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after taking a job in 1950s Puerto Rico Director Bruce Robinson (an Oscar nominee tor his script lor 1985's The Killing Fields) may be best (and least) remembered for his cult hit. Wilhnail & t he was last seen behind the camera for the underwhelming Andy Garcia- Uma Thurman serial killer thriller. Jennifers With Giovanni Ribisi, Aaron Eckhart. Amber Heard and Richard Jenkins THE SMURFS (PG) The live action/ CGI hybrid version of The Smurfs is not as bad as its atrocious trailers would imply, thanks largely to the smurtish talents of Neil Patrick Harris STRAW DOGS -aking suspicion this remake of the violent 1971 Sam Peckinpah classic will play a lot differently in the Deep South than filmmaker Rod Lurie might expect Character identification issues might abound, giving this Straw Dogs a level unavailable to the original (to anyone besides small town Northern Englishmen) Hah-vuhd educated Hollywood screenwriter David Sumner (James Marsdent) and his actress wife. Amy (Kate Bosworth), return to her backwoods Mississippi hometown Peckinpah's version will always be tops, but this closely related remake should strike some manly chords, though whether those chords be Davids or Charlie's might differ regionally Me. I side with David every time I also wish someone would let Hollywood know that small town folk are near as scary as the movies make them out to be THE THREE MUSKETEERS (PG- 13) The latest adaptation of Alexandre Dumas' wonderful adventure novel doesn't do anything particularly badly The cast—including one-time Mr Darcy Matthew Mactadyen. as Athos. Ray Stevenson as Porthos and Luke Evans as Aramis—is tons more literate than the 1993 trio of Kreter Sutherland. Charlie Sheen and Oliver Platt The airships are pretty cool, too Tone is where “Ocean's Three (Musketeers)" starts to stumble. Resident Evil direc tor Paul W S Anderson stages the Musketeers' exploits to recover the Queen's diamond necklace from the Duke of Buckingham (Orlando Bloom), who's not as bad as the other guy. Cardinal Richelieu (Christoph Waltz, who never takes fiery control ol his scenes), like a mod '60s heist caper rather than a modern swashbuckler TOWER HEIST (PG 1 'With the help of a con (Eddie Murphy), a group of working stiffs (including Ben Stiller, Matthew Broderick Casey Affleck Gabourey Sidtbe and Michael Pena) plan a Danny Ocean-type heist on the high-rise home of the rich guy that took all of their money in a Ponzi scheme This action comedy trom oft-maligned Brett Ratner who really missed his decade, also stars Judd Hirsch. Drew Wheeler ROAD TO NOWHERE DRIVE (R) An auto mechanic and Hollywood stunt driver, the Driver (Ryan Gosling), moonlights as a wheelman for various heist jobs. Except for his relationship with his boss, Shannon (Bryan Cranston), the Driver is alone in the world. That starts to change, though, when he becomes infatuated with the woman living next door to him, Irene (Carey Mulligan), and gets to know her young son, Benicio (Kaden Leos). Only problem is, Irene is married to a criminal. Standard (Oscar Isaac), who's getting out of prison. At first, the Driver keeps his distance from Irene and Benicio, but when he finds out Standard is being forced back into crime to pay off a debt, he offers to help. Much blood flows, and the Driver loses control. simultaneously. Underneath the cool postur ing, though, he's a pure psychopath who is not the hero he believes himself to be, which is more apparent as he wreaks great havoc attempting to "save" Irene. Drive's minimalist plot (based on a novel by crime writer James Sallis) is by-the-numbers, and its core premise of redemption through bloodshed is block-headed and morally vacu ous if taken at face value. The Driver is noth ing more than a malignant, fantasy-driven monster. He is pure instinct, muscle and stony glare—a pretty boy version of Lee Marvin's unstoppable vengeful wraith from John Boorman's New Wave-influenced neo- noir Point Blank. But the movie's great virtue is style, soaked in a retro-'80s neon haze, Ryan Gosling Don't believe Drive's advertising. Ryan Gosling doesn't star in it. An uncanny simu lacrum of the actor appears instead, giving a life-like yet muted performance of a real human being. However, don't be fooled by Gosling's brooding sensitivity. He's pro grammed to register appropriate benevolence or sincere facial expressions when needed. No astute moviegoer should be confused as to what really lurks beneath his mask. As with another infamous archetypal loner of American movies, Taxi Driver's Travis Bickle, the Driver is a cipher, representing nothing and everything referencing everything from William Friedkin's nasty crime picture To Live and Die in L.A. (itself capturing a sun-baked Los Angeles to memorable effect) to Michael Mann's stylish Thief and Manhunter, as well as Walter Hill's The Driver— itself a self-conscious homage to the sort of icy, European existentialist stylings Jean-Pierre Melville fashioned in Le Samourai. It may not be as deep a* it wants you to believe it is, but Drive's seductive surface is nevertheless intoxicating. Derek Hill Buy a Medium Smoothie Get one half off! 5 Points 706.613.9600 Expires 11/08/11 Westside Omni Club 706.369.3111 (Membership not required to enter) & HAPPY HOUR s 2 DOMESTIC BOTTLES s 3 CALL SHOTS a«oob rue* lmijv/f FRIDAY, NOV. 4 REID STRIPLING BAND flight tapas and bar TUESDAYS Half Price Bottles of Wine WEDNESDAYS Live Jazz with Mary Sigalas 8pm $ 4 Premium Martinis ] THURSDAYS $ 2 Terrapins SUNDAYS ] Brunch 11am-9pm . < 706-549-0200 225 N. Lumpkin St. • Downtown « w/CATERED RECEPTION AIFRED HITCHCOCK'S PSYCHS ENDS THURSDAY 11/3 $6 ADMISSION ALL DAY! 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