Oct. 7, 2009
WEEKEND FIRST: Movie Comings and Goings
By Tony Rutherford
Huntingtonnews.net Entertainment Editor
Huntington, WV (HNN) – Call it a rarity. Summer tent-pole season has passed, but this weekend, there’s only one new film in wide release. The marketing pattern normally accompanies a release that has a huge, impregnable following. In the case of Oct. 9, well, it’s fall. This isn’t the best time of the year for new Hollywood releases.
“Couples Retreat” puts Vince Vaughn, Jason Bateman, Kristen Bell, Kali Hawk and others on a not-so-enchanted fantasy island for a stress relieving retreat from life. Yes, they thought this was a free, no strings attached trip. The catch (kinda like those real estate tours) --- the therapy sessions are mandatory.
Filmed on the beautiful isle of Bora Bora (French Polynesia), there are four couples who are about to find themselves grasping issues faced by couples all around the world, rather than enjoying snorkeling, jet skis and the spa.
Next week, choices blossom abundantly with “Law Abiding Citizen ( Family man endures brutal home invasion killing of wife and daughter, only to watch killer go virtually free through a plea bargain. The victim will take him down just as soon as the prison gate opens, but he’s issued a challenge to the prosecutor --- fix the flawed justice system now, or watch the assassination of high profile movers and shakers); “The Stepfather” ( Michael’s home from boarding school, but mom’s new BF has a dark side);
“Where the Wild Things Are” ( young body stranded on island meets strange, mysterious and emotional creatures); and, maybe, “Black Dynamite” (a hero fighting from blood soaked streets to Honky House).
NOT TO BE MISSED HOLD OVERS
The Columbus Day sorta holiday will allow you to catch up on some neglected offerings that rolled out and into the multiplex with strings of three or four others (i.e. “Surrogates,” “Invention of Lying,” “Whip It,” and a last chance for catching “Inglourious Basterds” on the big screen.
ZOMBIELAND: Grab some innards and a sharp knife, cannibalistic zombies have taken over the country. But, the film’s a well conceived satire on the “Living Dead” genres (and variations), blending snappy arrogant youth wisecracks with the feel of an after the appocalypse story.
All Pictures © MGM
Picking up as Columbus (Jesse Eisenberg) trudges down highways filled with gutted corpses, he manages well the often fatal ‘talk to the audience’ maneuver, specifically, his survivor rules, which click in bright subtitles like winning game show answers on the screen.
Woody Harrelson, as redneck Tallahassee, joins up with Columbus for the remainder of the flick. He’s a crack shot and a Twinkie lover.
Testoserone still exists after world’s end, so Columbus’ dream is to find a girl who won’t eat him. A pivotal pairing puts Wichita (Emma Stone) and Little Rock (Abigail Breslin) as a non virus ingested pair of young women. Director and writers pump gender warfare hemoglobin through many of these scenes, keeping audiences guessing what’s next.
Ranging from zany and insane to occasionally blemished , “Zombieland’s” first clunk in the road occurs when the group desire to live like a celebrity. Without naming the ‘who,’ the recreational stop scores 50%, sagging into the realm of predictability before moving onward.
Interestingly, the pic wraps at a theme park (Eisenberg had a role in ‘Adventureland’ from summer), where amusement rides turn zombie bashers.
Continually switching perspectives and pumping in those (ring!) rules and lists, this zombie kill offers more than your ordinary eating and ripping body parts comedy. Yes, you’re going to love these innards, pass me another arm, please, thank you.
For Movie Changes/Times, CLICK HERE.
For a review of SORORITY ROW, click here. http://www.huntingtonnews.net/columns/090913-rutherford-columnssororityrowmovie.html
For a review of GAMER, click here: http://www.huntingtonnews.net/columns/090911-beck-columnsgamermovie.html
For a Review of All About Steve/Time Traveler’s Wife, click: http://www.huntingtonnews.net/columns/090909-rutherford-columnsromanticcomedy.html
For Review of FINAL DESTINATION, CLICK HERE
For Review of INGLORIOUS BASTERDS, CLICK HERE
For Review of ALL ABOUT STEVE/TIME, CLICK HERE
For REVIEW of SURROGATES, CLICK HERE
For REVIEW of INVENTION OF LYING, CLICK HERE
For UPCOMING Releases, CLICK HERE
RUTHERFORD ON FILM: 'Final Destination' Grabs 3D for Intricate, Disaster Genre Flavored Action and Formula Flying Bits of Bodies
By Tony Rutherford
Huntingtonnews.net Entertainment Editor
Huntington, WV (HNN) -- You know the formula for this franchise. Death premonitions send individuals to their blood splattering deaths, even as they attempt to alter the future. Borrowing a little from the disaster genre, “Final Destination IV in 3D,” seats us in a creaky NASCAR stadium where the whirling wheels menace spectators.
Given the lusture of a broad canvas in gorgeous digital 3D ( the depth even on the panoramic shots is perfect) , the impending death warnings absorb a detailed gauge of tiny mechanical failures, which combine with another just out of sync bolt, chandelier twisting, or cracked wooden slat . Put all of the combined coincidental inanimate object breaking, minutely regarded action by a human, and numerous small sharp objects penetrating flammable liquid time flukes into a series of chilling events which raise your accident awareness radar for the “meant to be” dark arms of fate.
3D has progressed beyond artificial sharp object positioning and body parts flying into the audience. Both occur, but not more overtly than traditional splatter.
This “Destination” has “The Ring” roots, as the designated second chance at life survivors grapple with their , perhaps, modest reprieve from the grim reaper. The teens bond in desperate attempts to interrupt the death cycle, which will supposedly disrupt the curse, which injects race against the clock elements and less reliance on tell-tale set ups forecasting the butchers arrival.
Formula aside, “Destination” incorporates more car chases, more thinking, more complex accidents (the overrun hospital bathtub) than earlier entries. Would be heroics --- and the after responsibilities that accompany --- offset the crunch, thud, impalement(s) bloody body part punchlnes.
If the genre appeals to you, “Final Destination” gives you substance until the next blood-letting, even as the filmmakers exercise restraint so that it stays in the horror/thriller category not the torture genre carved by “Saw” and its successors.
1/2 out of
MOVIE REVIEW: 'Inglourious Basterds' : World War II War Epic by Tarantino 'Masterpiece'
By Jeff Beck
Special to Huntingtonnews.net
After "Death Proof," fans were wondering if Quentin Tarantino had lost his edge. Now he brings us his next film, "Inglourious Basterds," a project that was about ten years in the making. He had written a little of the screenplay several years ago and only recently finished it, finally getting the project rolling after he promised to have it at the Cannes Film Festival in 2009. It may sound like the film was rushed, having gone from his promise to casting, pre-production, filming, and editing within a year, but the final product shows no signs of it as Tarantino has delivered yet another masterpiece.
Tarantino's big war epic begins in Nazi-occupied France with the introduction of the main antagonist, Col. Hans Landa (Christoph Waltz) of the S.S. He makes a house call on a family of dairy farmers that is believed to be hiding a family of Jews. The head of the family gives them up in return for his family's safety for the rest of the war. What ensues is a bloody massacre of the Jewish family save one, Shosanna Dreyfus (Mélanie Laurent). She escapes after Col. Landa makes an odd decision not to shoot at her.
The second chapter (Tarantino has divided the film into five chapters) introduces the protagonists know as The Basterds, led by Lieutenant Aldo Raine (Brad Pitt). They have been dropped behind enemy lines with only one purpose: to kill as many Nazis as they can. As Lt. Raine explains to us, they are there to show the utmost cruelty to the Nazis and to collect 100 Nazi Scalps each.
The third chapter takes us to the main plot of the story. Shosanna, now under a French alias, runs a cinema where she meets a young German soldier, Fredrick Zoller (Daniel Brühl). We learn that Zoller is a war hero and that the man in charge of the German film industry, Joseph Goebbels (Sylvester Groth), has made a film about his accomplishments. He planned to have the premiere at a large theater elsewhere, but Zoller has convinced him to change the venue to Shosanna's cinema, giving her the perfect opportunity to exact her revenge. Meanwhile, the Basterds are given orders to infiltrate that very premiere and do what they do best.
I, too, was greatly looking forward to this film, being very familiar with his previous masterpieces "Reservoir Dogs," "Pulp Fiction," and "Kill Bill." It was everything I hoped it would be. After having heard early reports out of Cannes that it was "too talkative" (a common misconception with Tarantino's films), it worried me a bit that Tarantino might have rushed the film too much. However, for a film that is two and a half hours and is around 95 percent dialogue driven, it flew by in a snap.
Tarantino has a magnificent knack for writing dialogue that pulls the viewer directly into the situation. He makes it feel as if you are truly witnessing these events. Of course, much of the credit has to go to the cast, particularly Christoph Waltz and Brad Pitt, for their excellent delivery. Pitt plays Aldo Raine just short of making him a hillbilly stereotype. Sure he's funny at times, but he's not there for only that purpose.
By far the greatest performance in the film goes to Christoph Waltz as Col. Hans Landa. Those same reports from Cannes also gave much praise to Waltz for his amazing portrayal. Nicknamed "The Jew Hunter," his reputation across Europe proceeds him wherever he goes. When we first meet him, he is warm and friendly, but eventually that persona melts away into a grave tone when he gets around to the actual business at hand.
Later in the film, we see his detective skills at work as he tries to find certain traitors amongst the Germans. Near the end of the film, we see him at his silliest. I won't go into any detail here, but I just want to note that his performance goes the full range of emotions from the beginning of the film to the final scene. You can be certain that Waltz will be receiving an Oscar nomination come awards season.
Tarantino punctuates his film with an amazing score, though it seemed like a lot of it was borrowed from Morricone, famous for his scores for western films. The whole film comes off as Tarantino showing us how much he loves the movies as well as making them. His homages are numerous and undeniable throughout, including the music and the "men on a mission" theme ("The Dirty Dozen" immediately pops into mind). He even includes a lot of discussion on the film industry in Germany, mentioning directors like G. W. Pabst and Leni Riefenstahl, as well as including actor Emil Jannings (most noted for his performances in a couple of M. W. Murnau's films) in the premiere.
The ending will leave some viewers concerned, but that's OK. If you're at all familiar with Tarantino, you know he's not one for following the rules ("Pulp Fiction" was an early example of how to completely split up story structure), so of course, it comes as no surprise when he throws out the history books and invents his own ending. Would it have been nearly as effective if he had just followed what happened in history to the letter? Absolutely not. Think back to the title of the first chapter: "Once Upon a Time.....in Nazi Occupied France." Those first four words should give you a clue.
