The reviews for "Paul Blart: Mall Cop 2" are out, and the critical one-liners — which add up to a cumulative 0 percent rating on Rotten Tomatoes — are flying fast and loose, besides being vicious.
A few samples:
Joe Neumaier, New York Daily News: "The cinematic equivalent of biting into an old brown banana."
Christopher Lawrence, Las Vegas Review-Journal: "During Blart's awkward convention speech, a fellow security guard is so inspired, she yells out, 'You go Paul Blart!' Yes, Paul Blart. You go. And take everybody involved with this mess with you."
Dave White, Movies.com: "Kevin James and Nick Bakay are credited as screenwriters, but that's only because 'Taking Naps' and 'I Went Out To Get A Sandwich' are not Writer's Guild credits yet."
Blake Goble, Consequence of Sound: "There was a point where I was considering writing a will because this film made me want to leave this Earth."
Day two in sunny Vancouver, British Columbia (see post immediate below), started out with the necessities as offered by our East Vancouver neighborhood: coffee at Turk's Coffee (double-shot americano) and then breakfast at Havana (everything from chicken and waffles to Eggs Benedict sans Hollandaise sauce).
Then we drove to Queen Elizabeth Park, which offers both a bit of nature and a great view of the city skyline. Following something of a theme, we drove to the University of British Columbia and checked out the Museum of Anthropology (MOA), which offers enough of a collection of native art and artifacts to please a pride of anthropologists.
Afterward, we drove along Marine Drive, stopped and walked along the beach at Jericho Beach Park.
And tonight: dinner at East Is East, an eatery owned by a couple of siblings of Afghan descent who lived in India and whose intent in Vancouver is — according to the website — to offer "fusion approaches to food, ambiance, music and art (that) all contribute to creating a sense of universality while retaining the essence of the Eastern heritage that the owners have brought with them to this land."
Our meal included chicken kabobs, spinach paneer, tabouli, salmon in coconut sauce and dahl — in other words, a whole assortment of eastern dishes. And during our meal, we were serenaded by a group of flamenco dancers, singers and musicians. All in all, it was a great experience — especially when one of our servers dropped an entire tray of food, dealt with the situation calmly and did her best to ease everyone's embarrassment. And then made sure the replacement food came faster than we expected.
Tomorrow we head home. But we'll take a bit of Vancouver with us. And we'll no doubt be back.
I used to think that Seattle was the most beautiful city on the West Coast. Then I started spending time in San Francisco, and Seattle was relegated to No. 2. That lasted until I had the opportunity to first visit Vancouver, British Columbia.
Seattle, as fine a place as it is, then and forever more, ranked No. 3.
I've spent the last couple of days in the pearl of B.C., touring an international city that not only has access to water but is ringed by mountains. We met friends from Vermont who found an apartment rental in East Vancouver, just off Commercial Drive, and we've been hitting some tourist spots (the Capilano Suspension Bridge, for one), seeing movies (Noah Baumbach's "While We're Young") and eating.
Our first night, Thursday, we ate at a place just down the street for which our landlord had provided us a gift certificate. Biercraft Tap and Tapas Bar specializes in Belgian beers and fairly basic bar food (burgers seafood specials such as mussels and salads), all of which was tasty enough and came fairly quickly.
Last night we ate at the Addis Cafe, an Ethiopian eatery a half dozen blocks down Commercial. We ate from a huge platter of various meats and veggies, which we scooped up with ample servings of injera (the bread that comes in place of utensils). I only wish I could have washed it all down with a cold beer, I was forced to settle for Perrier. No matter.
Today we'll continue looking around. Maybe drive through some of the city's parks. Maybe drive out to the University of British Columbia. And, of course, we'll find more diverse and delicious places to eat. No doubt we'd have as good a time in San Francisco. Maybe in Seattle, too.
But, as I say, Vancouver, B.C., is my favorite West Coast city. And it's just an eight-hour (or so) drive from home.
I distrust inspired-by-real-life movie adaptations, especially those that attempt to reflect history. All too often they feature splashy casting, boast production values that seem drawn directly from the Masterpiece Theater library, and smooth out rough edges – in character, in plot and most of all in complexity – in an effort to make the final product fit the mold of palatable mainstream product.
“Woman in Gold,” which tells the story of an Austrian woman’s fight to reclaim art stolen six decades before by Nazi authorities, does all the above. Our protagonist, Maria Altmann, is played by Oscar-winning actress Helen Mirren. Production designer Jim Clay filled the same position on the 2012 BBC production of “Great Expectations.” And the script that Alexi Kaye Campbell wrote makes the legal issues addressed by your average “L.A. Law” episode look like a Supreme Court brief.
