[Rose-movies] Rose Theatre Newsletter for June 20, 2005
The Rose Theatre
rocky at rosetheatre.com
Mon Jun 20 14:53:49 PDT 2005
This week's newsletter includes:
* CRASH starts Friday, June 24
* MAD HOT BALLROOM held over
* BATMAN BEGINS held over
* LORDS OF DOGTOWN starts Friday, July 1
* Midnight at the Rose - STOP MAKING SENSE - Friday & Saturday July 8, 9
* Admission Prices
* Gift Suggestions
* Coming Attractions
* Rose Theatre Movie Challenge
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Show Times: Monday, June 20 - Thursday, June 30
CRASH - showing in the Rosebud Cinema
June 24,25 4:30, 9:30
June 26-30 4:30
MAD HOT BALLROOM - showing in the Rosebud Cinema
June 20-23 4:30, 7:20
June 24-30 7:20
BATMAN BEGINS - showing in the Rose Theatre
June 20-23 4:00, 7:00
June 24,25 4:00, 7:00, 9:45
June 26-30 4:00, 7:00
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CRASH
Directed by Paul Haggis
Cast: Sandra Bullock, Don Cheadle, Matt Dillon, Jennifer Esposito, William
Fichtner, Brendan Fraser. Terence Howard, Chris "Ludacris" Bridges, Thandie
Newton, Ryan Phillippe, Larenz Tate
Rated R for language, sexual content and violence. 105
min. <http://www.crashfilm.com>
The stunning, must-see drama CRASH is proof that words have not lost the
ability to shock in our anesthetized society. I can't remember the last
time I have felt so galvanized, disturbed, and moved by full sentences,
unadorned by gratuitous profanity, flying out of the mouths of screen
characters as ordinary as you or me or the guy idling at the next traffic
light on an average day in Los Angles at Christmastime. CRASH is about the
collision of cars, the machinery on which L.A. is built. But it's also
about the collision of races, cultures, and classes - another kind of L.A.
experience. White folks, black folks, Hispanics, and Asians - nobody gets
by in this amazingly tough, at times unexpectedly funny, and always humane
movie without getting dented. An assured directorial debut by MILLION
DOLLAR BABY screenwriter Paul Haggis, CRASH suggests, convincingly, that
violent contact - in word or on wheels - is the only way left to reach out
and touch somebody.
The pileup begins almost immediately when two young black men walking in an
upscale white enclave and talking about the perception of young black men
in upscale white enclaves, efficiently carjack a Lincoln Navigator that
happens to belong to the L.A. district attorney and his wife. Bam!, that's
four people linked and unmasked, in all their ugliest prejudices and most
shameful fears, by the fate of one SUV - a luxe safari truck that at first
has nothing, and yet eventually everything, to do with the fate of another
Navigator, owned by a rich black TV director and his wife and stopped for
inspection by a racist white cop and his partner.
How could so many lives smash into one another so quickly? How, for that
matter, does the family of a Hispanic locksmith wind up linked, in danger
and redemption, with that of a burgled Iranian shopkeeper? What do these
strangers have to do with a black police detective and his Latina partner
and lover, who are investigating a homicide? Role for role, the acting is
superb, and the cinematography is strong, with stylistic emphasis on blur
and confusion interrupted by knife-carved incidents of prejudice and
consequence (aurally stitched by Mark Isham's anxious electronic
score). As Haggis' taut vignettes reveal CRASH's bigger traffic pattern
and the words rain down, there's little to do but grip tight and prepare
for major impact. (Excerpted from ENTERTAINMENT WEEKLY)
"'Crash' has moments so powerful they're instantly seared into your memory:
you'll watch without blinking, barely breathing"-THE SEATTLE TIMES
______________________________________________________________
MAD HOT BALLROOM
Directed by Marilyn Agrelo
Cast: Jatnna, Amber, Wilson, Priscilla, Vai-Wen, Ronnie, Michael, Zeb,
Cyrus, Tara
Rated PG for some thematic elements. 105
min. <http://www.paramountclassics.com/madhot
The more unlikely the cultural marriage, the better it plays on-screen,
which is why the incongruous combination of gritty New York City public
school kids and the rarefied, privileged world of ballroom dancing makes
MAD HOT BALLROOM a documentary experience to savor.
