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Home , Christian McKay, Coen brothers, Eddie Marsan, Fairuza Balk, Michael Stuhlbarg, Richard Linklater

Student Union Building, UVic JAN - FEB 2010

University of Victoria Students’ Society, conceived Admission Prices as an inexpensive alternative for students, the (GST included) University community and the public. The UVSS Students $5.25 theatre is in the Student Union Building at Jan/Feb special for UVSS students UVic. The following buses come to UVic: 4, 7, 11, 9pm shows (or later) $2.50 14, 26, 33, 39, 51. $6.00 Seniors, Children (12 & under) $5.25 Other Students $6.00 The university charges a at fee of $2.00 for parking Cinemagic Members $6.00 on campus after 6pm and all day on Saturdays. There is no charge for parking on Sundays and holidays. and guests (1 only) of above $6.00 Non-members $7.25 Tickets and memberships go on sale 40 24-hour Info Line: 250-721-8365 Matinees (all seats) $4.25 minutes before . Please arrive early Cinecenta O ce: 250-721-8364 to avoid disappointment. Manager: Michael Ryan TEN FILM DISCOUNT PASS Programmer: Michael Hoppe UVSS Students, Seniors $45.00 where noted. Films are 35mm prints unless other- $52.50 wise indicated. Design: Joey MacDonald (Unavailable to non-members.) DAILY SHOW INFO: 250-721-8365 www.cinecenta.com

TEN FILM DISCOUNT PASS Saturdays & Sundays at 1:00pm ALL SEATS: $4.25 JAN 9 & 10 FEB 6 & 7 CLOUDY WITH A CHANCE OF MEATBALLS PLANET 51 90 minutes; rated G; DVD 92 minutes; rated G – violence SALE Inspired by the beloved children's book, this wacky animated film This animated sci-fi spoof features a reverse ET story: a NASA centers on a town where food falls from the sky like rain. astronaut lands on a planet of goofy green creatures. JAN 5-11 JAN 16 & 17 FEB 13 & 14 WHERE THE WILD THINGS ARE FANTASTIC MR. FOX Available to Cinemagic members, 101 minutes; rated G – may frighten young children 87 minutes; rated G – violence Not recommended for children under 9, directed this ’s stop-motion rascally fable, based on Roald UVic faculty, staff, alumni emotional version of the classic book by Maurice Sendak, about a Dahl's children's book, about the adventures of a family of foxes 9 year-old boy who escapes to an island where wild creatures (, , Jason Schwartzman). & students and seniors. roam. JAN 23 & 24 ASTRO BOY 10 MOVIES FOR 94 minutes; rated G – violence A zippy cartoon set in futuristic Metro City about a young robot with incredible powers: super strength, x-ray vision, unbelievable $45.00 speed and the ability to fly. JAN 30 & 31 Available at the Munchie Bar CHARLOTTE’S WEB and nightly at the Box Office. 97 minutes; rated G; DVD Limit of two per customer. Julia Roberts heads a great cast of voices in this charming version of E.B. White’s classic.

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TEN FILM DISCOUNT PASS JAN 6 & 7 (7:00 & 9:00) JAN 8 & 9 (3:00 matinee & 7:00) KIDS MATINEE Sat 1:00! AN EDUCATION CLOUDY WITH A CHANCE OF MEATBALLS JAN 4 & 5 (7:15 only) IT MIGHT GET LOUD Lone Scherfig (UK, 2009, 101 minutes; rated PG) Cast: , Peter Director: Davis Guggenheim Sarsgaard, , Dominic Cooper, , CAIRO TIME (USA, 2008, 98 minutes; rated G) “####!” –The Globe and Mail Director: Ruba Nadda (Canada, 2009, 90 minutes; rated G) “THRILLING!” “Captures the very limited possibilities for female liberation in early-’60s Cast: , Alexander Siddig, Tom McCamus –The Reporter SALE in exquisite detail.” –Salon.com In a tremendous performance, Patricia Clarkson plays Juliette, “A MARVELOUS ROCK DOC!” Invariably funny and inexpressibly moving in the way it looks at a young a magazine editor. Vaguely dissatisfied with her job, Juliette – girl’s journey from innocence to experience, An Education does so many follows her Canadian diplomat husband, Mark (Tom things so well, it’s difficult to know where to begin when cataloging its JAN 5-11 McCamus), to Cairo. When she arrives, however, she learns A three-headed, amped-up, guitar-shred- virtues. What’s easy is knowing where you’ll end up, which is marveling at that he’s been held up in the Palestinian territories due to ding slamdown powered by a pan-genera- the performance by Carey Mulligan that is the film’s irreplaceable center- escalating tensions in the region. Juliette soon discovers that tional trio of rock gods — Led Zeppelin vet Available to Cinemagic members, piece. Mulligan seizes the character of 16-year-old Jenny in a once-in-a- the streets of Cairo can be tough terrain for a woman on her Jimmy Page, U2’s the Edge and Jack White lifetime way. This British was written by Nick Hornby (High own. Enter Tareq (Alexander