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<FONT FACE="Verdana"><B>This week at the Kenworthy Performing Arts Centre...<BR>
<BR>
</B><H2>Summer Matinee series begins-<BR>
<FONT COLOR="#800000">Dreamer (PG)<BR>
</FONT></H2><B>Wednesday, June 14<BR>
1:00 PM<BR>
</B>$4/adult, $1/child 12 or younger<BR>
<B>(See Reviews below)<BR>
</B><BR>
<FONT COLOR="#800000"><H2>Friends With Money (R)<BR>
</H2></FONT><B>Thursday, Friday & Saturday, June 15, 16, & 17<BR>
7:00 PM<BR>
Sunday, June 18<BR>
4:45 & 7:00 PM<BR>
</B>$5/adult<BR>
KFS pass accepted for Sunday movies<BR>
<B>(See Reviews below)<BR>
<BR>
</B><H2>Price change:<BR>
</H2><I>As of June 1, children's movie admission prices have been raised to $3. The matinees are still $1 for children.<BR>
</I><B>* * *<BR>
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Next week at the Kenworthy-<BR>
</B><BR>
<FONT COLOR="#000080"><H2>Cheaper by the Dozen 2 (PG)<BR>
</H2></FONT><B>Wednesday, June 21<BR>
1:00 PM<BR>
</B><BR>
<FONT COLOR="#000080"><H2>Thank You For Smoking (R)<BR>
</H2></FONT><B>Thursday, Friday & Saturday, June 22, 23, & 24<BR>
7:00 PM<BR>
Sunday, June 25<BR>
4:45 & 7:00 PM<BR>
* * *<BR>
<BR>
Also in June at the Kenworthy Performing Arts Centre...<BR>
</B><BR>
<B>Wallace & Gromit: The Curse of the Were-Rabbit (G)<BR>
</B>June 28, 1:00 PM<BR>
<BR>
<B>Coming in July:</B> Hoot; Nanny McPhee; Ice Age: The Meltdown<BR>
<BR>
Regular movie prices: $5/adult, $3/child 12 or younger<BR>
Wednesday matinee prices: $4/adult, $1/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>
<BR>
This week’s reviews-<BR>
<BR>
</B><H2>Dreamer: Inspired by a True Story<BR>
</H2><BR>
Directed by John Gatins<BR>
Running time: 1 hour, 38 minutes<BR>
Rated PG for brief mild language<BR>
<BR>
<BR>
<B><I><U>As reviewed by Roger Ebert writing for the Chicago Sun-Times<BR>
</U></I></B><BR>
One of the most important stories in Sports Illustrated's history was written by William Nack, the great writer about horses and boxing. Nack grew up around racetracks, served in Vietnam, and when he returned noticed something new: A lot of horses were breaking down. In earlier years, it was rare for a horse to break a leg during a race. His investigation met a wall of silence, until one vet talked to him off the record, confirming his suspicions: Owners were using cortisone to deaden the pain of horses that should not be racing, and the broken bones were the result.<BR>
<BR>
When a racehorse breaks a leg on the track, it is invariably put down. Nack's story "Breakdowns" told of the death of one such filly. I heard Nack read it once, at a signing for his book My Turf, and people in the audience were crying. <BR>
<BR>
The movie "Dreamer" is based on a true story of the unthinkable: A horse that broke a bone and came back to race again. She was Mariah's Storm, winner of the 1995 Turfway Breeders' Cup. <BR>
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The movie is a well-made use of familiar materials, including the loyalty between a child and a horse that goes back to "National Velvet" (1944) and "The Black Stallion" (1979). It's aimed at an audience of teenagers who may never have heard of those films, and for them, "Dreamer" will be an exciting experience. It has a first-rate cast: Dakota Fanning as young Cale Crane, Kurt Russell as her father Ben, and Kris Kristofferson as her grandfather Pop.<BR>
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Ben is a trainer for the rich and supercilious Palmer (David Morse). He likes the prospects of a filly named Soñador, which is Spanish for "dreamy"-- close enough to Dreamer, especially since the title refers to Cale. She's at the track one day when her dad tells Palmer he doesn't think Soñador should run: "She doesn't want to race today." Palmer overrules him, the horse runs, and she breaks a leg.<BR>
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Ben later admits, "If Cale hadn't been with me that night, I'd have left that horse on the track." But Cale is there, and looking at her big sad eyes, her father has the leg splinted and wrapped, and brings the horse back to the stable. This inspires an argument with Palmer, who is forced to regard the results of his own bad judgment. Ben resigns, taking a pay-out -- and the horse.<BR>
