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CALENDA R ( COMMUNITY SPORTS ARTS F ILM MUSIC) LIST I N GSTHE IMAGINARIUM OF DOCTORPARNASSUS D: Terry Gilliam; with Heath Ledger,Christopher Plummer, Tom Waits, Lily Cole, Andrew Garfield, VerneTroyer, Johnny Depp, Colin Farrell, Jude Law. (PG-13, 122 min.)Christopher Plummer is delightful as this movie’smaster magician and impresario of the ricketyImaginarium, a traveling road show that featuresa mirrorlike portal into one’s unconscious, but thereal Parnassus here is Gilliam. In what has almostbecome his signature m.o., Gilliam rescues his filmfrom the jaws of disaster – this time when his starHeath Ledger died abruptly midway through filming.Concocting a scenario that almost works seamlessly,three actors – Depp, Farrell, and Law – wereenlisted to play different aspects of Tony, the nameof Ledger’s character who entices people to partwith their money and trip through the Imaginarium.This “continuity snafu” is not what underminesThe Imaginarium of Doctor Parnassus. Instead, theproblem resides with the story itself, or rather, thelack of story. Co-written with Charles McKeown, withwhom Gilliam also wrote Brazil and The Adventuresof Baron Munchausen, the scenario doesn’tcontain much activity beyond the initial setup.(01/08/2010) – Marjorie Baumgarten★★★ Alamo Drafthouse South, Arbor, Barton CreekSquare, Dobie, Tinseltown North, Tinseltown SouthINVICTUS D: Clint Eastwood; with Morgan Freeman, MattDamon, Tony Kgoroge, Julian Lewis Jones, Adjoa Andoh. (PG, 134 min.)Freeman teams up once again with directorEastwood to play South African president and internationalhero Nelson Mandela. The story is basedon John Carlin’s book Playing the Enemy: NelsonMandela and the Game That Made a Nation. Thegame in question is rugby, and the events surroundMandela’s enthusiastic support of the South Africanteam’s attempt to win the 1995 Rugby World Cup.Although a fan of the sport, Mandela’s actionswere born of an ulterior motive: that of building apost-apartheid nation. With racial tensions highafter his release from prison and ascension to thepresidency, Mandela saw a means of bridging thefears between his newly powerful black constituencyand the fearful, white old guard. Eastwood’s direction,though typically assured and understated, isnevertheless flabby at times. Yet Invictus remainsinspiring and educational, especially during thispresent time in America in which we are supposedlymuddling our way into a post-racial society.(12/11/2009) – Marjorie Baumgarten★★★ Barton Creek Square, GatewayIT’S COMPLICATED D: Nancy Meyers; with MerylStreep, Alec Baldwin, Steve Martin, John Krasinski, Lake Bell, CaitlinFitzgerald, Zoe Kazan, Hunter Parrish. (R, 118 min.)The thing about It’s Complicated is that it’s not… complicated. Writer-director Meyers has cometo specialize in making wish-fulfillment fantasiesfor middle-aged women in which smart, professional,single, Caucasian women of a certain agehave wonderful careers, picture-perfect homes,and love affairs aplenty. In It’s Complicated, Streepplays Jane Adler, a Santa Barbara, Calif., restaurateurwho is 10 years divorced from Jake (Baldwin)when they begin having an affair. Also present inJane’s life is Adam (Martin), the architect who isoverseeing the planned expansion of her alreadyperfect home. Many are the amusing and knowingmoments in this comedy, yet the fabric of Meyers’fantasy is too gossamer to sustain the weightTattooed Under FireTattooed Under Fire (2008) D: NancySchiesari. (NR, 56 min.) AFS Documentary Tour.Soldiers and their custom of getting tattooedpre- and post-deployment is the subject of thisdocumentary by UT film professor and cinematographerSchiesari. From a tattoo parlor outsideFort Hood, the personal stories of thesewarrior marks are revealed by six central characters.See “The Body as Canvas, Readying forLife in a Kill Zone,” p. 40, for an interview withSchiesari, who will be present at the screeningfor a Q&A. @Alamo Ritz, Wednesday, 8:30pm.of their truths. Streep, who is usually so impressive,seems little more than ordinary in this work,and Martin’s unique talents are sadly wasted.Meyers has a good feel for contemporary comedy;it’s reality, however, that slips through her grasp.