Siddig), an old friend of Mark’s of the White Stripes. This highly cinematic UVic faculty, staff, alumni Fidelity, About A Boy) from a memoir by journalist Lynn Barber. Carey Mulligan is gifted with the ability to make us who becomes Juliette’s companion and guide, introducing her documentary is ostensibly about the cosmic believe in Jenny as an innocent, Jenny as a person of experience and all the Jennys in between. This is a performance, to various Egyptian customs. The city’s grandeur comes alive significance of the electric guitar. But like & students and seniors. and a film, to cherish for this year and always. – Times as he leads her through the beguiling streets of Cairo. As she most good movies, it’s mostly about character. Page is a gentle charmer, his gentlemanly demeanor belying the legendary musi- waits for word on her husband’s imminent arrival, the two cal/personal excesses of Led Zep. The Edge, whose Dublin roots are traced with the occasional hilarious glimpse of ‘80s hair, is a 10 MOVIES FOR $45.00 struggle to control their obvious mutual attraction. The pyra- modest monster. And White, the youngest, most aggressive guitarist takes a page from one of his own heroes, bluesman Son House: JAN 8 & 9 (9:00 only) separate admission $2.50 mids beckon, offering a gentle reflection of the epic desire He’s all about the attitude. Following up his Oscar-winner An Inconvenient Truth with a decisive shift in pace, tone and rhythm, Davis for UVic Available at the Munchie Bar and nightly at building between the tourist and her guide….Clarkson so Guggenheim orchestrates individual bios, technical data and memorable playing. Guitars are photographed with loving attention, their Undergrads! owns her role that it’s difficult to imagine another hav- necks burnished by fingers and perspiration, their hardware dulled by sheer exposure, their lacquered bodies reflecting years of ten- Director: Ruben Fleischer (USA, 2009, 88 min; 18A) the Box Office. ing taken it on. Like a sensuous vacation, Cairo Time‘s sweet der abuse. If this sounds like guitar porn, it sort of is. —Variety Cast: , , , and . Limit of two per customer. melancholia will linger long after the final credits roll. —Toronto International Film Festival “DOES THIS SOUND LIKE ROCK HEAVEN? IT IS.” – SPONSORED BY CFUV 101.9 FM See Jan. 10 & 11 for description

KIDS MATINEE Sun 1:00! JAN 12 & 13 THE LATEST FROM THE ! JAN 14 (7:30 only) JAN 15 (3:00 & 7:00) CLOUDY WITH A CHANCE OF MEATBALLS (7:00 & 9:10) Director Sturla Gunnarson will be here for a Q&A session! JAN 16 (1:00 & 3:00 & 7:00) JAN 10 (3:00 matinee & 7:00) JAN 11 (7:00 only) BEOWULF & GRENDEL WHERE THE WILD “A WORK OF ART.” AN EDUCATION Director: Sturla Gunnarsson THINGS ARE – Directors: Joel & Ethan Coen (Canada/Iceland/UK, 2005, 103 minutes; 14A) Lone Scherfig (UK, 2009, 101 minutes; rated PG) (USA, 2009, 106 minutes; PG) Director: Spike Jonze (USA, 2009, 101 minutes; rated G – may frighten young children) Cast: Catherine Keener, See Jan. 8-9 for description. Cast: , Stellan Skarsgård, Sarah Polley. “SEE THIS FILM IMMEDIATELY!” Max Records, , Lauren Ambrose, James –Time Out New York “THRILLING! No movie I’ve seen in a very long time has touched me so deeply, “In the 7th century, with Gandolfini, Catherine O’Hara, and or bestowed so much pleasure…Carey Mulligan is a dazzling new star! One “A PITCH-PERFECT COMEDY OF a vengeful monster Not recommended for children under the age of 9. DESPAIR!” – thinks not only of Audrey Hepburn, but of . Ms. Mulligan is phe- stealthily slaughtering Forget every sugary kid-stuff cliché Hollywood shoves nomenal. The whole film is phenomenal. I love it.” — “A TART, BRILLIANTLY ACTED Danish soldiers, a call at you. The defiantly untamed Where the Wild Things Are is a raw and exuberant mind-meld between Maurice Sendak’s FABLE OF LIFE’S LITTLE COSMIC goes out to the Nordic classic book, and Spike Jonze, the Oscar-nominated director (Being ) who honors the explosive feelings of hero Beowulf and his JAN 10 & 11 (9:00 only) separate admission DIFFICULTIES,” childhood by creating a visual and emotional tour de force. The movie barrels out at you like a nine-year-old boy filled to – men to bring the monster bursting with joys, fears and furies he can’t articulate. The boy is Max, played by Max Records, 12, in a vibrantly alive per- $2.50 for UVic undergrads! to justice. Once there, formance. Max is in a dark place called home, where his divorced mother (the superb Catherine Keener) is distracted by ZOMBIELAND Larry Gopnik () lectures however, he finds there’s work and a new lover. Max yells at his mother, before bolting from home in search