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The same look viewers may have while watching the film. (www.fanpop.com)
a, Arts & Entertainment

Lacklustre return to the Emerald City

by Emma Hambly on

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Disney is once again whisking movie-goers away to the Land of Oz, but this time the journey is anything but magical.

The opening credits—a topsy-turvy Victorian circus—promise creativity: a quirky take on a bygone era, drama, suspense, and great visuals. But the best is over before the film begins, and none of the potential is realized in what follows. Oz: The Great and Powerful provides a similar experience to Tim Burton’s recent Alice in Wonderland (2010): another Disney sequel to a classic that is high on budget but low on the pathos, imagination, and majesty of the original.

Apart from a moving and whimsical score by Danny Elfman, creative costumes, and the odd moment of wit, little else shines in this adaptation. The plot is tired and predictable, the screenplay deadened by two-dimensional characters and dialogue that ranges from wooden to saccharine.

Oz: The Great and Powerful is a prequel to The Wizard of Oz—one might call it the story of the origins for the Wicked Witch, and the wizard himself. The hero, Oz (James Franco), is a small-time magician, a womanizer, and a con man, working crowds at a shabby circus. He ends up in the Land of Oz after a mishap with a hot-air balloon and a tornado.

In this fantastic realm, Oz meets witches Theodora (Mila Kunis) and Evanora (Rachel Weisz), who expect him to live out a prophecy and save this world from its tyrannical ruler.

Of course, the ‘wizard’ has no magic, only parlour tricks. But in order to claim a kingship and a lion’s share of treasure, he decides to kill the Wicked Witch. Oz sets off on a small string of adventures. His companions—a flying monkey and an unnamed china doll—can’t match the vibrancy of the Cowardly Lion, Scarecrow, and Tin Man. The climax is a bit of fun, featuring the use of smoke and mirrors to combat real magic; but it is too little, too late.

There is no reason to mince words—the acting is downright bad. James Franco has no charm. Rachel Weisz is over the top. Michelle Williams as Glinda has a few sweet moments, but spends more time doe-eyed, and mugging for the camera. The worst offender is Mila Kunis, who cries and screeches, but fails to convincingly portray either good or evil. By the climax, subtlety is somewhere back in Kansas, and it seems that director Sam Raimi went with a philosophy of ‘the more acting, the better.’

One might hope that the visual spectacle might provide some magic, or at least a distraction from this fiasco, but the imagery is uninspired. Frames are full of bright colours—flora of impossible scale, and the odd CGI fantasy creature—but nothing that resounds as memorable or original.

Beyond this, what is inescapable is an overwhelming feeling of emptiness. In some shots, one is hyper-aware that the actors are walking in front of a blue screen. Most other scenes lack a mid-ground of props, landscape features, or background characters to convince the audience of any depth. Without memorable plot, characters, or dialogue, the rest of the film feels shallow as well.

Any film that wants to take on the legacy of the 1939 classic—and L. Frank Baum’s book—has big, sparkly shoes to fill.  But very little succeeds in Oz: The Great and Powerful. Both its high and low points leave the audience aching for the original.

You’re welcome to take this modern-day trip down the yellow brick road, but before long you’ll be wishing for your own pair of ruby slippers to send you home.

Benoit Aquin—Carnaval VIII (Jacmel, Haiti, 2011). (Courtesy of McCord Museum)
a, Arts & Entertainment

Spotlight on Haiti emphasizes hope over despair

by Ira Halpern on

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The streets of Port-au-Prince are just around the corner from McGill—or at least as much of them as anyone can expect to see without traveling to Haiti.

They are put on display in Haiti: Chaos and Daily Life, an exhibition by Montreal photographer Benoit Aquin now showing at the McCord Museum. Featuring 40 large colour photographs, the exhibit offers a glimpse into the day-to-day lives of Haitians over the past three years, and explores how they continue to cope with the aftershock of a devastating earthquake.

Aquin has always been particularly interested in the impact of natural disasters on the environment, and the ways in which communities cope with them. He has travelled all over the world to capture these scenes with his camera, from the dustbowl in China (his exploration earned him the prestigious Prix Pictet award in 2008) to the Nile River. But Aquin has forged a special connection with Haiti, an island he first visited when he was four years old. Haiti: Chaos and Daily Life is laid out not chronologically but rather somewhat thematically, from devastation on the streets, to an exploration of the hurricane’s impact on buildings and their interiors, and ultimately to colourful images of a wild carnival in Port-au-Prince.

