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June 25 - July 1, 2009
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An Unlikely Weapon
In 1968, in 1/500th of a second Eddie Adams photographed a Saigon police chief, General Nygoc Loan, shooting a Vietcong guerrilla point blank. Some say that photograph ended the Vietnam war. The photo brought Eddie fame and a Pulitzer, but Eddie was haunted by the man he had vilified. He would say, “Two lives were destroyed that day, the victim’s and the general.” Others would say three lives were destroyed. Eddie Adams, like most artists, was tortured by his need for perfection. Nothing he did ever satisfied him. He carved out many careers shooting covers for Life, Time, and even Penthouse. Yet, somehow, he was always pulled back into documenting wars, 13 all together. Finally he hit the wall and couldn’t take it anymore. He began shooting celebrities because “It doesn’t take anything from you.” Eddie was comfortable with kings and coal miners. During his time with Parade magazines he photographed Clint Eastwood, Louis Armstrong, Mother Teresa, and Pope John Paul. Not Rated. At Starz — Denver Film Society
Angels and Demons
On the heels of the 2006 adaptation of Dan Brown’s best-seller The Da Vinci Code, Tom Hanks returns to the dullest role of his career, once again under the direction of Ron Howard, who takes the material as seriously as a kidney stone on the way out. Angels & Demons is the same sort of lumbering mediocrity that Da Vinci Code was. It’s more violent, which is something, I guess, and its narrative structure ensures a regular string of cliffhangers. But what turns the pages in print doesn’t necessarily propel a story onscreen. Rated PG-13 (sequences of violence, disturbing images and thematic material). At Flatiron. — Michael Phillips
Away We Go
Glib and charming in roughly equal measure, the road-tripping Away We Go is worth seeing for Maya Rudolph (best known for being underutilized on Saturday Night Live), who plays a mother-to-be living in Colorado with an insurance salesman (John Krasinski of The Office). From the beginning, with American Beauty, director Sam Mendes has never been one to defuse the smugness in a smug script. Much of the dialogue in Away We Go is enjoyable, but in their pursuit of happiness, the two lead characters remain attractive outlines. Rated R (language and some sexual content). At Century. — Michael Phillips
 Brothers Bloom
Two con-man brothers (Mark Ruffalo and Adrien Brody) travel the world in search of great marks. One day they meet Penelope (Rachel Weisz), and from the carefully orchestrated moment she drives her canary-yellow Lamborghini into their lives, their cons take on new meaning. This is a funny, sharply observed, emotionally resonant crime caper, one that lapses only occasionally into preciousness. Rated PG-13 (violence, some sensuality and brief strong language). At Colony Square and Chez Artiste. — Jessica Reaves
Caddy Shack (1980)
An exclusive golf course has to deal with a brash new member and a destructive dancing gopher. Rated R. At Boulder Theater. — BT
Easy Rider (1969)
Two young bikers sell some dope in southern California, stash their money away in their gas-tanks and set off for a trip across America, on their own personal odyssey looking for freedom from the rat race. On their journey they encounter bigotry and hatred from small-town communities who despise and fear their non-conformism. They also discover simple kindnesses and alternative communal living. When they arrive at a diner in a small town, they are insulted by the local rednecks as weirdo degenerates. They are arrested on some minor pretext by the local sheriff and thrown in jail where they meet an alcoholic lawyer played by Jack Nicholson. He gets them out and decides to join them on their trip to New Orleans in time for Mardi Gras. Terry Southern once wrote that the film came down to “killing a couple of guys because of the length of their hair.” Rated R. At the Boulder Public Library. — BPL Film Program
Easy Virtue
Australian director Stephan Elliott (The Adventures of Priscilla, Queen of the Desert) puts an odd spin on Noel Coward’s 1924 play, going for camp and slapstick and bizarre musical interpolations. I like the theme song from Car Wash. I like Coward. Put them in the same room, however, and you have an example of why Easy Virtue resists nearly everything Elliott throws at it. Colin Firth survives this film with his reputation unscathed; Jessica Biel and Kristin Scott Thomas aren’t as lucky. Rated PG-13 (sexual content, brief partial nudity and smoking throughout). At Century and Starz. — Michael Phillips
Every Little Step
A Chorus Line celebrates the itch to perform and the exquisite, control-freaky showmanship that is the Broadway musical at its greatest. You can assess the stage original’s influence through this wonderful new documentary, which intercuts the story of how the original 1975 show came together with a step-by-step, fly-on-the-wall account of how the custodians of the recent 2006 Broadway revival came to cast whom they cast and why. Rated PG-13 (some strong language including sexual references). At Starz. — Michael Phillips
Food, Inc.
