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Brad Pitt (foreground) and tank crew (left to right): Shia LeBouf, ** , Michael Pena, I*.

Brad Pitt (foreground) and tank crew (left to right): Shia LaBeouf, Logan Lerman, Michael Pena, Jon Bernthal.

“FURY”  My rating: B (Opens wide on Oct. 17)

134 minutes | MPAA rating: R

“Fury” is on one level one of the great war/action films, a face-first plunge into the blood, guts and terror of combat.
But writer/director David Ayer (“Training Day,” “End of Watch”) is aiming for more than just a stomach-churning visit to war’s visceral horrors. He wants to show how combat dehumanizes the individuals who must do the dirty work.
It’s impossible to watch the trailers for “Fury” — with a grimy Brad Pitt in charge of a World War II tank crew — and not be reminded of the Nazi-killing good ol’ boy Pitt portrayed in “Inglourious Basterds.”
That 2009 Quentin Tarantino film was an exaggerated, almost hallucinogenic comic fantasy of warfare. Ayer, though, plays it straight, eschewing overtly comic elements and pushing for an unflinching earnestness.
Only trouble is, he may have pushed too hard.
We are introduced to the five-man crew of Fury, a Sherman tank, on a German battlefield in the spring of 1945, during the last gasps of the war. The tank commander, Sgt. Don “Wardaddy” Collier (Pitt), makes short, silent work of a passing German officer (a knife in the eyeball does the trick nicely). He then climbs back into the tank occupied by three living crewmen and the headless corpse of a fourth.
We’re all accustomed to war movies stocked with various American “types”: a Jew, a Hispanic, a black, a college boy, a redneck. We’re meant to identify with them.
Just try identifying with the creeps who live in Fury. The mechanic Grady  Travis (“Walking Dead’s” Jon  Bernthal) seems more mumbling Neanderthal than modern man. The gunner, Boyd “Bible” Swan (a nearly unrecognizable mustachioed Shia LaBeouf), is intensely religious — he abstains from drink and women but seems to find sexual release in blowing Germans all to hell. The driver, Trini “Gordo” Garcia (Michael Pena), is a bit closer to normal — until you realize that he and Travis are most likely brothers-in-rape.
After years of fighting, whatever civilized veneer these guys had has been stripped away. No longer all-American boys, they are more of a renegade biker gang, killing prisoners and then retreating to their Sherman tank like wolves to their lair.
TO READ THE REST OF THIS REVIEW VISIT THE KANSAS CITY STAR WEB SITE AT   http://www.kansascity.com/entertainment/movies-news-reviews/article2811409.html

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Rosemarie DeWitt, Adam Sandler...always on line

Rosemarie DeWitt, Adam Sandler…always on line

“MEN, WOMEN & CHILDREN” My rating: C+ (Opens Oct. 17 at the Tivoli, Glenwood Arts and the Cinetopia)

119 minutes | MPAA rating: R

“Men, Women & Children” is a how-we-live-now movie, an attempt to capture the contemporary zeitgeist through multiple characters and several interlocking plot threads.

The late Robert Altman made how-we-live-now movies quite naturally (“Nashville,” “Short Cuts,” “A Wedding”). One of the best examples of the genre is Todd Solondz’s dark and bitterly funny “Happiness” (1998). Nicole Holofcener (“Friends with Money,” “Please Give”) is our current master of the form.

In “Men, Women & Children” writer/director Jason Reitman (“Juno,” “Up in the Air,” “Young Adult”) tackles the contemporary family.  The usual suspects are on hand: a suburban couple whose sex lives have hit a dead end, children trying to keep secrets from their parents, the young virgin misused by an older boy, first love, adults with toxic ambitions for their offspring.

Reitman attempts to tie all these loose ends together by stressing how instant internet access, smart phones, video games and other elements of our immersive electronic world have — far from bringing us together– isolated us, each in his own cocoon of “connectivity.”

