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THE TIVOLI, Westport Road and Pennsylvania

        “BEST EXOTIC MARIGOLD HOTEL”  12:30,  1:15, 3:30, 4:15, 7:15 Monday; 1:15, 3:30, 4:15, 7:15 Tuesday-Thursday

         ”MARLEY” 7:00 Tuesday-Wednesday

        “THE SOUND OF MY VOICE”  1:00, 4:30, 7:30 Monday; 2:15, 5:15, 7:30 Tuesday-Thursday

 ”THE RIGHT TO LOVE: AN AMERICAN FAMILY”  7:00 Monday

THE GLENWOOD ARTS, 95th and Metcalf, OP

      “THE BEST EXOTIC MARIGOLD HOTEL” 11:45, 1:15, 2:30, 4:15, 5:15, 7:15 Monday; 1:00, 2:00, 3:45, 4:45.6:45, 7:30 Tuesday-Thursday

      “SALMON FISHING IN THE YEMEN”   12:25, 2:50, 5:25, 7:55 Monday; 1:40, 4:15, 7:15 Tuesday-Thursday

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“UNDEFEATED” My rating: A (Opening May 25 at the Glewood at Red Bridge)

113 minutes | MPAA rating: PG

Already I can hear you groaning over the Internet.

“A sports movie? An inspirational sports movie? Doncha got something with car wrecks?”

Your loss.  “Undefeated” (not the similarly entitled turkey about Sarah Palin) isn’t just a terrific documentary. Simply put, it’s one of the year’s best movies, a real-life “The Blind Side” times 20.

The subject of this devastatingly emotional experience is a middle-aged suburban father with a big gut and jowls. Bill Courtney is the football coach for Memphis’ Manassass High School. Not that he’s an educator by training. He runs a lumber business and volunteers to coach an inner city team that hasn’t won a playoff game in the school’s 110-year-history.

In the course of “Undefeated” Courtney coaches his demoralized and underprivileged players to a winning season.  That would miracle enough.

But T.J. Martin and Daniel Lindsay’s film makes all too clear, Courtney’s most daunting task is to instill hope, sensitivity, discipline and dedication in young men who are circling the drain.

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“DARLING COMPANION My rating: B (Opening May 25 at the Glenwood at Red Bridge)

103 minutes | MPAA Rating: PG-13

Diane Keaton, Kevin Kline…looking for a dog

“Darling Companion” has been undergoing a trashing from many of the nation’s film critics, who apparently deem it insipid and boring.

Sorry, guys. The wife and I (and the handful of other critics in the theater) found the latest from Lawrence Kasdan to be a funny, warm, well-acted story about aging and relationships (and aging relationships).

It’s not earth-shaking, no. Nor is it terribly original.

But I’m damned if it didn’t leave me feeling very, very good.

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Christopher Denham and Brit Marling

“THE SOUND OF MY VOICE” My rating: B (Opening May 25 at the Tivoli)

85 minutes | MPAA rating: R

“Another Earth” was not a fluke.

Hot on the heels of that mini-masterpiece from Brit Marling comes “The Sound of My Voice,” a brain-knotting  thriller in which Marling once again serves as co-writer and star. If there was any doubt about her being independent film’s new golden girl, it’s now a done deal.

Marling plays Maggie, the leader of a religious cult in modern Los Angeles.

Maggie claims to be from the future. She’s been sent back, “Terminator”-style, to collect followers. Those deemed worthy will accompany Maggie to a remote camp where they will hunker down while America is wracked by a civil war so devastating that it will plunge the survivors into 19th-century Luddism.

Her  story sounds like total b.s., but Maggie is nothing if not compelling. To every objection she seems to have a more-or-less convincing answer. Moreover, she’s so beautiful and charismatic (and, surprisingly, easy going) that the disaffected types who gravitate toward her are quickly swept into the fantasy.

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“FIRST POSITION” My rating: B+ (Opening May 25 at the Rio)

90 minutes | No MPAA rating

“First Position” should be filed on your DVD shelf right next to “Spellbound” and “Mad Hot Ballroom,” two other documentaries about youngsters striving for excellence.

