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<TITLE>Racing Stripes and Sahara at the Kenworthy</TITLE>
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<FONT FACE="Verdana"><B>This week at the Kenworthy Performing Arts Centre-<BR>
</B><BR>
<FONT COLOR="#800000"><H2>Racing Stripes (PG)<BR>
</H2></FONT><B>Wednesday,</B> <B>July 6<BR>
1 & 3:30 PM<BR>
</B>$1/ages 12 and under, $4/ages 13 and over<BR>
<BR>
<U>Thanks to the following Wednesday matinee sponsors:<BR>
</U>Insty Prints & North Idaho Athletic Club, Tom & JoAnn Trail, U.S. Bank, Wells Fargo Bank, Gritman Medical Center<BR>
<BR>
<FONT COLOR="#800000"><H2>Sahara (PG13)<BR>
</H2></FONT><B>Friday, Saturday & Sunday, July 8, 9 & 10<BR>
7:00 PM<BR>
</B>(see REVIEW below)<BR>
<B>* * *<BR>
<BR>
Next week at the Kenworthy-<BR>
</B><BR>
<B>Millions (PG)<BR>
</B>Presented by US Bank<BR>
July 13, 1:00 PM<BR>
July 14, 16 & 17, 7:00 PM<BR>
<BR>
<B><I>Ala Zingara</I></B> in concert<BR>
July 15, 7:30 PM<BR>
<B>(See press release below)<BR>
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Also in July at the Kenworthy-<BR>
</B><BR>
<B>Napoleon Dynamite (PG)<BR>
</B>July 20, 1:00 & 7:00 PM<BR>
<BR>
<B>Sin City (R)<BR>
</B>July 22 – 24, 7:00 PM<BR>
<BR>
<B>Two Brothers (PG)<BR>
</B>Presented by Insty Prints & NIAC<BR>
July 27, 1:00 PM<BR>
<BR>
<B>Hitchhikers Guide to the Galaxy (PG)<BR>
</B>July 29 – 31, 7:00 PM<BR>
<BR>
<B>Coming in August: </B>Because of Winn Dixie, Robots, Madagascar, Mad Hot Ballroom, Howl’s Moving Castle<BR>
<BR>
<B>Regular Movie prices</B>: $5 adult, $2 child 12 or younger. <BR>
Wednesday matinee prices: $4/adult, $1/child 12 or younger <BR>
KFS passes accepted year-round for Sunday movies!<BR>
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<FONT SIZE="5"><B><I>Ala Zingara</I></B> in concert<BR>
</FONT><BR>
<I>Ala Zingara</I>, that quirky gypsy roots rock band born at the Lionel Hampton School of Music where they met in the late 90‘s, is coming home and will be playing at the Kenworthy Performing Arts Centre in Moscow on <B>Friday, July 15th</B>. Tickets are $8 in advance (at Bookpeople in Moscow) and $10 at the door. Doors open at 7pm and the show begins at 7:30. <U>This is an all ages show.</U> <BR>
<BR>
Bring your dancing shoes as these guys span a great variety of grooves, rhythms, and music genres with a wide generational appeal. From seriously hard hitting riff oriented grooves to gypsy boom bamm, alt-country, bossa nova, and celtic stomps… these guys present a kaleidoscopically fresh sound. <BR>
<BR>
Acoustic Wave Machine, also from Moscow, will start off the show with their cool blues-folk acoustic groove. Beverages will be served by The Red Door. <BR>
<BR>
For more information, contact:<BR>
Robert Parks<BR>
923 NW 51st Street <BR>
Seattle, WA 98107<BR>
<BR>
206-297-1377<BR>
robert@alazingara.com <mailto:robert@alazingara.com><BR>
<BR>
www.alazingara.com <http://www.alazingara.com/> (band website)<BR>
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<BR>
This week’s review-<BR>
<BR>
<FONT COLOR="#800000"><H2>Sahara<BR>
</H2></FONT><BR>
Directed by Breck Eisner<BR>
Running time: 2 hours, 7 minutes<BR>
''Sahara'' is rated PG-13 (Parents strongly cautioned). It has some violence, disturbing scenes of illness and strong language. <BR>
<BR>
<B><I><U>As reviewed by Colette Bancroft writing for the St. Petersburg Times<BR>
</U></I></B><BR>
Author Clive Cussler has written oodles of books about adventure hero Dirk Pitt, and all of them have sold a zillion copies and seemed made for the movies, what with their literary themes of undersea exploration and explosions. But the single one filmed, Raise the Titanic (1980), reportedly was such a disappointment to Cussler that he turned down other movie deals.<BR>
<BR>
Until now. Sahara dries Dirk off for a trip to the desert of the title, but it doesn't slow him down. As played by Matthew McConaughey, he's a dashing mix of Indiana Jones, James Bond and Angus MacGyver, with a little Willie Nelson thrown in.<BR>
<BR>
Dirk and his best friend, Al Giordino (Steve Zahn), work for the National Underwater and Marine Agency, a real-life nonprofit marine salvage organization founded by Cussler. Their jobs involve ripping around in big, fast boats with rocking sound systems and pulling various lost treasures from the watery depths.<BR>
<BR>
Hard to beat that, but there's one legendary prize Dirk longs to track down. It seems a Confederate ironclad slipped past a Union blockade at the end of the Civil War and made it all the way to Africa.<BR>
<BR>
Don't look for logic in Sahara. Just relax and give in; Dirk will always show up just as Eva needs rescuing, even if it means he has to rustle up a couple of camels after his boat explodes. Dirk and Al will be dumped in the middle of the desert, sled down a giant dune in a pickup truck bed and find the wreckage of an old airplane, which they will rig to windsurf to the nearest telephone. And when Dirk wraps his head in a turban, it will be just the shade of blue to set off his eyes.<BR>
<BR>
Directing his first feature, Breck Eisner (son of Disney's Michael) keeps the pace brisk and has the sense to honor his inspirations. Sahara is filled with visual and musical nods and winks to the Bond and Jones films, as well as a plot twist from Three Kings toward the end.<BR>
