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Jeremy Scahill...looking for the story

Jeremy Scahill…looking for the story

“DIRTY WARS” My rating: B (Opens June 28 at the Tivoli)

90 minutes | No MPAA rating

“Dirty Wars” might be termed a “documentary thriller.”

Rick Rowley’s film follows freelance journalist Jeremy Scahill, who has covered Iraq and Afghanistan for The Nation and written the book Blackwater: The Rise of the World’s Most Powerful Mercenary Army).

Scahill is attempting to get the story behind an increasing number of disturbing execution/massacres of apparently innocent civilians in Afghanistan and, later, Yemen.

Unlike most embedded journalists, who live with American troops and tend to unconsciously adopt their perspective, Scahill is fiercely independent. He talks to the villagers who have lost family and friends in mysterious nighttime raids or sudden missile strikes. He tracks down local warlords. And through his dogged reporting, he clearly is a threat to this unseen conspiracy.

At one point we see footage of a TV appearance in which Jay Leno asks Scahill: “Why are you still alive?”

The first half of “Dirty Wars” takes place prior to the killing of Osama Bin Laden. It is during this time that Scahill catches wind of a massive secret U.S. apparatus taking directions from the White House.  This Joint Special Operations Command apparently operates free of the usual rules of engagement, shrugging off civilian deaths — even massive ones — as simply an unavoidable by-product of the War on Terror.

With Ben Laden’s death, however, the JSOC stepped into the spotlight and took its bow. And with its new semi-transparency Scahill realizes that the organization’s efforts are far more massive and widespread than even he imagined.

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Richard-Pryor_Live-in-Concert-2On the cover of his 1975 comedy album is a photo of Richard Pryor tied to a stake and surrounded by hooded figures  (the Inquisition? Klansmen?) holding burning torches.

The album’s title: “Is It Something I Said?”

Well, yes, Richard. It’s something you said. It’s everything you said.

Richard Pryor, Lenny Bruce and George Carlin form the Holy Trinity of American comedy. They broke rules, they went where they weren’t supposed to, and they changed the laugh-generating landscape for everyone who came after them.

Bob Newhart, no slouch when it comes to laughs, calls Pryor “the seminal comedian of the last 50 years.”

Pryor died in 2005 at the age of 65, and by that time poor health had kept him out of the spotlight for many years. Which means that a sizeable percentage of the young folk who today make up the audience for live comedy in this country are probably unfamiliar with his standup work. Oh, they may have seen him in movie roles, but at best those offered watered-down Pryor. To get the dude full strength you’ve got to look at the live routines.

And that’s just what you’ll find in “No Pryor Restraint: Life in Concert: Richard Pryor,”  a massive new boxed set out on the Shout label.

There have been other Pryor boxed sets – 2000’s “And It’s Deep Too! The Complete Warner Bros. Recordings (1968-1992)” and 2004’s “Evolution/Revolution: The Early Years (1966-1974).”

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and Amy Acker as Benedict and Beatrice

Alexis Denisof and Amy Acker as Benedict and Beatrice

“MUCH ADO ABOUT NOTHING”  My rating: B- (Now showing at the Glenwood Arts)

107 minutes | MPAA rating: PG-13

Making superhero movies with budgets bigger than the GNP of a Third World country is undoubted an amusing pastime.

But apparently after a while even a legendary geek-pleaser like Joss Whedon (TV’s ”Buffy,” the big screen’s “Avengers” and “Thor”) feels the need for a simple, uncomplicated palate cleanser.

Thus “Much Ado About Nothing” which is, of course, Shakespeare’s great comedy about a bickering duo who are cannily manipulated into each other’s arms by their amused friends and relations.

Twenty years ago Kenneth Branagh gave us a more-or-less definitive film version (inasmuch as any performance of Shakespeare can be definitive). Whedon’s isn’t that good, but it’ll do.

A recap for the Bard-deprived:  Don Pedro (Reed Diamond) returns victorious from war and decides to spend some time chilling out on the estate of Leonato (Clark Gregg). Accompanying him are his officers Benedick (Alexis Denisof) and Claudio (Fran Kranz), as well as Don Pedro’s rebellious brother  Don John (Sean Maher), who is their prisoner.

Claudio immediately falls for Leonato’s daughter Hero (Jillian Morgese) and a wedding is planned.

Meanwhile Benedict and Hero’s cousin Beatrice (Amy Acker) carry on a war of insults.  It’s pretty obvious to everyone but themselves that their verbal sparring is a form of foreplay, and before long there’s a conspiracy afoot to drive these “enemies” into each other’s arms.

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WW Z“WORLD WAR Z” My rating: B- (Opening wide on June 21)

116 minutes | MPAA rating: PG-13

Even before it hit theaters Brad Pitt’s “World War Z” was making headlines for its behind-the-scenes drama: a mid-production change in direction, major rewrites, more than $20 million in reshoots, a nine-month delay in releasing the picture and, finally, the disowning of the finished film by Max Brooks (son of funnyman Mel), on whose novel it is based.