(12/25/2009) – Marjorie Baumgarten★★★■Alamo Drafthouse Lake Creek, Barton CreekSquare, CM Cedar Park, Hill Country Galleria, CM RoundRock, Southpark Meadows, Gateway, Metropolitan,Tinseltown North, WestgateLEAP YEAR D: Anand Tucker; with Amy Adams, MatthewGoode, Adam Scott, John Lithgow, Noel O’Donovan, Kaitlin Olson.(PG, 97 min.)Brit director Tucker’s film is a soulless, Lifetime-liteflibbertigibbet of a movie. Leap Year is a desperatelyunfunny depiction of a Boston society-girl wannabewho, blanching and distressed in the face of yetanother nonproposal from her cardiologist beau(Scott), secretly follows the ungroom in question to YeAuld Eire with plans to ensnare him on the titular date(according some arcane leprechaunic lore, it’s doablein Dublin). Anna (Adams) is coiffed and costumed toresemble an uptown cross between The Quiet Man-eraMaureen O’Hara and vintage Nicole Kidman, but thecharacter is ill-flavored with a sort of ugly-Americanperkiness that sets your nerves on edge and makesyou wonder in all seriousness if Tucker isn’t employingsome sort of wickedly dry, highly unsubtle culturalcritique on both the U.S. and Ireland. Leap Year is aperfect template for romcom mediocrity, from its cookie-cutterscript to the stupendously absent electricitybetween Adams and her coy Irish rover boy (Goode).(01/08/2010) – Marc SavlovBarton Creek Square, CM Cedar Park, Hill CountryGalleria, CM Round Rock, Southpark Meadows,Highland, Gateway, Tinseltown North, TinseltownSouth, WestgateJames Brown: Live atthe Boston Garden, 1968James Brown: Live at the Boston Garden,1968 (2004) (NR, 80 min.) Music Monday. This isthe famous James Brown concert that was broadcaston WGBH in Boston, on April 5, less than 24 hoursafter the assassination of Dr. Martin Luther King Jr.As violence was breaking out across America, BostonMayor Kevin White was considering canceling all publicevents, including the James Brown concert. Butthe “hardest working man in show business” keptthe date, dedicated the show to King, and electrifiedthe audience. WGBH broadcast the show live at themayor’s urging, to encourage people to stay homeand watch TV instead of roam the streets and riot.@Alamo Ritz, Monday 9:40pm.THE MEN WHO STARE AT GOATSD: Grant Heslov; with George Clooney, Ewan McGregor, Jeff Bridges,Kevin Spacey, Stephen Lang, Robert Patrick, Waleed Zuaiter, StephenRoot. (R, 93 min.)All goats aside, this is one odd duck. A title cardreads, “More of this is true than you would believe,”but it’s impossible to tell what’s factual in this fictionalizedtake on Jon Ronson’s book about Army experimentsin the paranormal because it all sounds sodeeply ludicrous. It’s never uninteresting – but neverentirely successful, either. Reeling from his wife’sinfidelity, journalist Bob Wilton (McGregor) leaveshis podunk paper in Ann Arbor, Mich., for Iraq, andbumps into the story of a lifetime, packaged neatlyin the mustachioed frame of Clooney’s Lyn Cassady,psychic spy. This is Heslov’s first time directing, afterco-writing and producing with Clooney Good Night,and Good Luck., and there are too many tiny blundersto call his debut a triumph. Still, there is Clooney’sdeceptively layered performance, some startling bitsof laugh-out-loud absurdity, and the not-at-all-negligiblepleasure to be had in a cockeyed point of view.