He is only partly successful.

The film features a flabbergastingly deep cast.  Adam Sandler (in non-comic mode) and Rosemarie DeWitt are Don and Helen, marrieds who have become bored with each other.  He cruises internet porn and escort sites; she joins an online service for wives in search of sexual release.

Their son Chris (Travis Trope) is addicted to online sado-masochism and can’t quite function even when his school’s prettiest cheerleader, Hannah (Olivia Crocicchia), expresses an interest in a hook-up.

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*** aka "The Green Prince"

Mosab Hassan Yousef aka “The Green Prince”

“THE GREEN PRINCE”  My rating: B (Opens Oct. 17 at the Glenwood Arts)

95 minutes | MPAA rating: PG-13

Good guys and bad guys are the bread and butter of movie entertainment.  But in the real world the difference between the two can be as fine as a hair — or impossible to discern at all.

Nadav Schirman’s documentary “The Green Prince” is an in-depth dive into a real-world case of espionage. Deciding which side to cheer for could give you a migraine.

For 10 years Mosab Hassan Yousef, eldest son of one of Hamas’ most respected spokesmen, was a secret agent for the Shin Bet, Israel’s shadowy anti-terrorist agency. He wrote of his experiences in a 2011 memoir; now a perpetual target for assassination, he lives alone somewhere in the U.S.A.

This film is both a visualization of his book and an intriguing expansion.  For the film not only allows Yousef to talk about his past, but it also provides a forum for Gonen Ben Yitzhak, the Israeli handler whose growing friendship with and concern for Yousef led to his own career downfall within Shin Bet.

What’s tricky about “The Green Prince” (that was the nickname Shin Bet officials gave to their valuable informer — green being the color of Hamas) is that Schirman doesn’t play favorites. The documentary is 100 percent non-judgmental.  Each man is allowed to explain himself in head-on “interrogations” (these scenes look and feel a lot like Errol Morris’ intense style). It’s up to us to sort through facts, rationalizations, and personalities to reach our own conclusions.

For many of us, that conclusion will be an acknowledgement that it’s impossible to really understand why people do what they do.

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Jeremy Renner as journalist Gary Webb

Jeremy Renner as journalist Gary Webb

“KILL THE MESSENGER” My rating: B+ (Opens wide on Oct. 10)

112 minutes | MPAA rating: R

Apart from featuring Jeremy Renner’s best screen performance since “The Hurt Locker,” the new film “Kill the Messenger” is noteworthy as a throwback to the good old days before around-the-clock cable news.

We’re talking about a time when the ink-stained wretches of the newspapers were widely viewed as, well, as kind of heroic.

Badly paid, sure, and probably morally reprehensible in matters of alcohol and other forms of hedonism. But these journalists happily clung to the idealistic notion that their job was to comfort the afflicted and afflict the comfortable, and in films like “All the Presidents Men” newspaper reporters shined a light on corruption and criminality.

“Kill the Messenger” is based on the  career of Gary Webb, a reporter for the San Jose Mercury News who in the mid-1990’s, while covering the crack cocaine epidemic, stumbled upon a seemingly incredible story: To fund a rebel army battling the leftist Sandinista government in Nicaragua, the Contras had been smuggling countless tons of cocaine into the US.  The ensuing scandal became known as “drugs for guns.”

Webb never alleged that the CIA was behind the program, only that the CIA must have known about the drugs and tolerated it.

In other words, during the same years that Nancy Reagan was telling America’s kids to “just say no,” our government was allowing a flood of dangerous drugs to inundate the country’s inner cities. Most of the victims of this scourge were black.

Written by Peter Landesman and directed by Michael Cuesta (a veteran of Showtime’s “Homeland”), “Kill the Messenger” starts out as a sort of journalistic procedural.  Renner’s Webb stumbles across a secret government document that suggests a partnership between the government and a major drug trafficker.  Then, through dogged research, interviews, and travel to Central America and Washington D.C., Webb puts together a story that will rock the country and win him major journalism awards.

