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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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Now-You-See-Me-01“NOW YOU SEE ME” My rating: C (Opening wide on May 31)

116 minutes | MPAA rating: PG-13

Big, slick and determined to wow us with its amazingness, the magic-themed caper film “Now You See Me” is less a David Copperfield spectacular than a fumbled bit of sleight-of-hand as performed by “Arrested Development’s” Gob Bluth.

The movie starts falling apart as soon as it begins. “Now You See Me” isn’t about the characters and it certainly isn’t about stage magic. It feels like something the screenwriters (Ed Solomon, Boaz Yakin, Edward Ricourt) cooked up on a dare, vying to establish the most outlandish, complicated yarn possible.

What they’ve produced is a towering house of cards that any two-year-old could knock over.

At the outset of Louis Leterrier’s film we’re introduced to four struggling street magicians, each of whom has a magic specialty.  Daniel  (Jesse Eisenberg) is a cocky card manipulator and illusionist. Henley (Isla Fisher) is an escape artist. Jack (Dave Franco…James’ brother) is an accomplished pickpocket. Merritt (Woody Harrelson) is a mentalist/hypnotist.

These rivals are recruited by a mysterious, unseen individual to form a big Las Vegas magic act, the Four Horsemen.

On their opening night the Horsemen “teleport” a French vacationer to the vault of his bank in Paris, where millions in Euros are sucked up into an air vent and end up fluttering over the delighted audience back on the Strip.

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frances“FRANCES HA” My rating: B-  (Opens May 31 at the Glenwood Arts, Cinemark Plaza)

86 minutes | MPAA rating: R

“Frances Ha” finally won me over. But it took a while.

The latest from director Noah Baumbach (“The Squid and the Whale”) finds him reunited with Greta Gerwig, the vaguely daft co-star of his 2010 “Greenberg.”

Gerwig was about the only thing about that uber-dry Ben Stiller comedy that I enjoyed, and since then she’s appeared in a rash of indie and mainstream films (“No Strings Attached,” “Arthur,” “Damsels in Distress,” “To Rome with Love”)  and become an item with Baumbach.

Gerwig co-wrote and plays the title role in “Frances Ha,” which was shot in crisp black and white in a style that is hugely reminiscent of Woody Allen’s masterful “Manhattan.”  For the first hour or so I was very much on the fence. This is one of those comedies that is more funny strange than funny ha-ha

The twentysomething Frances lives in New York City where she struggles with relationships and employment and making ends meet.

She’s an apprentice with a professional dance company and wants to move up the ladder there, but she’s kind of clumsy and dorky, certainly not prima ballerina material.  She’s much better at leading a dance class for the small fry, where her childlike persona melds effortlessly with those of her students.

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Macarena Garcia

Macarena Garcia

“BLANCANIEVES” My rating: B (Opens May 31 at the Tivoli)

104 minutes | MPAA rating: PG-13

“Blancanieves” is Spanish for “Snow White.” And, yes, Spanish director Pablo Berger’s film is yet another telling of that classic tale from the Brothers Grimm.

But Berger has plenty of tricks up his sleeve. For one thing, he updates the story to Spain in the 1920s. For another, he shoots it in pristine black and white.

And most daringly, he makes it a silent movie. Even more silent than “The Artist,” for here there are no sound effects and not even a snippet of spoken dialogue.  Just music.

The Dwarfs

The Dwarfs

The results are frequently visually ravishing but, to my tastes, a bit undercooked dramatically. Unlike “The Artist,” “Blancanieves” doesn’t play with silent movie conventions. It embraces them totally and the results are sometimes less fun than, well, academic.

Poor little Carmen (played as a child by Sofia Oria) is the daughter of a famous matador crippled in the ring (Daniel Gimenez Cacho) and a mother who died during childbirth.

Her paralyzed father has married his nurse, Encarna (Maribel Verdu, the beautiful star of “Y Tu Mama Tambien” and “Pan’s Labyrinth”), who treats him like dirt, has sado-masochistic sex with the chauffeur and gleefully revels in her newfound wealth.  As for little Carmen, she’s reduced to sleeping in a dank basement, slaving at household chores, and visiting her papa when the evil stepmother isn’t looking.