It becomes hard to think anyone could call a film like this "too talkative." It stands to reason that they are just not listening to the dialogue very closely which flows from the actors like it's being said naturally and keeps the story thoroughly engaging. Tarantino has fashioned a film that has a little something for everyone. There's the dialogue he's become so well-known for which will delight his fans, action which will keep the younger viewers interested, and a great story that will keep all cinema-lovers engaged and transfixed to the screen, which is Tarantino's (perhaps the biggest cinema-lover of them all) purpose all along. 4/4 stars.
A Funny Thing Happened On the Way to a Romantic Comedy… Every Now and Then The Climax Isn’t a Predetermined 'Happily Ever After'
By Tony Rutherford
Huntingtonnews.net Entertainment Editor
Huntington, WV (HNN) -- Romantic comedies have gotten a partially undeserved bad rap -- often automatically relegated to the ‘chick film’ sub category. Why? Predictability. By necessity, boy or girl meets girl (or boy) + baggage + baggage = BREAK UP + (Choose one or all of the following a, stalking; b, telephone harassment; c, intervention, divine or by friends) = Happily Ever After.
Sandra Bullock, whose “Proposal” opened the summer romantic movie season took a tweaked formula and a spice of “Devil Wears Prada” to delight audiences and remain in the box office Top Ten for for seven weeks.
ALL ABOUT STEVE
She’s back --- this time a 180, she’s not the domineering workaholic corporate executive needing a visa (via an “I do”), but an introverted super geek brained crossword puzzle composer addicted to a pair of nearly knee high bright red boots. Her “occupation,” if you can call it that (she’s over 40, still living with parents while her latest apartment disaster is fumigated ) , complements her fast talking, encyclopedic head spouting facts you don’t want to know and essentially deal while she unloads the unwanted knowledge.
Ostracized for lack of normalcy, she’s relegated to writing in a journal, talking to a hamster, and being the female half of a blind date for nerds, gays, obese, and otherwise socially inept men. Told she has to find a life outside of crosswords, her latest date turns out to be a handsome network news cameraman and she lets go of decades of bottled up sexuality in his SUV.
Unfortunately, she’s still in those darn boots when his producer sends him to Boston for breaking news. Convinced he’s her ticket to normalcy, she literally accepts his polite invitation to join him on the scene of the next hottest news story. Trailing him to Oklahoma City, Tucson, and Colorado, she’s too giddy, inept and literal to take a hint.
“All About Steve,” though, finally, recognizes the stalking (following) ingredient of nearly all romantic comedies. Usually, when it’s the gal chasing the guy, well, who enforces any laws. On the otherhand, dudes do have to be careful about crossing the line.
Complications (termed baggage) by necessity make up the bulk of the romance and comedy. The most overused inhibitor of Cupid’s arrow is the ‘I don’t need anyone’ myth. When the two lips come together and part, ‘I love you’ (instantly) smothers the ‘finding myself’ or ‘taking care of myself’ mantra. After weeks of bliss, quandaries , fears and total independence conflicts inevitably drive the perfect couple apart.
Here come the well meaning friends and relatives to further screw up the circumstances, leaving one or both pretending not to wallow in deep, deep depression. Usually, one calls the other’s answering machine every five minutes and the other buries themselves in work. “It can’t go on like this,” “I just want everything to be like it was,” “It’ll get better , I promise,” and ‘I’m sorry” eventually compels both to recognize and go off chasing the estranged person either down the street or around the world.
Our preoccupation with happily ever after jades the creativity of the romantic comedy, I mean, whoa, if the ending is a given, how can a filmmaker keep an audience guessing when most just want to wipe a tear and smile? Imitating the “hi, how are you, have a nice life” of Redford and Streisand’s “Way We Were” risks a dissatisfied audience. In these days of demographic audience tests reality sells on the little tube, but big screen viewers want to exit with either a smile or a challenged intellect. We really do not want to forget Sarah Marshall.
Annie following Steve from assignment to assignment has the audacity to spring an unexpected climax. For that matter, “The Time Traveler’s Wife,” too has the dramatic challenge to emulate a non-waiting at the airport reunion which does not land one of the estranged dealing with Homeland Security.
TIME TRAVELING
What’s a woman’s standard excuse for avoiding a relationship with a potential suitor --- too many faults (translation: Baggage, reality, hung up on the past ,too old/young, not growing enough, or fill in blank) . has wonderful eyes, an attractive body and an appreciation of women; he has one issue – a gene gone array. It causes him without warning to hop forward and backwards in time.
Seeking to reinvent but not remake “Somewhere in Time,” an inherited DNA mutation affliction eases nicely into the story. Unlike Christopher Reeve who convinced us he could hypnotically concentrate himself backwards, “Wife” does not require elaborate explanations. It’s a given; although, the clothes don’t travel with him eventually becomes a little repetitive.
Otherwise, the romance forever interrupted has idyllic softness, fairy tale imaginativeness and utter believability.
Having established the embarrassment of leaping decades into the weeds near a pretty young child with blonde locks, he’s soon enlivens with comic merriment as we learn she’s the impending love of his life. His one trip to the future takes the place of make up roses; he brings back a lottery ticket.
Although this time hopper would be an incredible match for the gal looking for more space, the couple have to contend and deal with him missing or being late for important life events. The delicate beauty of the pic has enhancement by strictly classical strings and instruments. And, the finale will have a few unsuspecting hops, too.
Having analyzed the romantic comedy, I came to realize that they are all about finding the dream. And, you can spring back in time or change your life just like the characters from your favorite “Must Love Dogs,” “Sleepless in Seattle,” or “While You Were Sleeping” feature.
How do you invent your traveling time capsule? Lightning or a tunnel of electronics are unnecessary. Lean back, blot out the noises surrounding you, close your eyes and blacken the canvas, then, pick a happy moment --- channel your thoughts back to any point in life and relive the moment of first connection with a friend, the first time you kissed, and all those hints leading to why she went away. You can still feel her touch, caress her shoulders and how she said our bodies fit perfectly together when hugging.
Christopher Reeve's intense concentration shifted him into another century, but symbolically could this have represented the ability to drift into your past, construct a future, and freeze the moment while designing details and attempting to alter the past by revisiting a pivotal moment and changing one answer, one halting glimpse, and one statement left unsaid.
Where has the romantic comedy gone? Can it change and not be predictable? Do your dreams of finding the soulmate for life and happily ever after go away? If you still wish for a happy life, then, I guess, the romantic comedy will remain with Cupid’s target on its back. That is, as long as enough moviegoers buy the tickets, popcorn and candy.
BECK AT THE MOVIES: 'Surrogates': Technology on Rampage in Thoughtful Science Fiction Action Film
By Jeff Beck
Jonathan Mostow's "Surrogates" is a fascinating sci-fi action flick that brings up some very interesting points and scenarios. Is the human race becoming too dependent on technology? If we had the opportunity, would we completely forgo the smallest movement if we could simply have a machine perform that movement for us? "Surrogates" presents some disturbing answers to these questions.
In the future, a technology has been developed that allows people to act through surrogates, machines that look like people, and are capable of performing just about any task a human can. People can choose what their surrogate will look like, improving on their looks or simply creating a new person altogether. Just about everyone in this future uses these machines, including Tom Greer (Bruce Willis) and his wife, Maggie (Rosamund Pike).
Tom is a policeman who is currently investigating the destruction of two surrogates that led to their users' death. One of these surrogates was being controlled by the son of the man who invented the surrogate technology, Dr. Canter (James Cromwell). The destruction of the surrogates was caused by a powerful weapon being wielded by a man called Strickland (Jack Noseworthy) who is part of an anti-surrogate community called The Dreads, led by The Prophet (Ving Rhames). Tom must quickly discover what this weapon is for and where it is before The Dreads have a chance to use it.
It's interesting to watch as nearly the entire human race has become dependent on these machines. Most people never leave their homes anymore, or even get out of bed for any reason. Tom's wife in particular feels that she IS her surrogate now. Meanwhile, we get to see the real her as she stays lying in her bed, with her graying hair, and multiple bottles of pills nearby.
Tom doesn't seem completely dependent on his avatar though, as we see him up and about in the house at several points, especially after his surrogate is destroyed in a shootout in The Dreads' territory. From here, he has to adjust to using his actual body in the outside world again, but is seemingly able to adjust rather easily, only adding to the possibility that he is not as dependent on his surrogate as much as everyone else is.
Another interesting thing about "Surrogates" is that it doesn't become too dependent on its action scenes. There certainly are a few of these scenes, but they are exciting and not overdone to excess. The film takes the necessary time to explore its themes as Tom tries to explain to his wife how he wants to see the real her, not some machine.
It evokes similar feelings that we've gotten from other science-fiction works like "I, Robot," "Minority Report," and even a little of Huxley's "Brave New World." The human race has begun to think that this is the way things should be; everyone looking exactly the way they want to and not actually having to interact with people.
In a sense, these people have become addicts. The surrogates have become this film's version of Soma, the drug from "Brave New World." The inventor of the technology, Dr. Canter, even admits that the human race has become addicted to the technology. He originally invented it to help people who couldn't walk do so again. I suppose he never imagined that people would use it for unnecessary reasons like pretending to be someone you're not.
"Surrogates" is also worth seeing for its story. From the trailers, it looks like it's nothing more than another loud, dumb action film with Bruce Willis leading the destruction, but I found that it was surprisingly smarter than that. It parallels similar events in today's world as to how many people like to live their lives on their computers using avatars, pretending to be people they're not, from the comfort of their own home. They don't want to risk interaction with real people either, fearing that they would be judged on who they really are and how they really look.
The film ends on a rather ambiguous note, but it is also a note of hope. We can only imagine what would become of a world that goes through these events. Its brief runtime of 84 minutes never outstays its welcome, and goes by very quickly, filling that time with some interesting ideas, and some that could even come true. As I write this review, "Surrogates" is sitting at 38% over at Rotten Tomatoes, but I couldn't tell you why, it's one of the much better sci-fi films I've seen in awhile. 3.5/4 stars.
RUTHERFORD ON FILM: 'THE INVENTION OF LYING'
British Premise Grasps Manna from Heaven… An Original Plot
By Tony Rutherford
Huntingtonnews.net Entertainment Editor
Huntington, WV (HNN) – Is it always a sin to tell a lie?
Cuddled sweetly between the credits of “The Invention of Lying” descends pieces of manna from Heaven. Just partake tongue firmly in cheek.
Putting a solid fist in the gut of a society that worships appearance, wealth and power, Ricky Gervais’s "The Invention of Lying" envisions a world in which man and woman ate the apple, sinned and were banished from Eden, but genetically compelled to always tell the truth.
That banishes those police responses to “How are you?” or “What do you think of my new dress?” Instead, character render straight faced verbalizations of “What an ugly ratty baby” or “You look fat in that dress.”