of an undiscovered island where wild Director: Ruben Fleischer (USA, 2009, 88 min; 18A) on physics in front of a blackboard filled more to the story than creatures roam and play drives out pain. Or so Max thinks. —Rolling Stone Cast: Woody Harrelson, Jesse Eisenberg, Emma Stone, Abigail Breslin and with mathematical proofs approaching cer- the distressed Danish king lets on...Icelandic-Canadian director Bill Murray. tainty, and in his own life, what can be sure Sturla Gunnarsson’s mad folly is Beowulf & Grendel, a gamy JAN 15 & 16 (9:00 & 11:00pm) separate admission – $2.50 for UVic undergrads! of? Nothing, that’s what. His wife is leaving I suspect there’s a lot of heart somewhere in Zombieland. Most of the time retelling of the Anglo Saxon epic on what seems the least hos- him. His son is listening to rock ‘n’ roll in Hebrew school. His daughter is stealing money for a nose job. A student tries to bribe him. it’s cleverly pumping behind a smart script, deft direction, and plenty of pitable film location ever — the bare cliffs of Iceland in the face After the seriously great , the Coen brothers have made the not greatly serious A Serious Man, which bears PARANORMAL ACTIVITY bloody, oozing guts flowing out of various wounds inflicted on the ever of Arctic storms...Gunnarsson’s Beowulf & Grendel is by turns every mark of a labor of love. It is set in what I assume to be a suburb of their childhood. A Serious Man inhabits a increasing number of undead by some the few remnants of the rest of civi- stark, ludicrous and fascinating, with the odd dumb joke and Director: Oren Peli (USA, 2007, 87 min; 14A) Jewish community where the rational (physics) is rendered irrelevant by the mystical (fate). Have I mentioned A Serious Man is so anachronistic wisecracks leavening the earnestness. It lization. Thanks to clever effects and the interplay among the zombie war- A brutal, exhausting, and genuinely horrifying little ghost flick, with incredible performances from its duo (if they are per- rich and funny? — Not only hauntingly original, it’s the final piece of the puzzle that is the Coens. Combine suburban evokes—as all Dark Age tales must—the saw about life being riors, the film is a terrifically funny action horror piece, the best since 2004’s formances, that is), and utterly incredible special effects. Micah and Katie have moved in together, and Katie is convinced alienation, philosophical inquiry, moral seriousness, a mixture of respect for and indifference to Torah, and, finally, a ton of dope, and ‘nasty, brutish and short.’ And it injects shades of grey into the deadpan British import Shaun of the Dead. –Film Threat that she’s been haunted all of her life. If you think horror movies can’t scare you, if you think modern horror has nothing you get one of the most remarkable oeuvres in modern film. —New York Magazine black-and-white of epic heroism.” -Toronto Sun more to offer, try sitting through Paranormal Activity. —Film Threat sunday monday tuesday wednesday thursday friday saturday KIDS MATINEE Sun 1:00! JAN 22 & 23 KIDS MATINEE Sat 1:00! WHERE THE WILD THINGS ARE JAN 20 & 21 (7:00 & 9:20) ASTRO BOY (3:00 matinee & 7:00 & 9:15) JAN 17 (3:00 matinee & 7:00) BAD LIEUTENANT: WHIP IT Director: Drew Barrymore (USA, 2009, 111 min; PG) JAN 18 (7:00 only) PORT OF CALL Director: (USA, 2009, 122 minutes; 14A) Cast: Ellen Page, , Kristen Wiig, Juliette Lewis, Eve, Jimmy Fallon, Daniel Stern, and COCO AVANT CHANEL Cast: , Eva Mendes, Val Kilmer, Fairuza Balk, Drew Barrymore Jennifer Coolidge. Director: Anne Fontaine Laced with good-natured, goofy Cold-blooded reptiles are lurking everywhere in the slick new film (France, 2008, 111 min; French with subtitles; PG) girl power, director Drew noir Bad Lieutenant, with snakes, iguanas, gators and especially Barrymore’s roller-derby dram- Cast: Audrey Tautou, Benoit Poelvoorde, Alessandro JAN 19 (8:00pm only) Nicolas Cage at their slithering and cynical best. Director Werner edy, Whip It, is a gas. In her Nivola, and Emmanuelle Devos Director Velcrow Ripper will be in attendance! Herzog opens the film with a water moccasin moving inland debut feature, Barrymore hams through the rising black tide of Hurricane Katrina. Enter Cage's it up as injury-prone skater Anne Fontaine’s biopic transforms the designer’s early detective Terence McDonagh, just part of the debris kicked up by “Smashley Simpson,” but pays life into highbrow guilty-pleasure gold. Coco (Audrey FIERCE LIGHT: the storm. There's a jail cell, a forgotten prisoner struggling to equal attention to all players in a Tautou, Amelie), a seamstress in her twenties, has her lively ensemble