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You, Afa/7 stars the always entertain
ing Paul Rudd as Peter Klaven, an LA
realtor who realizes he has no male
friends after popping the question to
his girlfriend, Zooey (Rashida Jones,
“The Office'). In search of a best man
while selling Lou Ferrigno's mansion,
he meets Sydney Fife (Jason Segel), a
carefree slacker. Rudd sacrifices none
of his superior timing or wit playing the
pleasant guy, and it's nice to see Segel
being someone other than the lovelorn
softie. This bromance is real.
IS ANYBODY THERE? (PG-13)
Ten-year-old Edward (Bill Milner, who
was a little charmer in Son ofRamboW)
lives in an old folks home. The reasons
aren’t that strange. His parents own
it. But Edward’s a strange, lonely kid
who is obsessed with the afterlife and
tape records the residents. Fortunately,
Edward befriends the newest tenant,
retired magician Clarence (Michael
Caine), and their "burgeoning relation
ship benefits both the young boy and
the old man. Directed by John Crowley
(Intermission, Boy A).
KNOWING (PG-13) You might believe
NicCage if he accosted you on the
street with a numerological theory
about the end of the world before you
believe Knowing is a tremendously
entertaining flick. The not-as-badly-
coiffed-as-usual star takes Knowing
very seriously, giving one of his best,
least stylized performances in years.
Combine Cage’s unexpected hard work
with Marco Beltrami's over-the-top,
Bernard Herrmann-esque score and
Proyas’s sinister B-movie setups, and
before you know it, Knowing becomes
the best M. Night Shyamalan movie M.
Night didn't get the chance to ruin.
MADEA GOES TO JAIL (PG-13) The
rewards of a Tyler Perry movie decrease
with every formulaic play-to-film since
his cinematic highwater mark, Why Did
I Get Married? Diary of a Mad Black
Woman pretty much laid out his never-
changing Madea manifesto. Hook
them with the hilariously broad hijinks
of the mad matriarch (Tyler Perry in
drag) before force-feeding faith-based
plots best left to Billy Graham’s movie
ministry. In Madea Goes to Jail, Madea
doesn't actually go to jail until the film’s
final 30 minutes. I’m beginning to fear
Perry the filmmaker peaked well before
his films' popularity.
MONSTERS VS. ALIENS (PG)
Is there a premise more surefire
than this one? Monsters vs. Aliens.
In 3D. Normal Susan Murphy (v.
Reese Witherspoon) gets hit by a
quantonium-enriched meteorite on her
wedding day. Rather than tying the knot
with self-involved local TV weather
man, Derek Dietl (Paul Rudd), Susan
becomes the 49 foot, 11 inch (get it?)
Ginormica. Captured by General W.R.
Monger (v. Kiefer Sutherland), Susan/
Ginormica meets her fellow monsters:
the Missing Link (v. Will Arnett), Dr.
Cockroach Ph.D. (v. Hugh Laurie),
Bicarbonate Ostylezene Benzoate but
you can him B O B. (v. Seth Rogen),
and Insectosaurus. Meanwhile, the
Earth is being threatened by four-eyed
squidling Gallaxhar (v. Rainn Wilson),
who is seeking the quantonium that is
powering Ginormica. Unsure of what
to do, the namby-pamby president (v.
Stephen Colbert) takes General Monger
up on his offer of unleashing the mon
sters on the aliens. The ensuing battle
over San Francisco is the film’s visual
watermark. The monstrous quintet's
Some releases may not be showing locally this week.
ANGELS & DEMONS (PG-13) How
hard is it to turn pop fiction into an
engrossing feature film? (Ask any
adaptor of a John Grisham page-
turner.) Angels & Demons, the Da Vinci
Code predecessor turned cinematic
sequel, offers the same lukewarm thrills
as the 2006 blockbuster. Symbologist
Robert Langdon (Tom Hanks with a
better hairdo) is tasked by the Vatican
with solving a mystery involving a
dead pope, four kidnapped cardinals
and the Illuminati, a legendary cabal
supposedly wiped out by the Catholic
church centuries ago. Apparently,
Langdon’s brainy brand of non-action
reads better than it watches. Decoding
symbols comes off as coincidental luck
rather than brilliant detecting. Another
issue is the hero, an implied atheist
(gasp!). I couldn’t care less about his
religious affiliation, or lack thereof. I
do care tremendously about his lack of
personality. Hanks is a likable actor, but
he again fails to imbue Langdon with
anything approaching the magnetism of
an Indiana Jones or that Gates guy Nic
Cage played in National Treasure. I’d
rather have spent the afternoon plowing
through Dan Brown’s compelling plot
ting and disposable prose than snooz
ing through its plodding movie twin.