Pummeling etiquette books on polite niceties , the story has a chubby, stubby nosed loser Mark (Gervais) and beautiful, genetically correct Anna (Jennifer Garner) who’s been too honest about landing a mate. He tells her he has $300 in the bank and is about to get fired. She says he makes her feel good but brutally reserves Date Number Two’s decision to “I’m worried about fat snub nosed kids; I’ll call you if I like you when I sober up.”
Hit by the gloom of life as it is, Mark drops by a Sad Place for Hopeless Old People to visit his ailing mother. At the apartment, a neighbor speaks of last night’s failed suicide attempt --- he took only enough pain killers to make him throw up.
Splendidly rocketing moaning repartee (“see you tomorrow, if I’m not dead”) could become a depressing exercise if not for, the lie. Mark’s dying mom shivers at the bleakness of the blackened nothingness of eternity after death, so to make her feel better, he tells of a Man in the Sky who has prepared a mansion for those who perish on earth. Mom passes with a smile; the doctors and nurses , though, hear the revelation and Mark’s an afterlife prophet .
What places this flick above others --- be it fantasy, spoof, or dark comedy --- is the world of believers. Since no one can lie, Mark’s telling the truth. That leads to a consistent array of inverted consumer scenarios, such as a bank teller apologizing that the system is wrong. The gullibility of the populace sprints higher and higher until he and his friends recognize the power they have gained (or will gain) through manipulation.
Unlike Monty Python’s acidic mocking and disrespectful irreverence, “Lying” has a sugar coated, smiles and butterflies mood.
You must now temporarily face with mostly straight lips daunting philosophies and values, such as what make one a winner or a loser? If it’s success versus failure, how do you define those terms? The amount of zeros at the end of your bank account equals monetary wealth, but does lots of money automatically mean happiness?
When Gervais steps out of the apartment with his Ten Commandments on two Pizza Hut boxes, the premises antes up another notch: Delivering the simple, now, Gervais has to answer qualifiers of good and bad behavior. Into this world, gray is also born.
Garner’s role allows her to be a blend of indecisiveness and control, which prevents the show from falling of the edge of disbelief. You cannot help but love her repeated , “I don’t want little fat kids with snub noses” lines. (Chef Jamie are you reading?)
Norms, values, politically correct, civility, politeness, respect… the adjectives potentially redefining society are endless, under both the “no lie” and “when is it a sin to tell a little white lie” scenarios? One scene brings a little “Life of Brian” recollection, but that sordid religious indictment by Python’s crew, but Gervais astutely does not allow the more heathen concept to divert attention from the absolutely original premise: What would a world without lying be like and how would the first lie impact that civilization?
True, no belly hoots and cackles. Consider, however, the possibilities... obviously, during that time you did not think about life outside of what's on the big white screen.
1/2 out of
HOLD OVERS:
9: In this animated film, the setting is post-apocalyptic after most of mankind has succumbed to fearsome machines. Nine little robot/sack creatures team to defeat the machine set on wiping out the world. From the studio which released, “Coraline,” it’s the second computer animated film to receive a PG-13 rating.
FAME: A can’t wait to see re-booting of a 1980 film in which talented members of the New York City High School of Performing Arts have a chance to live out their dreams which come from hard work, dedication, honing talent, and the ability to over comes plagues of self-doubt in a school where every friend in class can be a competitor at an audition.
Final Destination IV add 3D: Remember, it’s all about premonitions and avoiding the predicted demise of persons seen in the vision. This one adds 3-D and a NASCAR race track. Finally, a non-family animated flick picks up the 3D concept. Let’s hope this Destination has imaginative tricks, treats, and will leave you ducking and scraping the blood off your top. The car wash and NASCAR scenes evoke tension and you find sufficient appendages hurling.
GI JOE RISE OF COBRA: Toys have been the basis for some cool movies, so Hasbro’s G.I. Joe comes to life battling the evil arms dealing forces of Cobra. Rachael Nichols who’s featured in “Star Trek” provides a little eye candy for those that need a bit of eye candy.
THE HANGOVER: Here comes what many predict as the summer comedy sleeper. Director Todd (“Old School,” “Road Trip”) Phillips watched a steady diet of screwball comedy growing up, like “Stripes” and “Revenge of the Nerds,” but you would recognize him best as an Oscar nominated writer of “Borat.” Now, he’s cast Bradley (“Yes Man,” “The Rocker”) Cooper in a Vegas bachelor party gone bonkers. When the three groomsman awake, there’s a tiger in the bathroom of their suit and a six-month old baby in the closet. At ShowWest, Curtis McCall, caught a clip and told us, it’s a comedy of the Aptow style. “It could be hilarious. I don’t think people are aware of it right now, I think it will have a lot of bite.” At least two of those exiting a screening said the movie contained the most laughs of any they had seen previously (and their combined age was over 100 years).
JULIE & JULIA: Unknown to one another, a disgruntled secretary (Amy Adams) spices up her boring life by attempting to cook 524 Julia Child (played by Meryl Streep) recipes in a year. Directed by Nora (“Bewitched,” “You’ve Got Mail,” “Mixed Nuts”) Ephron, the appetite inducing film has started inspiring kitchen inspirations , such as Herb-Roasted Chicken and Butter Poached Main Lobster.
PANDORUM: A horror story set in outer space as two men emerge from deep sleep with no memories of why they are on board the vessel. Warriors share the same ship who don’t want them to remember nor leave the ship alive.
SHORTS: Be careful what you wish for teaches 11-year-old Toe Thompson lots of lessons when a rainbow-colored rock hits him on the head. The rock grants his wishes, but chaos ensures. Jimmy Bennett, who plays Thompson, appeared in “Orphan” and “Star Trek” this summer
SORORITY ROW: A prank gone wrong leads to a murder which the sisters agree to a vow of silence. After graduation, a killer goes after the five and anyone who knows the secret.
SURROGATES: Call this the video gamers absolute obsession --- which, for that matter, appeals to everyone. While slouching as a couch potato, you control a robotic surrogate of yourself in a sexy, pleasant perfect world. Then, someone turns up murdered!
TYLER PERRY’S I CAN DO BAD ALL BY MYSELF: America’s pistol packing grandma, Madea, catches three kids looting her home so she sends the delinquents to their only relative --- Aunt April, an alcoholic nightclub singer. She’s going to have lots of choices to make.
NO MORE ROCKY HORROR: The Cinema Theatre has ended Friday showings of the cult classic "Rocky Horror Picture Show." The floor show producers are looking for another venue.
Starting Oct 9 - Oct 15
HUNTINGTON, WV
MARQUEE PULLMAN: (Now ALL digital projection): Couples Retreat, 1:30-4:15-7:00-9:45; CONTINUING: Invention of Lying, 11:30-2:00-4:30-7:00-9:30; Toy Story & Toy Story 2 in 3D, 11:45-3:45-7:45; Zombieland, 12:20-2:40-5:00-7:30-9:50; Whip It, 11:30-2:05-4:40-7:15-9:55; Fame 11:35-2:05-4:35-7;05-9:40; Pandorum, 11:40-2:10-4:45-7:20-9:55; Surrogates, 12:10-2:30-4:50-7:20-9:40; SPECIAL EVENTS: OPERA IN CINEMA: Puritani, Bellini, Oct. 15, 7 p.m. and Oct 18, 1:00 p.m.; ADVANCE TICKETS ON SALE: Michael Jackson’s “This Is It” , 12:01 a.m. Wed. Oct. 28, and 11:30-2:05-4:40-7:20-10:00 (Two Weeks Only); Twilight Saga New Moon, Thursday, Nov. 19 Midnight, Regular Times Beginning Nov 20, 1:00-4:00-7:00-9:50; STARTS OCT 16: Stepfather, Law Abiding Citizen; TIME CHANGES: Sorority Row, 12:50-9:50 only; Final Destination 3D, 7:35-9:45 only; Inglourious Basterds, 3:20-6:35 ONLY; ENDS THURSDAY: “9”; For Full Schedule, click: http://www.marqueecinemas.com/location.asp?location=9219
DISCOUNT CINEMA 4: Admission: $3. After 6 p.m., $2 before 6 p.m. and all day Tuesday: G Force, 5:15-7:15-9:15, Sat/Sun/Tues Mat. 1:15-3:15; GI Joe, 4:30-7:05-9:35, Sat/Sun/Tues Mat. 1:30; Shorts, 5:20, Sat/Sun/Tues Mat. 1:20-3:20; Ugly Truth, 7:25-9:30; Hangover, 5:20-7:30-9:40, Sat/Sun/Tues 1:00-3:10; ENDS THURSDAY: Julie and Julia, The Proposal; For full schedule click and select date: http://www.ourshowtimes.com/cinema/index.html
