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<TITLE>Batman Begins at the Kenworthy</TITLE>
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<FONT FACE="Verdana"><B>This week at the Kenworthy Performing Arts Centre-<BR>
<BR>
</B><FONT COLOR="#800000"><H2>Batman Begins (PG13)<BR>
</H2></FONT><B>Friday, September 2<BR>
7:00 & 10:00 PM<BR>
Saturday & Sunday, September 3 & 4<BR>
4:00 & 7:00 PM<BR>
</B>$5/adults, $2/children under 13<BR>
<B>(see REVIEW below)<BR>
* * *<BR>
<BR>
Next week at the Kenworthy Performing Arts Centre . . .<BR>
</B><BR>
Kenworthy Film Society presents<BR>
<FONT COLOR="#000080"><H2>My Summer of Love (R)<BR>
</H2></FONT><B>Sunday, September 11<BR>
4:45 & 7:00 pm<BR>
</B>$5/adults<BR>
<B>* * *<BR>
</B>and<BR>
<B>OPENING on Thursday night, September 8.<BR>
<BR>
</B><I>Sirius Idaho Theatre</I> presents<BR>
<FONT COLOR="#008000"><FONT SIZE="5"><B>The Beauty Queen of Leenane<BR>
</B></FONT></FONT><B>By Martin McDonagh<BR>
<BR>
Thursday, Friday & Saturday, September 8, 9 & 10<BR>
7:30 pm<BR>
Matinee Saturday, September 10<BR>
2:00 pm<BR>
</B><BR>
Also showing-<BR>
<B>Thursday, Friday & Saturday, September 15, 16 & 17<BR>
7:30 PM<BR>
Matinee Saturday, September 17<BR>
2:00 PM<BR>
</B><BR>
Tickets $15/adult, $10/senior, $5/student<BR>
<B>Advance tickets at <I>BookPeople of Moscow </I>and the Moscow Farmers’ Market (look for the Sirius Idaho Theatre ironing board)<BR>
</B><BR>
<I>The Beauty Queen of Leenane</I> contains strong themes that may offend some people.<BR>
(See below for more information)<BR>
<B>* * *<BR>
<BR>
</B><FONT SIZE="5">Purchase your KFS (<I>Kenworthy Film Society</I>) pass this weekend.</FONT><B> <BR>
<BR>
</B><U>Purchase a new KFS punch card at the Moscow Farmers’ Market this Saturday.</U> <BR>
Available at the <I>Sirius Idaho Theatre</I> ironing board, where you can also purchase tickets for the first play of SIT’s 2005-06 season.<BR>
<BR>
KFS passes also available at BookPeople of Moscow or the Kenworthy Performing Arts Centre box office. <BR>
10 films for $30 or 30 films for $75. Passes accepted for all Sunday night films.<BR>
<B>* * *<BR>
</B><BR>
<FONT SIZE="5"><I>Sirius Idaho Theatre</I> presents<BR>
<FONT COLOR="#800000"><B><I>The Beauty Queen of Leenane<BR>
</I></B></FONT></FONT>by Martin McDonagh<BR>
<BR>
Directed by Forrest Sears<BR>
<BR>
<B>September 8-10 & 15-17 at 7:30 pm<BR>
September 10 & 17 at 2:00 pm<BR>
<BR>
</B>Performances at the Kenworthy Performing Arts Centre<BR>
508 S. Main St. Moscow, Idaho<BR>
<FONT COLOR="#993300"><BR>
“McDonagh is a natural storyteller who knows how to express a theme through action, and he knows how to create a gallery of fascinating rogues. The energy of his plays is prodigious... McDonagh has managed to celebrate what remains enduring and alive in human nature even in the most appalling circumstances.” -- The New Republic<BR>
<BR>
"The most wickedly, brilliantly abrasive young dramatist</FONT> <FONT COLOR="#993300">on either side of the Irish Sea..." -- The New York Times<BR>
</FONT><BR>
Tickets available at <I>BookPeople of Moscow and </I>at Moscow Farmers’ Market (Saturday 8 am – Noon)<BR>
<B>$15 adults, $10 seniors, $5 students<BR>
</B><BR>
Written by Martin McDonagh in eight days and winner of four Tony awards, <I>The Beauty Queen of Leenane</I> premiered in 1996 in Galway, Ireland. Set in Leenane, a small town in the mountains of Connemara, County Galway, <I>The Beauty Queen of Leenane</I> tells the darkly comic tale of Maureen Folan, a plain and lonely woman in her early forties, and Mag her manipulative ageing mother whose interference in Maureen's first and potentially last loving relationship sets in motion a train of events that is as extraordinarily funny as it is horrific. (<I>The Beauty Queen of Leenane</I> received four Tony Awards in 1998.)<BR>
<BR>
<U>Cast<BR>
</U>Maureen Folan – Pam Palmer<BR>
Mag Folan – Valerie McIlroy<BR>
Pato Dooley – Peter Aylward<BR>
Ray Dooley – Michael Carpenter<BR>
<BR>
For more information about the play, group ticket sales or to volunteer with <I>Sirius Idaho Theatre</I>, <BR>
contact John Dickinson at 208-301-4361 or <johnd@moscow.com> <BR>
or visit the web site of <B><I>Sirius Idaho Theatre </I></B><FONT COLOR="#0000FF"><U>http://www.siriusidahotheatre.com/<BR>
</U></FONT><B>* * *<BR>
<BR>