True, fans of the book will scarcely recognize it in the final version of director Marc Forster’s film. But as a pure movie experience “World War Z” is generally satisfying: breathlessly-paced, competently acted and audacious in its efforts to give us zombies of the sort we’ve never seen before. (Face it…the whole zombie thing was running on creative fumes.)

What makes “World War Z” really interesting is its “macro zombie” approach to the genre. The zombies in this film aren’t treated as individuals but as a part of a huge voracious hive which moves and attacks like a swarm of insects.

Rather than giving us the usual close ups of zombies chowing down on the necks and limbs of screaming victims, the film offers a tsunami of the undead pouring over walls and flowing down streets like unstoppable floodwaters.  This makes for a very different zombie flick, one that got a relatively tame PG-13 from the MPAA ratings board yet still packs a big visceral punch.

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Emma Watson On The Set Of 'The Bling Ring'“THE BLING RING” My rating: B (Opens June 21 at the Alamo Drafthouse)

90 minutes | MPAA rating: R

The juvenile delinquents depicted in Sofia Coppola’s “The Bling Ring” are neither impoverished nor uneducated. They are the beautiful children of Southern California, privileged numbskulls who wear classy clothes, drive expensive cars and party hearty.

In 2008-09 a half dozen of these handsome young people went on a burgling spree, entering the homes of the famous people—Lindsay Lohan, Paris Hilton — whose lives they experienced vicariously through the Internet and  TV’s ”TMZ” celebrity gossip show. On their nocturnal prowls they made off with more than $3 million in clothing and cash.

In Coppola’s hands their fictionalized story has become a deadpan comedy about really stupid kids (who consider themselves smart) whose sense of entitlement is so complete and moral compass so nonexistent that they assume the rules just don’t apply to them. 

It’d make a hell of a double feature with “Spring Breakers,” though I doubt audiences are prepared for quite that much adolescent idiocy and arrogance.

We’re introduced to the Bling Ring through Marc (Israel Broussard), a baby-faced teen and a new student at Indian Hills High School (a sort of high-class dumping ground for rich kids who been booted from other schools). Marc is sweet and unassertive and totally bowled over when he’s befriended by the beautiful, catty Rebecca (Katie Chang).

It’s not about sex. Marc is pretty obviously gay. He thinks of Rebecca as his sister.

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before midnight

“BEFORE MIDNIGHT” My rating: B (Now showing at the Rio)

109 minutes | MPAA rating: R

Think of “Before Midnight” as a romantic bouquet laced with poison ivy.

It is, of course, the third chapter of the long-running exploration of love — from director Richard Linklater and actors Ethan Hawke and Julie Delpy — that began with “Before Sunrise” in 1995 and continued with “Before Sunset” in 2004.

Once again Hawke and Delpy reprise their roles of Jesse and Celine.  In the first film, which took place overnight in Vienna, the vacationing young American and the French girl met, walked the city, and had a fling (in a park, as I recall) before parting with the rising of the sun.

The second film, taking place a decade later in Paris, found them both in relationships but thrown together once again when Celine attends a reading of Jesse’s novel…a novel inspired by their long-ago night together. They wander Paris until it is time for Jesse to head to the airport…only to find their love is rekindled in what had to be one of the sexiest moments in movie history.

“Before Midnight” finds Jesse and Celine now a couple (though unmarried). It unfolds on a picturesque Greek Isle where they are vacationing with Jesse’s 13-year-old son (Seamus Davey-Fitzpatrick) and their twin daughters (Jennifer and Charlotte Prior).

Anyone who’s gone on a family vacation with young children could predict that the eroticism-charged romance of the first two films would be supplanted by a humdrum reality of kids and responsibility. What you might not anticipate is that before it’s over we’ll be questioning whether Jesse and Celine are going to make it as a couple.

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Britt Marling (in blindfold) in "The East"

Britt Marling (in blindfold) in “The East”

“THE EAST” My rating: B (Opens June 14 at the Tivoli)

116 minutes | MPAA rating: PG-13

Perhaps Brit Marling is a visitor from another planet sent to Earth to remind us of just how much fun a smart movie can be.

So far this blond girl-next-door type has co-written and starred in “Another Earth” (a sci-fi relationship movie) and “The Sound of My Voice” (about a cult leader who claims to come from the future). She played Richard Gere’s daughter in the fine Wall Street meltdown drama “Arbitrage.”

Now Marling and her usual collaborator, director Zal Batmanglij, give us the topical thriller “The East.” As you’d expect from these two, it’s a very thoughtful but emotionally gripping yarn – this time about eco-terrorism.

Sarah (Marling) is a former FBI agent now in the employ of a huge security firm representing big-time corporate clients. Recently American mega-corporations have been under attack by a shadowy group of eco-warriors known as The East. Sarah’s boss (Patricia Clarkson) sends her undercover to locate and infiltrate the organization.

The assignment requires Sarah to do more than merely change her hair color and wardrobe and say farewell to her boyfriend (Jason Ritter), who thinks she has a job abroad. She has to put herself in the shoes of a disaffected and outraged tree hugger. And along the way she begins to experience the sense of persecution and futility of that mindset.