(11/06/2009) – Kimberley Jones★★★ Movies 8NINE D: Rob Marshall; with Daniel Day-Lewis, Marion Cotillard,Penélope Cruz, Nicole Kidman, Judi Dench, Kate Hudson, SophiaLoren, Fergie, Ricky Tognazzi. (PG-13, 118 min.)For a film director whom we’re told is creativelyblocked, Guido Contini (Day-Lewis) has a rich panoramaof images cascading about his brain. Mostof his images are of the women in his life dancingabout elaborate stages in corsets. Marshall hasgathered an impressive stable of on- and off-screentalent but never gets these various pieces to jell.It’s a bold move to film a musical with cast memberswho, apart from Fergie and Cotillard, are notknown to possess any singing or dancing skills.Each musical number gives the appearance ofhaving been doctored to within an inch of its lifewith crazy pans, cuts, differing film stocks, jewelbedeckedcostumes, and eye-catching movementsconstantly grabbing our focus. Day-Lewis also performsand dances two numbers obligingly, but thechinks in this great actor’s performance arsenalshow. Also, much of the film’s music is instantlyforgettable. (12/25/2009) – Marjorie Baumgarten★★ ArborNINJA ASSASSIN D: James McTeigue; with Rain,Naomie Harris, Ben Miles, Rick Yune. (R, 99 min.)Pitched somewhere between a preadolescentboy’s fantasy world of nunchaku and shuriken (orfighting sticks and throwing stars) and a wildlyoff-kilter exercise in homoerotic beefcakery, thisastonishingly crappy slo-mo gorefest proves onceand for all that McTeigue wasn’t the man responsiblefor the excellent V for Vendetta and that the writer/producer Wachowski brothers were. I’m not surethere’s anybody at the helm of Ninja Assassin, whichjust flat-out sucks rice dumplings, beginning withits generic title on down to its preposterously dumbview of the ups and downs and, you know, bulletavoidancetechniques of your average contemporaryninja. That would be ginchy Korean pop-lite star Rainwho plays Raizo, abducted as a child by the not evenvaguely mysterious Ozuno Clan, and thereafter raisedto be, like, totally unkillable and way superbuff. Theconvoluted and really, really lousy storyline has sexyInterpol agent Mika Coretti (Harris) digging up connectionsbetween international assassinations andthe Ozunus. (11/27/2009)– Marc SavlovMovies 8PLANET 51 D: Jorge Blanco; with the voices of DwayneJohnson, Jessica Biel, Justin Long, Gary Oldman. (PG, 91 min.)Planet 51 is innocuous to the point of distraction.While the CG animation is colorful and vibrant, thestory is little more than a compilation of sciencefictionclichés. Planet 51’s main gag is the reversal ofthe ancient (by Hollywood standards, anyway) genreconvention of society’s fear of alien invasion. Here, it’sthe green-skinned, droopily antennaed aliens who areterrified of a lone human spaceman (Johnson), whocrash-lands into their world. In a sop to Hollywood’sgolden age of science-fiction filmmaking, the wholeplanet closely parallels Fifties Americana, right downto the Happy Days slang and the monster-moviematinees playing at the local movie theatre. I couldgo on and on about Planet 51’s multitude of directreferences to its sci-fi antecendents, but the bottomline is that Planet 51, while expertly executed animationwiseand passably entertaining for very young kids(less so for their parents), is still as dull as the hull onRocketship X-M. (11/20/2009) – Marc Savlov★ Movies 8PRECIOUS: BASED ON THEw NOVEL ‘PUSH’ BY SAPPHIRED: Lee Daniels; with Gabourey Sidibe, Mo’Nique, Paula Patton,Mariah Carey, Sherri Shepherd, Lenny Kravitz. (R, 109 min.)Much like its title protagonist Precious – a sexually,emotionally, and physically abused 16-year-oldAfrican-American girl who is functionally illiterate,morbidly obese, and pregnant with her second childfathered by her own father – this film is a roughhewnentity with unlikely odds for success. Yet boththe character and the movie overcome their handicapsto become the kind of success stories thatthe American mythmaking machinery loves to love.Claireece Precious Jones (Sidibe) and her mother,Mary (Mo’Nique), are women we rarely notice. Butinstead of looking the other way, this movie and thepopular book on which it is based place them frontand center. Newcomer Sidibe is a real find and notjust a looming presence and narrative device. Danielshas also done a marvelous job of casting famousfriends of his and getting heart-stirring, strippeddownperformances from them all. Despite achievingsuch a remarkably raw and naturalistic tone, Danielsups the ante with extreme melodramatic touches.