Casting Call!
Get your big (or little) break with a role in the independent film Nearing Grace. Fri, June 25. Email or call 503-441-0266 for details.

Spider-Man 2 Opens Wednesday, June 30
Call Theater for times.

Agnes Martin: With My Back to the World
In this profile of 91-year-old painter Agnes Martin, director Mary Lance examines the influences and methods that contribute to Martin's abstract works. Whitsell Auditorium

* Archaeology Film Series
The Kiggins Theater concludes their Archaeology Film series with The Last Days of Zeugma, which follows archaeologists as they attempt to save artifacts from an ancient Roman town before a dam being built on the Euphrates submerges the site under 40 meters of water. Following: A Kalahari Family, Part 5: Death by Myth, which documents the shift from farming to wildlife management and cultural tourism for the Bushmen of Nyae Nyae. Kiggins Theater

* Bon Voyage
Bon Voyage has a big theme (Germany's invasion of France), big actors (in terms of reputation), and big emotions (a young man's eternal love for a famous but shallow movie actress). The speed of the film's narrative is always high, and the characters are kept in constant motion, rarely stopping to rest and look at the big world around them. If this were an American movie, it would have been described as intelligent and even profound; but as a French movie, it is big, dumb, and lots of fun. (Charles Mudede) Fox Tower 10

Brass Unbound
This 1993 documentary from the Netherlands examines colonial pathways and global ties through profiles of working musicians. Through brass instruments and bands, the film attempts to document the role brass musicians have (and have had) in cross-cultural encounters all over the world. And you thought tubas and trumpets were only for marching bands. Guild Theater

* Bukowski: Born Into This
Born Into This is an extremely comprehensive and thoroughly depressing documentary about writer Charles Bukowski's life. Beaten by his father and plagued with the worst case of acne ever, it's admirable that Bukowski didn't commit suicide sometime during high school, and instead became one of the most famous and well-loved writers of all time. This film is packed with old Bukowski interviews, and new interviews with girlfriends, friends, his wife, daughter, and fans. Even though the film drags at some points, the more compelling footage, like a tape of Bukowski drunkenly ranting at his wife, or crying at his own wedding, make up for it tenfold. (Katie Shimer) Hollywood Theatre

Chronicles of Riddick
The good news? This sequel to Pitch Black is almost worth admission price for the set decoration and special effects alone. Geiger-inspired, the set, costumes and CG are sweeping affairs, loaded with tons of beautiful, interesting detail. Unfortunately, though, effects can't make up for the fact that Vin Diesel sucks and the script is pure crap. (Wm. Steven Humphrey) Regal Cinemas, etc.

* Coffee and Cigarettes
Based upon the existentialist's perennial props--coffee, cigarettes--it's easy to assume Coffee and Cigarettes will fulfill the circular non-aspirations of '90s slacker art films. A collection of black-and-white shorts directed by Jim Jarmusch (some of which were in fact filmed in the '80s and '90s), it follows a formula similar to his 1991 film A Night on Earth: concretize the mise en scene (here, conversation over coffee and cigarettes) and flow in the players, for a portfolio in character interaction and bare direction. It's a meditation on the extraordinary in the mundane--and, at first, it seems the emphasis is "mundane." But, starting with the short starring Tom Waits and Iggy Pop, magic starts to happen. As the scripts unloosen, tension between players becomes more genuine, recurring topics emerge, the magnetic pull of coffee and cigarettes is pondered, and the film attains a hypnotic shiplike sway. (Julianne Shepherd) Fox Tower 10

* The Day After Tomorrow
The Day After Tomorrow is a summer blockbuster--an all-purpose film, meant to entertain you and me and popcorn-huffing Middle Americans and apocalypse-watchers and the Jake Gyllenhaal Fan Club alike--and in the interim, hopefully earn back some of the 100 million clams it dropped on special-effecting the Empire State Building to freeze up and bend over. But that's just gravy. The Day After Tomorrow is, in actuality, a two-hour-long, stern visual memo from director Roland Emmerich to George W. Bush RE: his absentee environmental policies, and it couldn't be more awesome. Okay, it could be more awesome--but it's more interesting than you might expect. (Julianne Shepherd) Regal Cinemas, etc.