led by Ellen heart set on becoming a showgirl, but after blowing an WHEN SPIRIT MEETS ACTION keep his head above water as Terence and his partner Stevie (Val Page — who, as blooming wall- audition, she installs herself at the country estate of rich Director: Velcrow Ripper (Canada, 2008, DVD, 97 minutes; PG) Kilmer) look on, making bets on how long he'll last. In the first of flower Bliss Cavendar (aka suitor Balsan (Poelvoorde). Disapproving of the excessive many ripple effects, a last-minute rescue earns Terence a medal Acclaimed filmmaker Velcrow Ripper (Scared Sacred) takes “Babe Ruthless”), finally has a overdress of upper-crust society, Coco keeps busy of honor, a promotion, a serious back injury and a cocaine habit to an inspirational look at change motivated by love. Called “soul role to match her star-making refashioning Balsan’s clothes into her own evening wear. ease the pain. So we have the setup and the bad cop that Herzog force” by Gandhi and “love in action” by Martin Luther King, turn in Juno. When bespecta- Backed emotionally and financially by a dashing British will push into the deep bayou muck, human and otherwise, that spiritual activism’s historical roots are examined and illustrat- cled Bliss, a waitress in a small- lover (Nivola), Chanel monetizes her appreciation for Katrina leaves behind. You can almost see the director smile as ed by interviews with spiritual luminaries Thich Nhat Hahn and town, happens upon the rough- contradiction. Fittingly, Coco presents Chanel herself as Terence descends into a netherworld of drugs and gambling and Desmond Tutu, and with activists including Alice Walker and and-tumble world of women’s a bundle of contradictions: Sensual but stubbornly self- murder investigations, the stakes getting higher, the risks greater, bell hooks. We join Ripper as he contemplates his place in the roller derby, the discovery liber- sufficient, she likes the perks of being kept by a rich man universe, and his drive to make the world a better place. the world crazier. Herzog usually does his best work with men in ates not her. Bliss learns to and is also desperate to work. She’s too conflicted to articulate exactly what she wants, yet she’s not above scheming to get it. Ripper takes us on an international journey that explores the crisis, whether a documentary Grizzly Man, or the drama/thriller body-check opponents and is Coco herself is a thrillingly atypical, genuinely complicated heroine.—Time Out New York reaches of spiritual activism…Fierce Light is a spiritual expe- of Rescue Dawn. Herzog has done well by noir too, giving us gradually accepted by her elder Hurl Scouts — tough-as-nails chicks with names like “Maggie Mayhem” (Kristen Wiig) “Coco Before Chanel has it all — striving, sensuality, romance and a bittersweet ending that turns out to be just the beginning.” rience in itself, about the necessity of spiritual action in today’s exactly what he should -- crime, corruption, sarcasm, sex, sleaze and “Bloody Holly” (Zoe Bell). Of course, sizable credit for the film’s winning ways belongs to Page, whose performance –Washington Post world.— International Film Festival and shadows all through the glass darkly. –Los Angeles Times — complete with her own skating — is one of grit, grace and speed. —Variety KIDS MATINEE Sun 1:00! KIDS MATINEE Sat 1:00! JAN 27 & 28 (7:10 & 9:00) “FILLED WITH VIVACITY, CHARM AND, YES, BEAUTY.” –Portland Oregonian JAN 29 & 30 (3:00 matinee & 7:00 & 9:20) ASTRO BOY CHARLOTTE’S WEB Film Noir THE “A SPLENDID STUDY!”—Empire PIRATE RADIO Director: (UK, 2009, 117 min; PG) JAN 24 (3:00 matinee & 7:00) JAN 26 SEPTEMBER “LUSCIOUSLY REVEALING!” –Entertainment Weekly Cast: , , Rhys Ifans, Nick Frost, , Tom Sturridge, and January Jones JAN 25 (7:00 only) (7:00 & 9:00) INSIDE HANA’S SUITCASE ISSUE “PIRATE RADIO DOES WHAT IT SETS OUT TO DO. IT ROCKS..” –Miami Herald THE MALTESE Director: R.J. Cutler Director: Larry Weinstein (Canada/Czech Republic, 2009, (USA, 2009, 91 minutes; PG) 93 min; rated G) FALCON With the creation of popular television “####!” –eye Weekly Director: shows like Project Runway and America’s (USA, 1941, DVD, Next Top Model, and the film The Devil The delivery of a battered suitcase to Fumiko Ishioka at 101 minutes) Wears Prada the population’s interest in the Tokyo Holocaust Museum begins the true-life mystery the fashion world has skyrocketed. That that became the subject of Karen Levine’s best-selling Cast: Humphrey interest seems to all lead back to one per- book Hana’s Suitcase. The suitcase came from the Bogart, Mary Astor, son and one organization: Anna Wintours, Auschwitz museum and had