See full screen review on page 37. Rated PG. At Chez Artiste.
Garfield’s Pet Force
In another universe, one which exists parallel to Garfield’s own, a team of five superheroes known as “Pet Force” serve Emperor Jon as protectors of his throne. Ruling the galaxy from the planet Polyester, Jon’s reign is constantly opposed by the evil Vetvix. When Vetvix uses a new weapon to strip Pet Force of their powers and send them to a ghostly dimension where they will be trapped forever, Jon is forced to have his right-hand man, Sorcerer Binky, use a dimensional portal to find five alternate versions of the heroes to take their place. In Garfield’s universe, Pet Force is a best-selling comic book, and when Nermal buys the limited-edition 100th issue, it becomes a portal through which they are pulled into the alternate universe, becoming the new Pet Force. Although they return to their own universe after the initial adventure, they subsequently return to fight Vetvix and other evils when needed. For ages 5-12. Not Rated. Free showing at Starz.— Denver Film Society
The Hangover
The Hangover takes care of its target audience — males who, after seeing director Todd Phillips’ earlier and funnier Old School, dreamed of joining the Old School fraternity. This film belongs to the what-happened-last-night? genre typified by Dude, Where’s My Car? Groom-to-be Doug (Justin Bartha) is whisked to Vegas from L.A. by his pals (Bradley Cooper and Ed Helms), with Doug’s eerie future brother-in-law (Zach Galifianakis) in tow. Chaos ensues; laughs do not (although Helms is an exception). Rated R (pervasive language, sexual content including nudity, and some drug material). At Flatiron, Century, Colony Square and Twin Peaks. — Michael Phillips
See full screen review on page 38. Rated PG. At Flatiron, Century, Colony Square and Twin Peaks.
Land of the Lost
Like him or not, Will Ferrell remains at the mercy of his material, and he may well shoulder the blame for this coarse, sloppy version of the old Saturday-morning time-warp adventure, even if he doesn’t deserve it. Ferrell’s professor is on an expedition when an earthquake plunges him, his tour guide (Danny McBride) and comely fellow researcher (Anna Friel) into a universe populated by dinos and Sleestaks. The movie is 90 minutes of bickering and under-reaction to outrageous events, and there simply aren’t enough laughs. Rated PG-13 (crude and sexual content, and language including a drug reference). At Flatiron. — Michael Phillips
Night at the Museum: Battle of the Smithsonian
Ben Stiller reprises the role of the Museum of Natural History security guard who saved the day in the 2006 original, making peace among the warring tribes and beasts and magically energized figurines. Here, the old gang, including the mammoth Teddy Roosevelt (Robin Williams), mini-cowboy Jed (Owen Wilson) and micro-Roman Octavius (Steve Coogan), are being shipped off for storage in the bowels of the Smithsonian Institution. This film is breezier than the first, and Amy Adams is a sparkling screen presence as aviatrix Amelia Earhart. Rated PG (mild action and brief language). At Flatiron and Colony Square. — Michael Phillips
Monty Python and the Holy Grail (1975)
Bring out your dead! It’s time to geek out with our favorite British lads as they go on the ultimate medieval mission. At the request of God, King Arthur must seek out the Holy Grail with his trusty knights: Sir Galahad the Pure, Sir Lancelot the Brave, Quiet Sir Bedevere and Sir Robin the Not-Quite-So-Brave-as-Sir-Lancelot. Throughout their travels, the group come into contact with attack rabits, limb loss (really just mere flesh wounds), knights who say “Ni!” and plenty of coconuts. Wait, are you suggesting that coconuts migrate? Rated PG. At Boulder Outdoor Cinema.