Fall 2005 at the Kenworthy Performing Arts Centre<BR>
</B><BR>
<B>American Values: American Wilderness (not rated)<BR>
</B>A documentary film with Christopher Reeve<BR>
Sept 18 at 5:00 & 7:00 PM<BR>
Tickets $5/adult, $2/child under 13<BR>
<BR>
<B>Rock School (R)<BR>
</B>A documentary film<BR>
Sept. 23 at 7:00 & 9:15 PM<BR>
Sept. 24 & 25 at 4:45 & 7:00 PM<BR>
Tickets $5/adult, $2/child under 13<BR>
<BR>
<B>m-pact in concert<BR>
</B>Sept 30 at 7:30 PM<BR>
Tickets $12/adult, $6/student with ID<BR>
<BR>
<B>Enron: The Smartest Guys in the Room<BR>
</B>Oct 7 - 9<BR>
Tickets $5/adult, $2/child under 13<BR>
<BR>
<B>Darol Anger Republic of Strings in concert<BR>
</B>October 27 at 7:30 PM<BR>
Tickets $16/adult, $12/senior or student<BR>
<BR>
Moscow Community Theatre presents<BR>
<B>Noodlehead<BR>
</B>November 3 - 5, 10 - 12 at 7:30 PM<BR>
November 6 & 12 at 2:00 PM<BR>
$11/adult, $9/student or senior<BR>
<BR>
<B>Regular Movie prices</B>: $5 adult, $2 child under 13 <BR>
KFS passes accepted year-round for Sunday movies!<BR>
<BR>
Coming in October: Wild Parrots of Telegraph Hill, Enron: The Smartest Guys in the Room, Mad Hot Ballroom, Darol Anger in concert<BR>
Check web site for dates & times. <FONT COLOR="#0000FF"><U>http://www.kenworthy.org<BR>
</U></FONT><B>* * *<BR>
<BR>
</B><FONT COLOR="#008000"><H2>Become a Friend of the Kenworthy;<BR>
</H2><FONT SIZE="5"><B>make a direct financial contribution to the Kenworthy’s Reel in the Money Campaign.<BR>
</B></FONT></FONT><BR>
Have you ever wondered why popcorn, candy, and drinks cost up to $4.50 each at commercial movie theaters on the Palouse? Because they make most of their money from concessions and very little from the films. Theaters pay up to 90% of their net income to movie distributors like Warner Brothers. <BR>
<BR>
<B>As a service to the community and in fulfillment of its mission as a non-profit organization, the <I>Kenworthy Performing Arts Centre</I> charges less for admission and snacks than the commercial theaters</B>.<BR>
<BR>
Since September 2002, the <I>Kenworthy Film Society</I> has been enormously successful in showing foreign, independent, and documentary films. While almost 4,000 non-KFS members paid $5.00 per person to see KFS films (quite a bargain when compared with the $7.50 charged by many Palouse-area theaters) KPAC charged its 967 KFS members an average of $3.00 per person. <BR>
<BR>
Because KPAC shows many independent or foreign-made films that are excellent but not popularly known, one-half of them make less than $100 after expenses. <B>Although KPAC is a non-profit organization, profits are needed to pay for renovation, upkeep, and management of the historic facility.</B> <BR>
<BR>
Maintaining expensive and sensitive equipment, such at the 35mm film projector, costs the organization thousands of dollars each year. Restoration projects for the nearly 100-year-old building include electrical and projection booth upgrades, handicapped accessible restrooms, and backstage dressing rooms. In addition, the bank loan that enabled KPAC to enlarge the stage, paint, and install wall fabric and carpeting costs the organization over $10,000 per year and must be paid off by 2010.<BR>
<BR>
<B>The Kenworthy needs your help</B>. As a movie fan and a supporter of the arts you can make a difference in our bottom line. You already support KPAC with your purchase of KFS passes and regular attendance at KPAC events. <B>Take the next step and become a Friend of the Kenworthy by making a direct financial contribution to the Kenworthy’s Reel in the Money Campaign</B>. Your donations are tax deductible, and you will have the personal satisfaction of knowing that you are helping to promote and sustain one of Moscow’s landmark buildings and the keystone of Moscow’s historic downtown.<BR>
<BR>
If you wish to discuss your contribution or have questions about the <I>Kenworthy Film Society</I>, <I>Kenworthy Performing Arts Centre</I>, or the <B>Reel in the Money Campaign</B>, please contact Julie Ketchum, Executive Director, at 208-882-4127. Donations may be mailed to KPAC at P.O. Box 8126, Moscow, ID 83843.<BR>
<B>* * *<BR>
</B><FONT COLOR="#0000FF"><U><BR>
</U></FONT><B>This week’s review-<BR>
<BR>
</B><H2><U>Batman Begins<BR>
</U></H2><BR>
