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<FONT FACE="Verdana"><B>This week at the Kenworthy Performing Arts Centre...<BR>
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<FONT COLOR="#800000"><H2>Match Point (R)<BR>
</H2></FONT><B>Thursday & Friday, May 18 & 19<BR>
7:00 PM<BR>
Sunday, May 21<BR>
4:10 & 7:00 PM<BR>
</B>$5/adult<BR>
KFS pass accepted for Sunday movies<BR>
<B>(See Review below)<BR>
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Check out our coupon in Thursday's Evergreen or Daily News.</B> <BR>
The coupon is good for $1 off the Thursday night, adult admission. <BR>
One coupon per person, please.<BR>
<BR>
<B>2nd annual<BR>
</B><FONT COLOR="#800000"><H2>Rendezvous Talent Showcase<BR>
</H2></FONT><B>Saturday, May 20<BR>
7:00 PM<BR>
</B>$10 at the door<BR>
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The Second Annual Rendezvous Talent Showcase will be held Saturday May 20, 2006 7:00-10:00 p.m. at the Kenworthy Performing Arts Center in Moscow. This event is part-fundraiser and all fun! Rendezvous will highlight 6 bands in a showcase format to be considered as one of the three warm up bands at the Rendezvous concerts. Bands will be selected by 1) audience vote (vote with your ticket) 2) audience monetary donations in support of a band (vote with dollars) and 3) by the Rendezvous Board of Directors. Admission is $10 at the door.<BR>
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Our featured bands are: <B>Eric Anderson, Bare Wires, Full Circle, Beth Pederson, Shook Twins, and Steptoe.<BR>
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<FONT COLOR="#800000"><FONT SIZE="5"><B>Take a seat!</B></FONT></FONT> We mean that literally. The Kenworthy is offering you the opportunity to purchase one of a limited number of theater chairs in the main auditorium. Your gift will entitle you to an engraved, brass name plate mounted on the back of the seat of your choice (based upon availability). One individual or business name per seat, please.<BR>
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This naming opportunity, back by popular demand, is available for a donation of $500 per chair. You may purchase a chair in two installments of $250 over two years, or in three installments of $200 over three years.<BR>
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Your gift will assist with the ongoing operation and renovation of the Kenworthy Theater and fulfillment of our mission to be Moscow's premiere, historic, downtown, community performing arts venue and cinematic art house.<BR>
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For information about the Kenworthy Performing Arts Centre, call Julie Ketchum, Executive Director, at 208-882-4127.<BR>
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<B>Next week at the Kenworthy-<BR>
</B><BR>
<FONT COLOR="#000080"><H2>Inside Man (R)<BR>
</H2></FONT><B>Thursday, Friday, Saturday, May 25, 26 &27<BR>
7:00 PM<BR>
Sunday, May 28<BR>
4:05 & 7:00 PM<BR>
</B>$5/adult<BR>
KFS pass accepted for Sunday movies<BR>
<BR>
<B>Coming in June:</B> Boys of Baraka; Children’s Matinee series: Dreamer; Cheaper by the Dozen 2; Wallace & Gromit<BR>
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Regular movie prices: $5/adult, $2/child 12 or younger<BR>
KFS series pass prices: $30/10 films, $75/30 films. KFS pass good only for Sunday movies.<BR>
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For more information on movies, events, rental rates, and/or to download a schedule, visit our website at www.kenworthy.org<BR>
<B>* * *<BR>
This week’s review-<BR>
<BR>
</B><FONT COLOR="#800000"><H2>Match Point<BR>
</H2></FONT><BR>
Written and directed by Woody Allen<BR>
Rated R (Under 17 requires accompanying parent or adult guardian). It has some steamy (though not explicit) sex scenes, a few moments of shocking violence and some profanity.<BR>
Running time: 2 hours, 4 minutes.<BR>
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<B><I><U>As reviewed by A. O. Scott writing for the New York Times<BR>
</U></I></B><BR>
In ''Match Point,'' his most satisfying film in more than a decade, the director once again brings some bad news, delivering it with a light, sure touch. This is a Champagne cocktail laced with strychnine. You would have to go back to the heady, amoral heyday of Ernst Lubitsch or Billy Wilder to find cynicism so deftly turned into superior entertainment. <BR>
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At the very beginning, Mr. Allen's hero, a young tennis player recently retired from the professional tour, explains that the role of luck in human affairs is often underestimated. Later, the harsh implications of this idea will be evident, but at first it seems as whimsical as what Fred Astaire said in ''The Gay Divorcée'': that ''chance is the fool's name for fate.'' <BR>
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Mr. Allen's accomplishment here to misdirect us, with a tale whose gilded surface disguises the darkness beneath. His guile keeps the story moving with the fleet momentum of a well-made play. If you walked in after the opening titles, it might take you a while to guess who made this picture. <BR>
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After a while you would, of course. The usual literary signposts are in place: surely no other screenwriter could write a line like ''darling, have you seen my copy of Strindberg?'' or send his protagonist to bed with a paperback Dostoyevsky. The film's setting is modified Henry James (wealthy London, with a few social and cultural outsiders buzzing around the hives of privilege); the conceit owes something to Patricia Highsmith's Ripley books; and the narrative engine is pure Theodore Dreiser -- hunger, lust, ambition, greed. <BR>
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Not that the tennis player, Chris Wilton (Jonathan Rhys-Meyers), seems at first to be consumed by such appetites. An Irishman of modest background, he takes a job at an exclusive London club, helping its rich members polish their ground strokes. He seems both easygoing and slightly ill at ease, ingratiating and diffident. Before long, he befriends Tom Hewett (Matthew Goode), the amiable, unserious heir to a business fortune, who invites Chris to the family box at the opera. From there, it is a short trip to an affair with Tom's sister, Chloe (Emily Mortimer), a job in the family firm and the intermittently awkward but materially rewarding position of son-in-law to parents played by Brian Cox and Penelope Wilton. <BR>
