in the galleries - Salina Art Center by linxiaoqin


									tion has yet to achieve the same level of semi-respectability. Comic-Con Episode IV: A Fan’s
Hope, the new documentary by Morgan Spurlock, looks at the special sub-culture of devoted
fans who happily make the annual pilgrimage to the Comic-Con in San Diego, California: the
largest such convention in the world and nirvana for sci-fi and fantasy enthusiasts. The film’s
title is a cheeky reference to the Star Wars movies, which are infamous for the countless
esoteric arguments they spark among fans (“Did Han Solo shoot Greedo first?”). Produced by
Harry Knowles (creator of the Ain’t That Cool News website), Comic-Con follows five individuals
who provide different perspectives: two are aspiring comic book artists; one is a “cosplayer” (a
fan who dresses in authentic character costume) seeking the coveted top prize at the Mas-            150 S. Santa Fe | 785.452.9868 |

                                                                                                     films april 20-May 24
querade event; one is a comic book dealer; and one is a young man planning to propose to his
girlfriend at the convention. Morgan Spurlock starred in Supersize Me, but he doesn’t appear
here; he realizes that the colorful characters—including comic book creator-legend Stan Lee,
graphic novelist Frank Miller, horror director Eli Roth, actor Seth Rogan, Clerks director Kevin
Smith—are sufficiently entertaining, witty, articulate, and interesting without added com-
mentary. The fans and celebrities in this lively film show themselves to be more than so-called      aDMISSIon PRICES
“geeks.” Comic-Con Episode IV: A Fan’s Hope helps explain how comic book culture gradually           $6.00 SaC Members
seeped into the bloodstream of mainstream entertainment, influencing so much of what we              $7.00 Seniors/Students (with valid ID)
watch today. It’s a wonderful documentary that captures the silliness, seriousness, and fun of a
                                                                                                     $8.00 adults
unique event, introducing viewers to an “alien” culture and ultimately making this strange world
and its residents fascinating, likeable, and even admirable.
                                                                                                     Membership card must be shown for discount. Debit and credit cards accepted with a 50¢ processing fee.
                                                                                                     R or MA rating requires purchase of ticket by parent or guardian of person under 17.
May 18-24
Jeff, Who Lives at Home
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Rated R for profanity and drug use.
“Mumblecore” is a special kind of 21st century american independent film, distinguished by
super-low production values, frequent use of digital video, non-professional actors, improvised
dialogue, handheld camerawork, loose narrative structure, uncomfortable moments, and laid
back attitude. Brothers Mark and Jay Duplass are probably the best-known mumblecore direc-
tors and their films have grown more accessible to mainstream audiences, even using “name”
actors (like Jonah Hill, Marisa Tomei, and John C. Reilly, who starred in Cyrus). In their latest
film, 30-year-old Jeff (Jason Segel) is an unkempt, do-nothing man-child who lives with his
mother, smokes pot in the basement, and watches the M. night Shyamalan metaphysical alien
invasion flick Signs over and over, convinced that this movie holds the key to human existence

                                                                                                                                                          in the galleries
(the Duplass brothers don’t entirely disagree with him). Ed Helms and Judy Greer are suburban
counterpoints to Jeff’s slacker, playing Jeff’s jerky brother Pat and Pat’s angry, frustrated wife
Linda. Susan Sarandon is Sharon, Jeff’s widowed mother, a part that makes great use of Saran-
don’s toughness and comic timing. It’s not powerhouse drama or laugh-a-minute comedy, but
Jeff, Who Lives at Home has an unexpected warmth and humanity that sneaks up on the viewer.                                                               THRouGH JuLy 2012
It’s also a sly dig at men who refuse to grow up; the female characters have the sharpest mo-
ments of insight and best lines in the movie. and there are interesting observations here about
relationships, grief, and personal responsibility. as in the best mumblecore films, though, these
observations are small and unobtrusive. The film’s success is that it never pushes too hard; it
                                                                                                                                                          Mary Reid Kelley
can be enjoyed as a fast-paced, amusing trifle, filled with goofy but relatable characters… but
if one tunes into its quirky wavelength, it actually makes some pertinent comments on life and                                                            Dawit Petros
                                                                                                                                                          Molly Dilworth
how to live it (and not live it).