Directed by Christopher Nolan; written by Mr. Nolan and David S. Goyer, based on a story by Mr. Goyer and ''Batman'' characters created by Bob Kane and published by DC Comics <BR>
<BR>
Rated PG-13: The film includes intense if bloodless action, notably the gun death of Bruce Wayne's parents. People with bat phobias should take care. This film also contains intense physical combat.<BR>
Running time: 2 hours, 17 minutes<BR>
<BR>
<BR>
<B><I><U>As reviewed by Manohla Dargis writing for the New York Times<BR>
</U></I></B><BR>
''Batman Begins'' is the seventh live-action film to take on the comic-book legend and the first to usher it into the kingdom of movie myth. Conceived in the shadow of American pop rather than in its bright light, this tense, effective iteration of Bob Kane's original comic book owes its power and pleasures to a director who takes his material seriously and to a star who shoulders that seriousness with ease. <BR>
<BR>
As sleek as a panther, with cheekbones that look sharp enough to give even an ardent lover pause, Mr. Bale makes a superbly menacing avenger. His Batman is leagues away from Adam West's cartoony persona, which lumbered across American television screens in the mid- and late-60's. Mr. Bale even improves on Michael Keaton, who donned Batman's cape both in Tim Burton's 1989 ''Batman'' and its funhouse sequel three years later, and gave the character a jolt of menace. What Mr. Keaton couldn't bring to the role, and what Mr. Bale conveys effortlessly, is Bruce Wayne's air of casual entitlement, the aristocratic hauteur that is the necessary complement of Batman's obsessive megalomania. <BR>
<BR>
What Mr. Nolan gets, and gets better than any other previous director, is that without Bruce Wayne, Batman is just a rich wacko with illusions of grandeur and a terrific pair of support hose. Without his suave alter ego, this weird bat man is a superhero without humanity, an avenger without a conscious, an id without a superego. Which is why, working from his and David S. Goyer's very fine screenplay, Mr. Nolan more or less begins at the beginning, taking Batman back to his original trauma and the death of his parents. With narrative economy and tangible feeling, he stages that terrible, defining moment when young Master Wayne watched a criminal shoot his parents to death in a Gotham City alley, thereby setting into motion his long, strange journey into the self. <BR>
<BR>
What makes ''Batman Begins'' the most successful comic-book adaptation alongside Terry Zwigoff's ''Ghost World'' isn't the noisy set pieces, the nods to ''Blade Runner'' or the way a child's keepsake, an Indian arrowhead, echoes the shape of a bat. It's the way Mr. Nolan invites us to watch Bruce Wayne quietly piecing together his Batman identity, to become a secret sharer to a legend, just as we did once upon a time when we read our first comic. <BR>
<BR>
<B><I><U>As reviewed by Mick LaSalle writing for the San Francisco Chronicle<BR>
</U></I></B><BR>
To make another "Batman" movie might seem cynical, but not to anyone who sees "Batman Begins." To see "Batman Begins" is to think maybe this is the way to go: Take an artistically spent franchise, and instead of adding to the series and compromising with the mistakes of lesser filmmakers, pretend as if those other movies never existed. Start at the beginning of the saga, and tell the story again. This time do it right. <BR>
<BR>
"Batman Begins" goes in another direction, telling the story as neither a comic book in motion nor as a wild fable, but as the true story of a man who has a series of odd, transformative experiences. <BR>
<BR>
We find out that as a boy, Bruce was terrified of bats. In fact, his inability to sit still for a performance of "Die Fledermaus" causes his parents to leave the opera early -- which puts them on the street at exactly the wrong time. They're murdered in a holdup, an event that sets up young Bruce (Gus Lewis) for years of anguish, rage, guilt and soul-searching. <BR>
<BR>
Bale is the first Batman since Michael Keaton to bring a skewed and somewhat vulnerable sensibility into the psychological equation. Bruce's ultimate decision to become the caped crusader is presented here as a neurotic person's way of channeling his neurosis toward a positive end. Since he knows he'll never stop obsessing about crime -- even his stint in the Asian prison was by way of researching the criminal mind -- he might as well do something positive with his obsession. <BR>