Hana Brady’s name roughly Sydney Greenstreet, editor of Vogue Magazine. This documen- painted on it. Larry Weinstein’s masterful film follows Peter Lorre tary about Ms. Wintours and her staff put- Fumiko’s search to discover the details of Hana’s life, ting together the notoriously spectacular which leads to the discovery of her brother George in Humphrey Bogart’s most exciting role was Sam Spade, that September Issue of Vogue, offers an Toronto. As small children they had been incarcerated for ambiguious mixture of avarice and honor, sexuality and fear, unprecedented inside of view at the pow- being Jewish after the Nazis invaded Czechoslovakia in who gave new dimension to the detective genre. This film, the erful, influential, and yet human, world of 1939. A superb musical score by Alexina Louie and Alex first directed by John Huston, is an almost perfect visual equiv- fashion. As fast paced as the fashion world itself, the film flashes footage of the stars of the fashion world as though they were peons Writer-director Richard Curtis (Love Actually) described this comedy about a boatload of renegade DJs who broadcast Pauk, coupled with dramatic re-enactments stunningly alent of the thriller. Huston used a hard, pre- in comparison to Anna Wintours. These people – people like Vera Wang, for example - work for her. rock-and-roll from a ship anchored off the coast of in the mid-1960s as only “partly true.” The disclaimer will be shot by Horst Zeidler, catches us by the heart to invoke cise directorial style that brings out the full viciousness of utterly unnecessary for anyone who sees the film, a tale so raucous, raunchy and punch-drunk with love for the rebellious the tragedy of the times. The voices of children from characters so ruthless and greedy that they become comic. It This is a world of frivolity, and Wintours acknowledges that perspective. After pointing out the silly reputation that the fashion indus- spirit of rock — and so disdainful of those who have tried to squelch it — that it pretty much negates any claims to fac- Japan, Canada, and the Czech Republic telling Hana’s is so skillfully constructed that after many years and many try has, the film gives us examples with people seriously stating that “the jacket is the new coat.” That acknowledgement out of the tuality. In mid-1960s England, just as the Kinks and the Beatles were taking the world by storm, official British radio was story are woven around the drama, along with George’s viewings it has the same brittle explosiveness—and even way, the film revels in the industry, making Wintours out to be tough but fair and extremely intelligent, and her office to be hardwork- under the monopoly of the BBC, which played precious little of anything anyone actually wanted to hear. In response, enter- memories and Fumiko’s quest, to create a film of aston- some of the same surprise—that it had in its first run. — ing above all else. “The September Issue” is a wonderful film, and one with vast appeal. While the runway may lose some of its magic prising broadcasters set up offshore radio stations that would spin the latest tunes around the clock. —Washington Post ishing power and hope. —Hot Docs Pauline Kael in the process, it is also more respected and humanized: a nice change for such a silly, silly world.—Film Threat SPONSORED BY CFUV 101.9 FM KIDS MATINEE Sun 1:00! FEB 5 & 6 (3:00 matinee & 7:15 & 9:10) KIDS MATINEE Sat 1:00! CHARLOTTE’S WEB Film Noir FEB 3 & 4 (7:00 & 9:10) PLANET 51 JAN 31 THE MEN WHO STARE AT GOATS ANTICHRIST Director: Grant Heslov (USA, 2009, 94 minutes; PG) (3:00 matinee & 7:00) Director: Cast: George Clooney, , Ewan McGregor, . FEB 1 (7:00 only) (Denmark/Germany/France, 2009, 110 minutes) “THIS LIVELY SATIRE LOOKS DESTINED FOR FUTURE CULT STATUS!” –Premiere Restricted – explicit sex scenes & explicit A marriage of talent in which all hearts AMELIA violence; no admittance to anyone under 18) seem to beat as one, Goats takes Jon Director: Mira Nair (USA, 2009, 111 Cast: Charlotte Gainsbourg, . Ronson’s book about “the apparent minutes; rated G) madness at the heart of U.S. military intelligence” and fashions a superbly Cast: , Richard Gere, From the director of Breaking the Waves, Dancer in the Dark, Dogville. written loony-tunes satire, played by a Ewan McGregor, Christopher FEB 2 (7:10 & 9:15) cast at the top of its game. Recalling Eccleston This isn’t a pretend horror flick, with violence you can many similar pics, from Dr. DOUBLE INDEMNITY shrug off or laugh off. It’s the real thing, and I’ll try to do Strangelove to Three Kings, and the I am drawn to every news story the service of