Excerpts from The World is Moving Around Me, the 2010 memoir of  Haitian-born Montreal novelist Dany Laferriere accompany the artwork, and shed some light on Aquin’s intentions. One quotation reads, “During the last two weeks of January 2010, Haiti was seen more often than during the previous two centuries. And it wasn’t because of a coup or one of those bloody stories mixing voodoo and cannibalism—it was because of an earthquake,  an event over which no one has any control. For once, our misfortune wasn’t exotic. What happened to us could have happened anywhere.”

Many Canadians may find images of women bathing in mud or splattered with blood in a series of photographs titled “Ceremony” to be ‘exotic.’ But such generic titles stress the globally transcendent rather than locally specific nature of these rituals.

Aquin has a penchant for capturing motion, especially people in motion. These sights are often hopeful: relief workers helping the injured and excavating rubble, a man jumping up ‘in flight.’ But amidst these images, there is the occasional photograph that stops you in your tracks with its eerie stillness—like the photograph of a dead man sprawled on the street, ironically situated next to a cardboard box with the slogan, “Nice Walk.”

But such images are the exception. Overall, the exhibit does not stress despair, but rather, celebrates resilience. Perhaps such an optimistic portrayal of Haiti’s recovery has the potential to create a dangerous sense of false comfort. After all, Haiti is still struggling to get back on its feet—one could argue that more gruesome documentation of the event would garner more donations and political action. Aquin’s exhibit shouldn’t be considered as an all-encompassing rendering of events.  It isn’t a call for action, but for precisely this reason, it is also very much a work of art.

Haiti: Chaos and Daily Life is on display until May 12 at the McCord Museum (690 Sherbrooke West). Student admission $8, free Wednesdays.

A sharp script and a sharper performance means Cornered is very much light on its feet. (Courtesy of Rabbit in a Hat)
a, Arts & Entertainment

The corner man packs a power punch

by Nicole Rainteau on

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Cornered, a play by Jim Burke,  carefully confines its characters, Vinne (Christopher Moore) and Rex (Howard Rosenstein), within a boxing ring. Despite their restricted space, Moore and Rosenstein keep their witty back-and-forth fresh and captivating.

Vinne and Rex encounter challenges beyond the difficulty of working within a small square box throughout. The duo, along with the characters Doxy and Little T, reveal their world of boxing through quick entertaining banter, which is nuanced by thick Manchester accents. Despite their intonation and the venue’s echoing acoustics, Rosenstein and Moore’s quips are crisp.

The plot is not elaborate. The boxers prepare for Little T’s fight, discuss dodgy Doxy and his schemes, and comment on the hierarchy of the tough men behind the boxing ring. Vinne and Rex remain on the edge of a high stakes boxing game where trust is key. Unfortunately, they both have their own agenda, which exposes their true loyalties and leaves both scrambling. The spark that fuels the play, however, is not the outcome of the plot, but the way Moore and Rosenstein execute the nuanced highs and lows in Burke’s fast moving dialogue.

Burke’s clever writing is carried by the chemistry between Moore and Rosenstein, who maintain brilliant comedic timing both vocally and physically. They establish the relationship between their characters early. Rex is the corner man who knows his way around the ropes, and is often frustrated by his apprentice Vinne, the young enthusiast. The director, Paul Van Dyck, choreographed the duo to perfection. He creates beautiful and varied stage pictures to illustrate the fluctuating dynamics between Vinne and Rex, never allowing them to appear static on stage.

The staging is particularly effective when Vinne mimics Rex’s pacing across the ring, their footwork adding to the rhythm of their speech layering the mounting tension. Moore’s erratic physicality, and the range and speed of his voice is incredibly entertaining. He struts exuberantly around the ring, jabbing the air, his fists as sharp as his words, until Rex tethers him. As Rex, Rosenstein limps around, chewing loudly on chocolates while he curtly spits out his lines, his weight slowing Vinne down.

Rex’s impatience with Vinne’s apparent lack of understanding creates moments of comedy because of its repetitive nature. Rosenstein harnesses his energy so that it is visibly simmering, ready to erupt when provoked by Vinne’s feigned ignorance. Rosenstein colours in various ways each time his character loses his temper with Vinne. He takes advantage of dramatic pauses, and has impeccable timing, leaving the audience hanging in anticipation of his next move.