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What passes between Chris and Nola is not only desire, but also recognition, which makes their connection especially volatile. As their affair advances, Ms. Johansson and Mr. Rhys-Meyers manage some of the best acting seen in a Woody Allen movie in a long time. It is possible to identify with both of them -- and to feel an empathetic twinge as they are ensnared in the consequences of their own heedlessness -- without entirely liking either one. <BR>
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But it is the film's brisk, chilly precision that makes it so bracingly pleasurable. The gloom of random, meaningless existence has rarely been so much fun, and Mr. Allen's bite has never been so sharp, or so deep. A movie this good is no laughing matter. <BR>
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<B><I><U>As reviewed by Mick LaSalle writing for the San Francisco Chronicle<BR>
</U></I></B><BR>
"Match Point" is plot driven, not character driven, and generous in the sheer amount of story presented and is a film that deserves a second viewing. Allen covers a lot of story very quickly, and at first glance there's a tendency to look upon Chris as a fellow to whom things simply happen. In fact, as played by Meyers, Chris always is aware of his opportunities and always is playing a kind of mental tennis with people. He may not have a grand design, but he always knows where he is placing the ball and what he hopes to achieve. This quality, though subtle, is there from the beginning, and so it should not come as a jolt when Chris, visiting his rich new friends in their home, suddenly makes a bold play for a young woman within seconds of meeting her. <BR>
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The electric encounter between Chris and Nola (Scarlett Johansson) over a ping-pong table is Allen's answer to "A Place in the Sun," in which Montgomery Clift and Elizabeth Taylor did their mating dance over a pool table. In this case, both parties are poor and off-limits: Nola, a struggling American actress, turns out to be Tom's fiancee, and Chris is about to embark on a relationship with Tom's sister. But the attraction is there. <BR>
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Nola and Chris recognize the climber in each other, as well as a certain desperate life force that their partners, raised in comfort, lack. They're also the most kissable people in the movie, with the best mouths. <BR>
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There's no out-guessing "Match Point," the movie goes its own way, always fascinating, often skipping months and even a year at a time without making a fuss, as if maintaining an intense yet detached scrutiny of the characters. "Match Point" is the conveyor of an ultimately simple philosophical proposition about the all-important role of random luck in life and thus the implicit absence, according to Allen, of any overarching moral order. <BR>
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<B><I><U>As reviewed by Steve Persall writing for the St. Petersburg Times<BR>
</U></I></B><BR>
Something dreadful will happen in Woody Allen's “Match Point.” What, how and to whom and for what reason isn't clear until it's committed, but we sense it's coming from the start. We've known these omens before, in writings by Theodore Dreiser, James M. Cain and Fyodor Dostoyevski, and too many film noirs to mention.<BR>
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Where we've never seen them is in Allen's films, making “Match Point” both a radical departure for the 70-year-old filmmaker and a refinement of the classic cinema adoration that got him into trouble with fans before. Allen wanted to be Ingmar Bergman, then Federico Fellini, and then Fritz Lang. Now its Allen wandering into Alfred Hitchcock's London territory and feeling triumphantly comfortable. Not the macabre Hitch of “Psycho,” but the casually escalating suspense of “Strangers on a Train” and “Dial M for Murder.” Allen has explored criminal guilt before, in comedy set-ups and philosophically in Crimes and Misdemeanors. This time he's seduced by the motivation and opportunity for committing a perfect crime, and how the most unreliable factor is luck.<BR>
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Revealing much about the film would spoil the masterful way Allen springs tiny surprises and incriminations along the way. Suffice to say that lust and selfishness can be lethal, and not always in the expected fashion. “Match Point” steers viewers toward conclusions that are averted at the last moment and replaced with turns coming logically from left field. When the police get involved the drama tightens like a noose, loosened only by an ingenious stroke of - you guessed it - luck.<BR>
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The beauty of Allen's film, what keeps things plausible, is his understatement of dread. Like Hitchcock preached, he keeps us more aware of things than the characters. We know the details that make a deceitful telephone conversation another step toward something bad. We flinch when an innocent remark cuts too close to the guilty bone. Foreshadowing is everywhere, in museum paintings, the opera house and on a skeet shooting range. Putting it all together makes us feel almost as ruthless as the perpetrator.<BR>
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Placing viewers into that darkening place is what Allen does best in “Match Point,” a startling development so late in his career, in a place so foreign to his beloved Manhattan. Part of the film's pleasure is realizing that this taut, sophisticated eventual thriller is crafted by a filmmaker we thought we knew and, honestly, had considered washed up. Luck is when preparation meets opportunity. Allen has both ingredients, inventing a perfect crime in a near-perfect movie.<BR>
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<I>Film reviews researched and edited by Peter Haggart<BR>
</I><B>* * *<BR>
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<I>Kenworthy Performing Arts Centre<BR>
</I>508 S. Main Street, Moscow, Idaho<BR>
</B>208-882-4127<BR>
Sign up for this weekly email on events and movies at the Kenworthy by logging onto our website <BR>
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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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