emphasizing—without specifying, so read Director: (USA, 1944, DVD, 107 minutes) Cast: screwy so-insane-it-could-be-true about the attempts to solve the mys- on—the intensity of the horror, which begins as a cou- Barbara Stanwyck, Fred MacMuarry. illogic of Catch-22, this is upscale tery of Amelia Earhart's disappear- ple’s emotional burden after the death of their child, and movie-making, in Coen brothers style. ance on July 2, 1937. It's pretty clear Every turn and twist is exactly calculated and achieves its the extent of the violence, which is sexual, psychosexual, Ewan McGregor, as the journalist she ditched at sea, but you just never know. It is not her disappearance but her life that fascinates me. She was strong, brave effect with the simplest of means; this shrewd, smoothly symbolic, graphic, pornographic, misogynistic (though assigned to interview an apparent and true, and she looked fabulous in a flight suit. Gene Vidal (Ewan McGregor), the founder of TWA and father of Gore, told his tawdry thriller is one of the high points of 40s films. The direc- also mutual, as well as self-inflicted), and deeply, deeply wacko who claims he has special psy- son he loved her but didn't marry her "because I didn't want to marry a boy." Hilary Swank uncannily embodies Earhart in Mira tor, Billy Wilder, collaborated with Raymond Chandler in adapt- disturbing. It’s a two-character piece, unless you count a chic powers, stumbles across an even Nair's Amelia. She looks like her, smiles like her, evokes her. Swank is an actress who doesn't fit in many roles, but when she's ing James M. Cain’s story. Barbara Stanwyck’s Phyllis talking fox. The husband, an emotionally remote thera- crazier story: Back in the ‘80s, the gov- right, she's right. Amelia tells this story with sound performances and impeccable period detail. She was an early feminist role Sietrichson—a platinum blonde who wears tight white pist, is played by Willem Dafoe. The wife, a writer work- ernment had a top-secret unit of “psy- model. She married the famous New York publisher G.P. Putnam (Richard Gere). It was love at first sight for George, and forever sweaters and sleazy-kinky shoes—is perhaps the best acted ing on a book called “Gynocide,” is played by Charlotte chic spies” who were trained to kill ani- after for both of them…Amelia is a perfectly sound biopic, well directed and acted, about an admirable woman. It confirmed for and the most fixating of all the slutty, cold-blooded femme Gainsbourg. Most of the action takes place in or near a mals by staring at them. George me Earhart's courage -- not only in flying, but in insisting on living her life outside the conventions of her time for well-behaved fatales of the film-noir genre…Fred MacMurray is the patsy cabin in the woods where the couple has gone in search Clooney anchors the movie in a beauti- females. --Roger Ebert she ensnares in a plot to kill her husband and collect on the of spiritual peace. To say they don’t find it is the under- fully calibrated demo of comic timing and sheer physical presence. Jeff Bridges, channeling Big Lebowski, fits like a glove, “In Nair's evocatively art-directed (and sensationally costumed) film, Earhart comes alive.” –Philadelphia Inquirer double-indemnity clause in his policy. –Pauline Kael statement of the movie year. —The Wall Street Journal and Kevin Spacey adds some welcome tartness to all the New Age weirdness. –Variety KIDS MATINEE Sun 1:00! FEB 12 & 13 KIDS MATINEE Sat 1:00! PLANET 51 FEB 9 (7:00 & 9:25) FEB 10 & 11 Film Noir (3:00 matinee & 7:15 & 9:10) FANTASTIC MR. FOX FEB 7 (3:00 matinee & 7:00) CHINATOWN Director: (7:00 & 9:15) FEB 8 (7:00 only) (USA, 1974, DVD, 131 minutes) FANTASTIC MR. FOX Cast: , Faye Dunaway, John Huston ME AND Director: Wes Anderson (USA, 2009, 87 minutes; rated G THE ROAD Here is one of the greatest Hollywood movies ever made. Jack – violence) Voices of George Clooney, Meryl Streep, Director: John Hillcoat (USA, 2009, 112 minutes; 14A) Nicholson give a career-best performance an LA private eye Jason Schwartzman, Bill Murray, Wally Wolodarsky, Cast: , , Robert who digs too deeply Director: Eric Anderson, Michael Gambon, Willem Dafoe, Owen Duvall, Kodi Smit-McPhee into the affairs of a (UK/USA, 2009, 115 min; PG) Wilson, and Jarvis Cocker mysterious woman Probably it was our fault, man's nuclear folly. Or maybe (Faye Dunaway) who Cast: , Claire Danes, “A MARVEL TO BEHOLD!” –The Village Voice not, maybe it was some massive cosmic accident. hires him to spy on her Christian McKay, , Apocalypse's cause is never mentioned, because all husband. It’s a full- Kelly Reilly, Eddie Marsan, Leo “A