"Spooky Island" or "Why won't Leo smile?"

Martin Scorsese’s latest stab at the big screen fits nicely into this classic genre, which happens to be one of my personal favorites:

The “mind fuck.”

The “mind fuck” is characterized by blatant (borderline corny) foreshadowing, furrowed brows, culminating a juicy, decadent plot twist. Thus we are forced to watch the entire film over again, now knowing what was really going on.

We all have our favorites. From the classic “Citizen Cane” (rosebud!) to the more recent “Six Sense,” and “Donnie Darko.”

O.k., the “Six Sense” is a bad example. Go with me here.

“Shutter Island” is no exception to the pattern. It strings us along for over two hours, giving no hints while asking even more questions. DiCaprio stumbles along the cliffs bordering the sea and treks trough the deep forests and creepy graveyard inland. We wait patiently until…

“What?!”, a direct quote from disgruntled Shutter Islanders this past weekend. Apparently, classic is out.

Scorsese does go back to basics. The suspense is a direct homage, if not rip off, to the styles of Hitchcock, displaying beautiful cinematography and highly drawn out anticipation. The opening sequence is something straight out of film noir, as the two unfamiliar detectives approach the gate of the spooky mental hospital.

The plot seems simple enough, they always do:

Set in 1954 Boston, U.S. Marshal Teddy Daniels takes an assignment to investigate a disappearance at the Ashecliffe Hospital for the criminally insane, conveniently located on sinister Shutter Island.

But when Teddy thinks he has found a lead, the doctors refuse to give him access to the records he needs. When you combine rumors of dangerous and sinister mal-practice, a dangerous hurricane cutting off all communication to the island and a “missing” prisoner who no one wants to discuss, “Shutter Island” will have even you doubting your sanity.

As typical with many “mind fucks,” the actors have a difficult time outshining the convoluted plot. DiCaprio is no exception. He ranges a total of one facial expression for the entire film. Would it kill you to smile Leo?

Even Mark Ruffalo, who plays Daniels suspicious partner Chuck Aule, gets lost in the shuffle. At least DiCaprio HAD a facial expression.

It was a promising idea, and even though well executed, still leaves something out. Lets just say that the whole point of the “mind fuck” is that you cannot figure it out. I’m not sure even that can be said for spooky island.

There is not much to get excited about either way. It is disposable, another unfortunate symptom of the “mind fuck.”

Looking Back at Broadway

My bags were packed. I had memorized the subway maps and street names. I was on my way to the city that started it all, the city that never sleeps, the big apple, the big time.

Manhattan has been calling to me every since my parents began taking me to the California Music Circus in Sacramento. And add on seven-odd years of acting, singing, and dancing, it is not hard to understand the fascination I’ve had with Broadway. It is something that entices every theater geek, whether they care to admit it or not.
While I was never destined to headline any marquees, with each year of my youth that ticked away I felt I was long overdue to see where it all began, to make the sacred pilgrimage.

Manhattan is a right of passage for anyone really. For those who covet fashion and Tim Gun, who swoon for the hip-hop of the Bronx, or even business moguls drooling for Wall Street, New York City is a hot bed of American culture. It is the city where dreams come true, and my dream was to get there.

But like I said, my sights were set on 42nd and Broadway. My first glimpse of Times Square, standing outside the Will Rogers Theater, sitting in the old fashioned theater was something I never thought I would get to do. At least not as a sophomore in college.

My short stay on the biggest little island gave me two theater excursions: “In the Heights”, the 2008 Tony Award winner for best musical, and “Billy Eliot: The Musical” the 2009 Tony Award winner for best musical.

“In The Heights” tells the story of three days in the life of the people living in the Dominican-American neighborhood, Washington Heights. The score features hip-hop, salsa, meringue and soul music. Think “West Side Story” meets “Rent.”

“Billy Elliot The Musical” is based off of the film “Billy Elliot” (2000). With music by Elton John, “Billy Elliot The Musical” takes place in a small town in 1980s England, where a little boy trades in his boxing gloves for ballet shoes and discovers his true calling in life.

These are two of the newest, most popular musicals to hit the stage. One is hot, sexy Dominican party complete with rap music and gyrating choreography. The other, a new kind of jazzy comedy featuring cross-dressing boys screaming obscenities at their brash parents.

In short, the new Broadway is edgy. It swears, spits and isn’t afraid to reflect a society that has come to worship sex, drugs and rock n’roll.

It is a completely different world. I was not around to experience Broadway in its golden age (roughly 1940 to 1960) with the wartime themes of love, loss and social strife. I only know the new Broadway, where instead of glamorous eveningwear, top hats and corsages, I arrive at the theater in jeans and a pea coat (along with about two scarves and a hat, as January weather requires).

Sitting in the old theaters is incredible. Not only for the beauty or age of architecture, but for how out of place the theatergoers seem. We all looked as if we had set foot in a time machine. But instead of being transported to the early 1900s, we are whisked away to present day Washington Heights, or a small town 1980s England.

The magic of Broadway has always involved two things. First, embracing the past and using it to relate to the present. We celebrate shows that take place in the 80s (Billy Elliot) for the parallels we can draw to our lives today.

Second, Broadway shows must push the envelope. The force of innovation is what keeps show business moving forward. Including finding new sources for material. Big name shows pull their ideas from books (Les Miserables, Wicked), movies (Legally Blonde, Shrek), television and music.

