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8 COMMUNITY DIGEST Feb. 1-8, 2013 AT THE MOVIES Stand Up Guys with Nick Ebrahim For the past few years it seems that movies were something made only by young people, to be seen only by young people, and starring only young people. But lately we’ve seen a return of the old veterans, in films like Trouble with the Curve (Clint Eastwood), The Last Stand (Arnold Schwarzenegger), and, last week, Quartet, with a whole rest home full of veteran British actors. The latest entry is Stand Up Guys (E1 Films Canada), directed by Fisher Stevens and starring Al Pacino, Alan Arkin and Christopher Walken. It’s a comedy-drama about two aging cons who try to get their old gang together for one last hurrah before one of them accepts his last assignment: to kill his partner. The story takes place over a 24-hour period starting with Doc (Walken) greeting Val (Pacino) on his release from prison, where he had gone after accidentally killing the son of the local crime lord. Apparently, a prison sentence isn’t punishment enough in the boss’s opinion: he wants Val killed, and has given Doc until 10 a.m. the next morning to do it. They proceed to round up old gang members, including Hirsch (Arkin), whom they help escape from his retirement home, and have a night of drinking, sex and bad jokes. The evening degenerates into something resembling the Three Stooges on a rampage. Arkin’s part, as an old-time getaway car driver, is rather small. Mark Margolis and Vanessa Ferlito have supporting parts. But this film really belongs to Pacino and Walken, whose acting is so good that it can overcome Noah Haidle’s terrible screenplay, with its over-the-top corny jokes Overall, Stand Up Guys is a lighthearted romp, once you have suspended your disbelief. Christopher Walken, Alan Arkin and Al Pacino in Stand Up Guys Isabelle Guérard in Rouge Sang Rouge Sang Rouge sang (Red Blood) (Ciné Télé Action) is the first feature film directed by Martin Doepner, an Ottawa-born filmmaker of German descent. Remeber that name: you’ll be hearing more from him. The film is a historical thriller set in the Quebec of 1799, long a conquered part of British North America, but with relations still tense between the francophone settlers and the British soldiery. On a stormy New Year’s Eve, on an isolated farm in a forgotten corner of the St. Lawrence Valley, a young mother (Isabelle Guérard) and her children, with her husband far away, is forced to provide lodging for five British soldiers. What follows is a long night of mounting tension that starts with music and dance and ends in horror. But who is the aggressor and who the victim? With the coming of dawn, nothing is as it seemed in the night. The cinematography, by Nathalie Moliavko-Visotsky, is superb, with deep amber lighting. The music, by Michel Cusson, matches the period and the place, as do the costumes by Madeleine Tremblay. Artistic director Raymond Dupuis also contributes to the overall look of the film. Guérard, as the heroine Espérance, combines a serene beauty with the toughness of a warrior, so that both her calm at the beginning of the night, and her violence at the end, are equally believable. Other excellent performances are given by Lothaire Bluteau, Anthony Lemke, Vincent Leclerc, Arthur Holden and Peter Miller. Rouge sang is a horror thriller masterfully done.
Feb. 1-8, 2013 COMMUNITY DIGEST 9 COMMUNITY NOUVELLES DIGEST COMMUNAUTAIRES SECTION DE NOUVELLES FRANÇAISES L’exposition Des murs entre les hommes (Photo : Lindsey Sharman) L’exposition Des murs entre les hommes de passage en ville par Irénée Rutema CALGARY -- Depuis le 14 janvier dernier, les amateurs d’art de la métropole albertaine peuvent visiter cette exposition photographique à la Gallérie des Fondateurs située aux Musées militaires. Il s’agit d’une présentation de 8 murs qui constituent des barrières entre les humains photographiés par deux politologues français, Alexandra Novosseloff et Frank Neisse. Les murs en vedettes représentent la zone démilitarisée entre les deux Corées; la ligne verte à Chypre; les « Peacelines » de Belfast; le « Berm » du Sahara occidental; le mur-frontière entre les États-Unis et le Mexique; les barbelés de Melilla à Ceuta, la barrière électrifiée au Cashemire et le mur en Palestine. Lindsey Sharman (Photo: James Michael) « J’ai choisi cette exposition car je crois que les conflits représentés sont importants et que les Calgaréens devraient être au courant de ce qui se passe ailleurs », a indiqué la curatrice à la Gallérie des Fondateurs Lindsey Sharman. En outre, elle considère que l’art est un moyen efficace pour sensibiliser le public sur les problèmes complexes. Elle a ainsi constaté que les visiteurs sortent de l’exposition avec un intérêt palpable de la situation triste des êtres humains qui doivent vivre quotidiennement avec ces murs. « Les gens sont intéressés. Il y a beaucoup d’intérêts dans cette ville pour ce genre d’art », a-t-elle remarqué.
Page 1 and 2: $1.25 (GST included) ISSN: 1923-102
Page 3 and 4: Feb. 1-8, 2013 COVER STORIES Kerry
Page 5 and 6: Feb. 1-8, 2013 ALBERTA by N. Janmoh
Page 7: Feb. 1-8, 2013 PEOPLE by Bev Betkow
Page 11 and 12: Feb. 1-8, 2013 FRANCOPHONIE-OUEST U
Page 13 and 14: Feb. 1-8, 2013 PREMIÈRES NATIONS D
Page 15 and 16: Feb. 1-8, 2013 LES ARTS par A. Thob

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