Warm, funny and very difficult to resist, this engaging film combines the
charm of SPELLBOUND with the kinetic energy of STRICTLY BALLROOM in a way
that will make you want to laugh, cry and do a little dancing yourself,
maybe all at the same time.
Directed by Marilyn Agrelo, MAD HOT BALLROOM couldn't exist without a
program, run by the American Ballroom Institute, that has brought trained
teachers to what at last count was some 7,000 fourth and fifth graders in
68 elementary schools across the five boroughs.
More than that, the kids take part in an annual citywide competition that
encompasses the program's five dances - fox trot, merengue, rumba, tango
and swing - and culminates in an emotional dance-off for the enormous
trophy that goes to New York's No. 1 dance team.
Still a few years from the mad hormones of adolescence, the film's fourth
and fifth graders, glimpsed on the dance floor and in candid moments
outside school seem hardly likely to embrace the physical touch and
constant eye contact ballroom dancing demands. But the wonder of MAD HOT
BALLROOM is that these kids embrace dance and even get to love it. Hungry
for a shot at accomplishment, the young dancers get all but addicted to the
chance to do something well and feel good about themselves in the
process. And because they are not old enough to dissemble and hide their
feelings, these kids' earnestness, their disappointments and their joy are
all easy for us to read and share. (Excerpted from LOS ANGELES TIMES)
"An out-of-left-field delight. Can you resist this movie? Don't even
try"-NEWSWEEK. "You'll waltz out exhilarated"-NEW YORK. "Comical and
genuinely touching"-THE NEW YORK TIMES. "A smashing mix of good story and
authentic spirit"-THE EXAMINER
_____________________________________________________________
BATMAN BEGINS
Directed by Christopher Nolan
Cast: Christian Bale, Michael Caine, Morgan Freeman, Gary Oldman, Katie
Holmes, Liam Neeson
Rated PG-13 for violence. 140 min. <http://www.batmanbegins.com>
Batman is back. After four films about the caped crusader, beginning
famously in 1989 with Tim Burton's Gothic original and ending infamously in
1997 with Joel Schumacher's version, the fanchise suffered a run of aborted
rebots until Warner Bros. brought in Christopher Nolan, the 34-year-old
gifted mind behind MEMENTO, whose no-frills approach was just what the
bloated Batman saga needed.
The film is a stylistic rebirth. Nolan's vision doesn't have a trace of
comic-book-movie excess; it's a globetrotting epic - Bruce Wayne goes to
Bhutan! - in a mold of the adventure movies he grew up adoring. "We were
thinking about David Lean and John Huston," says co-writer David
Goyer. "Not STARLIGHT EXPRESS."
The rugged charm of BATMAN BEGINS, which stars Welsh actor Christian Bale,
lies partly in its refusal to join the visual-effects arms race that the
summer-movie season has lately become. When Nolan does turn to digital
wizardry, he uses it to amplify the action, not supply it. "I think
there's a vague sense out there that movies are becoming more and more
unreal," says Nolan. "The demand we put on ourselves was to be as
spectacular as possible, but not depend on computer graphics to do it." In
BATMAN BEGINS, most of the fireworks come from old-fashioned places: story
and character. (Excerpted from NEWSWEEK)
"One of the year's best films. It's the 'Batman' movie I've been waiting
for"-Roger Ebert. "A rugged, rousing adventure"-NEWSWEEK. "A brilliant,
complex, intelligent action thriller"-NBC-TV
_________________________________________________________________
LORDS OF DOGTOWN starts Friday, July 1 - PG-13
Starring Heath Ledger, Emile Hirsch, Victor Rasuk, John Robinson
When the sullen and fearless blond teenager boys in LORDS OF DOGTOWN ride
their skateboards, never pausing to think about anything that isn't
directly in front of them, the movie joins them right on the pavement,
racing forward with grungy velocity, showing us what the skaters are seeing
and feeling as they ride along back alleys, dilapidated asphalt
playgrounds, and any other available surface: a world of trash
transcended. The camera, sharing the high, threads its way through a
double row of cars, and it's like a moment out of a Jerry Bruckheimer chase
thriller, except that there's nothing at all fanciful or exaggerated about
it. The sequence gives you a charge because it's entirely real - a
God-on-the-street's-eye view of skateboard heaven.