While there is little to complain about Van Dyck’s superbly directed production, his use of sound to separate the play is distracting. He opens the play by blasting music, as though it is coming from Vinne’s headphones. This effectively grabs attention, but the use of the audio break to inform the audience of the boxing match during a blackout, along with the actors’ exit, lowers the energy significantly. Rosenstein and Moore are able to recapture the former intensity, but the time that it takes for the limping Rex to get back into the ring drags out the transition.

From the script to the risky staging in an unconventional space, this production is polished and highly compelling on all fronts. Foul-mouthed and funny, Cornered is a knockout performance.

Cornered is presented by Rabbit in a Hat Productions in collaboration with Infinithéâtre, running until March 17 at Bain St-Michel (5300 St-Dominique). Student tickets $20.

a, Music

Nick Cave and the Bad Seeds: Push the Sky Away

by Matt Bobkin on

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Australian alternative rock band Nick Cave And The Bad Seeds have been a consistent musical force over the past 30 years. Their newest album, Push the Sky Away, proves that they’re still relevant, using haunting, minimalistic instrumentation to create an eerie atmosphere that holds steady over the album’s nine tracks.

Despite the restrained sound, Push the Sky Away is never dull. From the threatening chorus of album opener “We No Who U R” to the moody existential crisis of “Higgs Boson Blues,” Cave’s baritone voice commands but never overwhelms. Melodies ebb and flow well enough to keep the listener intrigued. Even with the reserved sound, the album still has some grandiose moments. “Jubilee Street” ends with a flurry of strings, mimicking the level of orchestral grandeur heard on Cave’s iconic cut “O Children” from 2004’s The Lyre of Orpheus.

Alongside Cave’s standard lyrical themes of nature, loneliness, and prostitution are mentions of Wikipedia and Hannah Montana. With song titles like “We No Who U R” and “We Real Cool,” one might think that 55-year-old Cave is trying to fit in with a younger demographic, but ultimately, this is his way of accepting that times have changed. Nevertheless, the rationale doesn’t make these elements any less jarring.

Push The Sky Away is a departure from the louder sound of The Lyre of Orpheus and 2008’s Dig, Lazarus, Dig!!!. The album proves that the band’s solid musicianship makes for a good—albeit unsettling—listen.

 

a, Music

Kate Nash: Girl Talk

by Mathilde Milpied on

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Kate Nash seems to embody what London is all about. Although she was born in the northwest of the city, her thrift-shop dresses are more East End and Shoreditch, with their small art galleries and open air markets. When she released her first album Foundations, her distinctive cockney accent and poppy melodies provided an ideal contrast to perfectly polished American tracks

On her third album, Girl Talk, Nash sounds like a woman releasing all the tension and stress after a harsh long day of work. The songs seem a lot less polished than on her previous two records, and Nash displays her real musical personality to the listeners. The record heads in a rock ‘n’ roll direction, as great guitar riffs and strong drumming replace the piano ballads of her two previous albums. Although Nash kept the distinctive poppy sound that made her reputation with songs like “Foundations,” she now seems to have moved from the edgy, colourful, and funny East End, to the punk rock,  Amy Winehouse territory of Camden Town. The album is replete with amusing references the singer makes to her previous song “Mariella,” such as on “Are You There Sweetheart,” while her distinctive vibrato and 1960s inspired style recalls some of her former work. This mix brings a good balance between musical exploration and fidelity to her own style.

Girl Talk embodies the idea of a modern, real-life young woman, trying to make her way in the world. To assist her, Nash has nothing but her cheeky sense of humour and her devil-may-care attitude for what others think.

a, Music

Maston: Shadows

by Diana Wright on

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Frank Maston has created a fast-paced, intriguing, and peculiar album with his band Maston’s latest release Shadows, one calling to mind The Beatles, The Beach Boys, and 2012’s breakthrough act Tame Impala. 

The album is whimsical and dreamy, zipping through to its conclusion before you know it—only one of the disc’s tracks clocks in at over 3:30. Although this quick pace renders Shadows as an easy, breezy listen, a few of the tracks meld into somewhat of an indiscernible blur. Instrumental tracks like opener “Strange Rituals” and “King Conrad” lag and drag the album into a bit of a fog—and not an inspiring, drug-induced one either.

The record has a unique and playful sound, experimenting with brass instruments, and inflections of polka music. Standout tracks “(You Were) In Love,” “Young Hearts,” and “Judge Alibaster” keep the album flowing, and contain a more sincere attempt at dynamic and clear vocals. Still, one of Maston’s major downfalls is the lack of vocal consistency on the rest of his tracks—his voice is often muddled and lost in the echoes and wall of sound that he has created with unnecessarily layered instruments.