       FoR LaTEST FILM InFoRMaTIon, Go To
aPRiL 20-26                                                                                             cleverly masks his sociopathic tendencies and absolute hatred for his mother. We see that, as
                                                                                                        Kevin’s petty crimes begin to escalate, Eva starts to become detached from her family and the
Salmon Fishing in the yemen                                                                             rest of the world (it doesn’t help that Kevin’s actions bring down retaliatory acts of vandalism
FRI                    5:30 7:45                                                                        and abuse from neighbors). Director Ramsay shows some subtle dark humor in her background
SaT & Sun 2:00         5:00 7:15                                                                        visuals, such as the recurring use of the color red, but it’s the acting that makes the film so
Mon-THuRS              5:30 onLy                                                                        powerful, elevating it above voyeuristic horror show into the realm of insightful drama. Tilda
                                                                                                        Swinton is superb as the mother whose frayed nerves conceal a hidden guilty suspicion that
Rated PG-13 for brief profanity, violence, and sexual content.
                                                                                                        she’s responsible for Kevin’s behavior. It’s her nuanced performance—we’re neither completely
Ewan McGregor is Dr. alfred “Fred” Jones, a British scientist utterly fascinated with fish. Sheikh      for or against her—that anchors this brilliant, haunting study of family madness and the
Muhammed (amr Waked) is a fishing aficionado wealthy enough to make his lifelong dream a                ultimate question “Where does Evil come from?”
reality: he wants to transplant 10,000 salmon into an artificial lake created in yemen, so that he
and his countrymen can enjoy fly fishing without leaving the Middle East. Tangled up in Sheikh          May 4-10
Muhammed’s crazy scheme are the British Prime Minister’s scheming emissary, acid-tongued
Patricia Maxwell (Kristen Scott Thomas), and businesswoman Harriet Chetwode-Talbot (Emily               The Kid with a Bike
Blunt), whose job it is to handle the financial details (and convince a reluctant Dr. Jones to          FRI                       5:30 7:15
help with the project). as he showed with films like Chocolat and What’s Eating Gilbert Grape?,         SaT & Sun 2:00 5:00 7:00
Swedish-born director Lasse Hallström has an affinity for likeable oddballs who march to their          Mon-THuRS                 5:30 onLy
own drummers, and his humanistic approach is transferable to any nation or culture. Salmon              Unrated; may contain mature content. In French with English subtitles
Fishing is adapted from the novel by Paul Torday by Simon Beaufoy, whose scripts for Slumdog
                                                                                                        The Dardenne brothers—Belgian writing-directing team Jean-Pierre and Luc—have gradually
Millionaire and The Full Monty also demonstrated great sympathy for dreamers, schemers, and
                                                                                                        gained a critical and cult following in the united States since their 1999 feature, Rosetta, nabbed
underdogs of any race or culture. after initially dismissing the sheikh’s proposal, Fred comes
                                                                                                        the Palme d’or at the Cannes Film Festival. Dardenne heroes are the homeless, the poor, immi-
around and begins to work on the lake construction… and romance blooms between Harriet
                                                                                                        grants searching for a better tomorrow, the abused and neglected—people we don’t generally see
and Fred. The film’s gentleness makes it unique among contemporary comedies. Even Sheikh
                                                                                                        in movies. The Kid with a Bike is 11-year-old Cyril (Thomas Doret), abandoned by his father and
Muhammed, a figure ripe for xenophobic caricature in other movies, comes across as likeable if
                                                                                                        left in a youth facility. Refusing to believe that his father left him for good, he tries to escape. a
misguided. The film deftly blends comedy and romance, and Emily Watson and Ewan McGregor
                                                                                                        sympathetic woman named Samantha (Cécile de France) intercedes on Cyril’s behalf and becomes
(Hugh Grant would’ve liked this role, too) light up the screen with rare chemistry, playing a
                                                                                                        his guardian on weekends. With a bicycle Samantha gets for him, Cyril sets out to track down
couple as smart as they are sexy (in a buttoned-down way). Salmon Fishing in the Yemen makes
                                                                                                        his father. This film invites comparisons to Vittorio De Sica’s neo-realist masterpiece The Bicycle
fun of political showmanship and stuffed shirts, but it’s light-hearted, enjoyable fluff, always on
                                                                                                        Thief. The Dardennes invert the earlier film’s storyline (an unemployed man, accompanied by his
the side of visionaries, nerds, and neurotics—and even sneaking in a positive message about the
                                                                                                        son, searches a city for his stolen bicycle) to reflect the realities of 21st century Europe (now it’s
possibility of different cultures living together in harmony (like salmon in the middle of a desert).
                                                                                                        an abandoned boy with a bicycle searching for his father). as critic andrew o’Hehir lamented, it’s
                                                                                                        difficult to convey the appeal of a Dardenne brothers film—their plot summaries don’t grab view-
aPRiL 27-May 3                                                                                          ers. Dardenne cultists tend to be movie fans who watched a Dardenne film out of curiosity—and
We Need to Talk about Kevin                                                                             now voraciously seek out every new one. Part of the magic, o’Hehir suggests, is the no-nonsense
                                                                                                        filmmaking: there’s not a wasted moment; every shot, every line of dialogue, is important. Maybe
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                                                                                                        it’s just the fact that the Dardennes aren’t afraid to film tough-minded stories while suggesting that
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                                                                                                        hope still exists; not in a phony-uplifting way, but in realistic fashion, showing that everyone has
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                                                                                                        choices, some of them difficult. The Kid with a Bike is emotional, honest, and totally captivating—
Rated R for violence, disturbing images, profanity, and sexual content.                                 perhaps the Dardennes’ most accessible film, and one of their best.
Director Lynne Ramsay’s suburban horror tale isn’t for the faint of heart: it begins with a high
school massacre, which launches a shell-shocked mother’s inner quest to figure out, “What               May 11-17
did I do wrong?” The film sifts through the puzzle pieces as Eva (brilliantly played by Tilda
Swinton) tries to pinpoint the moment that anticipated this act of pure evil by teenage son
                                                                                                        Comic-Con Episode iV: a Fan’s Hope
Kevin (Ezra Miller). The film is challenging both morally and aesthetically: it isn’t structured in     FRI                    5:30 7:15
linear fashion, but as a kaleidoscopic montage of several “Was this the moment I messed up?”            SaT & Sun 2:00         5:00 7:00
episodes throughout Eva’s life as a mother seemingly in over her head from Day one. Through             Mon-THuRS              5:30 onLy
these flashbacks, we see Kevin develop from colicky, needy infant to emotionless prepubescent           Rated PG-13 for sexual and drug references, profanity, and brief horror imagery.
(Jasper newell) just beginning to learn the techniques of successful sadism to malignant
                                                                                                        although comic books (or “graphic novels,” the term many prefer) have achieved mainstream
teenager who acts as though Satan put him on Earth to torment poor Eva—though how much
                                                                                                        acceptance—especially by Hollywood movie producers, who have seen blockbusters based on
of these perceptions we can fully trust is uncertain. Eva desperately needs to talk to someone
                                                                                                        comic books gross hundreds of millions of dollars around the world—the comic book conven-
about Kevin, but it’s not cheerfully clueless husband Franklin (John C. Reilly), from whom Kevin

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