Like those pictures, Bess Kargman’s debut feature offers a compelling competitive situation, adorable young subjects and plenty of insights into an arcane world most of us know little about.

The kids ages 9 to 17 featured here are dancers preparing for the Youth America Grand Prix, which invites the best young dancers from all over the planet to compete.

Since the event is attended by representatives of the world’s best dance companies, it also serves as a showcase. A promising youngster may leave with an internship to study under the greats of the art form.

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“BERNIE” My rating:  B (Opening wide on May 25)

104 minutes | MPAA rating: PG-13

We so often see Jack Black going “big” in broad comic performances that it’s easy to forget that this is an actor capable of great subtlety.

Certainly it’s hard to imagine anyone doing a better job than he does in “Bernie,”  Richard Linklater’s based-on-fact study of a small-town eccentric now serving a life sentence in a Texas prison.

Bernie Tiede (Black) is a church-going, giving, glad-handing funeral director who comes to tiny  Carthage, Texas, in the late 1980s and quickly became one of the town’s most visible and beloved citizens.

The sort of guy who goes  the extra mile for his fellows, Bernie befriends local dowager and recent widow Marjorie Nugent (Shirley MacLaine), a rich witch so disagreeable that one local describes her as capable of “ripping you a two-bedroom, double-wide asshole.”

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Jason Segel and Ed Helms

“JEFF WHO LIVES AT HOME”  My rating: B+ (Opens wide on March 16)

83 minutes | MPAA rating: R

Jeff (Jason Segel) is a thirtysomething slacker who lives in his mom’s basement and obsesses over the M. Night Shyamalan movie “Signs.”

You know…that’s the one where Mel Gibson’s family is besieged in their farmhouse by space aliens? And they discover that little, inconsequential things they almost overlooked were in fact cosmic signs of how to beat the invasion?

Jeff acknowledges that “Signs” can seem meandering and unfocused, but now that he’s watched it a couple dozen times he finds tremendous comfort knowing that in the end it comes together in “one perfect moment.”

Jeff’s opening monologue in “Jeff Who Lives at Home” seems a mere toss-off, the idiotic ramblings of a navel-gazing stoner who hasn’t had a girlfriend since high school.

But remember Jeff’s words. They’ll come back to us in yet another perfect moment.

“Jeff Who Lives at Home” is a pleasantly meandering effort from the writing/directing Duplass Brothers.  It’s funny and goofy.

It also exhibits more genuine soul than any comedy since…well, since Bill Forsythe’s sublime “Local Hero” back in 1983.

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Jennifer Lawrence as Katniss in "The HungerGames"

“THE HUNGER GAMES” My rating: B+  (Opens wide March 23)

142 minutes | MPAA rating: PG-13

The champion — the warrior who enters the arena and through single combat carries the hopes and dreams of his countrymen on his shoulders — is as old as Troy or David and Goliath.

But it gets a highly satisfying updating in “The Hunger Games,” the big-budget adaptation of the first novel in Suzanne Collin‘s best-selling series of young adult fiction.

This is a smart, well-acted and effectively directed bit of dystopian fantasy, one so vastly superior to the “Twilight” franchise that this is the last time I’m even going to mention that endless slog through vampire romance.

In the hands of writer/director Gary Ross (“Pleasantville,” “Seabiscuit”) “The Hunger Games” delivers a potent political/social allegory while giving actress Jennifer Lawrence one of the best roles a young actress could ask for.

Of course, Lawrence has a knack for gravitating to terrific roles, as evidenced by “Winter’s Bone.” And in fact the opening moments of “The Hunger Games” almost look like outtakes from that Ozarks drama.

Here a decidedly unglamorous Lawrence plays 16-year-old Katniss Everdeen, resident of what appears to be an Appalachian coal mining town during the Great Depression. Most people appear rawboned and half-starved (there’s not a fatty in sight) and Katniss supplements her family’s meager diet by hunting (illegally) with bow and arrows.

