<![CDATA[Boulder - Weekly - Screen]]> <![CDATA[Mental illness explored]]> Something really bad is coming, an impending apocalypse, and only Curtis (Michael Shannon) can see it. His mom was institutionalized with paranoid schizophrenia when he was 10, however, so are his dreams prophetic or is he starting to lose it? This is the plot of Take Shelter.]]> <![CDATA[Payoff never comes in 'The Canyon']]> When newlyweds in movies insist on taking their honeymoon in wild, isolated places, bad things always happen. But maybe Nick (Eion Bailey) and Lori (Yvonne Strahovski) have never been to a multiplex because they do exactly that in The Canyon, in which their trek into a remote part of the Grand Canyon with an unlicensed guide turns into a survival nightmare.]]> <![CDATA[You've seen this film before]]> Grace plays a disillusioned MIT graduate stuck working at a Suncoast Video store in 1988, when cell phones the size of dinosaurs ruled the earth. The comedy echoes one ’80s artifact after another. It has the visual ambience (minus the self-importance) of Less Than Zero.]]> <![CDATA[British invasion in 'Pirate Radio']]> Any film that’s built around the music of the mid-1960s starts out with one thing going for it: a great soundtrack. That Pirate Radio goes beyond that and offers up an entertaining and poignant story about loss of innocence is what makes it a film well worth your time.]]> <![CDATA[The tin shine of BIFF]]> The 10th festival, taking place Thursday, Feb. 13 through Sunday, Feb. 16, includes almost 60 films, 12 musical acts, dozens of directors and other special guests, six films nominated for Academy Awards, and four films coming directly to BIFF from Sundance.]]> <![CDATA[Details matter]]> You can say this for screenwriter Pablo F. Fenjves’ story: It stays busy. It starts in the hotel, moves to the ledge and then swoops back into a one-month-earlier flashback, explaining how Nick got there, why he went to prison in the first place and how he managed to turn a furlough for his father’s funeral into an opportunity for escape.]]> <![CDATA[ Race to mediocrity ]]> The animal that loved to preen for the cameras made all the magazine covers in 1973 after running away with the Triple Crown, though in the %uFFFD73 Kentucky Derby, Secretariat was back by nine lengths before finishing like a champ.]]> <![CDATA[She needed her space]]> Bullock’s dizzyingly complex performance in a film that is as thrilling as it is culturally resonant does make Gravity something hella special.]]> <![CDATA[A boy’s best friend is his cow]]> Go West, screening Wednesday, July 23 as part of The Chautauqua Silent Film Series, is a magnificent display of Keaton and his acrobatic qualities.]]> <![CDATA[Coming of age]]> Richard Linklater’s latest work, Boyhood, employs one of the most audacious approaches to storytelling: Linklater and company filmed the actors for a few days every year for 12 years.]]> <![CDATA[Lucy goosey]]> But here’s the thing: it’s the most awesome drug ever. If you take enough of it, you become God. Or, as the pseudoscience in the movie incorrectly explains, “you use 100 percent of your brain’s cerebral capacity.” For some reason, this allows you to move stuff with your mind and sometimes dissolve into a weird human cloud thing.]]> <![CDATA[Fuzzy focus]]> But Caesar and Malcolm ( Jason Clarke), a cautious father and second-incommand at the human camp, both want peace. They negotiate a delicate alliance that is threatened by the human leader, Dreyfus (Gary Oldman), and the warmongering Koba.]]> <![CDATA[Grade A-Holes]]> The proliferation of comic book movies has reached its cultural apex, so thoroughly dominating the box office and public consciousness that a backlash was practically invited. While the public plays Oliver Twist, wallets open and begging for more, those who critically engage cinema have begun the “tsk, tsk”-ing and the “poo-poo”-ing.]]> <![CDATA[Art reflecting Ebert]]> Parliamentary correspondent Simon Horrart.” And, “There I asked Ted Turner how he got so much else right, and colorization wrong.” And a personal favorite, “From the basement of Macky Auditorium, I participated in Colorado’s first live webcast, although I’m fairly certain no one was watching.]]> <![CDATA[Take it back]]> Go down swinging for the fences, punchdrunk and confident you’re making something truly awesome that people will love, even if it winds up a steaming pile of poodoo we mock. I respect the noble fool, the proud creator of disaster who clearly put everything into a creative vision beloved by only himself.]]> <![CDATA[Bleak and white]]> Celebrated narcissist and Freddy Krueger look-a-like Frank Miller gives the women he writes a plethora of career choices. They can be prostitutes, strippers, bondage-wearing murderers or corpses. Some get to be all of those! Sin City: A Dame to Kill For.]]> <![CDATA[A feast for the eyes]]> Now in his 17th season as IFS Director, Pablo Kjølseth is extremely excited with the picks and guests he has lined up for the fall slate. Kjølseth has been watching movies at IFS since 1980, and programming them since 1997. He is a man on a mission to make sure that quality cinema does not go gently into that good night.]]> <![CDATA[Sexy puss]]> DreamWork´s cunning casting of the silky Spaniard Antonio Banderas as a swashbuckling Puss in Boots pays off, brilliantly, in Puss in Boots, a star vehicle for the nursery rhyme kitty cat from the Shrek movies.]]> <![CDATA[Fight the power]]> In 2010, after arrests for civil disobedience, Panahi was sentenced to six years of house arrest and a 20-year ban on filmmaking. Iranian director Jafar Panahi, never one to play by the rules, continued practicing his craft, even though his movies would never play in his native land, and could land him a much stricter punishment if he were caught.]]> <![CDATA[‘Fury’ is missing fast]]> The film’s opening text sets hopes impossibly high for self-awareness, describing the timing near the end of  World War II and the superiority of the German tanks.]]>