I’m hoping to maintain my peace of mind during exam season this year, and while I know those moments of panic are unavoidable, there are certainly a lot of opportunities on campus for students to relax and defeat the stress plague, if only momentarily.

Hart House offers a variety of programs to soothe the stressed student:

• Massage Mondays – Yes, this is exactly what it sounds like. Free massages, because U of T knows – you deserve it.
• Lunchtime Crafts – Personally, I find arts and crafts to be really relaxing – though, of course, I have never produced anything presentable. Distract yourself with a little A&C, and who knows, maybe you will produce a great work!
• ThursTeas – Enjoy a warm cup of tea at Hart House while chatting with some new friends or reading a (non-school related, perhaps) book.
• Let Shakespeare distract you with the production of Macbeth playing at Hart House Theatre until November 26.
• Jazz at Oscars – This free event every Friday night brings all sorts of different music to the Hart House Arbor Room. Be entranced by live music to distract yourself from stress. The monthly Sunday concert in the Great Hall might also be of interest.

It’s difficult for students to keep up exercising during exam time, but sometimes going to the gym is exactly what you need to wake you up and keep you studying productively. Both the Athletic centre and Hart House offer a wide variety of drop-in fitness classes. The AC has free yoga among its repertoire, certainly a relaxing pastime.

The Multi-Faith Centre offers a variety of yoga and meditation courses over the term, designed to help you relax and find peace of mind.

The Angela Grauerholz exhibit is still on the University of Toronto Art Centre until November 26, and the centre remains open until December 10, for your perusing pleasure. Take your mind off exams by taking a brief tour through this great U of T resource.

Every Friday night at Innis Café, story tellers come deliver tales for “1001 Friday Nights of Storytelling”, a tradition which has been running since 1978. A well-told story could be just the right thing you need to wind down and distract yourself from the looming stress of exams. Innis Town Hall also has inexpensive movies playing throughout the exam period, which may also serve as a welcome distraction.

Exam period is one I clearly characterize as bleak, but I think there are definitely ways to limit your stress. You do yourself a disservice by climbing under a pile of books in a library for a week and not facing the light of day until you are forced to enter the outside world in order to walk to your exam destination. Taking some time during the exam period to not study for exams will make the time you spend studying all the more productive. It’s always a pleasant feeling to realize that the world is going on when you feel like it’s ending, so allow yourself to bear witness to that comforting truth by taking a break. Whether it’s a yoga class, or just a walk around our beautiful campus, indulge yourself this exam period, if only for a moment.

The movie finds its protagonists six years after their last adventure, which itself picked up seconds after the end of its predecessor. ‘We’re aged,’ Cho comments, ‘he [Kal Penn] looks decrepit.’

Penn laughs, ‘He’s still beautiful after all the surgeries.’

‘It felt like we couldn’t do that age anymore, so our hand was forced a little bit by real life, and I’m glad of it, ‘ Cho admits. The characters being aged suits not only the actors and audience having grown since the first film came out in 2003, but also the very public changes which the central actors have undergone since then. During this time, Penn worked for the Obama administration in the White House, Cho acted in Star Trek, and Neil Patrick Harris came out of the closet.

Fittingly, therefore, at the onset of the film, the characters have been separated from one another, creating a different dynamic than previous installments. Cho comments, ‘I think it’s a very unique take to start a Harold and Kumar movie off with Harold and Kumar estranged from one another.’

Harold is dedicated to his Wall Street job and establishing a family with his wife, while Kumar remains in their dirty apartment keeping up the pair’s old habits. The two have each adopted new best friends who Cho describes as ‘the ghosts of Christmas Future for the characters’. Amir Blumenfeld, of the College Humor web series ‘Jake and Amir’ and MTV’s Pranked, is hilarious, delivering delightfully cringe-worthy humour; while Thomas Lennon, who has had minor roles in a slew of comedies and is known for Reno 911!, is also really entertaining in dealing with his young daughter’s entanglement in the plot. The new additions, both masterful comedic actors, enliven the movie, getting significant screen time and bringing some demonstrably necessary spark, or as Cho puts it, ‘new blood,’ to the Harold and Kumar canon.

The film is a very untraditional Christmas movie – a genre one doesn’t typically attribute stoner humour and nudity to, but the plot plays on traditional Christmas elements that pay off, including an unforgettable parody of a certain scene from ‘A Christmas Story’, a claymation sequence featuring some clay nudity (in 3D), and a song and dance number helmed by Neil Patrick Harris.