* Dodgeball: A True Underdog Story
In Dodgeball Vince Vaughn is trying to save his hometown gym, Average Joe's, from the evil clutches of corporate gym owner White Goodman (Ben Stiller) by beating him in a dodgeball tournament. Much like Happy Gilmore, the film is loaded with absurd moments and physical humor, making for a goofy, laugh-tastic hour and a half. (Katie Shimer) Regal Cinemas, etc.

* Dream of Light
A Cannes Film Festival winner, Dream of Light is a beautiful film which follows Spanish artist Antonio lopez Garcia as he paints a single portrait. Whitsell Auditorium

* Easy Rider
This is the Hippies' Bible, Torah and Koran all rolled into one. Peter Fonda and Dennis Hopper roam the country to find America--and unload some drugs. Laurelhurst

* Fahrenheit 9/11 See review this issue. City Center 12, Fox Tower 10, Lloyd Mall, Movies on TV

Garfield: The Movie
Sure, this movie is bad, but maybe not as bad as you'd think. Bill Murray sounds great as Garfield, and amazingly, the script doesn't compromise on making him an asshole. He's self-centered and mean, and even has a couple pretty adult jokes. Now, if they had just fleshed out Jon's (Breckin Meyer) relationship with Garfield into something substantial, and if Jennifer Love Hewitt wasn't in the movie at all, and if there hadn't been a blatant product placement for Pepsi, Wendy's, and Ford Trucks in EVERY OTHER scene... why, Garfield might almost have been slightly okay. (Justin Westcoat Sanders) Regal Cinemas, etc.

* Godzilla See review this issue. Cinema 21

* Gypsy '83
Two goth girls in Ohio spend their days worshipping Stevie Nicks wishing for a life outside the Midwest. When they hear about a goth event in NYC, called "A Night of a Thousand Stevies" they roadtrip, making friends and encountering enemies, such as the dreaded frat boy. Hollywood Theatre

* Harry Potter and the Prisoner of Azkaban
First of all, how did the director of the super-hot hetero/homoerotic sex romp Y Tu Mamà Tambièn end up working the new Harry Potter pic? Though the producers' answers are standard press-junket fare--"works great with kids," "a visually exciting director"--the choice to bring Alfonso Cuaron aboard the Potter juggernaut was a risky and inspired move. Happily for all, it paid off with the strongest installment yet. (Wm. Steven Humphrey) Regal Cinemas, etc.

How To Draw A Bunny
Part murder mystery, part Biography Channel profile, this film introduces Dadaist Ray Johnson, who we are led to believe is the most connected but most unknown artist ever in New York City. Glowing interviews from Christo and Roy Lichtenstein build up the case for Johnson impact and importance in the art world, while interviews with a Sag Harbor detective carefully unfold Johnson's 1995 murder. Guild Theater

I Exist
A documentary about gay, lesbian, and bisexual people of Middle Eastern descent living in the United States, this film also aims to examine the external perceptions of homosexuality in both the subjects' countries of origin and in the US. Three of the women profiled in the film will be present for a post-screening discussion. Cramer Hall, Room 53, PSU

I Love You Baby
Peter and Gwen, two small-time crooks, concoct a simple scheme to score some big bucks in this German film from 2000. Peter pretends to be the long-lost son of a millionaire, he and Gwen land some cash, and everything's cool... until a private detective catches wise to Peter and Gwen's plan. Sabala's Mt Tabor Theatre

* I'm Not Scared
In an isolated village in southern Italy, 10 year old Michele (Giuseppe Cristiano) gradually uncovers an inhumane and jarring secret about his family. Michele's distrust of the people around him grows, and the young actor skillfully expresses the revelatory pain that arrives with the betrayal of unflinching childhood trust. (Evan James) Cinemagic