ASHLAND, KY
CINEMARK CINEMA 10: Couples Retreat, 4:20-7:05-9:45, Fri/Sat/Sun Mat. 1:15; SPECIAL EVENT: Metropolitan Opera Tosca, Sat. Oct. 10 @ 1 p.m.; TIME CHANGES: NONE; ENDS THURSDAY: Pandorum; For full times, http://www.cinemark.com/metropolitan_opera.asp
PHOENIX 10 KYOVA MALL: TBA; TIME CHANGES: NONE; ENDS THURSDAY: TBA; ADVANCE TICKETS ON SALE: Michael Jackson’s “This Is It,” Starts Wed. Oct. 28 at 3:30-6:15-9:00; Full schedule: http://www.movietickets.com/house_detail.asp?house_id=10480
BARBOURSVILLE, WV
CINEMARK HUNTINGTON MALL 12: Couples Retreat 1:20-4:00-6:40-9:25; TIME CHANGES: Pandorum , 2:50-7:50 only, 500 Days of Summer, 12:30-5:30-10:20; ENDS THURSDAY: NONE; For full schedule, check: http://www.cinemark.com/theater_showtimes.asp?theater_id=1046
BECKLEY, WV
GALLERIA CINEMAS: (Now All Digital Projection!): Couples Retreat, 1:30-4:15-7:00-9:40 CONTINUING: Invention of Lying 1:00-4:00-6:45-9:20; Toy Story & Toy Story II, in 3D, 12:00-3:55-7:50; Zombieland, 12:30-2:45-5:00-7:15-9:30; Whip It, 12:45-3:30-6:50-9:30; Fame, 1:00-4:00-7:00-9:35; Pandorum, 12:45-4:10-6:50-9:25; Surrogates, 12:15-2:30-4:45-7:15-9:30; SPECIAL EVENTS: OPERA IN CINEMA: Puritani, Bellini, Oct. 15, 7 p.m. and Oct 18, 1:00 p.m.; ADVANCE TICKETS ON SALE: Michael Jackson’s “This Is It”, 12:01 a.m. Wed. Oct. 28, and 11:30-2:05-4:40-7:20-10:00 (Two Weeks Only); Twilight Saga New Moon, Thursday, Nov. 19 Midnight, Regular Times Beginning Nov 20, 1:00-4:00-7:00-9:50; TIME CHANGES: Final Destination 3D 7:20-9:30 only; ENDS THURSDAY: Halloween II, 9, White Out, Sorority Row; For full schedule: http://www.marqueecinemas.com/location.asp?location=10115
BLUEFIELD, WV
MERCER MALL: Features/Times To Be Announced; For full schedule, click: http://www.carmike.com/showtimesdetails.aspx?theatrenumber=075503
COMMONS 8 (Marquee Cinemas, Wytheville, Va.): (Now all digital projection!): Couples Retreat, 4:15-7:00-9:40, Sat/Sun Mat. 1:30; CONTINUING: Toy Story/Toy Story II in 3D, 4:00-8:00, Sat/Sun Mat. 12:00; Zombieland, 5:15-7:30-9:50, Sat/Sun Mat. 12:45-3:00; ADVANCE TICKETS ON SALE: Michael Jackson’s “This Is It” , 12:01 a.m. Wed. Oct. 28, and 4:00-7:00-9:40 , Sat/Sun Mat. 1:00 (Two Weeks Only); Twilight Saga New Moon, Thursday, Nov. 19 Midnight, Regular Times Beginning Nov 20, 4:00-7:00-9:50, Sat/Sun Mat. 1:00; TIME CHANGES: NONE; ENDS THURSDAY: Informant, Jennifer’s Body; For full schedule: http://www.marqueecinemas.com/location.asp?location=9196
CHARLESTON, WV
MARQUEE SOUTHRIDGE: (Now All Digital Projection!): Couples Retreat, 1:25-4:15-6:55-9:35; CONTINUING: Invention of Lying 1:50-4:25-7:00-9:35; Toy Story and Toy Story 2 in 3D, 12:00-4:00-8:00; Zombieland, 12:45-3:00-5:15-7:30-9:45; Whip It, 1:55-4:35-7:15-9:50; Fame, 1:30-4:00-7:10-9:45; Surrogates, 12:05-2:20-4:40-7:20-9:40; SPECIAL EVENTS: OPERA IN CINEMA: Puritani, Bellini, Oct. 15, 7 p.m. and Oct 18, 1:00 p.m.; ADVANCE TICKETS ON SALE: Michael Jackson’s “This Is It” , 12:01 a.m. Wed. Oct. 28, and 11:30-2:05-4:40-7:20-10:00 (Two Weeks Only); Twilight Saga New Moon, Thursday, Nov. 19 Midnight, Regular Times Beginning Nov 20, 1:00-4:00-7:00-9:50; TIME CHANGES: Cloudy with a Chance of Meatballs 3D, 12:15-12:55-2:30-3:10-4:45-5:30-7:10-9:25; Final Destination 3D, 7:40-9:50; ENDS THURSDAY: Pandorum, Informant; For full schedule click: http://www.marqueecinemas.com/location.asp?location=6021
PARK PLACE STADIUM CINEMAS: Couples Retreat , 1:05-4:00-7:00-9:30; CONTINUING: Toy Story 1 & 2 (double feature) 3D, 12:30-4:00-7:45; Whip It, 12:55-3:10-5:20-7:30-9:40; Zombieland, 12:35-2:35-5:00-7:30-9:50; ADVANCE TICKETS ON SALE: Michael Jackson’s “This Is It,” showings begin for two weeks, Oct. 28 at 1:30-4:20-7:00-9:40; Twilight Saga New Moon, Starts November 20, regular times 1:00-4:00-7:00-10:00; TIME CHANGES: All About Steve, 12:40-2:45-5:00; Jennifer’s Body, 7:05-9:30 only; ENDS THURSDAY: Inglorious Basterds; For full listing: http://www.ourshowtimes.com/parkplace/index.html
HINTON, WV
RITZ THEATRE: Closed for renovations; grand re-opening July 4; For full schedule, click: http://www.ritzwv.com
HURRICANE, WV
TEAYS VALLEY CINEMA 10: Couples Retreat , 10:40*-12:50-3:00-5:10-7:20-9:30; ADVANCE TICKETS ON SALE: Midnight Showing Tuesday night Oct. 27, Michael Jackson’s This is It; Also, Midnight showing Thursday night , Nov. 19, “New Moon;” TIME CHANGES: Jennifer’s Body 12:50-5:05-9:15 only; Informant, 10:40 a.m. *-3:00-7:05 only; ENDS THURSDAY: Inglorious Basterds; (*Early Show Friday/Saturday only); For full schedule click: http://boxoffice.printtixusa.com/allstar/movies?v=2756
LEWISBURG, WV
SENACA SHOWPLACE: Zombieland, 4:30-7:00-9:30*, Sat/Sun Mat. 12:00-2:15, Tues-Thurs. 5:00-7:40; 9, 4:40-7:10-9:40*, Sat/Sun/Mon Mat. 12:10-2:25, Tues-Thursday, 5:10-7:50 ; (*No Monday after 9 p.m. showings); ENDS THURSDAY: Fame; For advance tickets, http://www.marqueecinemas.com/location.asp?location=4500
LOGAN, W.VA.
FOUNTAIN PLACE CINEMA 8: Couples Retreat, 4:40-7:05-9:30, Sat/Sun Mat. 12:00-2:25; CONTINUING: Toy Story and Toy Story II in 3D, 4:00-7:45, Sat/Sun Mat. 12:30; Zombieland, 5:00-7:30-9:50; Sat/Sun Mat. 12:35-2:35; Whip It, 4:25-7:15-9:30, Sat/Sun Mat. 12:05-2:15; Surrogates, 4:55-7:25-9:45, Sat/Sun Mat. 12:25-2:50; Pandorum, 4:25-7:10-9:40, Sat/Sun Mat. 12:00-2:10; Fame, 4:50-7:05-9:30, Sat/Sun Mat. 12:15-2:40; Cloudy with Chance Meatballs, 4:45-7:00-9:20, Sat/Sun Mat. 12:30-2:45; ADVANCE TICKETS ON SALE : Twilight Saga New Moon Starts 12:01 a.m. November 20, regular times: 4:00-7:00-10:00, Sat/Sun Mat. 1:00 ; Michael Jackson’s “This Is It,” two weeks only beginning at 12:01 a.m. Oct. 28, regular showing 4:20-7:00-9:40, Sat/Sun Mat. 1:30; TIME CHANGES: Fame, 4:50, Sat/Sun Mat. 12:15-2:40; Pandorum 7:10-9:40; ENDS THURSDAY: NONE; For full schedule click: http://www.ourshowtimes.com/fountainplace/index.html
NITRO, WV
Great Escape Nitro 12: http://greatescapetheatres.com or 769-0405
SUMMERSVILLE, WV
NICHOLS SHOWPLACE: Couples Retreat, 4:15-7:00-9:40*, Sat/Sun Mat. 1:00, Mon-Thurs., 5:15-7:45; Toy Story/Toy Story 2, in 3D, 4:00-8:00*, Sat/Sun 12:00, Mon-Thurs. 6:30; Surrogates, 5:10-7:30-9:50*, Sat/Sun Mat. 12:30-2:50, Mon-Thursday, 5:15-7:30; Cloudy With a Chance of Meatballs 3D, 4:55-7:10-9:25*, Sat/Sun Mat. 12:20-2:40, Mon-Thurs. 5:00-7:15 ; (*No Sunday Late Showings); ENDS THURSDAY: Fame; For advance tickets: http://www.marqueecinemas.com/location.asp?location=4499
WELCH, WV
MCDOWELL 3: Pandorum, 4:30-7:10-9:45*, Sat/Sun Mat. 1:30, Mon-Thurs. 5:10-7:40; Informant, 4:20-7;00-9:35*, Sat/Sun Mat. 1:15, Mon-Thursday, 5:00-7:30;” 9”, 5:15-7:20-9:25* , Sat/Sun Mat. 1:00-3:10, Mon-Thurs, 5:20-7:20; (*No Sunday after 9 p.m. showings); ENDS THURSDAY: Fame, Jennifer’s Body, All About Steve; For Advance Tickets, http://www.marqueecinemas.com/location.asp?location=9609
WHEELING, WV
Marquee Highlands 14: (All Digital DLP Projection): Couples Retreat, 1:20-4:00-7:00-9:40; CONTINUING: Invention of Lying, 1:15-4:15-7:00-9:40; Toy Story & Toy Story 2, in 3D, 12:00-4:00-8:00; Zombieland, 12:15-2:30-4:45-7:10-9:20; Whip It, 12:50-3:30-6:50-9:30; Fame, 1:10-4:15-7:00-9:45; Surrogates, 12:20-2:50-5:10-7:25-9:40; Cloudy With a Chance of Meatballs, 12:30-1:30-2:45-4:00-5:00-7:15-9:30; SPECIAL EVENTS: OPERA IN CINEMA: Puritani, Bellini, Oct. 15, 7 p.m. and Oct 18, 1:00 p.m.; ADVANCE TICKETS ON SALE: Michael Jackson’s “This Is It” , 12:01 a.m. Wed. Oct. 28, and 11:30-2:05-4:40-7:20-10:00 (Two Weeks Only); Twilight Saga New Moon, Thursday, Nov. 19 Midnight, Regular Times Beginning Nov 20, 1:00-4:00-7:00-9:50; TIME CHANGES: Jennifer’s Body, 7:15-9:45; ENDS THURSDAY: Pandorum, 9; For full schedule click: http://www.marqueecinemas.com/location.asp?location=11469
UPCOMING RELEASES (Dates Subject to Change; not all films in all areas)
October 16: Where the Wild Things Are, The Road, The Stepfather, Law Abiding Citizen, I Hope They Serve Beer in Hell
October 23: Amelia, Astro Boy, Saw VI, Nightmare Before Christmas 3D, Cirque Du Freak: The Vampire’s
October 28: Michael Jackson’s This Is It
October 30: Youth in Revolt
November 6: A Christmas Carol, The Box, The Fourth Kind, Men Who Star at Goats
November 13: Pirate Radio, 2012
November 20: Planet 51, Twilight Saga: New Moon, Blind Side
November 25: Old Dogs, Ninja Assassin, Nine, Fantastic Mr. Fox
December 4: Armored, Everybody’s Fine, Brothers, Transylmania
December 11: Lovely Bones, Invictus
December 18: Avatar 3D, Did You Hear About the Morgans
December 25: Alvin and the Chipmunks, It’s Complicated, Sherlock Holmes
January 8: Daybreakers, The Last Song
· Release dates subject to change; not all films will play in every market and/or every theatre.