All that said, “Woman in Gold” is a surprisingly moving film. Director Simon Curtis, the same filmmaker who besides enjoying his own share of BBC-associated credits gave us 2011’s “My Week With Marilyn,” has crafted a slick, skillful and – yes, palatably mainstream – study of pain and angst, courage and long-delayed justice.
The film’s title refers to the 1907 painting by Austrian artist Gustav Klimt, a portrait of Adele Bloch-Bauer – who was Maria Altmann’s aunt. Bloch-Bauer died in 1925, and her widower husband fled Austria when German annexed Austria in 1938 – leading to all his possessions, including Woman in Gold, being seized by the Nazis.
Campbell’s screenplay tells two stories at once: We follow the young Altmann, played in part by “Orphan Black” star Tatiana Maslany, from her childhood memories of her aunt to her breathless escape from Austria. And we follow the elder Altmann, now played by Mirren, as she consults with a young lawyer, Randol Schoenberg – played by Ryan Reynolds – about getting the paintings back.
The problem: They’re hanging in Vienna’s national art gallery. And a document, written by Bloch-Bauer, indicates that her intent was for them – especially “Woman in Gold” – to stay there. And so the film’s natural sense of tension is two-fold: How daring will Altmann’s escape be, and can the law ever give her rightful recompense?
Question is, how much of all this is real? Well, the basic facts, at least. Turns out there was a legal basis for Altmann’s suit, which Schoenberg argued successfully before the U.S. Supreme Court – though the case was ultimately resolved through independent arbitration. But as with all Hollywood versions of real-life stories, facts have been both stretched and invented – from a farfetched escape through gunfire to the casting of Reynolds to play the smallish, balding Schoenberg. Invention, though, is what we expect from Hollywood.
The question is, can some sense of authentic drama shine through all the gloss? Mirren, who can make the most absurd dialogue seem believable, does her best to make sure that it does. As does Reynolds who, though cast against type, is surprisingly good.
Credit director Curtis, too. It’s not easy to make mainstream melodrama look this good.
Above: Kurt Vonnegut Jr. before his 2004 Get Lit! appearance. Note the cigarette.
Since its inception in 1998, Get Lit! — Spokane's annual literary festival, founded and annually hosted primarily by Eastern Washington University — has attracted an amazing array of talent. From Kurt Vonnegut Jr. to Salman Rushdie, Jane Smiley to Richard Russo. Too many, really, to comfortably list here.
But the celebration, which is what Get Lit! truly is, has never been about individual writers. It's been about the discipline of writing itself, an art that is practiced by everyone from best-selling authors such as Vonnegut, acclaimed Northwest writers such as Sherman Alexie and Jess Walter to students in area schools learning the difference between a comma and a semicolon.
That celebration will continue next week when the 17th-annual version of Get Lit! begins on Monday, April 20, with three different sessions. While the 2015 version of the festival doesn't feature the literary firepower of years past, attendees will have the opportunity to meet, greet and listen to such writers as Alexie, Walter and a number of other notable visiting writers. For a full schedule, click here.
A personal note: In 2004, before Vonnegut's Get Lit! performance at what is now the Bing Crosby Theater (then the Metropolitan Performing Arts Center), I met with the then-81-year-old writer backstage. As a Spokesman-Review staff writer, I had interviewed Vonnegut by phone the week before. And I jumped at the chance to meet him in person.
We met in a small room off the theater's balcony level. A small group of students stood nearby as Vonnegut pulled a pack of Pall Mall cigarettes from his suit coat pocket. "Ya think I can smoke here?" he asked. Feeling friskily familiar — I mean, really, was this Kurt Vonnegut asking me if he could smoke? — I said, "Hey, you're Kurt Vonnegut! You can smoke wherever you want."
And so he lit up. I snapped the photo above. And I got a memory of a lifetime.
West Coast Entertainment's Best of Broadway 2015-26 will kick off with the 20th anniversary of "Riverdance," feature a return engagement of "The Book of Mormon," and include the classic "42nd Street."
"Riverdance" will return to the INB Performing Arts Center from Oct. 22-25. And before you can say, "You'll shoot your eye out," the musical version of "A Christmas Story" will hit town Dec. 3-6.