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Emily Blunt and Ewan McGregor

“SALMON FISHING IN THE YEMEN” My rating: B (Opening March 30 at the Glenwood Arts)

107 minutes | MPAA rating:PG-13

With its gentle humor and forgiving view of human nature, Lasse Hallstrom’s “Salmon Fishing in the Yemen” reminds me a lot of Bill Forsyth’s “Local Hero.”

Not that it’s as good as that sublime comedy (among the best of the ’80s), but it’s a low-keyed charmer that will leave most of us with bemused smiles plastered across our mugs.

Ewan McGregor is Alfred Jones, a scientist with the British Ministry of Fisheries. He’s a science wonk who takes his job of riding herd on Her Majesty’s wild salmon population quite seriously indeed. So he’s none too thrilled when someone in the Prime Minister’s office — hoping for some news from the Arab world that doesn’t involve an explosion — directs him to take  a meeting with a publicist named Harriet (Emily Blunt) who’s in the employ of a fantastically wealthy oil sheik.

This Muhammed (Amr Waked) is an avid fly fisherman who dreams of establishing a salmon fishery in his native land. All that’s required is to build a massive dam, create a huge lake, and somehow fool North Atlantic salmon to reproduce amid the desert sands.

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Jiro...surrounded by his creations

“JIRO DREAMS OF SUSHI” My rating: B (Opening April 6 at the Tivoli)

81 minutes | MPAA rating: PG

I’ve always been a bit dubious about sushi. (Raw eel? Really?)

But David Gelb’s documentary “Jiro Dreams of Sushi” had my mouth watering for a slice of tuna on perfectly cooked rice and with a delicate brushing of specially-formulated soy sauce.

Yum.

The Jiro of the title is 85-year-old Jiro Ono, a sushi master whose tiny restaurant is in the basement of a Tokyo office building adjacent to the Ginza subway station. The place isn’t terribly much to look at – just 10 seats, all at the counter. No candles. No romantic booths. It’s sort of like a classic American lunch joint.

Yet a meal for one person at Jiro’s three-star Michelin Guide establishment costs nearly $400 and the place is booked a month in advance. That’s because day after day, year after year, Jiro make the best sushi in the world, working in raw fish and seaweed the way a master painter works in oils and canvas.

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“CHIMPANZEE” My rating: C (Opening wide on April 30)

78 minutes | MPAA rating: PG

When Walt Disney began making nature documentaries back in the early 1950s, one of the first criticisms leveled at him was that he was anthropomorphizing his animal subjects.

The reviewers raved about the images captured by camera crews who camped out for weeks in the hope of catching an eaglet emerging from its egg or a stampede of lemmings committing mass suicide in a leap into an icy Arctic sea.

But they strenuously objected to Disney’s tendency to ascribe to these wild creatures human motives and human emotions, as if animals acted out of choice rather than out of hundreds of thousands of years of evolution.

Funny how things don’t change.
“Chimpanzee,” the latest of Disney’s new line of wildlife film, is sometimes so astoundingly beautiful that you wonder if it’s for real or if some of those images (lighting strikes, a fog-enshrouded rain forest) haven’t been sweetened with a big fat dollop of computer enhancement.

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Jason Segel, Emily Blunt

“THE FIVE YEAR ENGAGEMENT” My rating: C (Opening wide April 27)

124 minutes | MPAA rating: R

Movies made by Judd Apatow and his acolytes are guaranteed to deliver some hearty laughs.

You can also be sure that they will be afflicted with comedic elephantitis. They will go on. And on. And on.

The latest example of this wearisome trend is “The Five Year Engagement,” directed by Nicholas Stoller (“Get Him to the Greek,” “Forgetting Sarah Marshall”) and written by Stoller and star Jason Segel.

Tom (Segel) and Violet (Emily Blunt) have been dating for forever. He’s a chef in a trendy San Francisco restaurant. She’s…well, I’m not sure what she does.

But after years of happy cohabitation, Tom finally proposes. All is blissful. They tell their families, they dive into wedding planning. It’s just cute as hell.