* it (independent tuesdays)
Nocturnal continues to bat a thousand with this monthly event at which amateur filmmakers can show off their wares. This month's theme: Handmade film and video, so interpret that as you will. Nocturnal

* Leaving Las Vegas
My boyfriend can't get it up if he drinks four whiskey cokes, and I'm supposed to believe that Nick Cage's character, Ben Sanderson, is able to get wood moments before he dies from self-induced alcohol poisoning. Besides this glaring plot hole, Mike Figgis' acclaimed film is a compelling story about a drunk and a hooker. Blind Onion

* Love Me If You Dare
A standout. A boy and girl grow to adulthood, bound together by an escalating game of dares. Will they consummate the romance that lies behind the game? Strikingly designed and shot, this film is by turns comedic, tense, and frightening. Inevitably reminiscent of Amèlie, but with a much darker worldview. (Mike Whybark) Fox Tower 10

* Mean Girls
Mean Girls is no Heathers--it lacks the surreal quality of the teenage years, the quality that's found a strange but correct analogue in supernatural teen dramas like Buffy the Vampire Slayer and Sabrina the Teenage Witch--but it's pretty good. Avalon, Kennedy School, Laurelhurst, Mission Theater, Mt. Hood Theater, St. Johns Pub, Valley Theater

* The Mother See review this issue. Fox Tower 10

* Mrs. Parker and the Vicious Circle
A biography about Dorothy Parker (Jennifer Jason Leigh), writer and civil rights advocate. Also featuring Campbell Scott as Robert Benchley and Matthew Broderick as Charlie McArthur. PSU Smith Memorial Union Rm 225

* My Life as a Dog
Surprisingly, this Swedish film from 1985 is an autobiography of neither Lassie nor Rin Tin-Tin. It's actually about a little boy. Weird. Pix Patisserie

The Notebook
The Notebook is based on a book by the biggest hackasaurus scribbling today, Nicholas Sparks. Directed by Nick Cassavettes (talentless son of supremely talented John Cassavettes), this film is utter bullshit--a weepy, obvious, and painfully unromantic romance. The anorexic story: Allie Nelson (Rachel McAdams) and Noah Calhoun (Ryan Gosling) meet cute, date cute, break-up not-so-cute, and re-unite cute. Along the way, there are stints in WWII, flings with widows, proposals from wealthy gentlemen, and family strife. And framing this bluster (since all romances following Titanic must have a frame)? A backstory involving an eldery man (James Garner) reading the tale of Allie and Noah to an Alzheimer's patient (Gena Rowlands) in a nursing home. Ugh. (Bradley Steinbacher) Regal Cinemas, etc.

John Waters satirizes New York art snobs by bringing them to working-class Baltimore. A pleasant film that doesn't always work. Fifth Avenue Cinemas

The Saddest Music In the World
This is one hell of a film--or so it insists. From the very beginning it assaults its audience with the assertion that it is arty, deep, and important. This is first presented by the film's look--dark, grainy black-and-white that's purposely smeared, so that the edges of every scene and figure are blurred and distorted. It's pretty uncomfortable to watch, and the bizarre storyline only exacerbates the disorienting effects. Set in Winnipeg during the Great Depression, the film is about a wealthy beer baroness (Isabella Rossellini) who throws a radio contest to see which country produces the saddest music in the world (and to sell beer to the depressed masses, especially the Americans terrorized by prohibition). (Marjorie Skinner) Laurelhurst

* Saved!
This light-hearted flick is a teen comedy set, strangely enough, in a Southern Christian high school. And while one may assume these types of learning institutions are devoid of the standard public school cruelty, Saved! proves us wrong. After discovering her b-friend is G-A-Y, Mary (Jena Malone) turns to Jesus for help and decides that premarital sex is the answer to her prayers. However, not only does the boyfriend stay gay, Mary finds herself with a bun in her oven. Her pregnancy creates a divide between her Christian ethics and best friend, bitchy class queen Hilary Faye (Mandy Moore), who, after learning Mary's secret, sets out on a bitter path of destruction and revenge--all in the name of Christ, of course. (Wm. Steven Humphrey) Pioneer Place Stadium 6