Eventually she does find herself admitted as a provisional member of The East. The group’s leader – to the extent that it has one – is Benji (“True Blood’s” Alexander Skarrsgard), a trust-fund kid using his fortune to wage a war on behalf of Mother Earth. Other members include the suspicious Izzy (Ellen Page), the scholarly Doc (Toby Kebbell), and the gender-bending Luca (Shiloh Fernandez).

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Man Steel“MAN OF STEEL” My rating: C  (Opens wide on June 14)

143 minutes | MPAA rating: PG-13

Henry Cavill, our newest Superman, certainly has the look down.  He knows how to fill not only the red-and-blue suit but looks extremely hot in a Royals T-shirt.

He might even be able to act, although you won’t be able to tell from “Man of Steel.”

Zack Snyder’s reboot of the venerable superhero franchise is yet another piercingly loud, atavistically violent affair, albeit one that seems to have been assembled from spare parts left over from other big, noisy summer popcorn flicks.

Superhero origin stories usually benefit from a human dimension lacking in followup films. They’re about a superhero discovering who he is, establishing what his relationship is to the rest of us mere mortals.

Sequels, on the other hand, invariably deteriorate into long, numbing passages of shit being torn up (see “The Avengers,” any “Transformers” film, etc.).

Snyder (“300,” “Dawn of the Dead,” “Watchmen”) and screenwriter David S. Goyer (the Christopher Nolan “Batman” films, the “Blade” movies), want it both ways – and so they have given us a glum, joyless origin story and a whole lot of destruction.

In the process  they inadvertently reconfirm that Christopher Reeve was/is the best movie Superman of all time, thanks to his disarming blend of sincere heroism and an intoxicatingly sly sense of humor.

 “Man of Steel,” on the other hand, occupies an irony-free zone.

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Seth Rogen (center) and friends...avoiding the Apocalypse

Seth Rogen (center) and friends…avoiding the Apocalypse

“THIS IS THE END” My rating: C (Opens wide on June 14)

107 minutes | MPAA rating: R

“This Is the End” had so much positive web buzz that I opted to see Seth Rogen’s end-times comedy instead of the new Superman movie.

Note to self: Time to get skeptical about what you read online.

This writing/directing collaboration between Rogen and longtime film partner Evan Goldberg certainly sounded encouraging.  Rogen and other raunch-comedy stars (James Franco, Danny McBride, Craig Robinson, Jonah Hill, Jay Baruchel) play themselves as spoiled, clueless actors trapped in a house when the Rapture sucks all the good people up to Heaven.

Left to their own devices in a city ravaged by flames, earthquakes and rampaging demons, how will these Hollywood horndogs spend what little is left of their lives on Earth?

Not in prayer, certainly.

The film’s first 20 minutes are actually pretty clever. Rogen greets newly-arrived boyhood friend Baruchal at LAX.  The idea is for the two old buds – Rogen is now a fully-vested Angelino, while Baruchal remains at heart a Canadian – to rekindle a friendship that has started to go stale.

Prominent on Rogen’s itinerary is a big blowout at the new home of James Franco. Baruchal is less than enthusiastic because he thinks most of Rogen’s show-biz friends are dicks.

And in fact “This is the End” is at its most amusing and outrageous in the party scenes where dozens of recognizable actors (Paul Rudd, David Krumholtz, Christopher Mintz-Plasse, Rihanna, Mindy Kaling, Kevin Hart, Aziz Ansari, Jason Segal) portray themselves as shallow, vacant creatures of fame and priviledge.

Particularly hysterical is wimpy Michael Cera, who presents himself as a totally coked-up, sexually omnivorous whack job.

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Daughter and dad: Sarah and Michael Polley

Daughter and dad: Sarah and Michael Polley

“STORIES WE TELL”  My rating: B+  (Opening June 7 at the Tivoli )

108 minutes | MPAA rating: PG-13

Over the last 20 years we’ve grown accustomed to the “personal documentary” in which a filmmaker’s own life becomes the subject of his/her nonfiction film. Standout examples include Ross McElwee’s “Sherman’s March” and Jonathan Caouette’s “Tarnation.”

But I cannot recall anything quite like Sarah Polley’s “Stories We Tell,” an investigation into the secrets of her family, her parents’ marriage and her own birth.

Polley is, of course, the Canadian actress (“Dawn of the Dead,” “The Sweet Hereafter”) who has established herself as a very promising director with “Away from Her” (a superb film about Alzheimer’s) and “Take This Waltz” (about an unfaithful wife…I was less enraptured of that one).

“Stories We Tell” begins with Polley accompanying an elderly man up several flights of stairs to a Toronto recording studio. The man is her father, Michael Polley, an actor, who sits before a microphone reading from his own memoir about his marriage to Diane Polley, Sarah’s late mother.

We quickly learn that we’ll be hearing family stories from others of the Polley clan, including Sarah’s two sisters and two brothers, who submit to “interrogation” by their younger sibling with varying degrees of charm and discomfort. Also testifying are aunts, uncles, family friends, and others.

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