It’s during these father-daughter sessions that the former matador begins coaching his little girl in the art of bullfighting. It becomes their little secret.

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Nathan Lane, Julianne Moore

Nathan Lane, Julianne Moore

“THE ENGLISH TEACHER” My rating: C  (Opens May 24 at Standees in Prairie Village)

93  minutes | MPAA rating: R

There may be a decent comedy hiding somewhere inside “The English Teacher.”  Lord knows it’s got the right cast.

But the feature debut of TV veteran Craig Zisk (“Weeds,” “United States of Tara,” “Nip/Tuck,” “Parks and Recreation”) is a tepid thing.  It’s almost as if Zisk wasn’t sure whether he was making a comedy or something else entirely.

The setup sounds promising.  Fortysomething high school English teacher Linda Sinclair (Julianne Moore) is a spinster whose attempts at finding a decent man have not been fruitful. So she throws herself into being the best teacher she can be — inspiring, available, encouraging.

Then she runs into one of her former students, Jason Sherwood (Michael Angarano), back in his podunk Pennsylvania town after four years of university and two years of trying to break into Broadway as a playwright.

Linda is frustrated that her former star pupil hasn’t made it big. She asks to read his magnum opus — which appears to be a mannered, really dreadful allegorical psycho drama about children and parents that is part Maeterlinck’s “The Blue Bird,” part adolescent whinefest.  It ends with the murder and suicide of the two main characters.

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Standees_Interior_LargeA couple of years back I heard that a combination restaurant/movie theater was planned for the venerable Prairie Village Shopping Center at 71st and Mission Road.  I wrote it off as another overreaching pipe dream that would burn out in no time.

Truth is, I’ve never warmed to the dinner-and-a-movie format featured at the Alamo Draft House downtown or at AMC’s Studio 30 in Olathe.  Eating in the dark while the wait staff provides unwanted distractions?  No thanks.

Turns out I couldn’t have been more wrong about Standees, the Entertaining Eatery.

The new complex opening May 24 on the mall in the Village (in the space formerly occupied by the Macy’s home store and Einstein Brothers Bagels) looks to me like a total winner, a very classy (yet affordable) restaurant joined with three wonderfully intimate (but not at all cramped) movie auditoriums.

Standees is the first  effort by Dineplex International, a newly-formed company headed by Frank Rash, an exhibition veteran with nearly 25 years with AMC Entertainment.

Among the other principals in the operation are former AMC CEO Peter Brown and former AMC veep for Strategic Analysis Doug Stone.

Together these guys have decades of exhibition experience, and they’ve done an astounding job of sizing up their intended market.

For starters, they don’t regard Standees as a movie-and-a-meal operation

“It’s first and foremost a restaurant,” Rash explains. “It’s designed to do well just as a restaurant.  But all of us involved love movie exhibition, and this lets us keep our hands in.”

I’m yet to eat at Standees, but I like what I’ve heard from Chef Patrick McDonnell and what I saw at a recent walk-through.

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Iceman“THE ICEMAN” My rating: B- (Opening May 17 at the Barrywoods 24, Cinemark Plaza and Studio 30)

106 minutes | MPAA rating: R

Michael Shannon’s trademark creepiness is put to good use in “The Iceman,” the story of real-life mob assassin Richard Kuklinski, who by the time he was arrested in 1986 was believed to have been responsible for at least 100 murders.

Though originally nicknamed The Iceman for his cool, unemotional work methods, Kuklinski also avoided the authorities by dismembering and freezing the bodies of many of his victims, which made it impossible to pinpoint the time and cause of their deaths.

Ariel Vromen’s film begins in 1964 with the dry, stolid Kuklinski wooing Deborah (Winona Ryder), the neighborhood virgin. He’s totally respectful of her — to the point that he cuts the throat of a barroom pool player who makes fun of her no-sex-until-marriage attitude.

At this stage, though, Kuklinski is a mere amateur. His day job is working in a film lab duplicating porn reels, which is how he encounters mid-level Jersey mobster Roy Demeo (Ray Liotta).  Roy recognizes talent and before long Kuklinski has a full-time gig murdering people.

What’s interesting about “The Iceman” is not so much the mayhem — there’s relatively little depicted — but Kuklinski  himself. Talk about a compartmentalized life!

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