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Greta Gerwig (far right) and do-gooder posse

“DAMSELS IN DISTRESS”  My rating: C-  (Opening May 5 at the Glenwood at Red Bridge)

99 minutes | MPAA rating: PG-13

I have acquaintances who are big fans of Whit Stillman, who love his ultra-low-keyed comedies of modern manners (or perhaps it’s a lack of manners).

Sorry. I don’t get it.

I wasn’t that enthusiastic about Stillman’s best movie, his 1990 debut feature “Metropolitan.” But  I’m borderline hostile  when it comes to his fourth and latest film, the overly-mannered, criminally underpopulated “Damsels in Distress.”

Having heard about the setup for “Damsels…” I was actually looking forward to it. There’s some real potential here.

Set on the ivy-covered and vaguely run-down campus of Seven Oaks College, Stillman’s screenplay centers on a trio of terminally peppy and unabashedly preppy coeds. Their leader is the towering Violet (Greta Gerwig, memorable in “Greenberg”) who, like a Seven Sisters mutation of Jane Austen’s  Emma, has  devoted herself to improving the lives of her fellow students.

Whether or not they want their lives improved.

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“DARK SHADOWS”  My rating: C (Opening wide on May 11)

113 minutes | MPAA rating: PG-13

You can’t expect Johnny Depp to do everything.

He’s a very fine actor, wildly creative and capable of putting a singular spin on just about any character that comes his way, from Lewis Carroll’s Mad Hatter to the tragicomic Edward Scissorhand.

But he can’t take an indifferent piece of writing or a half-assed idea and, through sheer will power, transform it into gold. Surely we have at least learned that from three “Pirates of the Caribbean” sequels.

(I’m talking here of esthetics. When it comes to actual gold – i.e., the generating of wealth – Depp’s mere presence in a film practically guarantees its financial success.)

Artistically, though, there’re only so many miracles that one man – even a very talented man — can pull off in the face of overwhelming mediocrity.

Lately, Depp has been wasting his great talents trying to give life to meritless films. The most recent of these is “Dark Shadows,” an updating of the late-‘60s horror-themed daytime soap opera.

The film’s trailer is promising. Here’s a white-skinned, black-haired Depp as Barnabus Collins, the series’ conflicted vampire hero, who after 200 years in a buried coffin is  having a hard time adapting to modern life (in this case the early 1970s). Like the aforementioned Mr. Scissorhand, he’s both cute and creepy.

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Joel Murray and Tara Lynne Barr…a modern Bonnie & Clyde?

“GOD BLESS AMERICA”  My rating: B- (Opening May 11 at the Screenland Crossroads)

100 minutes | Audience rating: R

“God Bless America” is less a movie than a primal scream of rage and frustration.

It’s basically a riff on the lovers-on-a-murder-spree genre (“Bonnie and Clyde,” “Badlands,” even “Thelma & Louise”), but one packed to the gills with biting social commentary courtesy of writer/director  Bobcat Goldthwait.

In case you didn’t know, Goldthwait, best known for his synapse-knotting stand-up comedy delivery, is a pretty decent filmmaker (“Shakes the Clown,” “World’s Greatest Dad”)

Here he takes all the things that infuriate him about America’s shallow, anti-intellectual, Kardashian-worshipping popular culture and unmercifully skewers them and their proponents.

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 “THE BEST EXOTIC MARIGOLD HOTEL”  My rating: B- (Opening May 11 at the Tivoli, Glenwood Arts)

124 minutes | MPAA rating: PG-13

“The Best Exotic Marigold Hotel” is about as comfortable as an old pair of shoes…and about as surprising.

The latest from director John Madden (“Shakespeare in Love”) is an adaptation of Deborah Moggach’s novel about a group of Brit retirees who opt to outsource their “golden years” to a retirement community in India.

The film is cast with many of the usual suspects (Maggie Smith, Judi Dench, Bill Nighy, Tom Wilkinson, Penelope Wilton) and going in you can rest assured that while these expatriates all will bring problems with them, most will be resolved before the lights come up.

“Marigold Hotel…” has been carefully calculated to please the over-50 demographic, and why not? If the runny-nosed adolescents get movies made just for them, why not something for Grandma?