"The Book of Mormon," which opened the 2014-15 season, will return in 2016 for run from Jan. 26-31. Then from March 24-27, the venerable Broadway musical "42nd Street" lands, followed May 3-8 with the hits show "Disney's Newsies."
Season tickets are available now, with a renewal deadline of May 31.
West Coast Entertainment also is binging 10 additional special engagements. They are: "All Hands on Deck" (Sept. 13), "I Love Lucy Live on Stage" (Oct. 2), "Shaping Sound: Dance Reimagined" (Oct. 30), Hall Hollbrook in "Mark Twain Tonight!" (Nov. 14), the R&B/fusion group Snarky Puppy (Nov. 20), "A Mannheim Steamroller Christmas" (Nov. 22), "Mythbusters: Jamie and Adam Unleashed" (Dec. 11), the New Shanghai Circus (Feb. 7, 2016), the Illusionists (Feb. 13-14) and the musical "Beauty and the Beast" (April 5-6).
Finally, the National Geographic Live series also will return with Kevin Hand's "The Search for Life Beyond Earth" (Nov. 3), Steve Winter's "On the Trail of Big Cats" (Feb. 9, 2016), "Where the Wild Things Live" with Vincent J. Musi (March 8), and Cedar Wright's "Sufferfest" (April 19).
"Unfriended": A group of online friends gets haunted by someone, or something, using the account of their dead buddy. #thatsux.
"Child 44": An investigator in Stalin's Soviet Union goes after a child-killer. Wonder if he heads for Gorky Park?
"While We're Young": Noah Baumbach's latest study of contemporary life involves a middle-age couple (Ben Stiller, Naomi Watts) who befriend a couple of 20-somethings (Adam Driver, Amanda Seyfried). #lovethatfedora.
"True Story": Jonah Hill and James Franco play characters based on real people, Hill a fired New York Times Magazine writer, Franco the convicted murderer who befriended him. What, Seth Rogen wasn't available?
And at the Magic Lantern:
"About Elly": A group of Iranians gather for a weekend outing and have to deal with a series of unexpected, and unpleasant, surprises. #nonotdrones.
Movies tend to come and go at the Magic Lantern. Occasionally, however, the theater holds worthy films over. And that certainly applies to "'71," Yann Demange's study of a young British soldier running for his life in 1971 Belfast, Northern Ireland. Following is a transcription of the review I wrote of Demange's movie for Spokane Public Radio:
Though each conflict carries its own personal stamp, all wars bear a few unspeakably sad similarities – brutality, torture, terror and death chiefly among them.
The struggle over Northern Ireland, commonly referred to as “The Troubles,” is a particular example. With underpinnings based firmly on the tortuous several-hundred-year history between Ireland and Great Britain, The Troubles generally apply to the three-decade span between October 1968 and April 1998. Throughout that complicated, internecine struggle – fueled by both religious and secular causes – military and paramilitary groups representing a number of competing factions hounded, hunted and often murdered each other. And civilians typically got caught in the crossfire. Some 3,500 people died in the process.
A number of films have tackled the war, from 1993’s “In the Name of the Father” to 2008’s “Hunger.” Some even deserve the tag of greatness: Paul Greengrass’ 2002 release “Bloody Sunday” comes to mind. Each offers its own take on the conflict. And now director Yann Demange’s succinctly titled “’71,” which is playing at the Magic Lantern, gives us something new: a thrilling, if sobering, thinking-person’s anti-war/action flick.
Demange, a British television director working from a script by Scottish playwright Gregory Burke, focuses on a young British soldier named Hook, played by “Unbroken” and “Starred Up” actor Jack O’Connell. A raw recruit, Hook finds himself sent to Belfast to work crowd control in support of the forces – official and unofficial – behind the city’s Protestant-backed majority. It’s during his first operation, led by a well-meaning but seriously naïve and inexperienced officer, that Hook and another soldier get separated from their regiment. And, after a series of savage events, Hook finds himself on the run, dodging those who want him dead and those who want to use him as a bargaining tool, dependent on either those who see him as a curiosity or those who, unable to reject their humanity, want to help him even as they desperately try figure out some way to get him out of their lives.
If Burke’s screenplay has a point, it’s that war – but in particular war as fought during The Troubles – is typically confusing, efficient only in its viciousness, and marked by psychopathic behavior in support of shifting interests brokered in the name of some larger cause. And in this struggle, the foot soldiers are treated – as Hook is told – as little more than meat.
