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Some releases may not be showing locally tbis week.
ANGELS & DEMONS (PG-13) How
hard is it lo 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 Browns compelling plot
ting and disposable prose than snooz
ing through its plodding movie twin.
ANNIE HALL (PG) 1977. Cin6 is
encouraging movie lovers to “beat the
heat" with a summer classic movie
series that kicks off with Woody Allen's
Oscar-winner. The Wood-man stars •
as Alvy Singer, who recounts his woe
ful search for love in New York City.
Alvy thinks the free-spirited Annie
Hail (Oscar-winner Diane Keaton) is
the one, but love doesn’t always go
as planned. I used to pettily begrudge
Annie Hall for nabbing Star Ward Best
Picture trophy; now I simply appreciate
Allen's most accessible film, a well-
read romantic comedy melding humor,
heart and a large dose of neuroses.
AWAY WE GO (R) Burt and Verona
(John Krasinski and Maya Rudolph), a
young couple expecting their first child,
travel the country seeking the perfect
place to raise a family (as if such a
utopia exists). Along the way, they
encounter oddball relatives and friends.
Away We Go might have the summer's
most award-friendly pedigree. Director
Sam Mendes (American Beauty,
Revolutionary Road) already has an
Oscar. Writing couple Dave Eggers
(A Heartbreaking Work of Staggering
Genius) and Vendela Vida are well on
their way to picking up a nomination.
With Allison Janney, Jeff Daniels and
Maggie Gyllenhaal.
CHE (R) Academy Award-winning
director Steven Soderbergh and writer
Peter Buchman provide a detailed
account from the frontlines of the
Cuban revolution. As admirable
and ambitious as Soderbergh’s film
is, it needs more ideological meat.
Soderbergh is a brave enough film
maker to risk alienating the heart
land with a serious discussion of
Communism, its idealism, successes
and failings. Yet Che never digs that
deeply into the motivations behind the
revolution. Although flawed, the film
is more success than failure, and its
greatest triumph is Oscar-winner Del
Toro’s performance.
DANCE FLICK (PG-13) The humon-
gous Wayans clan (namely, Keenan
Ivory, Marlon, 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 will be
more “In Living Color" and less White
Chicks.
DRAG ME TO HELL (PG-13) While
trying to get a promotion, sweet
loan officer Christine Brown (Allison
Lohman) shames an old gypsy hag,
Mrs. Ganush (Lorna Raver). After a
rousing attack in a parking garage,
Christine is cursed. .The demon Lamia
will stop at nothing to torture her and
carry her soul to hell for all eternity.
Raimi digs deep into his bag of fre
netic camerawork and joyously revels
in revolting foley work (an oft mis/
underutilized horror device) in the most
scary fun I've had at a horror film in a
long time. The flick drags you not to
hell but on a rip-roaringly disgusting
(though far from gory), nostalgic tour
of the old Universal Studios (home to
Bride of Frankenstein and the Bates
Motel), the early Evil Dead, and the
dearly loved occult horror of the 197Qs
and the drive-in.
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
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 (Utvandrarna).
With Jesper Christensen (Mr. White
in Casino Royale and 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
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.
GARBAGE WARRIOR (NR) 2007.
Thirty years ago, maverick architect
Michael Reynolds dreamed of a home
that could heat itself, provide its own
food and water, recycle its own waste,
and supply its own power. Director
Oliver Hodge documents the incred
ible story of Reynolds and his green
compatriots as they strive to build his
self-sufficient dream home. Garbage
Warrior won Most Popular Film in the
Internationa! Documentary category
at the Vancouver International Film
Festival. Part of the ACC Library’s
iFilms series. (Check out iFilms on
Facebook!)
GOODBYE SOLO (R) See Movie Pick.
THE HANGOVER (R) Three buddies
(Bradley Cooper, Ed Helms and Zack
Galifianakis) wake up in Las Vegas
with the worst hangovers of their lives.
Unable to remember anything from the
night before, the gang—plus a baby-
must retrace their steps to find their
missing, soon-to-be-wed pal (Justin
Bartha). I am less thrilled by the Mike
Tyson cameo that climaxes the trailer.
The Hangover is Old School director
Todd Phillips's first film since 2006’s
School for Scoundrels. With Heather
Graham.
THE HAUNTING IN CONNECTICUT
(PG-13) Supposedly based on a true
story, this horror film charts one fam
ily's “encounter with the dark forces of
the supernatural.’ When the Campbell
family moves to their Victorian home
in upstate Connecticut, they soon dis
cover the house’s disturbing history.
I LOVE YOU, MAN (R)AnApatow
film in spirit if not in name, I Love
You, Man 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 of RamboW)
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
Nic Cage 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.
LAND OF THE LOST (PG-13)
Watching Sid and Marty Krofft's
“Land of the Lost" used to be one of
my favorite Saturday morning treats.