CHE (R) How did an Argentinean
doctor come to join Castro’s 1956
revolution? Che: Part One, alternately
titled The Argentine, doesn’t provide
much insight into the “whys* behind
Ernesto "Che" Guevara’s transforma
tion. Academy Award-winning director
Steven Soderbergh and writer Peter
Buchman instead provide a detailed
account from the frontlines of the
Cuban revolution. For two hours, Che
(Benicio Del Toro) trudges through
the jungle battling Fulgencio Batista’s
army at the behest of Fidel Castro
(DemiSn Bichir). He morphs from a
coughing, asthmatic foot soldier into
a rebel-bearded, hardened guerrilla
warrior. As admirable and ambitious
as Soderbergh’s film is, it needs more
ideological meat. Soderbergh is a brave
enough filmmaker to risk alienating the
heartland with a serious discussion of
Communism, its idealism, successes
and failings. Yet Che never digs that
deeply into the motivations behind the
revolution. One would expect a biopic *
about Che to include several lengthy,
dogmatic lectures from either the title
subject or Castro. Instead, Che is
never uninteresting but it strays toward
uneventful. Although flawed, the film
is more success than failure, and its
greatest triumph is Oscar-winner Del
Toro’s performance. The actor gets lost
in Che. Not once did I actively think
about Del Toro’s power or perfection.
He was simply Che. Fortunately, the
voters at Cannes saw past the natural
ease with which Del Toro slipped into
the revolutionary’s body, mind and soul
and awarded him the Best Actor trophy.
Too often, incomparable work is over-,
looked when the actor makes his job
seem so effortless, a laudatory accusa
tion Del Toro has not deserved in the
past. Soderbergh never overdirects
Che. Stylistic conventions—black and
white, handheld camerawork, etc.—
are used sparingly and at the dictate
of the plot, not the filmmaker. Due to
scheduling conflicts, I could only see
the first half of the two part picture.
(Che: Part Two is screening only once
a day, at 9:45, so plan accordingly.)
Nonetheless, the Siamese films were
separated with surgical precision so
as to exist apart. Che: Part One stands
alone. I don't feel as if I only saw half
of a film; I just sense I only know half
of the story. It may have even been the
better half, too, considering it is the
one with the happy ending.
DANCE FLICK (PG-13) The humon-
gous Wayans clan (namely, Keenan
ivory, Marion, Shawn, Kim and Damon,
Jr.) returns with another genre parody.
A street dancer from the wrong side
of the tracks, Thomas Uncles (Damon
Wayans, Jr.), teams up with the gor
geous Megan White (Shoshana Bush)
in order to win the big dance competi- .
tion. I’m a little ashamed to admit how
much I laughed at the trailer the first
time I saw it. Maybe Dance Flick vAW be
more ‘In Living Color' and less White
Chicks.
Y DRAG ME TO HELL (PG-13) Drag
Me to Hells trailers have been promis
ing the “Return of True Horror,' but
the PG-13 rating—even a Sam Raimi
PG-13—leaves me doubting. A pretty
young loan officer, Christine (Allison
Lohman), refuses a loan extension to
a scary old lady named Mrs. Ganush
Actor, Best Actress, Best Supporting
Actor and Best Supporting Actress),-
Sweden's version of the Academy
Award. Directed by two-time Oscar-
nominee Jan Troell (Utvandrama).
With Jesper Christensen (Mr. White
in Casino Royaleand Quantum of
Solace)
FAST & FURIOUS (PG-13) The
fourth model of the Fast & Furious
franchise knows exactly what it is and
doesn't try to be anything else. It is
graphic vehicular pornography with
the ultra-softcore sexuality of a bikini-
filled car mag. On the lam con Dominic
Toretto (Vin Diesel) and FBI agent Brian
Please brush your teeth before you wake me up!
(Lorna Raver). Mrs. Ganush promptly
curses Christine with one of the devil’s
most dreaded demons. Gulp. The
Spider-Man director has a lot of the
right people excited about this return to
Evil Dead form. With Justin Long and
David Paymer.
EVERLASTING MOMENTS (NR)
Maria (Maria Heiskanen), a young
working-class woman wins a camera
in a lottery. Suddenly, her view of life
in early 1900s Sweden is drastically
altered. Nominated for the Golden
Globe for Best Foreign Language
Film, Everlasting Moments won six
Guldbagges (including Best Film, Best
MOVIE LISTINGS
Theater schedules often change after our deadline. Please call ahead.
