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“NEIL YOUNG JOURNEYS” My rating: B (Opening Aug. 17 at the Glenwood at Red Bridge)

90 minutes | MPAA rating: PG

Neil Young looks like an old hobo. He’s not big on personal hygiene or sartorial statements. He rarely shaves and wears clothes that probably wouldn’t pass muster at any self-respecting thrift store.

But he’s a musical genius – a great songwriter, a superb instrumentalist, and possessor of one of the great bad voices in rock. By that I mean that like Bob Dylan, his singing isn’t good by technical standards, but it’s exactly what his songs require.

Jonathan Demme’s “Neil Young Journeys” is a concert documentary capturing Young’s solo performance at Toronto’s Massey Hall as part of his 2010 tour to promote his “Le Noise” album.

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“RUBY SPARKS” My rating: B+ (Opening Aug. 10 at the Glenwood Arts, Studio 30, Cinemark Palace)

104 minutes | MPAA rating: R

The bittersweet comedy “Ruby Sparks” has been so well written that if I’d been told it was from a script by Woody Allen, I’d have believed it.

The movie’s fabulist hilarity and aching emotions would fit quite nicely among Allen titles like “The Purple Rose of Cairo,” “Midnight in Paris” and “Alice.”

Actually, “Ruby Sparks” was written by Zoe Kazan, 29, who also plays the title role, appearing opposite her real-life significant other, actor Paul Dano.

These two and directors and Jonathan Dayton and Valerie Faris (the team behind the wonderful “Little Miss Sunshine”) have fashioned a delicately modulated movie that tickles the funnybone, pokes the intellect and tugs at the heartstrings.

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“THE BOURNE LEGACY” My rating: B- (Opening wide on Aug. 10)

135 minutes | MPAA rating: PG-13

There was  no reason to expect much from “The Bourne Legacy,” the fourth in the “Bourne” series and first without star Matt Damon. Going in, the whole thing smacked of a desperate case of sequel-itis.

But darned if it doesn’t actually work.

Oh, by comparison to the other “Bourne” titles it’s a tad thin, but writer/director Tony Gilroy (who’s been with the series since the beginning) provides the film with so much forward momentum and furious action that he almost overcomes a ridiculously stretched-out running time.

The picture begins in a remote part of Alaska where a lone man (Jeremy Renner) battles wolves, climbs mountains and exhibits astounding strength, endurance and agility. His name, we learn, is Aaron Cross, and he – like Damon’s Jason Bourne – is a product of Treadstone, that nefarious CIA-sponsored project to create superior secret agents.

But unlike Bourne – who merely had been brainwashed to be a conscienceless assassin – Cross is one of a new generation of genetically-altered agents. Only problem is that he’s dependent on these special pills. If he doesn’t get them he’ll have a mental meltdown. Continue Reading »

Michelle Williams, Seth Rogan in "Take This Waltz"“TAKE THIS WALTZ” My rating: C+ (Opening Aug. 10 at the Tivoli)

104 minutes | MPAA rating: R

Some nagging voice in the back of my head tells me I should have liked “Take This Waltz” a whole lot more.

But I cannot lie. I didn’t.

Going in, it sounded like a winner: Michelle Williams starring in the new film written and directed by Sarah Polley, whose Altzheimer’s drama “Away From Her” was one of the best movies of 2006.

But I found “Take This Waltz” pushing me away instead of pulling me in. In part this is because Polley has fashioned a romance of indecision, a brave move but not one filled with big emotional hooks.

Another problem may be that “Take This Waltz” is very much a woman’s picture. I don’t mean that in any sexist way…rather, it feels as if Polley has dedicated herself to capturing a woman’s view of life and romance on the screen with such singlemindedness that those of us with our plumbing on the outside may feel excluded.

Maybe women will view the film differently.

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“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. Continue Reading »

“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. Continue Reading »

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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Some admirers of Kenneth Lonergan’s “Margaret” are calling the film a masterpiece.

I won’t go that far.  I like to give movies a decade or so before laying down that sort of pronouncement.

But “Margaret” is certainly a very good movie. It may very well be the best movie you have never heard of.

“Margaret” never played in Kansas City. For that matter, it barely played outside New York despite its astounding cast (Anna Paquin, Matt Damon, Alison Janney, Matthew Broderick, Mark Ruffalo) and awesome credentials (it was written and directed by playwright Lonergan, whose 2000 film “You Can Count on Me” is quite possible the Best Independent Movie Ever).

Filmed in 2006, “Margaret” went through a torturous post-production period. Lonergan reportedly had a hellish time editing the film and Fox Searchlight demanded a savage trim of the three-hour cut he submitted to them. There was litigation and much angst.

Late last year “Margaret” opened in one New York theater to glowing reviews and…and…well, that’s about it. The movie has now come out on home video and is available on pay-per-view through many cable providers.

See it. It’s a challenging, thoughtful and moving work. Continue Reading »

Askel Hennie

“HEADHUNTERS” My rating: B (At the Tivoli)

100 minutes | MPAA rating: R

A borderline repellant protagonist ends up earning our respect in “Headhunters,” a Norwegian thriller that’s equal parts Hitchcock and Road Runner cartoon.

Roger Brown (Askel Hennie) is a headhunter for a big Oslo corporation. He’s apparently very good at  finding top-notch employees, but that’s not his real job.

Roger is an art thief. He conducts job interviews with well-heeled management candidates in order to learn about their habits and their possessions.

Then, with the help of Ove (Eivind Sander), his associate and an employee of a firm that maintains security for the city’s wealthiest homeowners, he sneaks in, takes the art out of its frame and leaves behind a reproduction. It takes weeks for the victims to realize they’ve been ripped off .

Roger thieves because it allows him to live beyond his means. You see, Roger is short and borderline ugly (he’s kind of a Norwegian Steve Buscemi), and he lives in constant fear that his beautiful, blonde, towering wife Diana (Synnove Macody Lund) will leave him unless he can satisfy her every material whim.

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