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Archive for August, 2012

“HOPE SPRINGS” My rating: B+ (Opening wide on Aug. 8)

100 minutes | MPAA rating: PG-13

Nobody tells a joke in “Hope Springs.” Nor do they ever try to elicit a laugh from the audience.

And yet this latest film from director David Frankel (“The Devil Wears Prada”) is devastatingly funny.

For this you can credit screenwriter Vanessa Taylor (making her feature debut after a TV career that includes scripts for “Game of Thrones,” “Everwood” and “Alias”), who writes about marriage with so many dead-on insights that at a recent screening the lady behind me kept muttering “Been there. Done that.”

Taylor’s screenplay generates laughter through character and situation, not by tossing out clever lines. And the results are pretty wonderful, a grown-up comedy about grown-up problems that will undoubtedly resonate far and wide.

Of course it helps to have Meryl Streep and Tommy Lee Jones interpreting your material.

As Kay and Arnold, who after 30 years have settled into a rut of remote cohabitation,  Streep and Jones create what may very well end up being iconic personalities, movie characters that take on an importance beyond that of a mere film. Kay and Arnold, one suspects, may do for sixtysomethings what Juno did for smart-talking teens.

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You know how librarians and literature professors are always coming up with lists of the books you must have read to be a well-rounded, literate individual?

Well, the Kansas City Public Library is doing the same thing for movie literacy.

“Movies That Matter” is a 20-film free film series featuring masterpieces of world cinema. They will be presented at 1:30 p.m. on Sundays from September 2012 to May 2013 in the Truman Forum, a 220-seat auditorium in the basement level of the Plaza Branch Library at 4801 Main Street.

The movies range from silent comedies to hard-hitting dramas, samurai flicks, existential Swedish costume epics, Hollywood screwball hilarity, an MGM musical and the first-ever animated feature.

“Movies That Matter” was programmed by yours truly. I’ll also be doing five-minute illustrated  introductions before each film and a recap after each screening.

I’ll admit up front that this is a very personal, subjective list of movies. These are films that, above all,  matter to me. Mo matter how often I see them, they remain entertaining, thought provoking, deeply moving.

A few of them, I believe, have actually changed my life…or at least the way I look at life.

Great filmmakers – like great painters or poets or composers – use their art to share with us their perceptions of existence. When all the pieces come together (and in the complex and collaborative world of film it doesn’t happen all that often), the results can lift us out of ourselves and transport us to brave new worlds.

These movies  matter precisely because of their ability to open up our eyes, our ears, our minds, and our emotions. Each has its own personality, and these personalities are as unique as those of our friends and family members.

Once you’ve met them, they don’t go away. They’re with you forever.

| Robert W. Butler

 THE SCHEDULE:

CITIZEN KANE (USA; 1941) Sunday, Sept. 2, 2012

The greatness of Orson Welles’ “Citizen Kane” comes at the viewer from every direction.

Technically it is a masterpiece of inventive filmmaking, employing dramatic lighting and sound effects, seemingly impossible camera angles and movements, deep focus, and more special effects than any Hollywood picture up to that time.

Narratively “Kane” is a puzzle, depicting the life of a famous and powerful man through the often-contradictory memories of those who loved or despised him.

It offers Orson Welles – only 24 when he co-wrote, starred in, and directed the movie – in the performance of a lifetime, playing a character from the age of 25 to nearly 80.

And the story of the film’s creation – and its near destruction by newspaper magnate William Randolph Hearst, whose career and private life inspired the character of Charles Foster Kane – is one of the great behind-the-scenes tales in all of Hollywood history.

THE GENERAL (USA: 1926) Sunday, September  16, 2012

Upon its release Buster Keaton’s “The General” was dismissed as a critical and commercial failure. (more…)

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“KLOWN” My rating: B-  (Opening August 3 at the Alamo Draughthouse)

89 minutes | MPAA rating: R

Featuring a “Bad Santa” level of reprobate behavior and more embarrassing situations than “The Hangover” and “There’s Something About Mary” combined, “Klown” may be that rarest of cinematic beasts: a foreign film that appeals to mainstream tastes.

This Danish comedy from Mikkel Norgaard teams two infantile adult males with a 12-year-old introvert and plops them all down in a canoe trip. Whatever could go wrong does go wrong.

Frank (Frank Hvam) is a gangly, goofy middle-aged doofus who has just learned his girlfriend is pregnant. Perfectly aware of his irresponsible proclivities, she’s considering an abortion.

To prove his paternal potential, Frank agrees to look after his young nephew Bo (Marcuz Jess Petersen) for an extended weekend. They’ll take a canoe trip with Frank’s friend Casper (Casper Christensen).

Bo is an uncommunicative phlegmatic lump obsessed with his penis size. Casper is an omnivorous horndog who sees the canoe trip as an opportunity to jump high school girls and to attend a convention of international hookers. No, seriously. (more…)

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Colin Ferrell

“TOTAL RECALL”  My rating: C

 118 minutes | MPAA rating: PG-13

Director Len Wiseman  (of the “Underworld” series) gets paid millions of dollars to make movies in which his hot wife (Kate Beckinsale) dresses up in tight black outfits and kicks, punches and shoots other guys.

This must be one great job.

Wiseman’s latest is “Total Recall,” a remake/reboot of the 1990 Arnold Schwarzenegger sci-fi film. And, sure enough, there’s  Beckinsale, once again in black and furiously kicking, punching and shooting.

But beyond the thrill of a bad-tempered Mrs. Wiseman generating a high body count, there’s not a whole lot to recommend this “Recall,” which delivers tons of CG eye candy and some overactive plotting but not one iota of recognizable human emotion.

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