ACC LIBRARY (706-6x3-3650)
Fireworks Wednesday (NR) 7:00 (Th. 5/28)
BliCHWOOD (706-546-1011)
Due to the Memorial Day holiday, Beechwood movie times
are only accurate through May 28. Visit www.Flagpole.com
for updated times.
Angels & Demons (PG-13) 12:45, 2:15, 3:55, 5;15,
7:00, 8:15, 10:00
Dance Flick (PG-13) 1:20, 3:25, 5:30, 7:35, 9:40
Ghosts of Girlfriends Past (PG-13) 12:10, 2:50, 5:10,
7:35, 9:55
Night at the Museum: Battle of the Smithsonian
(PG) 12:00, 1:30, 2:30, 4:00, 5:00, 6:30, 7:30, 9:00,
9:55
Star Trek (PG-13) 12:00, 1:00, 3:15, 4:15, 6:25, 7:15,
9:15, 10:05
Terminator Salvation (PG-13) 12:45, 1:45, 3:30,.
4:30, 6:15, 7:15, 9:15, 10:00
X-Men Origins: Wolverine (PG-13) 1:15, 4:20, 7:20,
9:50
CARMINE 12 (706-354-0016)
Due to the Memorial Da> holiday, Carmike movie times are
only accurate through May 28. Visit www.Flagpole.com for
updated times.
Angels 8. Demons (PG-13) 1:00, 2:00, 4:00, 5:00,
7:00, 10:00
Dance Rick (PG-13) 12:15, 2:45, 5:10, 7:40, 10:10
Ghosts of Girlfriends Past (PG-13) 1:25, 4:20, 7:15.
10:10
Monsters vs. Aliens (3D) (PG) 12:30, 2:45, 5:00
Night at the Museum: Battle of the Smithsonian
(PG) 12:45, 1:45, 3:15, 4:30, 5:45, 7:15, 8:10, 9:40
Obsessed (PG-13) 7:20, 9:50
Star Trek (PG-13) 1:20, 1:50, 4:10, 4:40, 7:00, 7:30,
9:50, 10:20
Terminator Salvation (PG-13) 12:30, 1:00, 3:05,
4:00, 5:40, 7:00, 8:15, 9:35, 10:50
X-Men Origins: Wolverine (PG-13) 12:00, 2:30, 5:00,
7:30, 10:00
CINl (706-353-3343)
Check www.athenscine.com for updates and changes.
Che I: The Argentine (R) 9;30 (W. 5/27-Th. 5/28)
Che II: Guerilla (R) 9:45 (W. 5/27-Th. 5/28)
Everlasting Moments (NR) 7:00 (W. 5/27-Th. 5/28)
Is Anybody There? (PG-13) 6:30, 8:30 (add'l time F.
5/29-Su. 5/31: 4:30) (starts F. 5/29)
Paris 36 (PG-13) 7:15 (W. 5/27-Th. 5/28)
Raising Arizona (PG-13) 10:15 (starts F. 5/29)
GEORGIA SQUARE 5 (706-548-3426)
Due to the Memorial Day holiday, Georgia Square Five movie
times are only accurate through May 28. Visit www.Flagpole.
com for updated times.
Fast & Furious (PG-13) 12:55, 4:10, 7:25, 9:50
I Love You, Man (R) 1:05, 4:05, 7:30, 9:55
Knowing (PG-13) 1:00, 4:00, 7:20, 10:10
Madea Goes to Jail (PG-13) 7:35, 10:05
Paul Start: Mall Cop (PG) 12:50, 3:00, 5:10
Race to Witch Mountain (PG) 12:40, 3:00, 5:20,
7:40, 10:00
O’Conner (the inexplicably appealing
Paul Walker) are reunited by the death
of a friend as they seek revenge against
the drug lord responsible for her death.
No one should mistake this article-less
edition of F&F\ot a work of cinematic
art; it’s upfront and honest about its
lowbrow ambitions.
FIREWORKS WEDNESDAY (NR)
2006. As the New Year approaches
in Tehran, everyone is preparing
for the festival of fire, or Fireworks
Wednesday. Young Rouhi is experienc
ing fireworks of her own, courtesy of
her new employers, a married couple
embroiled in an argument about
infidelity. Winner of the Gold Hugo
for Best Feature from the Chicago
International Film Festival, three
Crystal Simorghs from the Fajr Film
festival (Best Director, Best Actress
and Best Editing) and the Golden Lady
Harimaguada from the Las Palmas Film
Festival.