The movie is shot in 3D, but with the approach being to mock the technology and its recent popularity. This is fitting for a Harold and Kumar movie, as these traditionally poke fun at pop culture.  Furthermore, having 3D smoke blown right in your face seems rather appropriate for the Harold and Kumar franchise.

When asked why they continue to return to Harold and Kumar, the pair clarify that they are bound to sequels by contracts, as Cho jokingly replies, ‘the law!’.

‘In addition to lawyers,’ adds Penn, ‘we like the characters. I have such a great time playing Kumar.’

Cho continues, ‘It’s a relief to come back to comedy… Making it your day’s work to find a laugh is a really good way to spend a day, and I appreciate it more going away and then coming back to it. It’s like a class reunion and you get to see all your friends again.’

Throughout the interview, the actors laugh and joke with another. Their repartee is very entertaining, and this sense that they are genuinely enjoying themselves comes through in A Very Harold and Kumar 3D Christmas, which displays their humour and their hearty bromance.

In the movie, Neil Patrick Harris teases, ‘See you in the fourth’. When asked their ideas for a next installment, Cho suggests, ‘Harold and Kumar invent a time machine… Harold and Kumar go… get a mani-pedi?’ At any rate, it seems, Harold and Kumar are not quite finished yet.

On October 20th, from 7-9pm at the Isabel Bader Theatre, VUSAC’s Education and Equity Commission and Invisible Children are screening ‘Tony’, a 50-minute documentary that will open your eyes to a world of terror in Northern Uganda.

Northern Uganda has been a war zone due to the Lord’s Resistance Army (LRA) for the past 25 years. The LRA is largely comprised of child soldiers who were violently abducted from their homes.

Watch the movie, discuss the content, meet the Invisible Children staff, and buy some Invisible Children gear to support their work.

Click here to RSVP on Facebook.

Oh là là.

For those of you out of the francophone-music-loop, Serge Gainsbourg is often considered to be one of the world’s most influential popular musicians. He experimented with every genre of music, from jazz to reggae, to rock and roll to mambo, to so many more. And he did them all well.

So, basically, we have a ridiculously talented French man who somehow manages to look fierce in a pinstripe suit jacket. I guess it’s true that le français est la langue de l’amour, because I have fallen hard.

Excuse me while I swoon.

blogUT is teaming up with the wonderful members of EFUT (check out their new shirts – sont-ils pas magnifiques?) to give away five double passes to an advanced (subtitled) screening of Gainsbourg: Vie Héroïque at the Cumberland Cinema (159 Cumberland Street) on Wednesday, September 14 at 7pm. The film depicts Serge Gainsbourg’s life, from his childhood in Nazi-occupied France to his rise to fame, as well as his steamy love affairs with Juliette Gréco, Jane Birken and Brigitte Bardot, who’s played by French beauty Letita Casta. César Award-winning actor Eric Elmosnino is featured as the title role.

The perfect movie for date night? I think so.

All you have to do to enter your name into the draw is post a YouTube video of your favourite French song as a comment. Comments will be accepted up until 11:59pm on Sunday, September  11th and we’ll be emailing the contest winners on Monday, September 12th. Please note that we will only accept entries from those who provide us with a utoronto email address.

So post a comment so that you can whip out le champagne, throw on your beret, and marchez on over to the Cumberland Cinema with that quelqu’un de spécial!
Or you can just bring a friend. That works too.

While promoting the much-anticipated sequel to the 2009 hit The Hangover, Bradley Cooper is relaxed and confident. Prior to the release of the first film, the actor was humble and quiet in interviews; he expressed both uncertainty and hope for the success of the film. This time around, he more than hopes for success – he expects it, declaring rather boldly, “you can’t even argue that The Hangover II isn’t as good as the first one; it’s actually better.”

His confidence in the film is grounded, as the franchise’s talented cast, absurd premise and brilliant choice of setting allow for many hysterical moments. The Wolfpack that fans have adored and emulated since The Hangover returns in its entirety, with Bradley Cooper (Phil), Zach Galifanakis (Allan), Ed Helms (Stu), and Justin Bartha (Doug) all reprising their roles from the first film. Ken Jeong, who played the role of Mr. Chow in the first film and was the focal point of a certain unforgettable naked scene, is also back for the new movie. Indeed, fans of the first movie should not be disappointed with this sequel which follows the formula established by its predecessor very ardently. Cooper noted that adhering to the structure of the first film was a major decision and a source of contention at the onset of creating the sequel, although he was ultimately thrilled with the final result. He believes that fans want to see the Hangover characters in familiar scenarios. “As a fan of the first one… I want to see them forget what happened the night before,” Cooper commented. “I want to see Phil call Tracy (Sasha Barrese) and say, ‘we fucked up’ again.”