So where is innovation leading us currently? Walking along Times Square, I passed a large marquee for the upcoming “Adams Family” musical, starring Nathan Lane. If that isn’t enough for you, the hot ticket this spring is going to be rock opera “American Idiot” based on, you guessed it, the Grammy Award winning album by Green Day of the same title.

The next “Tommy?” Maybe. But whether or not we enjoy it doesn’t distract from its originality. It is a sub culture that has yet to really make it big on the stage. Lead singer of Green Day Billie Joe Armstrong actually co-wrote the script with director Michael Mayer, whose previous work includes Tony Award winning musical Spring Awakening.

If you tuned into the Grammy’s this year you saw a sneak peak of the show. The cast of “American Idiot” performed one of the songs from the show, “21 Guns”, with Billie and the band themselves.

If the Broadway musical was offensive before, just wait until the cast of “American Idiot” with their skinny jeans and eyeliner, hit the stage blaring, “Well maybe I’m the f***** America!”

I’m not sure where the line between innovation and tacky is. I enjoyed the two shows I saw a great deal, and maybe that’s all that matters, and wishing for the past is a waste of time. All we can do is look forward to what is to come. No matter how vulgar.

The Best Part of the Big Game

It’s not the chips. It’s not the dip. It’s not the beer. It’s not the cheerleaders. And it most certainly isn’t football.

It’s the commercials.

We’re all well aware the status of the super bowl has in our hearts and minds.

For decades advertisers have clamored for a spot on one of the most watched TV programs of all time (close to 100 million viewers tune in every year).

A thirty-second commercial spot during our country’s game of the year can typically cost millions of dollars. The projected figure for the 2010 game is $3 million.

These high prices pretty much guarantee one of the best commercial line-ups of the year, and are often more anticipated than the game itself.

Characterized by their high quality, innovation and sense of humor, the super bowl ads have charmed us year after year.

So how does 2010 measure up to its long ancestry commercial gold? Super Bowl XLIV saw a great deal of the magic of the previous years, though perhaps no new entries to the hall of fame. In other words, regardless of our favorites, its likely they will be forgotten by next year.

Some common themes were economic depression, manliness, the environment, big budgets and famous celebrities.

We laughed, we cried, we took bathroom breaks. Here are your top ten Super Bowl commercials of 2010. They may not have sold you their product, but that has never really been the point anyway.

10. Dockers: Men Withouot Pants
I’m not sure about the connection between not wearing pants and buying Dockers. Maybe it just went over my head at the sight of all those whitey-tighties. So, maybe not the cleverest of ideas. But there is something about a chorus of pant-less men trouping through a field united in song, “I wear no pants!” that you can’t help but smile at. They were, however, men I would have rather seen in pants than without. But maybe that’s part of the charm.

9. Bud Light: Stranded
Some plane-wrecked islanders are much more excited to find the in-flight stash of Bud Light than the radio. Perhaps a spoof strategically timed with the new season of “Lost?” An enjoyable ad nonetheless.

8. Doritos: Underdog
Who doesn’t love an underdog? We see an average joe enjoying his bag of Doritos and inflicting cruel jealousy on his dog. But the tables turn and we see Fido with the chips and joe wearing the collar. Who’s the underdog now?

7.Google: Search On
We follow the story of one searcher as he travels the world, falls in love, and starts a family, all with the help of the famous search engine. What can I say? I’m a sucker for sap.

6. Denny’s: Chickens Across America
Denny’s warns chickens of its upcoming “Free Grand Slam Day.” Again, a simple idea goes a long way. All it takes is screaming chickens. “Great day to be an American, bad day to be a chicken.”

5. Budweiser: Clydesdale/Fence
“Nothing comes between friends, especially fences.” This heartwarming tale of two friends who over come the obstacles (and fences) that stand between them. You can’t go wrong with that feel good feeling.

4. Coke: Cheering up Mr. Burns
When Mr. Burns looses his fortune, the citizens of Springfeild show him happy life can be, with a coke. If a coke could cheer up Mr. Burns, just think what it could do for you. It’s nice to see the Simpsons characters in something uplifting for a change. It may be out of their comfort zone, but I enjoyed the message, and my coke.

3. Doritos: House Rules
All he wants is to score points with the hot chick, but ends up in a fistfight with a little kid. “Keep yo hands of my mamma, keep yo hands off my Doritos.” Cutest boy of the super bowl? I think so.

2. Bud Light: Voice Box
Girlfriend brings home bud light for the party, prompting boyfriend to break out in his T-pain voice. It’s hard to not entertain with T-Pain’s voice. And topping it all of with an actual T-Pain appearance, makes this my favorite Bud Light ad of the day. Nothing beats T-Pain saying the word “guacamole”.

1. Mars Snickers: You’re Not You When You’re Hungry
Our favorite golden girl takes on a tough beating in this, my favorite ad of the day. When Mike isn’t playing his best, his girlfriend hands him a snickers, transforming him from weak Betty White into his normal self. My only problem with this ad? Betty White is definitely tougher than every one of those guys put together. If the role of White and her “tough” alter ego had been flipped, it may have been a bit more believable. But that’s just me. Kudos to Snickers.

There you have it. These as well as all the other Super Bowl XLIV ads can be viewed at hulu.com/adzone or cbssports.com/superbowlads.com