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Robert Downey Jr., Robert Duvall

Robert Downey Jr., Robert Duvall

“THE JUDGE”  My rating: C+ (Opens wide on Oct. 10)

141 minutes | MPAA rating: R

The Judge” has a few good things going for it, particularly the promise of a high-octane acting duel between Robert Duvall and Robert Downey Jr.
What the film doesn’t have is faith that the audience can appreciate solid dramatic acting for more than, oh, three minutes at a stretch.
In this story of an estranged father and son thrown together by a big trial, every  scene that carries a bit of weight immediately goes for a comic coda — often a cheap comic coda. The effect is weirdly mechanical. But we can’t leave the paying customers thinking serious thoughts, right?
The result is an overlong, overstuffed movie at war with itself.

TO READ THE REST OF THIS REVIEW, VISIT THE KANSAS CITY STAR WEBSITE AT http://www.kansascity.com/entertainment/movies-news-reviews/article2585988.html

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The-Notebook-Hungary“THE NOTEBOOK”  My rating: B (Opening Oct. 10 at the Glenwood at Red Bridge)

112 minutes | MPAA rating: R

The varied parts of “The Notebook” don’t add up, but even taken individually some of those parts are amazing.

This Hungarian release from director Janos Szasz (it has absolutely nothing in common with the 2004 Ryan Gosling/Rachel McAdams weeper based on the Nicholas Sparks novel) falls into the children-warped-by-war genre. It is cousin to classics like the French “Forbidden Games” (1952) and the Soviet “Come and See” (1985).

The twist here is that instead of a single young protagonist through whom we experience war’s devastating effects, we are given a pair of identical twins, two young Hungarian boys who in the waning days of World War II are sent to live in the relative safety of the countryside.

In the opening moments we meet the unnamed youngsters (played by twins Laszlo Gyemant and Andras Gyemant) in their parents’ plush Budapest apartment.  Mother (Gyongyver Bognar) is beautiful and sophisticated and dotes terribly on her two little angels.  The father (Ulrich Matthes) is an officer whose access to military intelligence has convinced him that the Nazis with whom he has been collaborating for several years are on their way to defeat. When that happens he’ll be a marked man, as will his children.

Before sending his sons away, Father instructs them to keep a notebook of everything they encounter so that, when the family is finally reunited, he can see how they have educated themselves.

Mother takes the boys on a train ride to the sticks, where she deposits them at the farmhouse door of her mother (Piroska Molnar), a fat, bellicose, thoroughly unlikeable woman so antisocial she’s rumored to be a witch. We see no sign of occult activitiy, but just in her everyday life Grandmother is hell on wheels. She’s bitter have not having seen her daughter for years and contemptuously refers to the twins as “the bastards.”  She’s prepared to make them earn their keep by toiling around the farm. She parcels out food like it was gold. At night in the privacy of her room she obsesses over her small collection of jewelry and other valuables.

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Rosamund Pike, Benn Affleck...in happier times

Rosamund Pike, Benn Affleck…in happier times

“GONE GIRL” My rating: A- (Opening wide on Oct. 3)

minutes | MPAA rating: R

The Affleck smirk — the way Ben Affleck, without even trying, looks like a high school halfback who has just initiated one of the new cheerleaders beneath the bleachers — is put to spectacular use in “Gone Girl.”

In David Fincher’s first-rate adaptation of Gillian Flynn’s dark suspense novel, Affleck plays a  handsome husband suspected of killing his beautiful wife, who has inexplicably gone missing. Here’s a poor jerk who — despite his best efforts to appear sympathetic in front of the cops, the cameras and the court of public opinion — can’t help coming off as insincere and smug.

Damn that Affleck smirk!

TO READ THE REST OF THIS REVIEW, VISIT THE KANSAS CITY STAR WEBSITE AT http://bit.ly/1uEWHj4

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