The Princess Bride (1987)
Princess Buttercup has been kidnapped as the future bride of evil Prince Humperdinck. To rescue her and reclaim his one true love, the adventurous Westley embarks on a journey through a kingdom filled with monsters, swordfights and Inigo Montoya. Rated PG. At Film on the Rocks.
The Proposal
In this disposable romantic comedy, Ryan Reynolds plays the beleaguered Man Friday to a fearsomely mean book editor played by Sandra Bullock. The editor, a Canadian living in New York, has visa troubles and is threatened with deportation. She strong-arms the assistant into marrying her — quickie divorce to follow — under the suspicious eye of Immigration Services. It’s not terrible, but there’s not much fun to be had watching the Wicked Witch of the Upper East Side get her comeuppance and thaw out and fall in love. Rated PG-13 (sexual content, nudity and language). At Flatiron, Century, Colony Square and Twin Peaks. — Michael Phillips
Public Service Films (1950s-1970s)
Public service films were routinely presented in classrooms across the country in the days before video. This program features a group of short public service films from the 1950s to the 1970s, some animated and others live-action, addressing subjects such as driver’s education, mental hygiene, alcoholism and related subjects in serious and humorous ways. Titles screened include Pour Judgment (18 min.) shot in the Denver area, A Snort History (7 min.) with animation by Denver political cartoonist Oliphant and outdoor scenes of jeep trails in Colorado long closed. The Third Killer (28 min.) about a Mr. Rellik who is a broker in traffic deaths (final section is graphic and not recommended for children), and the animated film To Your Health (7 min.). Included in the program are U.S. Army instructional and motivational films such as Marriage Go Round (4 min.) and The Two Henry Gordons (18 min.) Not Rated. At the Boulder Public Library. — BPL Film Program
Revanche
In writer/director Götz Spielmann’s powerful drama two seemingly divergent storylines intersect and become inextricably linked in unexpected ways. Alex (Johannes Krisch), an ex-con dreaming of a better life, and his girlfriend Tamara (Irina Potapenko), a Ukrainian prostitute, both work in a Vienna brothel, hiding their relationship from the boss. In a country village a few hours away Susanne (Ursula Strauss) and her police officer husband Robert (Andreas Lust) lead a tranquil life, lacking only a child. Desperate to rescue Tamara from her job at the brothel, Alex robs the bank in Robert’s village; Robert stumbles across them and a stray bullet leads to accidental murder. Featuring superlative acting in a character-driven story about moral choices and their consequences, Revanche (Revenge) reveals a profound understanding of human nature. Academy Award Nominee for Best Foreign Language Film.Not Rated. At Starz. — Denver Film Society
Sita Sings the Blues
A feminist spoof of the ancient Hindu epic The Ramayana, Sita Sings the Blues uses a rich blend of visual styles to wed the story of a modern-day marital split to the saga of the goddess Sita, abandoned by her husband Rama. With funding from a Guggenheim fellowship, syndicated comic-strip artist Nina Paley (The Hots, Nina’s Adventures) single-handedly created this delightful, flash-animated adult cartoon on a laptop over the space of five years. The narrative is broken up by segments of stop-action cutouts as elaborate as pages in a children’s pop-up book, while shadow puppets engage in a gentle sibling rivalry to recount the details of the 3,000-year-old fairy tale. It’s a handmade, heartfelt romp that the corporate heads at Disney could never have achieved. Not Rated. At Starz. — Denver Film Society
Star Trek
The new Star Trek seeks to extend a lucrative brand with a young demographic. But it’s a real movie — breathlessly paced bordering on manic, but propulsively entertaining. The script ping-pongs early on between Iowa and Vulcan, as the destinies of James T. Kirk (Chris Pine) and Spock (Zachary Quinto) entwine. The plot issues — of moderate interest at best — deal with the space-time continuum and alternate reality. The film may not be memorable science fiction, but it's an engaging pop diversion. Rated PG-13 (sci-fi action and violence and brief sexual content).Rated PG-13. At Flatiron, Century, Colony Square and Twin Peaks. — Michael Phillips