However, Cooper is defensive against any assertion that this formulaic approach renders the film’s plot tired and repetitive. He says that this time, “we went darker and the stakes were really raised.” The comedy in the film is noticeably darker than the original, with far more instances of violence, more drug use, and a number of jokes aimed at the culture and people of Bangkok. Cooper adds that the more savage humour in the film is not malicious, because “everybody is in on the joke – except for Allan.” The stakes are also significantly raised, as Bangkok is quickly revealed to be a far more violent locale than Las Vegas for The Wolfpack, and the group becomes immersed in a drug-dealing scheme while attempting to retrace their steps prior to their intense blackout.

The Hangover: Part II benefits mostly from its strong cast of talented comedians. Cooper praises his co-stars, Ed Helms and Zach Galifanakis, and recalls that much of their acting consisted of improvised reactions. A humourous aspect of the first film was the relationship between Phil and Allan, which Cooper notes, “was something that we improvised in the first one and then we just saw through in the second one.” The location in Bangkok also gives the Hangover formula new vitality as it takes on its own persona which is less playful and devious than Vegas and more dangerous and dark, taking the structure in a different direction than what audiences saw in the first film.

The movie nevertheless maintains what its fans enjoyed in the first film, namely the noteworthy banter amongst the Wolfpack between action sequences; the swagger of the group created with panoramic city views, rap music, and slow motion; and, of course, the absurd characters and situations. There are many specific parallels that can be drawn between the two movies and the adherence to the structure of the first film is definitely striking. Therein lies the failure of the film: although the viewer enjoys the experience, it is impossible for a fan to separate one film from the other and, in the course of the comparison, the second film falls short.

The Hangover: Part II isn’t so much a ‘better’ version of The Hangover as Bradley Cooper describes, but a matured version. The characters are more developed, the action is more intense, and the jokes are bolder. However, it is the first film which established the structure, and the novelty of it possessed a magic that its successor fails to completely achieve. It is certainly hysterical and a sequel which fans of the original will likely be satisfied with, albeit with hesitance bred from commitment to the first film. It is an impressive feat in a sequel to remain true to the first movie but to achieve an attitude of its own, and The Hangover: Part II certainly deserves credit for its success in this regard, but it fails to feel like a classic, universal comedy in the manner of its predecessor due mostly to the fact of its precursor’s reputation rather than its own pitfalls. Fans of the first film should see the sequel and will likely enjoy the film due partially to the mild enthusiasm that comes with any sequel in a beloved franchise, and to the pleasant surprise that will come when they see its genuine comedic quality.  A mixed reaction is inevitable, and disappointment is sure to be among the film’s responses, but the fact that The Hangover: Part II is funny and enjoyable, even if less so than the original, is indisputable.

The Hangover: Part II was released in theatres on May 26, 2011. The film’s official trailer can be viewed here.

72 Hour Timeline. 5 Minutes max. 2 Words. 1 Ongoing Short Film Challenge.

Think you can make a film in three days? The Hart House Film Challenge is an ongoing short film contest. It gives students the chance to be creative, while offering an outlet for their films.  By indicating interest in a challenge, entrants are contacted through email on Friday with a particular genre as well as two words that must be included in their short films.  Contestants then upload their videos onto Youtube by the following Monday and their video is embedded onto the Hart House Film Challenge’s website.  Each month, a draw is held for entrants to win prizes. Past prizes have included movie passes to Bloor Cinema and advanced screening passes to films such as Unknown and Sucker Punch.

The contest started up in December 2010 and has already had several entries.

“We are a place for filmmakers to grow. In less than 5 minutes, you are challenged to think outside the box by incorporating seemingly unrelated ideas in your film,” says Camille Johnson, a member of the Hart House Film Challenge committee. “There are infinite paths that our entrants may take and it has been truly amazing to see their unique interpretations. We are all ecstatic about the continued response and the amazing submissions we have received. Keep them coming!”