The year is 1975, and the daredevil boarders are the original skate punks.
They're from Venice and Santa Monica, a.k.a. Dogtown, a rough-and-tumble
"ghetto by the sea" that's never been touched by the stoned karma of surf
culture. LORDS OF DOGTOWN is a docudrama, rare in its grit and
authenticity, that also strives for the mythical youth-rebel excitement of
something like 8 MILE. We see the introduction of urethane wheels, which
allow the skaters to grip any surface, and we meet Skip Engblom, the
bedraggled burnout of a surf-shop owner who organizes the kids into the
Zephyr Team, which becomes their debauched surrogate family. Skip is
played by Heath Ledger, who gives a witty performance as a sloshed old lion
who still has some bite left.
Catherine Hardwicke is the rare director whose work is at once kinesthetic
and delicate. She stages LORDS OF DOGTOWN with a rushing,
caught-on-the-fly realism that may, in the end, prove more artful than
commercial, yet she makes her characters vibrant and full. The contrasting
temperaments of the brash, moonstruck Tony, the chivalrous Stacy, and the
moody, troubled Jay come to the fore gradually, as they're confronted with
success. The three become stars, boy kings of the '70s media/endorsement
culture, and in different ways it tears each of them apart. But that, the
movie says, is tied to the nature of what they invented: a sport that never
had any motive beyond the go-for-broke impulse of flying off the next
curve. (Excerpted from ENTERTAINMENT WEEKLY)
"A blast from start to finish"-THE NEW YORK TIMES. "A dazzling daredevil
ride"-ROLLING STONE. "Heath Ledger delivers an Oscar-caliber
performance"-FOX-TV
______________________________________________________________
Midnight at the Rose - STOP MAKING SENSE - Friday & Saturday July 8 & 9
Directed by Jonathan Demme
A performance film of the Talking Heads; not rated
From the opening frames of Jonathan Demme's STOP MAKING SENSE, it's
apparent that this is a rock concert film that looks and sounds like no
other. The sound is extraordinarily clear, thanks to the pioneering use of
24-track digital recording. And the film's visual style is as cooly
iconoclastic as Talking Heads itself. Mr. Demme has captured both the look
and spirit of this live performance with a daring and precision that match
the group's own. STOP MAKING SENSE is, to quote one of its songs, "same
as it ever was" - perhaps the best rock concert movie ever made.
Be that as it may, it should be experienced with other moviegoers,
preferably in a theater with the stereo cranked up. Unlike such heavily
edited concert films as MONTERY POP and THE LAST WALTZ, this one suggests
the experience of a live performance.
It's wired star, David Byrne, just keeps on giving a concentrated energy
back to the audience, his fellow performers and the camera. With his
hollow-eyed stare and bizarre gestures, Mr. Byrne is surely on of the
oddest rock singers; he's also one of the most galvanizing. His studied
casualness is matched by a fierce intensity. Even his most peculiar
gestures have an originality and a mesmerizing strangeness.
And Mr. Byrne's vocals maintain their lucid, unsettling energy throughout
the performance (the film actually draws upon four 1983 concerts at the
Pantages Theater in Hollywood).
Mr. Demme, in addition to avoiding any visual monotony, has gracefully
tailored the film to suit the band's stage show. STOP MAKING SENSE owes
very little to the rock film-making formulas of the past. It may well help
inspire those of the future. (Excerpted from THE NEW YORKER & THE SEATTLE
TIMES)
"David Byrne is a star of maniacal intensity...the Talking Heads get down
and burn"-NEWSWEEK. Superb, elegant...a celebration of the imperial power
of rock"-NEW YORK MAGAZINE. "A musical masterpiece"-SAN FRANCISCO EXAMINER
_______________________________________________________________
Admission Prices
General admission to the Rose is $8, senior citizens (62+) $7, children (12
& under) $6. The matinees are $1 less. The box office opens thirty
minutes before the first show of the day and tickets are only sold for the
next show once the preceding show has either sold out or started.
Assisted listening devices are available by request at the concession.
___________________________________________________________
Gift Suggestions
Rose Theatre T-Shirts - $16.00
Rose Theatre Sweatshirts - $32.00
Admission Gift Certificates - $8, $7, $6
Discount Cards - $35.00 - (five admissions) Saves $1 on each general
admission ticket.