(11/20/2009) – Marjorie Baumgarten★★★ MetropolitanTHE PRINCESS ANDw THE FROG D: Ron Clements, John Musker; withthe voices of Anika Noni Rose, Bruno Campos, Keith David, Michael-Leon Wooley, Jennifer Cody, Jim Cummings, Peter Bartlett, JohnGoodman, Jenifer Lewis, Terrence Howard, Oprah Winfrey. (G, 97 min.)The Disney 2-D animators, who have been losingface, of late, to their CG and 3-D brethren, here stagea bold, vibrant, and altogether bloodless coup on allthings Pixar, and whaddaya know? They win. (For now,anyway.) Set in Twenties-era New Orleans, this umpteenthversion of what was originally a Brothers Grimmfairy tale makes the Crescent City a major characterin and of itself while dusting off the old story ofgirl-meets-frog and tricking it up with all manner ofraucous, jazzy hoodoo, voodoo, and bayou panache.Directors Clements and Musker are the guys behindAladdin and The Little Mermaid, and they employ theirkeen senses of story, pacing, and killer comic rhythmto support a new twist (several, actually) on an oldamphibian. Also, the film features a nearly all African-American cast. It’s Disney’s best traditionally animatedouting in ages. (12/11/2009) – Marc Savlov★★★★■Barton Creek Square, CM Cedar Park, HillCountry Galleria, CM Round Rock, Southpark Meadows,Gateway, Tinseltown North, Tinseltown South, WestgateTHE ROAD D: John Hillcoat; with Viggo Mortensen, KodiSmit-McPhee, Charlize Theron, Robert Duvall. (R, 119 min.)Cormac McCarthy’s novel, by any standard, isno one’s idea of a giddy, fun, summer beach read.It’s the story of a father and son (credited as“Man” and “Boy”) wandering through a blightedAmerican wasteland beset by some (unnamed)catastrophe. Cannibalism, rape, and worse arethe order of the day, but McCarthy’s unswervinghumanity sees the novel through to a conclusionthat is no less wrenching for the rusty sliver ofhope it offers. Director Hillcoat proves an inspiredchoice to helm this film adaptation, and his renderingof McCarthy’s words can’t be faulted for itsvisual replication of the author’s grim picture ofmankind’s final days. Mortensen, viewed either asa patriarchal Christ figure or simply as a devotedfather, works minor miracles in what is essentiallya one-note role. Who knew there were so manyfacial expressions approximating unrelentingdespair? (11/27/2009)– Marc Savlov★★★ Tinseltown South66 T H E A U S T I N C H R O N I C L E JANUARY 15, 2010 a u s t i n c h r o n i c l e . c o m
CALENDA R ( COMMUNITY SPORTS ARTS F ILM MUSIC) LIST I N GSSHERLOCK HOLMES D: Guy Ritchie; withRobert Downey Jr., Jude Law, Rachel McAdams, Mark Strong, EddieMarsan, Kelly Reilly, James Fox, Hans Matheson, Geraldine James.(PG-13, 128 min.)Ritchie has reinvented the chilly, brainiac characterof Sherlock Holmes as a tortured genius, ladies’man (sort of), and occasional backroom brawler.As played by Downey Jr. (an inspired casting choicethat works in the film’s favor), this incarnation is apost-millennial man of action. With Watson (Law,another spot-on bit of casting) at his side, Holmesuncovers a satanic plot that takes him from thelowliest subterranean hellholes to the highest levelsof Parliament. Ritchie manages to mostly restrainhis more florid directorial flourishes while creatinga CGI London so benighted and soot-heavy youcan practically smell it. This is Downey Jr.’s film allthe way, and while literary traditionalists and BakerStreet Irregulars (of which I am one) may find thisHolmes’ penchant for face-crunching fisticuffs andback-alley chases a sad sop to the action-jadedaudiences of the 21st century, the actor’s moremasculine interpretation of the character is neveranything less than startling, fresh, and altogetherentertaining. (12/25/2009) – Marc Savlov★★★ Alamo Drafthouse Lake Creek, AlamoDrafthouse South, Alamo Drafthouse Village, BartonCreek Square, CM Cedar Park, Hill Country Galleria,CM Round Rock, Southpark Meadows, Dobie, Highland,Gateway, Tinseltown North, Tinseltown South,Westgate3 IDIOTS D: Rajkumar Hirani; with Aamir Khan, KareenaKapoor, Madhavan, Boman Irani, Sharman Joshi. (NR, 172 min.,subtitled)Not