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Show ARTS&ENTERTAINMENT Page 4 ARTS Cute as a bug in a rug Monday, March 12 Concerts Beatrix gets her biopic in the thoroughly innocuous 'Miss Potter' Aaron Allen The Daily Utah Chronicle If I had to sum up "Miss Potter" in one word, it would be "twee." I don't mean that in a derogatory sense; it's simply the best word to describe this enchanted, pocket-sized biography of children's- book author and illustrator Beatrix Potter (1866-1943), creator of Peter Rabbit and 22 other stories featuring anthropomorphic forest creatures that serve tea and throw Christmas parties when the mean farmers aren't looking. As a biography, "Miss Potter" is too Monday, March 12;2007 Chevelle $20 Beatrix is a recluse, closer to her short and too darling to add up to anything substantial. It's like a children's drawings than to any person. In a book version of a life more complex charming touch, the movie even anithan what we see on screen—which mates some of her beloved characters, is kind of appropriate. Beatrix might like Peter and Jemima Puddle-Duck— have liked it done that way. but only when Beatrix is looking. She's more outgoing in this movie Renee Zellweger, whose squinty face was born to play a woman ob- than she was in real life. The script, sessed with rabbits, plays Beatrix with by Richard Maltby Jr., suggests that a more proper version of her "Bridget Beatrix went to publisher after pubJones" accent. She carries herself with lisher trying to sell her first story, the smiling confidence of a woman when in actuality she had to be heavwho delights in her talent and needn't ily persuaded to leave her home. She worry about silly things tike marriage, finds a publisher in Norman Warne, a no matter how much hair pulling that causes her mother (Barbara Flynn). &><? POTTER PageS 7 p.m. In The Venue (579 W. 200 South) Lucia di Lammermoor $10to$55 7:30 p.m. Capitol Theatre (50 W. 200 South) O Kurt Elling $25 7:30 p.m. Sheraton City Center (150 W. 500 South) "Miss Potter" MGM and The Weinstein Co. Directed by Chris Noonan Written by Richard Maltby Jr, Starring; Renee Zellweger, Ewan McGregor, Emily Warson, Barbara Flynn, Bill Paterson and Matyelok Gibbs Rated PG/92 minutes Opened March 9, 2007 Three out of four stars ••* Redemptive and downright Southern "Oh, mine eyes—how squinty and marble-ish you are. I would I were Naomi Watts. Le sigh." Renee Zellweger can't control her wild lids in "Miss Potter." Our pixels Tower Theatre to screen pilot episodes of 'This American Life' Dan Fletcher The Daily Utah Chronicle The oddities, idiosyncrasies, anomalies, peculiarities and good old-fashioned honest truths documented by Ira Glass1 "This American Life" were, for more than a decade, relegated to the fringes of our public radio waves. But "Life" has broken loose, and Salt Lake City is being blessed with a sneak preview of its televised incarnation. "This American Life" debuted on Chicago public radio in 1995 under the moniker "Your Radio Playhouse" with the goal of documenting acute flashes of the American way. Although the original title was dropped by 1996, the structure—one theme for each show containing various acts related to that theme—stuck. Themes vary and are taken from the entire spectrum of human experience and emotion. 'Act V" followed inmates at a high-security prison through the rehearsing and staging of the final act of "Hamlet." "Babysitting" featured two teenagers who ended up babysitting children who didn't exist. "Somewhere in the Arabian Sea" spent time with a woman risking her life in Iraq to stock vending machines for U.S. soldiers. Glass has employed a notable list of contributors, including David Sedaris (acclaimed essayist and auSee A M E R I C A N Page 5 Seeing red again Chevelle brings the rage to In The Venue tonight Anna Kartashova Tfie Daily Utah Chronicle Before Chevelle joins Evanescence and Finger Eleven on its U.S. tour, the Chicago-based trio will play a headline show in Salt Lake City tonight. The last time Chevelle brought its alternative-metal sound to Salt Lake City was August of last year, when it, along with Hinder and Three Days Grace, opened for Nickelback at the former Delta Center. If Chevelle's set had been any longer than six or seven songs, the band would have torn the roof off the venue and Jazz games would now be held in the open air. There have been some major changes inside the band since its latest album, This Type Of Thinking (Could Do Us In), came out in 2004 and debuted at No. 8 on the Billboard 200 list. Chevelle is no longer composed of brothers Pete (vocals and guitar), Sam (drums) and Joe Loeffler (bass). Pete and Sam Loeffler substituted Dean Bernadini— who happens to be the Loefflers' brother-in-law—or Joe Loeffler on bass. At this point, it seems as though Chevelle is a private club for (family) members. Chevelle's newest album, Vena Sera, is scheduled to hit stores April 7, less than a month after the band's visit to Salt Lake City! The release features n tracks, including the latest single, "Well Enough Alone," which was written almost five years ago but was not released until this year, after undergoing numerous changes. "We spent six to 12 hours a day for four months straight working on the melodies," said Sam Loeffler on Chevelle's official Web site. "We really put in the time that we needed to make these songs what they are." The show is on March 12 at 7 p.m. at In The Venue. Tickets are $20. PHOTOS COURTESY CI1EVELLEINC.COM V a.kartashova@ chronicle.utah.edu Maylene Maylene and the Sons of Diand the Sons saster's sophoof Disaster more album, II, // is less concepFerret Music, LLC tual than the Four out of band itself— five stars the members •••• of Maylene envision themselves as the sons of murderous Ma Barker of the early 1930s. To an extent, they revel in the lives of these thieves, kidnappers and ingrates. That said, the band's representation focuses more on the doomed outcome of a reprobate life. The artful (and somewhat graphic) photography for the album depicts the Barkers' shootout with the FBI, which ultimately ended in the Barkers' deaths. ITs music is more redemptive than anything else. Now, I'm not one who knows a lot about Southern rock, but II steeps itself in it. Flannel, God, whiskey, damnation—the whole album exudes a Southern feeling. Heavy on guitars (three in the lineup), JT has a very full sound because at any given time, one guitar has the freedom to meander whithersoever it will. Upon listening, one can envision the lessons Maylene has learned from the music of Willie Nelson or Lynard Skynard. Nevertheless, II is also heavily influenced by metal. Certain tracks are heavy, and much of the vocals—choked up by former Underoath frontman Dallas Taylorpin the record down as abrasive. In fact, Taylor's delivery might just be the make-or-break deal for those who take a listen. At times, it's instantly agreeable, especially during the acoustic closeout track in which Taylor goes entirely melodic; but at other times, I just can't help wondering if I do like it. Odd. II will definitely be a record of mixed reviews, especially from fans. From an analytical perspective, I think Maylene has done a good job melding its influences, constantly piquing interest by maintaining variety and the occasional "awesomeness" in its song structures. Regardless of whether people like II, its music seems to be reaching for something unattainable, like a lost soul. In my opinion, I think it's found it. Maylene will play March 17 at Avalon, three days before U is officially released. Jesse Peterson -I 1 T |