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This is not something he can afford to do. Their farm, which is already "the only horse farm in Lexington, Ky., without any horses," is facing foreclosure. But Soñador mends, and Ben and Pop think maybe she can be bred. That's before Cale gives Soñador her head one day, and the two men watch Cale and the horse flying across the turf.<BR>
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What happens next I will leave for you to discover, including the subplot involving the two Arab brothers who are rival horse owners. What is central is young Dakota Fanning's performance, as a mite of a girl who stands up to be counted. Fanning it is said, appears in every third movie nowadays; she's busy, all right, but that's because she's good, and here she plays Cale as a girl who has watched horses and trainers and grown up around the track and tempers her sentiment for Sonador with an instinct that the horse has more race left in her.<BR>
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They say girls discover horses right before they discover boys. Whether that represents progress is a question every parent of a teenager must sometimes ponder, but certainly any girl (and a lot of boys) in the target age group are going to make "Dreamer" one of their favorite films.<BR>
<BR>
For adults, the movie offers the appeal of solid, understated performances by Russell, Kristofferson and David Morse, whose villain doesn't gnash but simply calculates heartlessly. And then of course there is the horse racing. If your horse might win but might break the same leg again, you have so much riding on the race that the odds don't really come into it.<BR>
<BR>
<BR>
<B><I><U>As reviewed bySteven Rea writing for the Philadelphia Inquirer<BR>
</U></I></B><BR>
Dakota Fanning looks tired and worried in <U>Dreamer: Inspired by a True Story</U>. Her appearance could be attributable to the 11-year-old's daunting workload, starring in one pic on top of another opposite Hollywood's A-list - Robert De Niro, Denzel Washington, Tom Cruise, Sean Penn - over the last few years.<BR>
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Then again, it could be just the latest example of Fanning's preternatural abilities to emote. In “Dreamer,” a charming girl-and-her-horse yarn, she plays Cale Crane, the daughter of broke (and broken) Kentucky horse trainer Ben Crane (Kurt Russell), who bets everything on a filly with a bad leg. Things are so dire at the Crane ranch that they don't have any horses there, and Mom (Elisabeth Shue) has to work as a waitress to help out with the bills. Even on a good tip night, it's not enough.<BR>
<BR>
Nicely run through its paces by John Gatins, who also wrote the screenplay (it's his directing debut), “Dreamer” is, not surprisingly, about daring to dream the big dreams. It's about family, and faith, and facing hard times together. Shot in the splendid horse country of Kentucky (not far from Cameron Crowe's Elizabethtown), and featuring some galloping races both on and off the track (Cale and So?ador take off across the fields one fateful day), the movie is just hokey enough to pull at the heartstrings without making you feel as if you've been worked over by a thug wielding a club made of cotton candy.<BR>
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It's Fanning's show (and the horse's), but Russell, who began his own career about the same age as his little leading lady (he was a contract player at Disney at 10), does a nice job as the horseman who has to rediscover his trust in his own abilities - and reconnect with his daughter and his father. <BR>
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Like any self-respecting underdog (or underhorse) sports pic, “Dreamer” has its formulas, its familiar ups and downs. But it's to Fanning's and Russell's credit, and the filmmakers', that the formula never gets the better of the film.<BR>
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<BR>
<B><I><U>As reviewed by Barbara Vancheri writing for the Pittsburgh Post-Gazette<BR>
</U></I></B><BR>
When John Gatins wrote the screenplay for "Dreamer," he envisioned three generations of Crane men: a grandfather, a father and a young son. Then he watched Dakota Fanning in the revenge thriller "Man on Fire" and decided to change the gender of the child.<BR>
<BR>