Concession Gift Certificates for any denomination
______________________________________________________________
Coming Attractions*
LADIES IN LAVENDER - July 15 - Two of Britain's grandest dames, Judi Dench
and Maggie Smith star in this endearing period piece about two sisters
whose lives are changed when a stranger suddenly appears. "A wonderful
tale of hidden emotions and feelings"-NEW YORK POST. "Exquisite
performances by Judi Dench and Maggie Smith"-THE WASHINGTON
POST. <http://www.ladiesinlavenderthemovie.com>
MARCH OF THE PENGUINS - tba - Morgan Freeman narrates this visually
stunning documentary about the remarkable journey of the Emperior
penguins. <http://www.marchofthepenguins.com>
LOOK AT ME - tba - A sparkling satire in which a French girl struggles with
the burden of having a celebrity father. Winner of Best Screenplay at the
Cannes Film Festival. "Hilariously merciless!"-NEW YORK DAILY NEWS. "A
witty and acute examination of friendship, ambition and betrayal."-THE NEW
YORK TIMES. "A wonderful new film--a tender, indignant, but also very
worldly movie."-THE NEW YORKER. <http://www.sonyclassics.com>
MURDERBALL - tba - Winner of the Audience Award at this year's Sundance
Film Festival, this inspirational documentary profiles quadriplegic rugby
players. "Mesmerizing. Creates a new definition of courage"-ROLLING
STONE. "Fierce, funny"-PREMIERE. <http://www.murderballmovie.com>
MY SUMMER OF LOVE - tba - A beautifully told, disarming story from
Polish-born director Pawel Pawlikowski about two young women of very
disparate backgrounds colliding into a risky, beguiling
affair. "Seductive, spellbinding. A sly and wonderfully atmospheric
gem"-NEWSWEEK. "Thrilling and deliciously charged"-VANITY
FAIR. <http://www.mysummeroflovemovie.com>
YES - tba - Sally Potter's new film is a stylish meditation on love, world
politics, science and happiness. Potter began writing the story in the
day's following September 11, and the result is a film that responds to
that catastrophic event in Potter's own unique voice. "It's as if Ingmar
Bergman, William Shakespeare and Dr. Seuss had collaborated on a
project"-THE WASHINGTON POST. <http://www.sonyclassics.com>
SIN CITY - July 22 & 23 - Midnight at the Rose
*schedule subject to change.
________________________________________________________
Rose Theatre Movie Challenge: In TO HAVE AND HAVE NOT Bogart and Bacall
refer to each other as Steve and Slim. Why were those names selected for
the screenplay?
Rules: Answers must be e-mailed to moviechallenge at rosetheatre.com with Rose
Theatre Contest in the subject line. One winner will be selected at random
from correct responses received by midnight, June 24 and will be notified
by e-mail. Your free pass will be held at the box office so you must
include your name along with your movie challenge answer. Passes are good
for 30 days.
________________________________________________________
Last Week's Question: Match the dance with the description*
A. Fox Trot
B. Tango
C. Swing
D. Merengue
E. Rumba
1. A marriage of movements, a marriage of cultures; swing, sway, move,
groove, this is the rhythm of life.
2. A jump back, hep-cat full beat rhythm combines with moves that just
don't quit, launching the world into a space that swings, baby, swings.
3. Hips are swaying and sashaying to the beat, beat, beat of this Latin
rhythm. Always fun and full of surprises, cutting loose never looked this
good.
4. One simple movement flowing to the next, slowly and smoothly it winds
its way in an elegant trip around the dance floor.
5. Long limbs and dramatic gestures stretch this sensual dance into a
romantic attitude full of possibilites.
*From MAD HOT BALLROOM
Answer: 1E, 2C, 3D, 4A, 5B
Congratulations to AC, our winner this week.
________________________________________________________
Soundtracks to movies featured at the Rose Theatre are available at Quimper
Sound Music & Media, 901 Water Street, Port Townsend.
E-mail addresses are collected only for the Rose Theatre Newsletter. They
are not transferred to any third party for any reason. Our complete
Privacy Policy is available at <http://www.rosetheatre.com>
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