reviewed at press time. Two friends embarkon a quest for their lost buddy in this new Bollywoodcomedy. (12/18/2009) – Marjorie BaumgartenTinseltown North, Tinseltown SouthTHE TWILIGHT SAGA: NEWMOON D: Chris Weitz; with Kristen Stewart, RobertPattinson, Taylor Lautner, Ashley Greene, Michael Sheen, PeterFacinelli, Billy Burke. (PG-13, 130 min.)Catherine Hardwicke started the saga with lastyear’s Twilight, a deliciously trashy mash of pulp andpop art that managed to take seriously its centrallovers – doomy vampire Edward (Pattinson) and histeenage human paramour, Bella (Stewart) – whilemaintaining a sense of humor about itself. ButSummit Entertainment chucked Hardwicke for thesecond installment, and her successor, Weitz, bringszero sense of play or sexual energy to the piece. It’sas if everything’s been buffed to achieve maximumbanality. At the film’s beginning, Edward dumpsBella – like, the day after her birthday, OMG – andis mostly absent in New Moon, which turns out tobe a boon. Bella, incapacitated with grief, turns toher old pal Jacob (Lautner), but then Jacob startsmorphing into a werewolf. The digital effects hereare top-notch (as were the ones Weitz supervisedin his last film, The Golden Compass), and NewMoon excels in two centerpiece action sequences.(11/27/2009) – Kimberley Jones★★■Gateway, Metropolitan2012 D: Roland Emmerich; with John Cusack, Amanda Peet,Chiwetel Ejiofor, Thandie Newton, Danny Glover, Woody Harrelson,Oliver Platt, Zlatko Buric, Beatrice Rosen, Liam James, Morgan Lily.(PG-13, 158 min.)Life is simple in Emmerich’s films. Confrontedwith unprecedented perils, the characters in hisdisaster epics manage to reaffirm their brokenloves, make amends for slipshod parenting, and,most impressively, outrun fireballs and certaindeath with their hides and wits intact. Emmerichtakes the disaster-movie genre to its logical conclusionin 2012, obliterating or reconfiguring vastswaths of the planet’s surface (solar storms boilthe Earth’s core; tectonic havoc ensues) and providinga 158-minute thrill ride that zips by like the realthing. Over the duration, there are homages (or lifts)to apocalyptic exercises of decades past (particularlyWhen Worlds Collide) and plenty of cheeky referencesto Emmerich’s own résumé. 2012 is PTSD –Popcorn Thrills and Sappy meloDrama – supersizedto counter current real-world terrors, and it is, byturns, thrilling, ridiculous (the script, by Emmerichand longtime co-writer Harald Kloser, is riddled withhowlingly goofy lines and seriously improbable deusex-machinamoments), and just plain big, dumb fun.(11/13/2009) – Marc Savlov★★ Movies 8wUP IN THE AIR D: Jason Reitman; withGeorge Clooney, Vera Farmiga, Anna Kendrick, JasonBateman, Amy Morton, Melanie Lynskey, J.K. Simmons, Sam Elliott,Danny McBride. (R, 109 min.)Either by design or default, Reitman has customeda film perfectly in tune with these economicallydistressed, tetchy times, which may explainthe near-universal hosannas with which Up in theAir has been met. Reitman sets the film in motionwith an opening-credit sequence that highlights howAmerica’s vistas look from up above – apropros,considering that’s where “career transition counselor”Ryan Bingham (Clooney) spends most of histime. Bingham, by choice, is a man without countryor close ties, but very quickly two women (Farmigaand Kendrick) arrive in his life to shake up thestatus quo. Reitman’s instincts, of both timing andtone, can feel just a hair off in the film’s imperfectfirst and third acts. But the middle is terrific, especiallyin a lengthy, unassuming scene in which thethree leads sit, sip drinks, and have a good chat:It marks one of the great celluloid pleasures of theyear, so virtuosically written, performed, and filmedis it. (12/18/2009)– Kimberley Jones★★★★■Alamo Drafthouse Lake Creek, AlamoDrafthouse South, Arbor, Barton Creek Square, CMCedar Park, Hill Country Galleria, CM Round Rock,Southpark Meadows, Tinseltown North, TinseltownSouth, WestgateWHERE THE WILDw THINGS ARE D: Spike Jonze; with MaxRecords, Catherine Keener, Mark