Unfortunately, some of the songs on the LP never reach their full potential, and instead of leaving the listener wanting more, the short lengths come across as confusing and under-developed. Despite this flaw, the album is worth a quick listen, if only to conjure a wistful, sunny California day in the middle of this dreary Canadian winter.

a, Arts & Entertainment

What does it mean to be a fan?

by Matt Bobkin on

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It’s a question that is asked hundreds of times per day: “Are you a real fan?” For everything that can be enjoyed, there are those who scrutinize their fellow fans, and attempt to create a distinction between ‘true fans’ and those who are merely capitalizing on the act’s popularity in order to seem cool. 

This artificial distinction is everywhere, including sports teams, television shows and, especially in my daily life—music. Even when I discovered The Who as a teenager, my newfound fandom was met with old anecdotes from my parents and jeers of not being a “real fan.” This is a scenario that many music lovers find themselves in during at least one point in their lives, especially when dealing with bands that are only a decade or two past their heyday.

In early February, legendary alternative rock band My Bloody Valentine released m b v, their first album in 22 years, and the follow-up to 1991’s Loveless. I had heard of the band before, but the first time I listened to them was after the recent surge of publicity sparked by m b v’s release. Even though I chose to listen to Valentine’s albums chronologically, and enjoyed what I heard, was that enough to deem me a fan? I read an essay by Pitchfork writer Jayson Greene discussing the moments leading up to his first listen of the new album, condensing 22 years of waiting into 900 words. The emotional impact for Greene was something that I cannot yet fathom, as I have been alive for less than 20 years.

A week after m b v’s release, some friends and I trekked to Portland, Maine to see reclusive indie-rocker Jeff Mangum, former frontman of Neutral Milk Hotel. At the concert, we noticed the disparity between the adults, who would casually mention that they remembered when his album In the Aeroplane Over the Sea was first released in 1998, and the many other college-aged kids, including us, who had only discovered Mangum in recent years. The community of Mangum fans was divided by age and date of discovery, and witnessing this divide in person helped to reignite the debate that had been burning in my mind since childhood.

Unlike some of my fellow concertgoers in Maine, I hadn’t been waiting for 15 years to see Mangum. The timeline of my first listen of m b v, immediately followed my first listen of Loveless, was unlike the decades traversed by Greene, and many other Valentine fans. But with that understood, can my contemporaries and I still achieve true fandom?

My answer: does it really matter? While I’m sure that not all of the adults who saw Mangum with me that night appreciated the horde of teenagers singing along to every word, or potentially reducing the number of tickets available for their friends, they must also be aware that enjoyment transcends time. While the factors surrounding someone’s appreciation differ from person to person, it is not necessary to create a hierarchy of true fandom. Especially in the aforementioned cases, where chronology is a major factor in separating groups of fans, what’s the point of creating this distinction ,other than to further one’s own social standing? Classifying fandom brings the classifiers down to the level of those who they attempt to belittle.

Rock mainstays, Queens of the Stone Age performed their 1998 self-titled debut record in its entirety during a handful of 2011 tour dates, despite most of the performing band members not being present during the album’s recording 13 years prior. Reviews of the tour were positive, uniting fans old and new, and allowing them to ultimately listen to good music together.

Having seen bands such as Arcade Fire, Japandroids, and The Black Keys before, and after their mainstream breakthroughs, I somewhat understand the plight of the older fans. The venues are bigger and less personal, and the newer crowds are rowdier and more prone to shouting obscenities in between songs. But few things beat the feeling of everyone staring wide-eyed at the artists who have caused such joy in the lives of all the attendees. For just a few moments, it doesn’t matter when and how one discovered the artist, all that matters is that everyone is enjoying them together. Pretension makes way for sheer musical enjoyment, and that’s what it’s all about in the first place.

a, Sports

Sun, sports, and snowbird seniors

by Joshua Freedman on

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While the city of Montreal is caught up in the excitement of a dominating start for their Canadiens, I caught up on some Grapefruit League spring training baseball in Florida during reading week. Spring training is a time for seasoned ballplayers to shake off any rust that may have accumulated over the winter; it also represents a chance for young prospects to make a name for themselves.