Jon Moritsugu's Scumrock, shot with Hi-8's gritty film-school-sophomore patina, stars a procession of indierock marquee names--Kyp Mallone of Brooklyn band TV on the Radio, Cup Iwata of I Am Spoonbender, James Duval (The Bunny from Donnie Darko)--and opens with a familiar Gen-Y apathy film scene: tough-guitar sound cranked too high in the mix, sneering misanthrope chick trolling down a city street, and a minute of dialogue which appears to be the precursor to a movie's length of very bad acting. But, despite thin character development and sometimes iffy delivery, the 11th film by the Mod Fuck Explosion director is not an exercise in "cool" form; it's a sly satire of it, shot with painstaking beauty beneath a low-budge visual buzz. (Julianne Shepherd) Clinton Street Theater

* Sleepover Sneak Preview
It's dorks vs. popular gals in this timely remake of the teen film She's All That. Division Street, Lloyd Mall, Movies on TV, Tigard Cinemas

The Stepford Wives
Sometimes a bad movie hits the spot. One that keeps you entertained despite the plot flaws and crappy acting with cool clothes or a funny sidekick. Not so with The Stepford Wives, a remake of the 1975 film that doesn't even have the courtesy to be diverting as it plummets to its failure. Joanna (Nicole Kidman) and her husband Walter (Matthew Broderick) move to Connecticut to escape the big city after Joanna loses her high-powered job and suffers a nervous breakdown. As they settle into their new town of Stepford, they notice that a few things are off. For instance, all the women are housewives and all the housewives are robots. "Hilarity" ensues. (Marjorie Skinner) Regal Cinemas, etc.

* Stupidity
Since stupidity runs rampant, it's amazing the subject has never been given a full scientific treatment. However, documentarian Albert Nerenberg and his film Stupidity, have taken a step in the right direction. Using experts, Nerenberg gives us a guided tour of how 20th-Century scientists developed the I.Q. (intelligence quotient) test, and the surprising origins of words like "idiot," "moron," and "imbecile." An even more interesting theory is how corporations, politicians, and the entertainment industry have learned to use "stupidity" to sell their products. (Wm. Steven Humphrey) Clinton Street Theater

* Super Size Me
In an inspired bout of artistic commitment, Morgan Spurlock set aside a month during which he ate nothing but McDonald's. The effects of this endeavor were astounding. He put on 30 pounds in 30 days, suffered periods of intense chest pain, shortness of breath, and was told by multiple doctors that if he continued at his unorthodox eating he would die from liver failure within six months. As the movie progresses, a palpable sense of dread mounts, as Spurlock continues to stuff McNuggets and French fries in the face of terrible health reports. (Justin Sanders) Fox Tower 10

The Terminal
Tom Hanks stars as Viktor Navorski, a traveler from the phantom country of Krakozhia, who arrives at JFK airport only to discover that, while in the air, his country has fallen into revolution. Because of this, he is officially without a country--which means he must stay inside JFK until matters are settled, eking out a life among weary travelers while battling sloth-like bureaucracy. This is an intriguing premise, I suppose, but it has been thoroughly squandered by Spielberg and his over-eagerness to reach for the sugar. (Bradley Steinbacher) Regal Cinemas, etc.

* The Triplets of Belleville
An animated French film that speaks nary an intelligible word throughout its entire 80-minute running time, Les Triplettes de Belleville's jaw-dropping artwork alone could have kept me riveted for hours. Physically exaggerated characterizations and dark, dank urban landscapes give the film a particularly strong noir sensibility, and in the void of spoken word, layered sound effects add to the ambience. (Justin Sanders) Hollywood Theatre

White Chicks
The Wayans brothers protect the hotel-heiress Hilton--err, Wilson--sisters from a heinous kidnapping plot. Regal Cinemas, etc.