Gallic episode of “Law & Order SVU.” But instead of tautly topical formula best-suited to a half-watched TV show, it sprawls with unruly big-screen dynamism and doesn’t dare let go of your attention. As seen by a shy photographer, played by director/co-writer/force of nature Maïwenn Le Besco—or, as the credits call her, just “Maïwenn”—it’s ostensibly a group portrait of short-fused cops at the child protection unit. “We don’t judge; we don’t care,” one officer says, coaxing a confession, and it is the movie’s great privilege to investigate that claim. What’s miraculous is the degree of lyricism it derives from unquenchable and innately compassionate psychological curiosity.