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WEEKEND FIRST: Movie Comings and Goings
By Tony Rutherford
Huntingtonnews.net Entertainment Editor
Huntington, WV (HNN) – Call it a rarity. Summer tent-pole season has passed, but this weekend, there’s only one new film in wide release. The marketing pattern normally accompanies a release that has a huge, impregnable following. In the case of Oct. 9, well, it’s fall. This isn’t the best time of the year for new Hollywood releases.
“Couples Retreat” puts Vince Vaughn, Jason Bateman, Kristen Bell, Kali Hawk and others on a not-so-enchanted fantasy island for a stress relieving retreat from life. Yes, they thought this was a free, no strings attached trip. The catch (kinda like those real estate tours) --- the therapy sessions are mandatory.
Filmed on the beautiful isle of Bora Bora (French Polynesia), there are four couples who are about to find themselves grasping issues faced by couples all around the world, rather than enjoying snorkeling, jet skis and the spa.
Next week, choices blossom abundantly with “Law Abiding Citizen ( Family man endures brutal home invasion killing of wife and daughter, only to watch killer go virtually free through a plea bargain. The victim will take him down just as soon as the prison gate opens, but he’s issued a challenge to the prosecutor --- fix the flawed justice system now, or watch the assassination of high profile movers and shakers); “The Stepfather” ( Michael’s home from boarding school, but mom’s new BF has a dark side);
“Where the Wild Things Are” ( young body stranded on island meets strange, mysterious and emotional creatures); and, maybe, “Black Dynamite” (a hero fighting from blood soaked streets to Honky House).
NOT TO BE MISSED HOLD OVERS
The Columbus Day sorta holiday will allow you to catch up on some neglected offerings that rolled out and into the multiplex with strings of three or four others (i.e. “Surrogates,” “Invention of Lying,” “Whip It,” and a last chance for catching “Inglourious Basterds” on the big screen.
ZOMBIELAND: Grab some innards and a sharp knife, cannibalistic zombies have taken over the country. But, the film’s a well conceived satire on the “Living Dead” genres (and variations), blending snappy arrogant youth wisecracks with the feel of an after the appocalypse story.
All Pictures © MGM
Picking up as Columbus (Jesse Eisenberg) trudges down highways filled with gutted corpses, he manages well the often fatal ‘talk to the audience’ maneuver, specifically, his survivor rules, which click in bright subtitles like winning game show answers on the screen.
Woody Harrelson, as redneck Tallahassee, joins up with Columbus for the remainder of the flick. He’s a crack shot and a Twinkie lover.
Testoserone still exists after world’s end, so Columbus’ dream is to find a girl who won’t eat him. A pivotal pairing puts Wichita (Emma Stone) and Little Rock (Abigail Breslin) as a non virus ingested pair of young women. Director and writers pump gender warfare hemoglobin through many of these scenes, keeping audiences guessing what’s next.
Ranging from zany and insane to occasionally blemished , “Zombieland’s” first clunk in the road occurs when the group desire to live like a celebrity. Without naming the ‘who,’ the recreational stop scores 50%, sagging into the realm of predictability before moving onward.
Interestingly, the pic wraps at a theme park (Eisenberg had a role in ‘Adventureland’ from summer), where amusement rides turn zombie bashers.
Continually switching perspectives and pumping in those (ring!) rules and lists, this zombie kill offers more than your ordinary eating and ripping body parts comedy. Yes, you’re going to love these innards, pass me another arm, please, thank you.
For Movie Changes/Times, CLICK HERE.
For a review of SORORITY ROW, click here. http://www.huntingtonnews.net/columns/090913-rutherford-columnssororityrowmovie.html
For a review of GAMER, click here: http://www.huntingtonnews.net/columns/090911-beck-columnsgamermovie.html
For a Review of All About Steve/Time Traveler’s Wife, click: http://www.huntingtonnews.net/columns/090909-rutherford-columnsromanticcomedy.html
For Review of FINAL DESTINATION, CLICK HERE
For Review of INGLORIOUS BASTERDS, CLICK HERE
For Review of ALL ABOUT STEVE/TIME, CLICK HERE
For REVIEW of SURROGATES, CLICK HERE
For REVIEW of INVENTION OF LYING, CLICK HERE
For UPCOMING Releases, CLICK HERE
RUTHERFORD ON FILM: 'Final Destination' Grabs 3D for Intricate, Disaster Genre Flavored Action and Formula Flying Bits of Bodies
By Tony Rutherford
Huntingtonnews.net Entertainment Editor
Huntington, WV (HNN) -- You know the formula for this franchise. Death premonitions send individuals to their blood splattering deaths, even as they attempt to alter the future. Borrowing a little from the disaster genre, “Final Destination IV in 3D,” seats us in a creaky NASCAR stadium where the whirling wheels menace spectators.
Given the lusture of a broad canvas in gorgeous digital 3D ( the depth even on the panoramic shots is perfect) , the impending death warnings absorb a detailed gauge of tiny mechanical failures, which combine with another just out of sync bolt, chandelier twisting, or cracked wooden slat . Put all of the combined coincidental inanimate object breaking, minutely regarded action by a human, and numerous small sharp objects penetrating flammable liquid time flukes into a series of chilling events which raise your accident awareness radar for the “meant to be” dark arms of fate.
3D has progressed beyond artificial sharp object positioning and body parts flying into the audience. Both occur, but not more overtly than traditional splatter.
This “Destination” has “The Ring” roots, as the designated second chance at life survivors grapple with their , perhaps, modest reprieve from the grim reaper. The teens bond in desperate attempts to interrupt the death cycle, which will supposedly disrupt the curse, which injects race against the clock elements and less reliance on tell-tale set ups forecasting the butchers arrival.
Formula aside, “Destination” incorporates more car chases, more thinking, more complex accidents (the overrun hospital bathtub) than earlier entries. Would be heroics --- and the after responsibilities that accompany --- offset the crunch, thud, impalement(s) bloody body part punchlnes.
If the genre appeals to you, “Final Destination” gives you substance until the next blood-letting, even as the filmmakers exercise restraint so that it stays in the horror/thriller category not the torture genre carved by “Saw” and its successors.
1/2 out of
MOVIE REVIEW: 'Inglourious Basterds' : World War II War Epic by Tarantino 'Masterpiece'
By Jeff Beck
Special to Huntingtonnews.net
After "Death Proof," fans were wondering if Quentin Tarantino had lost his edge. Now he brings us his next film, "Inglourious Basterds," a project that was about ten years in the making. He had written a little of the screenplay several years ago and only recently finished it, finally getting the project rolling after he promised to have it at the Cannes Film Festival in 2009. It may sound like the film was rushed, having gone from his promise to casting, pre-production, filming, and editing within a year, but the final product shows no signs of it as Tarantino has delivered yet another masterpiece.
Tarantino's big war epic begins in Nazi-occupied France with the introduction of the main antagonist, Col. Hans Landa (Christoph Waltz) of the S.S. He makes a house call on a family of dairy farmers that is believed to be hiding a family of Jews. The head of the family gives them up in return for his family's safety for the rest of the war. What ensues is a bloody massacre of the Jewish family save one, Shosanna Dreyfus (Mélanie Laurent). She escapes after Col. Landa makes an odd decision not to shoot at her.
The second chapter (Tarantino has divided the film into five chapters) introduces the protagonists know as The Basterds, led by Lieutenant Aldo Raine (Brad Pitt). They have been dropped behind enemy lines with only one purpose: to kill as many Nazis as they can. As Lt. Raine explains to us, they are there to show the utmost cruelty to the Nazis and to collect 100 Nazi Scalps each.
The third chapter takes us to the main plot of the story. Shosanna, now under a French alias, runs a cinema where she meets a young German soldier, Fredrick Zoller (Daniel Brühl). We learn that Zoller is a war hero and that the man in charge of the German film industry, Joseph Goebbels (Sylvester Groth), has made a film about his accomplishments. He planned to have the premiere at a large theater elsewhere, but Zoller has convinced him to change the venue to Shosanna's cinema, giving her the perfect opportunity to exact her revenge. Meanwhile, the Basterds are given orders to infiltrate that very premiere and do what they do best.
I, too, was greatly looking forward to this film, being very familiar with his previous masterpieces "Reservoir Dogs," "Pulp Fiction," and "Kill Bill." It was everything I hoped it would be. After having heard early reports out of Cannes that it was "too talkative" (a common misconception with Tarantino's films), it worried me a bit that Tarantino might have rushed the film too much. However, for a film that is two and a half hours and is around 95 percent dialogue driven, it flew by in a snap.
Tarantino has a magnificent knack for writing dialogue that pulls the viewer directly into the situation. He makes it feel as if you are truly witnessing these events. Of course, much of the credit has to go to the cast, particularly Christoph Waltz and Brad Pitt, for their excellent delivery. Pitt plays Aldo Raine just short of making him a hillbilly stereotype. Sure he's funny at times, but he's not there for only that purpose.
By far the greatest performance in the film goes to Christoph Waltz as Col. Hans Landa. Those same reports from Cannes also gave much praise to Waltz for his amazing portrayal. Nicknamed "The Jew Hunter," his reputation across Europe proceeds him wherever he goes. When we first meet him, he is warm and friendly, but eventually that persona melts away into a grave tone when he gets around to the actual business at hand.
Later in the film, we see his detective skills at work as he tries to find certain traitors amongst the Germans. Near the end of the film, we see him at his silliest. I won't go into any detail here, but I just want to note that his performance goes the full range of emotions from the beginning of the film to the final scene. You can be certain that Waltz will be receiving an Oscar nomination come awards season.
Tarantino punctuates his film with an amazing score, though it seemed like a lot of it was borrowed from Morricone, famous for his scores for western films. The whole film comes off as Tarantino showing us how much he loves the movies as well as making them. His homages are numerous and undeniable throughout, including the music and the "men on a mission" theme ("The Dirty Dozen" immediately pops into mind). He even includes a lot of discussion on the film industry in Germany, mentioning directors like G. W. Pabst and Leni Riefenstahl, as well as including actor Emil Jannings (most noted for his performances in a couple of M. W. Murnau's films) in the premiere.
The ending will leave some viewers concerned, but that's OK. If you're at all familiar with Tarantino, you know he's not one for following the rules ("Pulp Fiction" was an early example of how to completely split up story structure), so of course, it comes as no surprise when he throws out the history books and invents his own ending. Would it have been nearly as effective if he had just followed what happened in history to the letter? Absolutely not. Think back to the title of the first chapter: "Once Upon a Time.....in Nazi Occupied France." Those first four words should give you a clue.