<BR>
<BR>
<B><I><U>As reviewed by Stephen Holden writing for the New York Times<BR>
</U></I></B><BR>
It may not be ''Raiders of the Lost Ark,'' but ''Sahara,'' the screen adaptation of Clive Cussler's sprawling African adventure yarn, is a movie that keeps half a brain in its head while adopting the amused, cocky smirk of the Indiana Jones romps. A fusion of old and new, it both is and isn't a delirious escape into adventure-serial heaven. Amid its madcap derring-do, the movie inserts clear, simple alarms about environmental protection, African despotism, global interdependence and bureaucratic cowardice. <BR>
<BR>
The movie's dressing up of an old-fashioned adventure fantasy in contemporary threads is an experiment in juxtaposition that gains in assurance as the film bounds along. Given the grim news these days of African nations ground to dust under the boots of ruthless, feuding warlords, the film's caricatured vision of greed, oppression and misery in parts of Africa doesn't feel entirely like a caricature. Ultimate real-life horror, after all, is a grotesque cartoon. <BR>
<BR>
''Sahara'' is the sure-handed directorial debut of Breck Eisner (son of Michael), who maintains strict control of an oversize story (the novel runs to 700 pages) whose multiple plots could easily have splintered into an incomprehensible tangle. The screenplay, credited to four writers, allows you to follow the multinational crew of treasure hunters, warlords, tribal chiefs and officials from various global agencies as they gallivant across Western Africa (the movie was filmed mostly in Morocco) without losing your way. <BR>
<BR>
What starts out as a treasure hunt turns into a desperate attempt to forestall an environmental catastrophe one character calls ''the Chernobyl of the Atlantic.''<BR>
<BR>
<BR>
<B><I><U>As reviewed by Roger Ebert writing for the Chicago Sun-Times<BR>
</U></I></B><BR>
I treasure the movie's preposterous plot. It's so completely over the top, it can see reality only in its rear-view mirror. What can you say about a movie based on the premise that a Confederate ironclad ship from the Civil War is buried beneath the sands of the Sahara, having ventured there 150 years ago when the region was, obviously, damper than it is now?<BR>
<BR>
The movie directed by Breck Eisner, son of Michael, is essentially a laundry line for absurd but entertaining action sequences. Dirk, Eva and Al have an amazing series of close calls in the desert, while Admiral Sandecker (ret.) (William H. Macy) keeps in touch with them by radio and remains steadfast in his course, whatever it is. There are chases involving planes, trains, automobiles, helicopters, dune buggies, wind-propelled airplane carcasses, and camels. The heroes somewhat improbably conceal themselves inside a tank car on a train going toward a secret desert plant (improbably, since the car going in that direction should have been full), and then find themselves one of those James Bondian vantage points inside the plant, from where they can observe uniformed clones carrying out obscure tasks.<BR>
<BR>
There is a race against time before everything explodes, of course, and some bizarre science involving directing the sun's rays, and then what do you suppose turns up? If you slapped yourself up alongside the head and shouted out, "The long-lost Civil War ironclad?," you could not be more correct. Gee, I wonder if its cannons will still fire after this length of time?<BR>
<BR>
I enjoyed this movie on its own dumb level, which must mean (I am forced to conclude) in my own dumb way. I perceive that I have supplied mostly a description of what happens in the film, filtered through my own skewed amusement. Does that make this a real review?<BR>
<BR>
Funny you should ask. As it happens, I happened to be glancing at Gore Vidal's article about the critic Edmund Wilson in a 1993 issue of the New York Review of Books. There Vidal writes: "Great critics do not explicate a text; they describe it and then report on what they have described, if the description itself is not the criticism." In this case, I think the description itself is the criticism. Yes, I'm almost sure of it. <BR>
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<I>Film reviews are researched and edited by Peter Haggart<BR>
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<B><I>Kenworthy Performing Arts Centre<BR>
</I></B>508 S. Main Street, Moscow, Idaho<BR>
For more information, call 208-882-4127 or visit http://www.kenworthy.org<BR>
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~~~~~~~~~~~~~~~~~~~~~~~~~~~<BR>
PAMELA PALMER, <B>Volunteer<BR>
</B><FONT COLOR="#0000FF"><U>Mailto:ppalmer@moscow.com<BR>
</U></FONT>Film and Events Committee <BR>
Kenworthy Performing Arts Centre<BR>
<BR>
<FONT COLOR="#0000FF"><U>http://www.kenworthy.org<BR>
<BR>
</U></FONT>To speak with a KPAC staff member, <BR>
call (208) 882-4127<BR>
<FONT COLOR="#0000FF"><U>Mailto:kpac@moscow.com<BR>
</U></FONT>~~~~~~~~~~~~~~~~~~~~~~~~~~~ <BR>
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