GHOSTS OF GIRLFRIENDS PAST
(PG-13) Fashion photographer Connor
Mead (Matthew McConaughey) is the
definition of a lady-killer. The most
beautiful supermodels in the world
swoon and fight over this caddish
hunk of beefcake. But Connor gets his
comeuppance at his younger brother’s
(Breckin Meyer) wedding when he’s
• visited by the ghost of dead Uncle
Wayne (Michael Douglas). Uncle
Wayne taught Connor everything he
knows about seducing women, but
being a non-corporeal, eternal bachelor
isn’t what’s advertised in Bachelor Pad
Quarterly. Wayne leads a trio of ghost
girls (dominated by the usually funny
Emma Stone) giving Connor the whole
Christmas Carol shock treatment.
Without humor, all Ghosts has left is
drama built around whether or not an
insensitive man-whore actually has a
heart of gold. Frankly, not even McC’s
ample charm could make me give a
damn.
I LOVE YOU, MAN (R)AnApatow
film in spirit if not in name, I Love
tussle with a giant robot on the Golden
Gate Bridge sets a new standard for
animated action. DreamWorks’ great
extra-dimensional hope will not be
the 3D flick that changes the industry.
The wonderfully animated MvA may
be remarkable for its major action set
pieces but lacks the charm and wit of
more memorable family films. Where
MvA fails is where DreamWorks’ ogre
of a franchise so masterfully suc
ceeded. Every character in the first
two Shrek films was more than just
well-animated; they were fully drawn to
life. Susan, ginormous or not, gets no
backstory other than her engagement
to Derek. Of the other monsters, only
genial, brainless B.O.B. is charming
enough to be remembered once the
film ends, and that distinction is thanks
to Rogen’s delightful voicework. The
usually captivating Arnett and Laurie
leave no impression at all. Neither
do any of the other half-dozen vocal
standouts. AMs laugh-level never
rises above chuckle. While not as bad
cfifDreamWorks’ woeful Shark Tale, the
promising new flick does not approach
Shrek or last summer’s Kung Fu Panda.
MvA might make some money for a few
weeks; its advertising budget was mas
sive and its upcoming competition for
the family film dollar is weak. However,
AMs eventual DVDs probably won’t
wear out from overuse.
NIGHT AT THE MUSEUM: BATTLE
OF THE SMITHSONIAN (PG) I
disliked the first Night at the Museum
so much that I nearly resigned my
leadership position in the Ben Stiller
Fan Club. The previews for Battle of
the Smithsonian have me laughing
again, but I remember how much the
first movie hurt. Joining Larry Daily
(Stiller), Teddy Roosevelt (Robin
Williams), Jedediah (Owen Wilson)
and Ocatavius (Steve Coogan) are
Amelia Earhart (Amy Adams), Kah Mun
Rah (Hank Azaria), General George
Armstrong Custer (Bill Hader, looking
like the flick's scene stealer), and many
more hysterical, historical figures.
OBSESSED (PG-13) It's great to
see how far women have come. In
Obsessed, a flick-that would've felt
more comfortable in the early ‘90s,
Sharon Charles (BeyoncS Knowles)
and temporary office temptress Lisa
(Ali Larter, “Heroes’) duke it out like
true feminists over successful V.P.
Derek Charles (Idris Elba, “The Wire"s
Stringer Bell), who's also Sharon's
hubby. At least ratal Attraction had the
decency to implicate the dude.
PARIS 36 (PG-13) 2008. In 1936,
residents of the Faubourg, a working
class neighborhood in northern Paris,
hope to revive their loc3l theater Dy
putting on a musical. Writer-director
Christopher Barretier's last film was
2005's dual Oscar-nominee, The
Chorus. Nominated for five C6sars,
Paris 36 won a Lumiere Award and two
Ftoile d’Ors; two of the three awards
went to newcomer Nora Arnezeder.
With G6rard Jugnot (The Chorus),
Clovis Cornillac and Kad Merad (also
from Barretier's The Chorus).
PAUL BURT: MALL COP (PG) Paul
Blart: Mall Cop delivers mild, unobjec
tionable humor. The movie is as likable
and funny (more the former than the
latter) as its star.
RACE TO WITCH MOUNTAIN (PG)
I loved Escape to Witch Mountain
and its sequel. Return from Witch
Mountain, when I was a kid. Along
with Princess Leia, Kim Richards was
one of my first innocent little crushes.
Watching Disney's franchise reboot
didn’t exactly conjure up wispy nostal
gia like I’d hoped. The filmmakers were
kidding themselves if they thought they
could replace the 1975 cast of Eddie
Albert, Ray Milland, Denver Pyle and
MF-ing Donald Pleasance with CiarSn
Hinds. Cheech Marin, Tom Everett
Scott and Garry Marshall. Plus, the
super-generic third act—a firefight and
10 FLAGPOLE.COM • MAY 27,2009 •