In addition to the challenge itself, each video submitted is eligible for consideration to be screened at the UofT Film Festival. This year the festival is being held Wednesday March 23^rd, 2011 at Hart House.  Amazingly enough, all entrants thus far have qualified to be part of the festival.

The Hart House Film Challenge is always looking for new entrants as well as volunteers with any level of film experience.

For more information and to see submission videos, visit the Hart House Film Challenge’s website. For information on the UofT Film Festival and their 2011 program, check out their website here.

We’re giving away a Sucker Punch movie swagbag that includes a pass for two to see an advance screening of the film on March 23rd. All you have to do is close your eyes and open your mind and tell blogUT what it was that you were unprepared for when you started university.

Comments will be accepted until March 19th 11:59pm. The winner will be announced shortly afterward. Only comments with a utoronto.ca email address will be considered.

Where: TIFF Bell Lightbox
When: Daily at 3:45PM, 6PM and 8:15PM (1:45PM on some days). Check the website for detailed schedules.
Tickets: At the TIFF website or in-person at the box office for the theatre. Be sure to show your TCard for a special student discount.
More Information: See the And Everything is Going Fine page on the TIFF site.

Back in May, BlogUT picked Steven Soderbergh’s documentary, And Everything is Going Fine as one of the must-see films at HotDocs. So I was delighted to find out that the TIFF Bell Lightbox programmers decided to release the film for a short run so that it can gain a bigger audience (and further promote the awesome prescience that BlogUT has been come to be known for). If you missed it during HotDocs, be sure to check it out now. Here’s the original review of the film from the HotDocs 2010 coverage at BlogUT.

Steven Soderbergh’s film, And Everything is Going Fine, is a continuation of Soderbergh’s obsession with the actor/performer Spaulding Gray. Soderbergh madeGray’s Anatomy in 1996, which was an eighty-minute film version of one of Gray’s monologues. And Everything is Gone Fine is essentially a mash-up of old recordings of Gray’s various monologue performances interspersed with the occasional personal interview (between, presumably, Soderbergh and Gray) and television interview.

Spalding Gray is a fascinating storyteller who uses stories from his own life as fodder for – or, rather, exact material for – his stage performances, which usually take the form of ninety minute monologues. Soderbergh cuts together a myriad of these stories to give a fairly good and broad picture of Spalding Gray the storyteller and the man. The intent behind the interviews seems to be to try to establish, if it is even possible, what the difference is between Gray’s stage persona and his day-to-day persona. Gray tends to be very blunt and candid in his monologues, discussing everything from his mother’s suicide to his explorations into homosexuality. This begs the question: are there any stories that are too personal for him to tell? Unfortunately, this idea is somewhat inchoate and not very well explored, which makes the film somewhat unsatisfying.

I also felt that the film dragged a little bit and I was looking at my watch by the one-hour mark. This may be largely because the film was almost entirely non-stop interviews with or monologues by Spalding Gray: no family members, friends, or co-workers were interviewed to give different perspectives. Granted, Gray’s monologues are engaging so this approach is not wholly flawed. Nevertheless, I found that the more I heard Gray speak, the more interesting and damaged he seemed to be, the more sympathetic he was, and yet, simultaneously, the more he became unlikable. Gray had a difficult life, which may help to explain some of his hurtful and cruel actions towards the people he was most intimate with, such as cheating on his wife repeatedly. But the more details I discovered about Gray’s various indiscretions, the more repulsive I found him, the less interested I was in hearing his point of view on sex, love, and death: his favourite topics.

I should probably note that I am an extremely big Soderbergh fan. I have seen all of his films – with the exception of Gray’s Anatomy and the unwatchable Full Frontal – and Soderbergh is a really creative and innovative director and storyteller. It is, therefore, no surprise that And Everything is Going Fine looks like it has been made by a pro, even with the many VHS-quality scenes. The film is well-paced, well-cut, and thoughtfully put together. This is also Soderbergh’s first documentary. He knows how to tell a story but perhaps has not fully mastered this medium yet. Nevertheless, some of the best documentaries were made by filmmakers who did not start in documentary filmmaking (Sydney Pollack’s Sketches of Frank Gehry, Wehrner Herzog’s Encounters at the End of the World) because it takes a filmmaker to understand how to tell a story on film. Documentary filmmaking is more than just filming real people and real thing; telling a story and doing so with good cinematography is essential. Soderbergh’s And Everything is Going Fine is a flawed but good film that tells a good story and I look forward to future documentaries by Soderbergh.