Ruffalo, Pepita Emmerichs, SteveMouzakis; with the voices of James Gandolfini, Lauren Ambrose, PaulDano, Catherine O’Hara, Chris Cooper, Forest Whitaker. (PG, 94 min.)This is a freewheeling but tonally and aestheticallytrue adaptation of Maurice Sendak’s 1963 children’sbook. Jonze, in collaboration with co-screenwriterDave Eggers, seems to have tapped every primalfeeling along the spectrum – joy, grief, rage, a relishfor mayhem – and put it onscreen for our viewingpleasure. And a pleasure it is – the rare children’sfilm that isn’t coded for adults or made corny and flipfor kids. Working with Jim Henson’s Creature Shopand adapting quite literally Sendak’s original etchings,Jonze has put to film what generations of childrenhave only dreamed about: the nearness and dearnessof Sendak’s woolly beasts. One of the many delightsof the film is in how physical it is (somebody is alwayspummeling somebody else and then following thebeating with a bruising bear hug). There are minorgrievances with the film, all technical, but they franklyfeel inconsequential when put next to the film’s overalleffect. (10/16/2009) – Kimberley Jones★★★★ Movies 8wTHE YOUNG VICTORIAD: Jean-Marc Vallée; with Emily Blunt, Rupert Friend, PaulBettany, Miranda Richardson, Jim Broadbent, Mark Strong, ThomasKretschmann, Jesper Christensen, Harriet Walter. (PG, 100 min.)How young is young Victoria? At the film’sbeginning, she’s just 17, with all the sullennessyou would expect from a shut-in future queenfending off attack from her maman and prospectivesuitors cherry-picked by two kings. Bluntconvincingly portrays the Princess Victoria asbullied and slightly silly but, most of all, desperatelyalone. Scriptwriter Julian Fellowes makesadmirable work of shorthanding the complicatedlineages and motives and manueverings. DirectorVallée leans on candelight for several key scenes,and the effect is not only gorgeous but alsointimates the deepening attachment betweenVictoria and Albert – one that was mutually feltbut not spoken about plainly. (Having just earnedher independence, Victoria isn’t keen on giving itup again so soon.) All told, The Young Victoria isa very well-made if not especially memorable picture,moving with all the grace and steadfastnessof a waltz Victoria and Albert share, but absentany urgency or anything particularly exclamatory.(12/25/2009) – Kimberley Jones★★★★■Arbor, MetropolitanYOUTH IN REVOLT D: Miguel Arteta; withMichael Cera, Portia Doubleday, Jean Smart, Zach Galifianakis,Mary Kay Place, Justin Long, Fred Willard, Ray Liotta, SteveBuscemi, Ari Graynor, Adhir Kalyan. (R, 90 min.)Taken from C.D. Payne’s early Nineties epistolarynovel, Youth in Revolt chronicles the torturedlife of Nick Twisp (Cera), a teen living mostly friendlesslyin Oakland, Calif. Nick’s life takes a turn forthe better, however, when a family outing to a trailerpark puts him in the path of Sheeni Saunders(Doubleday). She’s sharp, educated, and cool totouch, at home in bikinis and Fifties shirtdresses.She drives Nick wild. Cera is fine here, and hisrange broadens some when Nick invents an alterego named François – chain-smoking, troublemaking– because, as Nick puts it, “my one and onlylove wants me to be bad.” Gustin Nash’s scriptconsistently delivers on situational laughs, evenif he never shades in the characters beyond merepencil sketch. And given the edgy bent of directorArteta’s stand-out earlier work (The Good Girl,Chuck & Buck), there’s a surprising lack of bite tothe film. (01/08/2010) – Kimberley Jones★★★ Alamo Ritz, Barton Creek Square, Hill CountryGalleria, CM Round Rock, Southpark Meadows, Highland,Gateway, Tinseltown North, Tinseltown SouthCheck Film Listings online for full-length reviews,up-to-date showtimes, archives, and more!austinchronicle.com/filma u s t i n c h r o n i c l e . c o m JANUARY 15, 2010 T H E A U S T I N C H R O N I C L E 67
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Prodigious Songcraft Blooms in Sarah Jarosz - The Austin Chronicle

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