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seen his movie before, yet part of me is
still a little jazzed for it. (Cine)
STAR TREK INTO DARKNESS
(PG-13) Star Trek Into Darkness, the
second film in J.J. Abrams??? revamped
Trek-verse, is the best Star Wars movie
since 1983. Don???t think I typed that
wrong. The second new Star Trekls
the giant, sci-fi, matinee serial that
the Star Wars preguels never were.
My only concern with J.J. Abrams'
revitalization of George Lucas' neck
of the galaxy is the negative effects it
will have on the burgeoning new Star
Trek. The new Trek improves upon its
already superb predecessor in every
way. Captain Kirk (Chris Pine) leads
the crew of the Starship Enterprise???
Spock (Zachary Quinto), Bones (Karl
Urban), Uhura (Zoe Saldana), Sulu
(John Cho), Chekhov (Anton Yelchin)
and Scotty (Simon Pegg)???after a
rogue Federation operative (Benedict
Cumberbatch) turns terrorist. Knock
Abrams all you want for his love of lens
flare, but the bridge of the Enterprise
looks fantastic. The space battles trump
anything outside of the Star Wars
universe. Trekhas never looked better,
been more thrilling or more humanly
humorous, and those praises come
from a lifelong MTan (I eschew the
Trekkie/Trekker nomenclature). Star
Trek2seems like the luckiest of num
bers; this sequel achieves Khan-Wke
greatness. Knowledgeable fans will
enjoy the abundant surprises.
STOLEN 2006. As part of the Art
and Intrigue Film Series, the Georgia
Museum of Art presents a screening
of Stolen. In March 1990, the Isabella
Stewart Gardner Museum in Boston
was robbed by two men dressed as
police officers. Thirteen works of art
were stolen, including one of only
35 remaining works by Vermeer (The
Concert) and Rembrandt???s Storm on
the Sea of Galilee, recently featured
in Danny Boyle???s Trance. None of
the paintings have been recovered.
Winner of the Audience Award for Best
Documentary Feature at the Sarasota
Film Festival. (Georgia Museum of Art)
TYLER PERRY???S TEMPTATION
(PG-13) Is it possible for a filmmaker
to ???jump the shark?" If so, Tyler Perry's
Temptation might be that point for
Atlanta's multi-hyphenate filmmaker.
He cast Kim Kardashian, for goodness???
sake. And wait for Brandy???s climactic
reveal. It???s the sort of melodramatic
gem that could turn this dreck into
popular camp were it less dull.
Remember that post -Basic Instinct
period of the early-to-mid ???90s when a
new erotic thriller was coming out each
week? Well, imagine one of those Basic
rip-offs minus all the risque, headline
making sexuality; substitute a sermon
instead, and you???ve got Temptation.
Drew Wheeler
HARVEST HOME
THE COMPANY YOU KEEP (R) There is a great
movie to be made about left-wing radicals,
but The Company You Keep is not the one.
Having said that, Robert Redford's latest
directorial effort is not without its insights or
entertainment value. Ex-Weather Underground
member Susan Solarz (Susan Sarandon), who
respectability and politeness. He's a bore.
But you cannot dismiss Redford these days,
as he is a filmmaker still clinging to the last
remnants of classical storytelling and drama,
something that has become rare in this age
of more stylistically kinetic, emotionally syn
thetic moviemaking.
Robert Redford
now lives incognito as a suburban mom and
wife, is arrested for her involvement in a bank
robbery back in the 1970s, and a New York
lawyer, Jim Grant (Robert Redford), is given
the task of representing her. But Grant rejects
the offer. Why? A hotshot newspaper reporter,
Ben Shephard (Shia LaBoeuf), snoops around
Grant's past and links him to the earlier crime.
Shepard is on the hunt, rooting out Grant's
secretive past and interviewing several of the
principal players in the homegrown terrorist
group's pivotal years. A clash of generations
ensues, and Grant goes on the run.
As a director, Robert Redford has always
been vanilla. He is tastefully respectful in
terms of style and approach to character
psychology???never going too far into the
muck of what makes us really click???and he's
casually observant of human psychology. He's
what the great film critic Manny Farber would
contemptuously label as a purveyor of "White
Elephant Art," an adherent of middle-class
Screenwriter Lem Dobbs (Dark City, The
Limey) prods at the moral and political
ambiguities embedded in the actions of his
subversives, and the movie is autumnal in its
approach. Redford, Sarandon, Julie Christie,
Nick Nolte and Sam Elliott all exude a wheezy
yet valiant honor in their portrayals of an
exhausted generation of radicals, but the
movie never quite takes off as the thriller it
wants to become. It's no Three Days of the
Condor (an earlier Redford movie) or Running
on Empty (Sidney Lumet's poignant look at
leftist rebels), in other words. In an era when
recent European features like The Baader
Meinhof Complex (2008) and Carlos (2010)
have reminded audiences of leftist political
violence, The Company You Keep comes off as a
bit tame. But the performances, especially by
Sarandon, and the movie's earnest approach to
the material, merit a look.
Derek Hill
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