You can imagine I’m pretty stoked for
the big screen, big-budget summer
blockbuster starring Will Ferrell as
goofy paleontologist, Rick Marshall.
Marshall, his assistant (Anna Friel,
"Pushing Daisies"), and a redneck sur
vivals (the great Danny McBride) are
sucked by a time vortex into a lost land
of dinosaurs, Sleestacks, and other
fantastical creatures. With The Lonely
Island’s Jorma Taccone as Chaka.
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.
MY LIFE IN RUINS (PG-13) Greek
American tour guide Georgia (My Big
Fat Greek Weddings Nia Vardalos)
rediscovers love while leading a group
of misfit tourists through Greece.
Vardalos gets a much-needed big, fat
career reboot with this romantic com
edy written by someone else. Donald
Peine (Grumpy Old Men) directs.
With Richard Dreyfuss, Rachel Dratch,
Alexis Georgoulis, Rachel Dratch,
Harland Williams and Britain's “master
of mimicry,’ Alistair McGowan.
NIGHT AT THE MUSEUM: BATTLE
OF THE SMITHSONIAN (PG)
Spending a second Night at the
Museum with former security guard
Larry Daily (Ben Stiller) and the come-
to-tife exhibits isn't the creatively bank
rupt, money-grubbing experience you'd
expect, largely thanks to talented new
guests Amy Adams, Hank Azaria and
Bill Hader (“SNL" and Superbad), a trio
that breathes hilarious life into Amelia
Earhart, Kahmunrah and General
George Armstrong Custer. Delightful
creature that she is, Adams does her
best tough but tender, Hepburn-esque,
screwball heroine. Everything about
NalM BotS improves on the lifeless
original, especially the thankful lack
of monkey antics of which there are a
mere toned down few.
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 (Beyonc6 Knowles)
and temporary office temptress L«sa
(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 Fatal Attraction had the
decency to implicate the dude.
PAUL BLART: 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. Watching Disney’s
MOVIE LISTINGS
Theater schedules often change after our deadline. Please call ahead.
ACC LIBRARY (706-613-3650)
Garbage Warrior (NR) 7:00 (Th. 6/4)
Royal Wedding (NR) 2:00 (Th. 6/4)
BEECHWOOO (706-546-1011)
Due to production deadlines, Beechwood movie times are
only accurate through June 4. Visit www.Flagpole.com for
updated times.
Angels & Demons (PG-13) 12:45, 3:55, 7:00, 10:00
Dance Rick (PG-13) 1:20, 3:25, 5:30, 7:35, 9:40
Drag Me to Hell (PG-13) 12:10, 2:45, 5:05, 7:25, 9:50
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) 1:00, 4:15, 7:05, 9:55
Terminator Salvation (PG-13) 12:45, 1:45, 3:30,
4:30, 6:15, 7:10, 9:15, 10:05
Up (PG) 12:30, 3:00, 5:30, 8:00
Up (3D) (PG) 11:45, 2:15, 4:45, 7:15, 9:45
X-Men Origins: Wolverine (PG-13) 1:15, 4:20, 7:20,
9:50
CARMIKE 12 (706-354-0016)
Due to production deadlines, Carmike movie times are
only accurate through June 4. Visit www.Flagpole.com for
updated times.
Angels & Demons (PG-13) 12:30, 1:00, 3:30, 4:00,
6:45, 7:00, 10:00
Dance Rick (PG-13) 12:15, 2:45, 5:10, 7:40, 10:10
Drag Me to Hell (PG-13) 12:00, 2:30, 5:00, 7:40,
10:05
Night at the Museum: Battle of the Smithsonian
(PG) 12:45, 1:45, 3:15. 4-30, 6:45.. 7:15. 8:10. 9:40
Obsessed (PG-13) 9:50
Star Trek (PG-13) 1:20, 4:10, 7:00, 10:10
Terminator Salvation (PG-13) 12:30, 1:00. 3:05,
4:00, 5:40. 7:00, 8:15, 9:35
Up (3D) (PG) 12:15, 12:45, 2:40, 3:10, 5:05, 5:35,
7:30, 8:00, 9:55
X-Men Origins: Wolverine (PG-13) 12:00, 2:30, 5:00,
7:30, 10:00
CINE (706-353-3343)
Annie Hall (PG) 8:15, 10:15 (no 10:15 show Su. 6/7)
(starts F. 6/5)
Che l: The Argentine (R) 9:45 (Th. 6/4)
Che II: Guerilla (R) 9:45 (W. 6/3)
Everlasting Moments (NR) 7:00 (ends Th. 6/4)
Goodbye Solo (R) 6:30, 8:30, 10:30 (add! time F.