NONCHALANT MASTERPIECE!” –Salon.com that matters now is the enduring effect – a frigid world colour noir classic Bill, and “AN INSTANT CLASSIC!” –Chicago Reader of ashen snow where the sun never shines, where all where the sun blazes What do you say about a movie that is withered and no birds sing. Such bleak surroundings proves Zac Efron can act, introduces on the surface and the Wes Anderson (The Life Aquatic, The Darjeeling a master thespian in Christian are not unique to Cormac McCarthy's novel, but what darkness writhes Limited), creator of this rascally stop-motion fable, turns McKay and launches a charm he does with them is. The Road is essentially a love inside. The movie’s out to be born to make animated films. Freely adapting assault that is damn near irre- story, as stripped of sentimentality as the landscape is shorn of green, yet an extraordinary love story nonetheless – powerful and brilliance is perhaps Roald Dahl’s 1970 children’s book, Anderson creates an sistible? I say, see it. Director poignant and, even in the midst of hope's imminent extinction, hopeful too. What's more, like No Country for Old Men, the meas- mainly down to direc- endearing fairy-tale thrift-shop universe, with quaintly Richard Linklater () has crafted a thrilling movie about, of all things, the theater. The time is 1937, the place is New ured sparseness of the book cries out for a screen adaptation. Director John Hillcoat's answer to that cry is largely faithful to the tor Roman Polanski, painted backdrops, cotton balls for smoke, and a family York, and boy wonder Orson Welles (McKay) is rehearsing a modern-dress production of that will set him on the path text and skillfully evocative of the horrific setting. The visuals here are chillingly sparse…There are survivors, among them the who twists a crucial, of foxes who move in such deliberate fashion that, up to legend. Linklater goes right at the exhilaration of it — you can practically breathe the air of the Mercury Theatre — leaving the Man and the Boy. Wrapped in filthy raiments, our pair of pilgrims pick their way through the detritus. At times, the Man shoots to tragic fatalism into ’s Oscar-winning script. close, you can see the hairs on their faces bristle and grand gestures to Welles. British actor McKay plays the man who would be in a miraculous act of physical and vocal kill, prompting the Boy to wonder, “Are we still the good guys?” The answer lies in the abiding love between parent and child, Polanski and Towne lead us deep into an irresistible mystery jerk. Yet Mr. Fox (George Clooney), Mrs. Fox (Meryl transformation. Wow. Efron takes a more oblique approach, and it pays off handsomely. His character wins a small role in the play, and in the impeccable work of the two principal . A gaunt Viggo Mortensen is the thin embodiment of resolve, clinging that pitches a festering tangle of murders, lies and evil. Expect Streep), and their son, Ash (Jason Schwartzman), inhabit twists, turns, red herrings and revelations. Expect them to cul- gets seduced by an ambitious assistant (Claire Danes), and falls under the spell of everything theatrical What makes the movie stick, against all odds to his faith in the future – not his own future but his son's. Yet the Man learns from the Boy too, and, thanks to a world that’s disarmingly, well, lifelike. With its virtuoso minate in a shocking finale. Absolutely the finest thing that besides Linklater’s pitch-perfect direction, is the way McKay and Efron handle the betrayal of Richard by Welles. The treachery is a hauntingly muted performance from young Kodi Smit-McPhee, this lesson transcends the others: that the toughness life tomfoolery, Fantastic Mr. Fox is like a homegrown Nicholson, Polanski, Towne and producer will sweetly done, of course, but it leaves its mark. Just like the movie. —Rolling Stone demands does not preclude the tenderness it needs; that, even in overwhelming darkness, the flame of human decency must, Wallace and Gromit caper. To Wes Anderson: More, ever produce. Unforgettable. —-BBCi and can, still be carried. All this is superbly lifted off the page and brought to the screen. --The Globe and Mail “One of the sweetest and most heartfelt movies ever made about a life in the theater.” —Christian Science Monitor please! —Entertainment Weekly KIDS MATINEE Sun 1:00! KIDS MATINEE Sat 1:00! TBA FANTASTIC MR. FOX Film Noir FEB 14 (3:00 matinee & 7:00) FEB 17 & 18 (7:00 & 9:10) FEB 19 & 20 FEB 15 (7:00 only) UNMISTAKEN CHILD (3:00 matinee & 7:00 & 9:30) COLLAPSE Director: Nati Baratz THE TWILIGHT SAGA: Director: Chris Smith (USA, 2009, 82 minutes) (Israel, 2008, 109 