Summer Hours
The divergent paths of three 40-something siblings collide when their mother, heiress to her uncle’s exceptional 19th-century art collection, dies suddenly. Left to come to terms with themselves and their differences, Adrienne (Juliette Binoche), a successful New York designer, Frederic (Charles Berling), an economist and university professor in Paris, and Jérémie (Jérémie Renier), a dynamic businessman in China, confront the end of childhood, their shared memories, background and unique vision of the future. Written and directed by acclaimed filmmaker Olivier Assayas (Clean, Demonlover). Not Rated. At Starz. — Denver Film Society
The Taking of Pelham 1 2 3
Denzel Washington’s easygoing authority compensates for a lot in a sequel that fails to live up to the 1974 original, which starred Walter Matthau as a New York City transit cop locking horns with subway hijackers. Director Tony Scott’s modern version is slick, predictable and, thanks mainly to Washington’s canny underplaying, fairly diverting. John Travolta plays the lead baddie, sporting a handlebar mustache that wouldn’t be out of place in William Friedkin’s Cruising. Rated R (violence and pervasive language). At Flatiron, Century, Colony Square and Twin Peaks.— Michael Phillips
Throw Down Your Heart
Throw Down Your Heart follows American banjo virtuoso Béla Fleck on his journey to Africa to explore the little known African roots of the banjo and record an album. Béla’s boundary-breaking musical adventure takes him to Uganda, Tanzania, Gambia and Mali, and provides a glimpse of the beauty and complexity of Africa. Throw Down Your Heart presents a portrait of Africa that is very different from what is often seen in the media today. As Ugandan folk musician Haruna Walusimbi states in the film: “There is this negative thinking about Africa. There is nothing good in Africa. They are beggars, there is HIV/AIDS, they are at war all the time. But that is just a very small bit of what Africa is.” Béla’s trip provides a glimpse into the incredibly rich and diverse musical traditions of Africa. Not rated. At Starz. — Denver Film Society
Tom Horn (1980)
This film takes up the life story of Tom Horn after his negotiated surrender of Apache Chief Geronimo and his service as one of Teddy Roosevelt’s Rough Riders. He accepts an offer from some Wyoming cattle barons to end the interference caused by local rustlers and homesteaders. Horn acts far more violently than the ranchers had intended, killing excessive numbers of people with a bloodthirsty vengeance. It soon becomes clear he is a cowboy stuck in the transition period from the Old West to the modern, industrialized, mechanized West. Based on Life of Tom Horn. Horn was buried in Boulder’s Columbia Cemetery on Sunday November 22, 1903 on the south side about midway. Not Rated. At the Boulder Public Library. — BPL Film Program
Transformers: Revenge of the Fallen
See full screen review on page 37. Rated PG-13. At Flatiron, Century, Colony Square and Twin Peaks.
Up
Balloon salesman Carl (voiced by Ed Asner) shared a dream with his wife to visit South America. After his wife dies, Carl’s yearning for adventure dies as well. Yet it rises again, and Up becomes a chronicle of an unlikely friendship between Carl and an 8-year-old (Jordan Nagai). This Disney-Pixar film feels nervy and adventurous and a little messy, the result of formidable creators working on an enormous budget, enormously well-spent. Yet the expansive emotional landscape of Up is something new. More power to these people. They are making the best films coming out of Hollywood. Rated PG (some peril and action). At Flatiron, Century, Colony Square and Twin Peaks. — Michael Phillips
Year One
Hit and miss doesn’t begin to describe this frequently wince-worthy comedy. Jack Black and Michael Cera play outcast members of a Paleolithic tribal village whose wanderings bring them into contact with Cain and Abel and Abraham and Isaac and Sodom and Gomorrah and poop jokes and pee jokes. Harold Ramis directs, and while this won’t join his list of essential comedies, some of the dumb jokes manage to elicit a laugh. Rated PG-13 (crude and sexual content throughout, brief strong language and comic violence). At Flatiron, Century, Colony Square and Twin Peaks. — Michael Phillips
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