Keying on the riveting presence of O’Connell, whose performance is an exercise in artistic restraint, director Demange tells several stories at once. As Hook runs blindly down back alleys, we are introduced to a range of secondary characters, from the British officer whose undercover activities follow secret priorities only he can fathom to the boy whose inherent sense of command intimidates those far older. By cross-cutting between these subplots – a skill credited to editor Chris Wyatt – and maintaining an action-flick pace, Demange manages to create a film that is both involving and informative.
What’s sad is that the information, old as time itself, needs to be shared yet again: War leads to nothing good.
And this just in: an addition to Friday's movie openings.
"Wild Tales" ("Relatos salvajes"): This Argentine nominee for Best Foreign Language Film features six different stories that, as Village Voice critic Stephanie Zacharek describes as the kind of "humanist movie" that "leaves us with no reassuring answers beyond a wink and a good-natured shrug." Written and directed by Damián Szifrón; in Spanish with English subtitles.
It was on April 30, 1975, when the last U.S. troops left Saigon. Shots of those last helicopters lifting off from the U.S. embassy have become part of an indelible historical image. And, to be truthful, it wasn't our country's most honorable moment — despite individual instances of sacrifice and heroism.
Alan Scherstuhl, The Village Voice: "Vital, illuminating, and terrifying, Rory Kennedy's 'Last Days in Vietnam' probes with clarity and thoroughness one moment of recent American history that has too long gone unreckoned with… (T)his film is stellar, a dead-on stare at the moments this country tries not to remember."
Kenneth Turan, Los Angeles Times: "These stranger-than-fiction tales, piled one on top of the other in the most gripping way, not only mesmerize us, they also point up another of (the film's) provocative points, that the chaos surrounding the evacuation was, in effect, the entire war in microcosm."
A.O. Scott, New York Times: "The story is full of emotion and danger, heroism and treachery, but it is told in a mood of rueful retrospect rather than simmering partisan rage."
KSPS is offering a free preview of the film, 6:30 p.m. Monday, at the Bing Crosby Theater. The doors open at 6. So get there early.
Don’t miss out on your chance for the VIP treatment at the upcoming WSU Crimson and Gray Football Game on April 25, 2 p.m. at Joe Albi Stadium!
One lucky winner in our WSU Spring Game Sweepstakes will receive two pre-game field passes and meet Head Coach Mike Leach for a photo. The winner will also get two WSU football jerseys and hats, two VIP seats at the game and a $100 gasoline gift card.
You must enter in person at R'nR RV Center in Airway Heights (13915 W. Sunset Highway) or Liberty Lake (23203 E. Knox Avenue), open Monday-Saturday, 9 a.m.-6 p.m. Make your entry by April 18 for a chance to win!
And now we have a better idea of what mainstream movies are opening on Friday. The week's other openings look like this:
"Freetown" (on Wednesday): This "inspired by a true story" film tells the tale of Mormon missionaries, caught up in the Liberian civil war, trying to escape to nearby Sierra Leone. Gives new meaning to the term road trip.
"The Longest Ride": The recollections of an older man help a young couple weather their marital problems. Two words: Nicholas Sparks.
"Danny Collins": Al Pacino stars as a big-time music sell-out who, after learning that John Lennon once thought he had talent, is energized to reconstruct his musical career.
"Woman In Gold": Helen Mirren and Ryan Reynolds star in this "inspired by a true story" effort — the second one this week — about a woman suing the government of Austria for return of her family's painting (done by Gustav Klimt).
So go out. See a movie. Buy some popcorn. And enjoy.
Below: Enjoy the "Danny Collins" trailer in Russian.
There are a lot of legends heading to Northern Quest Resort and Casino this summer, including those from the worlds of rock, country and comedy. The casino this morning announced its 2015 Pepsi Outdoor Summer Concert lineup. Here it is:
Tickets will go on sale for individual concerts beginning April 10 online at www.northernquest.com or through the casino box office at (509) 481-6700 (toll-free 1-877-871-6772). Box Office hours are Wednesday thru Sunday 8:30 a.m. to 12:30 p.m.
This early in the week, we know only of a single film that will be opening locally on Friday. It's at the Magic Lantern.
"Gett: The Trial of Vivian Amsalem": Having left her husband, an Israeli woman of Moroccan descent sues for divorce but must obtain a "Gett" — a document of permission for the divorce — from her obstinate husband. And he refuses. Remember the Oscar-winning 2011 Iranian film "A Separation"? This is the Israeli version, with all the twisted — and sexist — religious law inextricably intertwined.
Friday's mainstream offerings should be announced later today.