<BR>
The special effects are easy to take for granted, but they're first rate. Batman does a lot of cape gliding in this one. He relies on pulleys to shoot up the side of buildings and, in one notable case, to scoop someone off the ground for a private interview, 10 stories up. There's no doubting any of this. It's all obviously real. The action sequences are genuinely gripping. Even the chases are amusing. But best of all, there's just the pleasure of seeing something that's both fantastic to the eye and emotionally dimensional. This is how to make action movies. <BR>
<BR>
<BR>
<B><I><U>As reviewed by Marc Savlov writing for the Austin Chronicle<BR>
</U></I></B><BR>
This is as close to the Depression-era Bat Man as films have yet ventured, and although Nolan’s Gotham isn’t sporting flivvers and tommy guns – to judge by the art direction, the film takes place in the sort of retro-futuristic metropolis reserved especially for Good, Evil, and assorted Minions – Batman Begins has the denuded color palette of a chiaro-sclerotic nightmare. <BR>
<BR>
This Gotham is diseased, afflicted with pathogens ranging from the minor corruption of officialdom to a major influx of villainy in the form of Cillian Murphy’s horrific Scarecrow, who by day is Arkham Asylum’s twitchy and entirely unreliable director, Dr. Jonathan Crane. <BR>
<BR>
Nolan’s film is the first to delve deeply into privileged young Bruce Wayne’s radical, deeply Freudian transformation into Batman. As an origin story it succeeds admirably, showing us not only the murder of adolescent Wayne’s parents at the hands of a jittery street thug (as they exit a performance of Die Fledermaus, no less), but the reason for his fear and eventual mastery of those flying mice, and then a tidy, violent, extended sequence that reveals how he got to be such a badass in the first place.<BR>
<BR>
Bale has always been something of a cipher, and whether lopping off body parts in American Psycho or going without sleep in The Machinist, the actor carries with him a quality of unreality that serves him well as Batman. Surrounded by a phalanx of some of the finest actors working today – Caine as trusty Wayne Manor manservant Alfred is particularly fine, as is Freeman’s Lucius Fox, the source for all of Batman’s splendidly utilitarian weaponry – Bale submerges himself in the role and comes up with something between The Shadow and Patrick Bateman on Prozac. It works. <BR>
<BR>
Batman Begins is thick with plot, but Nolan’s crisp, economical direction keeps things from getting bogged down in explanatory set-ups (there’s no mistaking, however, that this is the opening salvo in a brand-new Hollywood franchise). It’s great fun, and a terrific relief, to see this iconic crime fighter back on solid thematic ground, and David Goyer’s watertight script is a marvel of the screenwriting craft. It moves with surprising speed (the film is more than two hours long) on slick tracks of economic dialogue punctuated by sudden outbursts of violence.<BR>
<BR>
Half the time Batman stalks his criminal quarry unseen, or as a barely glimpsed, utterly ominous shadow; there are echoes of Fritz Lang’s Dr. Mabuse series, not to mention Metropolis, and the cinematography by Nolan regular Wally Pfister is noir and then some. There’s so much going on, and so much to take in, that it leaves you winded. But that’s origin stories for you. No one ever said setting up a savior would be simple. <BR>
<BR>
<BR>
<I>Film reviews researched and edited by Peter A. Haggart<BR>
</I>* * *<BR>
<BR>
<B><I>Kenworthy Performing Arts Centre<BR>
</I>508 S. Main Street, Moscow, Idaho<BR>
</B>For more information, call 208-882-4127 or visit http://www.kenworthy.org<BR>
* * *<BR>
<BR>
Sign up for this weekly email on events and movies at the Kenworthy by logging onto our website <BR>
<FONT COLOR="#0000FF"><U>http://www.kenworthy.org<BR>
<BR>
</U></FONT>~~~~~~~~~~~~~~~~~~~~~~~~~~~<BR>
PAMELA PALMER, <B>Volunteer<BR>
</B>Mailto:ppalmer@moscow.com<BR>
Film and Events Committee <BR>
Kenworthy Performing Arts Centre<BR>
<BR>
http://www.kenworthy.org<BR>
To speak with a KPAC staff member, <BR>
call (208) 882-4127<BR>
Mailto:kpac@moscow.com<BR>
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