The first game I attended took place in Jupiter, Florida—home to the St. Louis Cardinals. Located on the grounds of Florida Atlantic University—which also boasts a stately golf course—Roger Dean Stadium provided an intimate setting for an interleague matchup between the mighty Cardinals and the lowly Minnesota Twins. While most Cheap Seats writers watch games sitting in the nosebleed sections, spring training tickets provide great seats for dirt-cheap. For the reasonable price of $30, yours truly found himself sitting in the second row, behind home plate.

After a booming rendition of the national anthem, I finally had a chance to look around. The crowd was mostly made up of retirees, thrilled by the opportunity to see an afternoon ball game in 70 degree Fahrenheit weather—characteristic of most spring training contests. Though the Cardinals played most of their starters, while the Twins primarily suited up prospects, Minnesota surprisingly dominated the game 7-0. Nevertheless, the relaxing environment was the perfect way to take in a pre-season baseball. Plus, it was great to see Cardinals Canadian wunderkind Oscar Tavares look sharp in the outfield.

The next stop on my baseball tour took place in Fort Myers, Florida, where I had the chance to see the Boston Red Sox take on Team Puerto Rico in an exhibition game. Playing in the brand new facility at JetBlue Park, the Red Sox have built a near perfect replica of Fenway Park, complete with an imposing “Green Monster” in left field. As opposed to the quiet afternoon crowd of the previous day, the nighttime atmosphere at JetBlue Park was buoyed by a contingent of passionate Puerto Rican fans. The game felt a lot livelier, with coordinated cheers and music being played in the crowd. Sporting $15 tickets three rows above the Puerto Rican dugout, the Blue Jays fan in me recoiled at the sight of Alex Rios, but reveled at the sight of one of my childhood heroes, Carlos Delgado. The game itself was a back-and-forth affair, with Boston finally pulling out a 4-3 victory on the backs of Will Middlebrooks and Mike Napoli, who each hit monster home runs over the replica Green Monster.

The next day I was back at JetBlue Park, ready for a matinee game between Boston and the Pittsburgh Pirates. The crowd was packed with AARP members, most of whom left at the end of the sixth inning, presumably to score an early bird special on dinner. Although the game itself was uncompetitive—and former Jays prospect Travis Snider went 0-2—it was hard not to enjoy myself in such a beautiful setting. Another plus of the ballpark was its free SPF 50 sunscreen dispensers, which were just ripe for overuse.

If you’re ever in Florida over reading week, definitely try to attend some of the spring training festivities. The games were all very cheap, were free of drunken hecklers, took place in great weather, and featured prospects and reclamation projects that you never get to see during the regular season. I’m hoping to go back to Florida—or even try out Arizona, home of the Cactus League—to take in some more preseason baseball next year.

a, Sports

Around the Water Cooler

on

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 In case you were too busy enjoying your reading week or travelling to North Korea with Dennis Rodman, here’s what you missed this past week in the world of sports …

BASEBALL — The World Baseball Classic got underway this past week, as most of the world’s best are competing for their countries in baseball’s only international competition. Canada opened the competition with an embarrassing loss to Italy, 14-4, but quickly bounced back by defeating Mexico 10-3. However, the real story from Canada’s second game was the wild brawl that broke out between the teams during the ninth inning, to which we all thought, “c’mon guys, let’s be friends for Nafta, ok?” The Canadians were unfortunately eliminated from the tournament after suffering a 9-4 loss to the United States. The remaining teams in Pool 1 include Japan, Netherlands, Cuba, and Chinese Taipei. Team USA, Italy, Puerto Rico, and Dominican Republic make up the second round Pool 2 participants and will battle for the right to advance to the Championship round on Mar. 17-19. Also, the MLB regular season opens in just over two weeks, so get excited.

HOCKEY — We’re more than halfway through the shortened 48-game NHL schedule. To no one’s surprise, the Chicago Blackhawks went their first 24 games without losing in regulation, collecting 45 out of a possible 48 points—like, no big deal. They’ve since lost two straight regulation games, so maybe it’s time to panic—or not. Also to no one’s surprise (at this point), the Montreal Canadiens lead the Eastern Conference with 38 points, backed by strong scoring depth and a hot goaltender, Carey Price. If they keep this up, retailers on Ste. Catherine may want to board up their windows come playoff time.  Finally, the Philadelphia Flyers and Washington Capitals are stuck outside the playoff picture, while the Vancouver Canucks, St. Louis Blues, and the defending champion Los Angeles Kings are all struggling to separate themselves from their lottery bound Western conference foes. Maybe we should reconsider; this is all very surprising.