It becomes hard to think anyone could call a film like this "too talkative." It stands to reason that they are just not listening to the dialogue very closely which flows from the actors like it's being said naturally and keeps the story thoroughly engaging. Tarantino has fashioned a film that has a little something for everyone. There's the dialogue he's become so well-known for which will delight his fans, action which will keep the younger viewers interested, and a great story that will keep all cinema-lovers engaged and transfixed to the screen, which is Tarantino's (perhaps the biggest cinema-lover of them all) purpose all along. 4/4 stars.
A Funny Thing Happened On the Way to a Romantic Comedy… Every Now and Then The Climax Isn’t a Predetermined 'Happily Ever After'
By Tony Rutherford
Huntingtonnews.net Entertainment Editor
Huntington, WV (HNN) -- Romantic comedies have gotten a partially undeserved bad rap -- often automatically relegated to the ‘chick film’ sub category. Why? Predictability. By necessity, boy or girl meets girl (or boy) + baggage + baggage = BREAK UP + (Choose one or all of the following a, stalking; b, telephone harassment; c, intervention, divine or by friends) = Happily Ever After.
Sandra Bullock, whose “Proposal” opened the summer romantic movie season took a tweaked formula and a spice of “Devil Wears Prada” to delight audiences and remain in the box office Top Ten for for seven weeks.
ALL ABOUT STEVE
She’s back --- this time a 180, she’s not the domineering workaholic corporate executive needing a visa (via an “I do”), but an introverted super geek brained crossword puzzle composer addicted to a pair of nearly knee high bright red boots. Her “occupation,” if you can call it that (she’s over 40, still living with parents while her latest apartment disaster is fumigated ) , complements her fast talking, encyclopedic head spouting facts you don’t want to know and essentially deal while she unloads the unwanted knowledge.
Ostracized for lack of normalcy, she’s relegated to writing in a journal, talking to a hamster, and being the female half of a blind date for nerds, gays, obese, and otherwise socially inept men. Told she has to find a life outside of crosswords, her latest date turns out to be a handsome network news cameraman and she lets go of decades of bottled up sexuality in his SUV.
Unfortunately, she’s still in those darn boots when his producer sends him to Boston for breaking news. Convinced he’s her ticket to normalcy, she literally accepts his polite invitation to join him on the scene of the next hottest news story. Trailing him to Oklahoma City, Tucson, and Colorado, she’s too giddy, inept and literal to take a hint.
“All About Steve,” though, finally, recognizes the stalking (following) ingredient of nearly all romantic comedies. Usually, when it’s the gal chasing the guy, well, who enforces any laws. On the otherhand, dudes do have to be careful about crossing the line.
Complications (termed baggage) by necessity make up the bulk of the romance and comedy. The most overused inhibitor of Cupid’s arrow is the ‘I don’t need anyone’ myth. When the two lips come together and part, ‘I love you’ (instantly) smothers the ‘finding myself’ or ‘taking care of myself’ mantra. After weeks of bliss, quandaries , fears and total independence conflicts inevitably drive the perfect couple apart.
Here come the well meaning friends and relatives to further screw up the circumstances, leaving one or both pretending not to wallow in deep, deep depression. Usually, one calls the other’s answering machine every five minutes and the other buries themselves in work. “It can’t go on like this,” “I just want everything to be like it was,” “It’ll get better , I promise,” and ‘I’m sorry” eventually compels both to recognize and go off chasing the estranged person either down the street or around the world.
Our preoccupation with happily ever after jades the creativity of the romantic comedy, I mean, whoa, if the ending is a given, how can a filmmaker keep an audience guessing when most just want to wipe a tear and smile? Imitating the “hi, how are you, have a nice life” of Redford and Streisand’s “Way We Were” risks a dissatisfied audience. In these days of demographic audience tests reality sells on the little tube, but big screen viewers want to exit with either a smile or a challenged intellect. We really do not want to forget Sarah Marshall.
Annie following Steve from assignment to assignment has the audacity to spring an unexpected climax. For that matter, “The Time Traveler’s Wife,” too has the dramatic challenge to emulate a non-waiting at the airport reunion which does not land one of the estranged dealing with Homeland Security.
TIME TRAVELING
What’s a woman’s standard excuse for avoiding a relationship with a potential suitor --- too many faults (translation: Baggage, reality, hung up on the past ,too old/young, not growing enough, or fill in blank) . has wonderful eyes, an attractive body and an appreciation of women; he has one issue – a gene gone array. It causes him without warning to hop forward and backwards in time.
Seeking to reinvent but not remake “Somewhere in Time,” an inherited DNA mutation affliction eases nicely into the story. Unlike Christopher Reeve who convinced us he could hypnotically concentrate himself backwards, “Wife” does not require elaborate explanations. It’s a given; although, the clothes don’t travel with him eventually becomes a little repetitive.
Otherwise, the romance forever interrupted has idyllic softness, fairy tale imaginativeness and utter believability.
Having established the embarrassment of leaping decades into the weeds near a pretty young child with blonde locks, he’s soon enlivens with comic merriment as we learn she’s the impending love of his life. His one trip to the future takes the place of make up roses; he brings back a lottery ticket.
Although this time hopper would be an incredible match for the gal looking for more space, the couple have to contend and deal with him missing or being late for important life events. The delicate beauty of the pic has enhancement by strictly classical strings and instruments. And, the finale will have a few unsuspecting hops, too.
Having analyzed the romantic comedy, I came to realize that they are all about finding the dream. And, you can spring back in time or change your life just like the characters from your favorite “Must Love Dogs,” “Sleepless in Seattle,” or “While You Were Sleeping” feature.
How do you invent your traveling time capsule? Lightning or a tunnel of electronics are unnecessary. Lean back, blot out the noises surrounding you, close your eyes and blacken the canvas, then, pick a happy moment --- channel your thoughts back to any point in life and relive the moment of first connection with a friend, the first time you kissed, and all those hints leading to why she went away. You can still feel her touch, caress her shoulders and how she said our bodies fit perfectly together when hugging.
Christopher Reeve's intense concentration shifted him into another century, but symbolically could this have represented the ability to drift into your past, construct a future, and freeze the moment while designing details and attempting to alter the past by revisiting a pivotal moment and changing one answer, one halting glimpse, and one statement left unsaid.
Where has the romantic comedy gone? Can it change and not be predictable? Do your dreams of finding the soulmate for life and happily ever after go away? If you still wish for a happy life, then, I guess, the romantic comedy will remain with Cupid’s target on its back. That is, as long as enough moviegoers buy the tickets, popcorn and candy.
BECK AT THE MOVIES: 'Surrogates': Technology on Rampage in Thoughtful Science Fiction Action Film
By Jeff Beck
Jonathan Mostow's "Surrogates" is a fascinating sci-fi action flick that brings up some very interesting points and scenarios. Is the human race becoming too dependent on technology? If we had the opportunity, would we completely forgo the smallest movement if we could simply have a machine perform that movement for us? "Surrogates" presents some disturbing answers to these questions.
In the future, a technology has been developed that allows people to act through surrogates, machines that look like people, and are capable of performing just about any task a human can. People can choose what their surrogate will look like, improving on their looks or simply creating a new person altogether. Just about everyone in this future uses these machines, including Tom Greer (Bruce Willis) and his wife, Maggie (Rosamund Pike).
Tom is a policeman who is currently investigating the destruction of two surrogates that led to their users' death. One of these surrogates was being controlled by the son of the man who invented the surrogate technology, Dr. Canter (James Cromwell). The destruction of the surrogates was caused by a powerful weapon being wielded by a man called Strickland (Jack Noseworthy) who is part of an anti-surrogate community called The Dreads, led by The Prophet (Ving Rhames). Tom must quickly discover what this weapon is for and where it is before The Dreads have a chance to use it.
It's interesting to watch as nearly the entire human race has become dependent on these machines. Most people never leave their homes anymore, or even get out of bed for any reason. Tom's wife in particular feels that she IS her surrogate now. Meanwhile, we get to see the real her as she stays lying in her bed, with her graying hair, and multiple bottles of pills nearby.
Tom doesn't seem completely dependent on his avatar though, as we see him up and about in the house at several points, especially after his surrogate is destroyed in a shootout in The Dreads' territory. From here, he has to adjust to using his actual body in the outside world again, but is seemingly able to adjust rather easily, only adding to the possibility that he is not as dependent on his surrogate as much as everyone else is.
Another interesting thing about "Surrogates" is that it doesn't become too dependent on its action scenes. There certainly are a few of these scenes, but they are exciting and not overdone to excess. The film takes the necessary time to explore its themes as Tom tries to explain to his wife how he wants to see the real her, not some machine.
It evokes similar feelings that we've gotten from other science-fiction works like "I, Robot," "Minority Report," and even a little of Huxley's "Brave New World." The human race has begun to think that this is the way things should be; everyone looking exactly the way they want to and not actually having to interact with people.
In a sense, these people have become addicts. The surrogates have become this film's version of Soma, the drug from "Brave New World." The inventor of the technology, Dr. Canter, even admits that the human race has become addicted to the technology. He originally invented it to help people who couldn't walk do so again. I suppose he never imagined that people would use it for unnecessary reasons like pretending to be someone you're not.
"Surrogates" is also worth seeing for its story. From the trailers, it looks like it's nothing more than another loud, dumb action film with Bruce Willis leading the destruction, but I found that it was surprisingly smarter than that. It parallels similar events in today's world as to how many people like to live their lives on their computers using avatars, pretending to be people they're not, from the comfort of their own home. They don't want to risk interaction with real people either, fearing that they would be judged on who they really are and how they really look.
The film ends on a rather ambiguous note, but it is also a note of hope. We can only imagine what would become of a world that goes through these events. Its brief runtime of 84 minutes never outstays its welcome, and goes by very quickly, filling that time with some interesting ideas, and some that could even come true. As I write this review, "Surrogates" is sitting at 38% over at Rotten Tomatoes, but I couldn't tell you why, it's one of the much better sci-fi films I've seen in awhile. 3.5/4 stars.
RUTHERFORD ON FILM: 'THE INVENTION OF LYING'
British Premise Grasps Manna from Heaven… An Original Plot
By Tony Rutherford
Huntingtonnews.net Entertainment Editor
Huntington, WV (HNN) – Is it always a sin to tell a lie?
Cuddled sweetly between the credits of “The Invention of Lying” descends pieces of manna from Heaven. Just partake tongue firmly in cheek.
Putting a solid fist in the gut of a society that worships appearance, wealth and power, Ricky Gervais’s "The Invention of Lying" envisions a world in which man and woman ate the apple, sinned and were banished from Eden, but genetically compelled to always tell the truth.
That banishes those police responses to “How are you?” or “What do you think of my new dress?” Instead, character render straight faced verbalizations of “What an ugly ratty baby” or “You look fat in that dress.”