6/5-Su. 6/7: 4:30) (no 10:30 show Su. 6/7) (starts
F. 6/5)
Is Anybody There? (PG-13) 6:30, 8:30 (new times
F. 6/5: 6:15) (add't time F. 6/5-Su. 6/7: 4:15) (no
show M. 6/8)
Raising Arizona (PG-13) 10:15 (new times F. 6/5:
midnight) (ends Sa. 6/6)
GEORGIA SQUARE 5 (706-548-3426)
Due to production deadlines, Georgia Square Five movie
times are only accurate through June 4. Visit www.Flagpole.
com for updated times.
Fast 8> Furious (PG-13) 12:55, 4:10, 7:25, 9:50
The Haunting in Connecticut (PG-13) 12:45, 3:05,
5:15, 7:35, 9:45
I Love You, Man (R) 1:05, 7:30
Knowing (PG-13) 7:20, 10:10
Madea Goes to Jail (PG-13) 4:05, 10:05
Paul Blart: Mall Cop (PG) 12:50, 3:00, 5:10
Race to Witch Mountain (PG) 12:40, 3:00, 5:20,
7:40, 10:00
franchise reboot didn't exactly conjure
up wispy nostalgia like I’d hoped.
RAISING ARIZONA (PG-13) 1987.
In the Coen Brothers' cult classic, a
petty criminal (Nicholas Cage) and a
cop (Holly Hunter) swipe a famous
quintuplet.
ROYAL WEDDING (NR) 1951. Once
again, the Special Needs Library pres
ents another Hollywood classic with
audio narration for visually impaired
viewers. Singin' in the Rain co-director
Stanley Donen leads Fred Astaire as
Tom Bowen, half of an endangered
brother-sister dance act on their way to
London for a new engagement. While
out on the big blue, Astaire finds cause
to dance with a hat rack, gym equip
ment and more.
STAR TREK (PG-13) Director J.J.
Abrams brings Gene Roddenberry's
idyllic, stodgy creation to warp speed.
Abrams and writers Roberto Orci and
Alex Kurtzman revive the franchise
with a breezy, action-packed matinee
abandon never before seen in this
often sober universe. Abrams, Orci
and Kurtzman make the Enterprise's
tricky, high-profile refitting—not to
mention the successful construction
of a summer blockbuster—look easy.
Amazingly, an entirely new, unknown
Star Trek universe lies uncharted, to
be mapped, one hopes, by Captain
Abrams and his creative crew. Space
may be the final frontier, but Star Trek
should just be the first of many mis
sions for this particular talented team.
TERMINATOR SALVATION (PG-13)
The ultra-grim fourth installment of the
time-bending franchise makes minor
improvements on the frivolous third
film. Finally, we get to witness the epic
battles between man and machine.
Humanity’s savior, John Connor
(Christian Bale), is waylaid from his
mission to defeat Skynet, the self-
aware. computer-based defense system
attempting to cleanse the planet of all
mankind. The long-awaited battles
between humanity and the endoskele-
ton army grow tedious in chunks larger
than T2s tantalizing bits. As unkillable
as the Terminators are, it might be time
to unplug a franchise that’s two movies
and a failed TV show past its T2prime.
X-MEN ORIGINS: WOLVERINE
(PG-13) In a post-/rar? Man/Dark
Knight/Watchmen world, X-Men
Origins: Wolverine s an unevolved
comic caveman. The X-Men trilogy
has been going downhill since X2, and
since 20th Century Fox’s rights predate
Marvel's new and improved property
handling, no one should expect great
things from subsequent Origins pics.
Wolverine merely fills in the pre-X team
gaps in the hairy, tri-clawed mutant’s
long, long life.
UP (PG) Seventy-eight-year-old Carl
Fredricksen (v. Edward Asner) and
his late wife, Ellie, always dreamed
of traveling to South America. After
Ellie’s death, Carl floats his house to
the fabled Paradise Falls via several
thousand helium balloons. Carl and
a young stowaway, lonely Wilderness
Explorer Russell (v. Jordan Nagai),
confront the wilderness for the first
time, encountering a mythical bird,
a talking dog named Dug (voiced
by co-director and screenwriter Bob
Peterson), and Carl's childhood
hero, lost adventurer Charles Muntz
(v. Christopher Plummer). With its
odd old protagonist. Up is bound to
be the year's most unconventional
blockbuster. Every minute of the film,
co-directed by Pete Docter (Monsters,
Inc.) and Peterson, bursts with creativ
ity and ingenuity. In Dug, the worn-oui
anthropomorphic animal sidekick is
imaginatively reinvented to produce
the film’s freshest, biggest laughs. Up
shouldn't generate WALL»Es critical
Oscar campaigning, but it certainly
continues Pixar’s (award)winning ways.
Drew Wheeler
10- FLAGPOLE.COM ■ JUNE 3, 2009