FOOTBALL — The fun has just begun for NFL fans. The draft combine came and went, as teams scouted and interviewed some of the league’s future stars, while free agency opened on Tuesday afternoon. Some of the big names on the open market this year include: Steven Jackson, Reggie Bush, Dwight Freeney, Greg Jennings, and Mike Wallace—although all reports suggest that Wallace will sign with Miami. While the destinations of most of these players remains uncertain, two major trades involving star wide receivers occurred on Monday. First, Minnesota traded all-purpose threat Percy Harvin to Seattle for a slew of draft picks. As a result, we’re for putting money on 2012 MVP Adrian Peterson putting up over 3,000 yards next season. Second, the Super Bowl Champion Baltimore Ravens traded Anquan Boldin to the team they beat in the big game, the San Francisco 49ers, for a measly sixth round pick. We imagine Boldin is excited to get a chance to play under Coach Harbaugh. 

The Carabins shut down Darragh Hamilton and the rest of the Martlet attack. (Remi Lu / McGill Tribune)
a, Sports

Martlet hockey season comes to stunning end in final

by David Stein on

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After a devastating loss in Game 2 of the RSEQ women’s hockey finals, the McGill Martlets were back at McConnell Arena on Mar. 3 to battle the Montreal Carabins in the deciding game of the series. Thanks to hundreds of fans who made it out to support their beloved Carabins, the atmosphere was charged with passion and intensity both on the ice and in the stands. Unfortunately for the Martlets, the Carabins were able to feed off this support en route to a shocking 2-1 victory, clinching a berth for the CIS national championship.

Following a scoreless first period with few chances and some chippy play between whistles, both teams looked more focused and determined to start the second period. Just two minutes in, Carabins forward Josianne Legault opened the scoring with a power play marker after the Martlets were able to survive several shorthanded sequences.

McGill answered just over a minute later when Joanne Cagianos deposited her first goal of the playoffs, completing a beautiful three-way passing play spearheaded by Leslie Oles and Mélodie Daoust. However, with less than five minutes to go in the third period, Legault tallied her second of the game, and third of the playoffs, to put a stranglehold on the series.

Despite McGill’s valiant effort to force overtime, Carabins goaltender Elodie Rousseau-Sirois continued to stand tall, capping off a 37-save performance and ensuring her team’s victory.

(Remi Lu / McGill Tribune)
(Remi Lu / McGill Tribune)

With their loss, the Martlets were eliminated from advancing to nationals to compete for a CIS title, a disappointing result after an undefeated regular season. McGill watched as the Carabins skated around with the RSEQ championship banner on McConnell ice—an experience that garnered several teary eyes on the Martlet bench.

When the dust settled, Martlet Head Coach Peter Smith indicated that his team was fighting nerves during the final two games.

“Well, I thought that we were a very nervous group on Friday night,” he said about the loss. “They had nothing to lose; they threw it all out there, and they played real well,” Smith said, speaking about the Carabins’ upset victory. “Today, it was a heck of a hockey game. I thought lots of good things happened, [but] we just didn’t seem to get a bounce going our way. It probably would have been good. … But I’m really proud of the team.”

Smith also mentioned that he encouraged his team to stay calm, even when it seemed like the officials missed a few calls.

“I told them to try to keep an even keel, try and stay focused on the things that we can control, and to stay away from getting emotionally involved with the officiating,” he said. “I reminded the team that the officials were doing everything that they were capable of.”

Team captain and fourth-year veteran Darragh Hamilton believes that this experience will benefit the Martlets in the future.

“I think we played great today. We really pushed the puck forward all the time,” Hamilton said. “We got lots of shots on net, [but] just didn’t get the bounces. If we got a couple bounces here and there, it could have been a totally different game. It stings right now, but it will just make us stronger next year.”

Smith noted that he is very proud of his players, despite the crushing result.

“I told them that I’m real proud of them. Not just for this game, but for the whole season. I told them to remember everything about this season. All the good stuff, because there was a lot of good stuff that happened,” he said. “It was a great team. They work hard; they’re young, impressionable, and coachable, with great leadership. But I told them to remember everything, including standing on that blue line, watching the other team get that trophy. If that doesn’t inspire them, then nothing will.”

Now that their season is over, the Martlets will have a few months to reflect on the loss and prepare for next year. While there might be some fresh faces in their lineup next season, the core members will return—hungrier than ever to complete their mission of winning a national championship.

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