Pummeling etiquette books on polite niceties , the story has a chubby, stubby nosed loser Mark (Gervais) and beautiful, genetically correct Anna (Jennifer Garner) who’s been too honest about landing a mate. He tells her he has $300 in the bank and is about to get fired. She says he makes her feel good but brutally reserves Date Number Two’s decision to “I’m worried about fat snub nosed kids; I’ll call you if I like you when I sober up.”
Hit by the gloom of life as it is, Mark drops by a Sad Place for Hopeless Old People to visit his ailing mother. At the apartment, a neighbor speaks of last night’s failed suicide attempt --- he took only enough pain killers to make him throw up.
Splendidly rocketing moaning repartee (“see you tomorrow, if I’m not dead”) could become a depressing exercise if not for, the lie. Mark’s dying mom shivers at the bleakness of the blackened nothingness of eternity after death, so to make her feel better, he tells of a Man in the Sky who has prepared a mansion for those who perish on earth. Mom passes with a smile; the doctors and nurses , though, hear the revelation and Mark’s an afterlife prophet .
What places this flick above others --- be it fantasy, spoof, or dark comedy --- is the world of believers. Since no one can lie, Mark’s telling the truth. That leads to a consistent array of inverted consumer scenarios, such as a bank teller apologizing that the system is wrong. The gullibility of the populace sprints higher and higher until he and his friends recognize the power they have gained (or will gain) through manipulation.
Unlike Monty Python’s acidic mocking and disrespectful irreverence, “Lying” has a sugar coated, smiles and butterflies mood.
You must now temporarily face with mostly straight lips daunting philosophies and values, such as what make one a winner or a loser? If it’s success versus failure, how do you define those terms? The amount of zeros at the end of your bank account equals monetary wealth, but does lots of money automatically mean happiness?
When Gervais steps out of the apartment with his Ten Commandments on two Pizza Hut boxes, the premises antes up another notch: Delivering the simple, now, Gervais has to answer qualifiers of good and bad behavior. Into this world, gray is also born.
Garner’s role allows her to be a blend of indecisiveness and control, which prevents the show from falling of the edge of disbelief. You cannot help but love her repeated , “I don’t want little fat kids with snub noses” lines. (Chef Jamie are you reading?)
Norms, values, politically correct, civility, politeness, respect… the adjectives potentially redefining society are endless, under both the “no lie” and “when is it a sin to tell a little white lie” scenarios? One scene brings a little “Life of Brian” recollection, but that sordid religious indictment by Python’s crew, but Gervais astutely does not allow the more heathen concept to divert attention from the absolutely original premise: What would a world without lying be like and how would the first lie impact that civilization?
True, no belly hoots and cackles. Consider, however, the possibilities... obviously, during that time you did not think about life outside of what's on the big white screen.
1/2 out of
HOLD OVERS:
9: In this animated film, the setting is post-apocalyptic after most of mankind has succumbed to fearsome machines. Nine little robot/sack creatures team to defeat the machine set on wiping out the world. From the studio which released, “Coraline,” it’s the second computer animated film to receive a PG-13 rating.
FAME: A can’t wait to see re-booting of a 1980 film in which talented members of the New York City High School of Performing Arts have a chance to live out their dreams which come from hard work, dedication, honing talent, and the ability to over comes plagues of self-doubt in a school where every friend in class can be a competitor at an audition.
Final Destination IV add 3D: Remember, it’s all about premonitions and avoiding the predicted demise of persons seen in the vision. This one adds 3-D and a NASCAR race track. Finally, a non-family animated flick picks up the 3D concept. Let’s hope this Destination has imaginative tricks, treats, and will leave you ducking and scraping the blood off your top. The car wash and NASCAR scenes evoke tension and you find sufficient appendages hurling.
GI JOE RISE OF COBRA: Toys have been the basis for some cool movies, so Hasbro’s G.I. Joe comes to life battling the evil arms dealing forces of Cobra. Rachael Nichols who’s featured in “Star Trek” provides a little eye candy for those that need a bit of eye candy.
THE HANGOVER: Here comes what many predict as the summer comedy sleeper. Director Todd (“Old School,” “Road Trip”) Phillips watched a steady diet of screwball comedy growing up, like “Stripes” and “Revenge of the Nerds,” but you would recognize him best as an Oscar nominated writer of “Borat.” Now, he’s cast Bradley (“Yes Man,” “The Rocker”) Cooper in a Vegas bachelor party gone bonkers. When the three groomsman awake, there’s a tiger in the bathroom of their suit and a six-month old baby in the closet. At ShowWest, Curtis McCall, caught a clip and told us, it’s a comedy of the Aptow style. “It could be hilarious. I don’t think people are aware of it right now, I think it will have a lot of bite.” At least two of those exiting a screening said the movie contained the most laughs of any they had seen previously (and their combined age was over 100 years).
JULIE & JULIA: Unknown to one another, a disgruntled secretary (Amy Adams) spices up her boring life by attempting to cook 524 Julia Child (played by Meryl Streep) recipes in a year. Directed by Nora (“Bewitched,” “You’ve Got Mail,” “Mixed Nuts”) Ephron, the appetite inducing film has started inspiring kitchen inspirations , such as Herb-Roasted Chicken and Butter Poached Main Lobster.
PANDORUM: A horror story set in outer space as two men emerge from deep sleep with no memories of why they are on board the vessel. Warriors share the same ship who don’t want them to remember nor leave the ship alive.
SHORTS: Be careful what you wish for teaches 11-year-old Toe Thompson lots of lessons when a rainbow-colored rock hits him on the head. The rock grants his wishes, but chaos ensures. Jimmy Bennett, who plays Thompson, appeared in “Orphan” and “Star Trek” this summer
SORORITY ROW: A prank gone wrong leads to a murder which the sisters agree to a vow of silence. After graduation, a killer goes after the five and anyone who knows the secret.
SURROGATES: Call this the video gamers absolute obsession --- which, for that matter, appeals to everyone. While slouching as a couch potato, you control a robotic surrogate of yourself in a sexy, pleasant perfect world. Then, someone turns up murdered!
TYLER PERRY’S I CAN DO BAD ALL BY MYSELF: America’s pistol packing grandma, Madea, catches three kids looting her home so she sends the delinquents to their only relative --- Aunt April, an alcoholic nightclub singer. She’s going to have lots of choices to make.
NO MORE ROCKY HORROR: The Cinema Theatre has ended Friday showings of the cult classic "Rocky Horror Picture Show." The floor show producers are looking for another venue.
Starting Oct 9 - Oct 15
HUNTINGTON, WV
MARQUEE PULLMAN: (Now ALL digital projection): Couples Retreat, 1:30-4:15-7:00-9:45; CONTINUING: Invention of Lying, 11:30-2:00-4:30-7:00-9:30; Toy Story & Toy Story 2 in 3D, 11:45-3:45-7:45; Zombieland, 12:20-2:40-5:00-7:30-9:50; Whip It, 11:30-2:05-4:40-7:15-9:55; Fame 11:35-2:05-4:35-7;05-9:40; Pandorum, 11:40-2:10-4:45-7:20-9:55; Surrogates, 12:10-2:30-4:50-7:20-9:40; SPECIAL EVENTS: OPERA IN CINEMA: Puritani, Bellini, Oct. 15, 7 p.m. and Oct 18, 1:00 p.m.; ADVANCE TICKETS ON SALE: Michael Jackson’s “This Is It” , 12:01 a.m. Wed. Oct. 28, and 11:30-2:05-4:40-7:20-10:00 (Two Weeks Only); Twilight Saga New Moon, Thursday, Nov. 19 Midnight, Regular Times Beginning Nov 20, 1:00-4:00-7:00-9:50; STARTS OCT 16: Stepfather, Law Abiding Citizen; TIME CHANGES: Sorority Row, 12:50-9:50 only; Final Destination 3D, 7:35-9:45 only; Inglourious Basterds, 3:20-6:35 ONLY; ENDS THURSDAY: “9”; For Full Schedule, click: http://www.marqueecinemas.com/location.asp?location=9219
DISCOUNT CINEMA 4: Admission: $3. After 6 p.m., $2 before 6 p.m. and all day Tuesday: G Force, 5:15-7:15-9:15, Sat/Sun/Tues Mat. 1:15-3:15; GI Joe, 4:30-7:05-9:35, Sat/Sun/Tues Mat. 1:30; Shorts, 5:20, Sat/Sun/Tues Mat. 1:20-3:20; Ugly Truth, 7:25-9:30; Hangover, 5:20-7:30-9:40, Sat/Sun/Tues 1:00-3:10; ENDS THURSDAY: Julie and Julia, The Proposal; For full schedule click and select date: http://www.ourshowtimes.com/cinema/index.html