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“MARLEY”  My rating: B- (Opening May 17 at the Tivoli)

145 minutes | MPAA rating: PG-13

Can it really have been more than 30 years since Bob Marley died of cancer at age 36?

Watching “Marley,” the exhaustive (2 hours and 25 minutes) and exhausting new documentary on the man and his music, one is stunned by how much Marley accomplished in a few years of recording…and by what more he might have given us had he lived.

Kevin Macdonald’s film benefits from what seems to have been total access to Marley’s family, friends, fellow musicians, recordings and concert footage. And it has been superbly photographed – no travelogue on Jamaica has ever captured that island with such rich colors and tactile detail.

As for Bob Marley himself, the film nails his charisma and his musical genius.

But regarding the man behind the icon…well, that’s a much iffier proposition.

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Patti Schemel

“HIT SO HARD” My rating: B- (Opening May 18 at the Screenland Crossroads)

minutes | No MPAA rating

By all rights, Patty Schemel should have died a long time ago.

It’s no coincidence that this documentary about her from director P. David Ebersole is subtitled: “The Life & Near Death Story of Patty Schemel.”

Schemel, the drummer for the band Hole during its “Live Through This” era, had a monumental drug habit that had her flirting with death, living on the street and turning tricks to survive.

Somehow she came through it all with her humor and wry perspective on life intact.

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THE TIVOLI, Westport Road and Pennsylvania

        “BEST EXOTIC MARIGOLD HOTEL”  12:30, 1:15, 3:30, 4:15, 7:15 Friday-Sunday

         ”MARLEY” 7:00 Friday-Sunday

        “THE SOUND OF MY VOICE”  1:00, 4:30, 7:00 Friday-Sunday

THE GLENWOOD ARTS, 95th and Metcalf, OP

      “THE BEST EXOTIC MARIGOLD HOTEL” 11:45, 1:15, 2:30, 4:15, 5:15, 7:15, 8:00 Friday-Sunday

      “SALMON FISHING IN THE YEMEN”   12:25, 2:50, 5:25, 7:55 Friday-Sunday

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“HOT FLASH HAVOC” My rating: C  (Opening May 25 at the Screenland Crossroads)

87 minutes | No MPAA rating

“Hot Flash Havoc” is about an important health issue. But don’t mistake it for entertainment.

This doc from direcdtor Marc Bennett and writer Marnie Inskip delivers just about all the information you could want about “the change.” But for most of its running time it feels more like a public health lecture.

It starts out trying to soften us up with man-in-the-street interviews with woman and the men who love them.

One woman calls menopause “ one of the biggest tests a woman goes through to find out how positivie she is in life.”

Another notes that nobody likes the onset of menopause, but “if  you don’t reach it, you’ve really got troubles” (i.e. , you’re dead).

Opines another subject: “If this were happening to males, They’d fix it.”

“This” is theusual litany ofcomplaints: mood swings, hot flashes, memory loss, decreased sex drive.

The main thrust of “Hot Flash Havoc” is to undo the harm done by a deeply flawed study which a few years ago suggested that the hormone therapy used to treat the symptoms of menopause led to heart disease.

Through the testimony of a score of medical experts, the film argues that getting off hormones was precisely what should not have happened.

There’s valuable information here. But while director Bennett employs animation, bouncy music and fast-cut editing in an effort to rev up the proceedings, “Hot Flash Havoc” is very slow going.

| Robert W. Butler

“CORPORATE FM”  My rating: B (Opening May 25 at the Screenland Crown Center)

73 minutes | No MPAA rating

I almost never listen to my car radio (when I do it’s an NPR station) and “Corporate FM” nicely explains why.

Made over seven years by KC filmmaker Kevin McKinney, this documentary takes in the big picture of corporate consolidation of the radio industry.

And while the film exposes no smoking gun (most of its revelations are familiar enough to people concerned with the issues), it’s an extremely effective summation of how we got into this mess and how we might get out of it.

The doc’s long gestation period actually proves beneficial, for McKinney is able to observe over the long haul the evolution of radio from a public service (that’s the FCC’s definition, not mine) to a corporate cash cow.

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