min; Tibetan/Hindi/Nepali with subtitles; G) Unmistaken Child documents the four-year search of Tenzin The current documentary landscape is full of doom-laden Zopa, a gentle, baby-faced 28-year-old Nepalese monk, for the scenarios: An Inconvenient Truth, Food, Inc., Flow, FEB 16 (7:00 & 9:30) reincarnation of his Tibetan master, Geshe Lama Konchog, who Director: (USA, 2009, 131 min; PG) I.O.U.S.A. But few apocalyptic visions are as comprehensive died in 2001. The young monk’s journey, on foot, by mule and by and frighteningly assured as the one offered by Michael L.A. CONFIDENTAL Cast: Starring , , helicopter, begun at the request of the Dalai Lama, takes him Taylor Lautner, Ashley Greene, Billy Burke, Ruppert, the subject of Chris Smith’s mesmerizing new docu- Director: (USA, 1997, DVD, 136 min; 18A) through some of the world’s most spectacular high country, as mentary. A former Los Angeles police officer turned independ- Peter Facinelli Cast: Russell Crowe, Kevin Spacey, Kim Basinger, Guy he travels from village to village, seeking a very young child who ent reporter, Ruppert has chased big stories for his self-pub- Pearce. shows signs of being his reincarnated teacher. The film is a real- The excellent news for fans is that this sequel to lished newsletter, From The Wilderness, on everything from life examination of the same rituals and traditions observed in Drenched in the tawdry glamour of Hollywood in the early Twilight is a faithful movie adaptation of CIA involvement in drug trafficking to the current economic ’s Kundun. Like Mr. Scorsese’s movie, it stands 1950s and up to its ears in corruption, L.A. Confidential is an ’s New Moon. That, of course, is crisis, which he claims to have predicted. His latest obsession in awe of its subject. The beauty of the landscape and the irresistible treat with enough narrative twists and memorable the second installment, in which is the issue of “peak oil,” the concern that oil production has monk’s sweetness, humility and good humor evoke a plane of “UNNERVINGLY PERSUASIVE!” –Variety characters for a half-dozen films. Curtis Hanson’s rich adapta- (Kristen Stewart), a dazed, confused, moody reached its apex, and our entire industrial and economical existence, at once elevated and austere, that is humbling to con- tion of James Ellroy’s novel will satisfy mystery fans and prob- teen-y girl, and Edward Cullen (Robert infrastructure will collapse along with it. Shooting the tor- “SHOCKINGLY PERSUASIVE!” –The New York Times template. Child inevitably leads you to consider the material ably represents the best film of its type since Chinatown. This Pattinson), a smoldering, inscrutable, broody, world and to contemplate the balance in your own life between tured, chain-smoking Ruppert inside what looks like a bunker, superbly acted policier packs plenty of surprises and satisfies and otherwise identifiable teen-throb vampire, physical gratification and spirituality. The rugged landscape, in Smith’s film illustrates long, feverishly intense monologues on virtually every level. Ellroy’s knotty yarn involves seamy swear true and chaste love while trying to keep which mist filters through craggy cliffs and wild flowers seem to with dazzling montages. Ruppert may appear like just another crackpot, but he isn’t an ideologue, which makes his panic more aspects of Southern ’s political, business, racial, legal, their hands off each other. But Edward abandons dance in the mountain meadows, suggests that religion and authentic—as do his meticulously crafted arguments. Collapse is by no means an endorsement of Ruppert’s worldview. Smith journalistic and underworld history, to excellent effect. Working her in a supreme act of self-control. It’s only then geography are profoundly intertwined. How we perceive the uni- (American Movie) has enough faith in his audience to allow them to sort it out for themselves. There are many layers to the man deeply within film noir territory, Hanson concentrates upon that the devastated Bella re-bonds with Jacob verse, time, death and rebirth has everything to do with altitude and the movie, and it’s hard not to leave the theater shaken. --The Onion AV Club telling the story in superbly chosen settings that convey a pun- Black (Taylor Lautner). The production is fan- and latitude. —The New York Times “What he says takes up residence in your mind.” –Entertainment Weekly gent sense of a virtually vanished L.A. —Variety ready and saga-solid. –Entertainment Weekly Amber Time to shine The new Saturday Short Takes are bright, bold and short sampler classes. Take a look!

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