ASHLAND, KY
CINEMARK CINEMA 10: Couples Retreat, 4:20-7:05-9:45, Fri/Sat/Sun Mat. 1:15; SPECIAL EVENT: Metropolitan Opera Tosca, Sat. Oct. 10 @ 1 p.m.; TIME CHANGES: NONE; ENDS THURSDAY: Pandorum; For full times, http://www.cinemark.com/metropolitan_opera.asp
PHOENIX 10 KYOVA MALL: TBA; TIME CHANGES: NONE; ENDS THURSDAY: TBA; ADVANCE TICKETS ON SALE: Michael Jackson’s “This Is It,” Starts Wed. Oct. 28 at 3:30-6:15-9:00; Full schedule: http://www.movietickets.com/house_detail.asp?house_id=10480
BARBOURSVILLE, WV
CINEMARK HUNTINGTON MALL 12: Couples Retreat 1:20-4:00-6:40-9:25; TIME CHANGES: Pandorum , 2:50-7:50 only, 500 Days of Summer, 12:30-5:30-10:20; ENDS THURSDAY: NONE; For full schedule, check: http://www.cinemark.com/theater_showtimes.asp?theater_id=1046
BECKLEY, WV
GALLERIA CINEMAS: (Now All Digital Projection!): Couples Retreat, 1:30-4:15-7:00-9:40 CONTINUING: Invention of Lying 1:00-4:00-6:45-9:20; Toy Story & Toy Story II, in 3D, 12:00-3:55-7:50; Zombieland, 12:30-2:45-5:00-7:15-9:30; Whip It, 12:45-3:30-6:50-9:30; Fame, 1:00-4:00-7:00-9:35; Pandorum, 12:45-4:10-6:50-9:25; Surrogates, 12:15-2:30-4:45-7:15-9:30; SPECIAL EVENTS: OPERA IN CINEMA: Puritani, Bellini, Oct. 15, 7 p.m. and Oct 18, 1:00 p.m.; ADVANCE TICKETS ON SALE: Michael Jackson’s “This Is It”, 12:01 a.m. Wed. Oct. 28, and 11:30-2:05-4:40-7:20-10:00 (Two Weeks Only); Twilight Saga New Moon, Thursday, Nov. 19 Midnight, Regular Times Beginning Nov 20, 1:00-4:00-7:00-9:50; TIME CHANGES: Final Destination 3D 7:20-9:30 only; ENDS THURSDAY: Halloween II, 9, White Out, Sorority Row; For full schedule: http://www.marqueecinemas.com/location.asp?location=10115
BLUEFIELD, WV
MERCER MALL: Features/Times To Be Announced; For full schedule, click: http://www.carmike.com/showtimesdetails.aspx?theatrenumber=075503
COMMONS 8 (Marquee Cinemas, Wytheville, Va.): (Now all digital projection!): Couples Retreat, 4:15-7:00-9:40, Sat/Sun Mat. 1:30; CONTINUING: Toy Story/Toy Story II in 3D, 4:00-8:00, Sat/Sun Mat. 12:00; Zombieland, 5:15-7:30-9:50, Sat/Sun Mat. 12:45-3:00; ADVANCE TICKETS ON SALE: Michael Jackson’s “This Is It” , 12:01 a.m. Wed. Oct. 28, and 4:00-7:00-9:40 , Sat/Sun Mat. 1:00 (Two Weeks Only); Twilight Saga New Moon, Thursday, Nov. 19 Midnight, Regular Times Beginning Nov 20, 4:00-7:00-9:50, Sat/Sun Mat. 1:00; TIME CHANGES: NONE; ENDS THURSDAY: Informant, Jennifer’s Body; For full schedule: http://www.marqueecinemas.com/location.asp?location=9196
CHARLESTON, WV
MARQUEE SOUTHRIDGE: (Now All Digital Projection!): Couples Retreat, 1:25-4:15-6:55-9:35; CONTINUING: Invention of Lying 1:50-4:25-7:00-9:35; Toy Story and Toy Story 2 in 3D, 12:00-4:00-8:00; Zombieland, 12:45-3:00-5:15-7:30-9:45; Whip It, 1:55-4:35-7:15-9:50; Fame, 1:30-4:00-7:10-9:45; Surrogates, 12:05-2:20-4:40-7:20-9:40; SPECIAL EVENTS: OPERA IN CINEMA: Puritani, Bellini, Oct. 15, 7 p.m. and Oct 18, 1:00 p.m.; ADVANCE TICKETS ON SALE: Michael Jackson’s “This Is It” , 12:01 a.m. Wed. Oct. 28, and 11:30-2:05-4:40-7:20-10:00 (Two Weeks Only); Twilight Saga New Moon, Thursday, Nov. 19 Midnight, Regular Times Beginning Nov 20, 1:00-4:00-7:00-9:50; TIME CHANGES: Cloudy with a Chance of Meatballs 3D, 12:15-12:55-2:30-3:10-4:45-5:30-7:10-9:25; Final Destination 3D, 7:40-9:50; ENDS THURSDAY: Pandorum, Informant; For full schedule click: http://www.marqueecinemas.com/location.asp?location=6021
PARK PLACE STADIUM CINEMAS: Couples Retreat , 1:05-4:00-7:00-9:30; CONTINUING: Toy Story 1 & 2 (double feature) 3D, 12:30-4:00-7:45; Whip It, 12:55-3:10-5:20-7:30-9:40; Zombieland, 12:35-2:35-5:00-7:30-9:50; ADVANCE TICKETS ON SALE: Michael Jackson’s “This Is It,” showings begin for two weeks, Oct. 28 at 1:30-4:20-7:00-9:40; Twilight Saga New Moon, Starts November 20, regular times 1:00-4:00-7:00-10:00; TIME CHANGES: All About Steve, 12:40-2:45-5:00; Jennifer’s Body, 7:05-9:30 only; ENDS THURSDAY: Inglorious Basterds; For full listing: http://www.ourshowtimes.com/parkplace/index.html
HINTON, WV
RITZ THEATRE: Closed for renovations; grand re-opening July 4; For full schedule, click: http://www.ritzwv.com
HURRICANE, WV
TEAYS VALLEY CINEMA 10: Couples Retreat , 10:40*-12:50-3:00-5:10-7:20-9:30; ADVANCE TICKETS ON SALE: Midnight Showing Tuesday night Oct. 27, Michael Jackson’s This is It; Also, Midnight showing Thursday night , Nov. 19, “New Moon;” TIME CHANGES: Jennifer’s Body 12:50-5:05-9:15 only; Informant, 10:40 a.m. *-3:00-7:05 only; ENDS THURSDAY: Inglorious Basterds; (*Early Show Friday/Saturday only); For full schedule click: http://boxoffice.printtixusa.com/allstar/movies?v=2756
LEWISBURG, WV
SENACA SHOWPLACE: Zombieland, 4:30-7:00-9:30*, Sat/Sun Mat. 12:00-2:15, Tues-Thurs. 5:00-7:40; 9, 4:40-7:10-9:40*, Sat/Sun/Mon Mat. 12:10-2:25, Tues-Thursday, 5:10-7:50 ; (*No Monday after 9 p.m. showings); ENDS THURSDAY: Fame; For advance tickets, http://www.marqueecinemas.com/location.asp?location=4500
LOGAN, W.VA.
FOUNTAIN PLACE CINEMA 8: Couples Retreat, 4:40-7:05-9:30, Sat/Sun Mat. 12:00-2:25; CONTINUING: Toy Story and Toy Story II in 3D, 4:00-7:45, Sat/Sun Mat. 12:30; Zombieland, 5:00-7:30-9:50; Sat/Sun Mat. 12:35-2:35; Whip It, 4:25-7:15-9:30, Sat/Sun Mat. 12:05-2:15; Surrogates, 4:55-7:25-9:45, Sat/Sun Mat. 12:25-2:50; Pandorum, 4:25-7:10-9:40, Sat/Sun Mat. 12:00-2:10; Fame, 4:50-7:05-9:30, Sat/Sun Mat. 12:15-2:40; Cloudy with Chance Meatballs, 4:45-7:00-9:20, Sat/Sun Mat. 12:30-2:45; ADVANCE TICKETS ON SALE : Twilight Saga New Moon Starts 12:01 a.m. November 20, regular times: 4:00-7:00-10:00, Sat/Sun Mat. 1:00 ; Michael Jackson’s “This Is It,” two weeks only beginning at 12:01 a.m. Oct. 28, regular showing 4:20-7:00-9:40, Sat/Sun Mat. 1:30; TIME CHANGES: Fame, 4:50, Sat/Sun Mat. 12:15-2:40; Pandorum 7:10-9:40; ENDS THURSDAY: NONE; For full schedule click: http://www.ourshowtimes.com/fountainplace/index.html
NITRO, WV
Great Escape Nitro 12: http://greatescapetheatres.com or 769-0405
SUMMERSVILLE, WV
NICHOLS SHOWPLACE: Couples Retreat, 4:15-7:00-9:40*, Sat/Sun Mat. 1:00, Mon-Thurs., 5:15-7:45; Toy Story/Toy Story 2, in 3D, 4:00-8:00*, Sat/Sun 12:00, Mon-Thurs. 6:30; Surrogates, 5:10-7:30-9:50*, Sat/Sun Mat. 12:30-2:50, Mon-Thursday, 5:15-7:30; Cloudy With a Chance of Meatballs 3D, 4:55-7:10-9:25*, Sat/Sun Mat. 12:20-2:40, Mon-Thurs. 5:00-7:15 ; (*No Sunday Late Showings); ENDS THURSDAY: Fame; For advance tickets: http://www.marqueecinemas.com/location.asp?location=4499
WELCH, WV
MCDOWELL 3: Pandorum, 4:30-7:10-9:45*, Sat/Sun Mat. 1:30, Mon-Thurs. 5:10-7:40; Informant, 4:20-7;00-9:35*, Sat/Sun Mat. 1:15, Mon-Thursday, 5:00-7:30;” 9”, 5:15-7:20-9:25* , Sat/Sun Mat. 1:00-3:10, Mon-Thurs, 5:20-7:20; (*No Sunday after 9 p.m. showings); ENDS THURSDAY: Fame, Jennifer’s Body, All About Steve; For Advance Tickets, http://www.marqueecinemas.com/location.asp?location=9609
WHEELING, WV
Marquee Highlands 14: (All Digital DLP Projection): Couples Retreat, 1:20-4:00-7:00-9:40; CONTINUING: Invention of Lying, 1:15-4:15-7:00-9:40; Toy Story & Toy Story 2, in 3D, 12:00-4:00-8:00; Zombieland, 12:15-2:30-4:45-7:10-9:20; Whip It, 12:50-3:30-6:50-9:30; Fame, 1:10-4:15-7:00-9:45; Surrogates, 12:20-2:50-5:10-7:25-9:40; Cloudy With a Chance of Meatballs, 12:30-1:30-2:45-4:00-5:00-7:15-9:30; SPECIAL EVENTS: OPERA IN CINEMA: Puritani, Bellini, Oct. 15, 7 p.m. and Oct 18, 1:00 p.m.; ADVANCE TICKETS ON SALE: Michael Jackson’s “This Is It” , 12:01 a.m. Wed. Oct. 28, and 11:30-2:05-4:40-7:20-10:00 (Two Weeks Only); Twilight Saga New Moon, Thursday, Nov. 19 Midnight, Regular Times Beginning Nov 20, 1:00-4:00-7:00-9:50; TIME CHANGES: Jennifer’s Body, 7:15-9:45; ENDS THURSDAY: Pandorum, 9; For full schedule click: http://www.marqueecinemas.com/location.asp?location=11469
UPCOMING RELEASES (Dates Subject to Change; not all films in all areas)
October 16: Where the Wild Things Are, The Road, The Stepfather, Law Abiding Citizen, I Hope They Serve Beer in Hell
October 23: Amelia, Astro Boy, Saw VI, Nightmare Before Christmas 3D, Cirque Du Freak: The Vampire’s
October 28: Michael Jackson’s This Is It
October 30: Youth in Revolt
November 6: A Christmas Carol, The Box, The Fourth Kind, Men Who Star at Goats
November 13: Pirate Radio, 2012
November 20: Planet 51, Twilight Saga: New Moon, Blind Side
November 25: Old Dogs, Ninja Assassin, Nine, Fantastic Mr. Fox
December 4: Armored, Everybody’s Fine, Brothers, Transylmania
December 11: Lovely Bones, Invictus
December 18: Avatar 3D, Did You Hear About the Morgans
December 25: Alvin and the Chipmunks, It’s Complicated, Sherlock Holmes
January 8: Daybreakers, The Last Song
· Release dates subject to change; not all films will play in every market and/or every theatre.
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