The protagonist of "Flightplan" was switched from a father to a mother, and Jodie Foster made that movie tick, just as 11-year-old Fanning does for "Dreamer: Inspired by a True Story." The best young actress working today, she brings to Cale Crane a determination, vulnerability and innocent belief that anything really is possible -- not to mention a little touch of a real child, with front teeth that would later be fitted with braces.<BR>
<BR>
"Dreamer" feels formulaic and farfetched, but in a family-friendly, feel-good way. It's from DreamWorks, not Disney, but it stars one of that studio's former child stars in Russell and a little girl who shows the same sort of wholesome appeal and mature talent. She looks like Russell and acts like him, too.<BR>
<B>* * *<BR>
</B> <BR>
<FONT COLOR="#800000"><H2>Friends With Money<BR>
</H2></FONT><BR>
Written and directed by Nicole Holofcener<BR>
Rated R (Under 17 requires accompanying parent or adult guardian). A little sex, a little dope.<BR>
Running time: 1 hour, 30 minutes<BR>
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<BR>
<B><I><U>As reviewed by Manohla Dargis writing for the New York Times<BR>
</U></I></B><BR>
In the final scene of Nicole Holofcener's "Friends With Money," a bittersweet comedy about the drama of being alive — with and without a fistful of dollars — the actress Jennifer Aniston summons up a small smile that looks a lot like a frown. It would be a stretch to say that at that moment her character, a vaguely depressed pot-smoking housekeeper named Olivia, is actually happy, but neither is she exactly unhappy. It's just that she, much as the rumpled man tucked into bed next to her says about himself, has "some issues, you know ... problems."<BR>
<BR>
Most of Olivia's problems involve money, though she also has serious man troubles (she doesn't have one) and career woes (ditto). What she does have are three older married friends — played by Frances McDormand, Catherine Keener and Joan Cusack — who live in degrees of cocooned comfort in the kinds of Los Angeles neighborhoods where the only people of color are either taking care of the children or white folks working on their Malibu tans. Unlike her friends, Olivia seems to expect little from life and never seems surprised when that's what she gets. Having left her high school teaching job (the brats tossed her quarters for food), she now cleans up after other people, restoring to their lives a sense of order lacking in her own.<BR>
<BR>
As might be expected, "Friends With Money" is about friendship and money and about how having one sometimes, maybe always, interferes with the other. Materialism and its discontents is a favorite American worry, but with its melancholic low-frequency buzz and roster of navel-gazers, this film feels particularly contemporary. Ms. Holofcener never suggests that her characters need to get out of the house and start ladling chowder down at the local soup kitchen; even the cars in this film don't wear peace signs. But she obviously wants to say something about people who have too much of everything for their own good. (And clearly knocking about the movie business for years, as well as Los Angeles, has given her plenty of material.)<BR>
<BR>
Maybe it's the sprawl, but like many Los Angeles-based stories, including Ms. Holofcener's last film, "Lovely and Amazing," this one radiates in many different directions at once. In addition to Olivia, there's Jane, a splenetic clothing designer (a sensational Ms. McDormand), and Christine, one half of an unhappily married screenwriting team (Ms. Keener). Both women appear to be struggling through what Gail Sheehy called the "forlorn 40's," while the third married friend, Franny (Ms. Cusack), a stay-at-home mom with full-time help, has apparently skipped that passage and gone straight to heaven with a fat bank account, a vigorous sex life with her own husband (Greg Germann) and two kids who seem like pleasant afterthoughts. Rarely has Ms. Cusack's googly-eyed, otherworldly vibe seemed so right for a role.<BR>
<BR>
"Friends With Money" unfolds as a succession of vignettes organized around meals, shopping trips and lonely nights, and is punctuated by some laugh-out-loud bursts and a few punches to the gut. Ms. Holofcener is a first-rate portraitist and something of a miniaturist, and she likes to use a single telling detail, a bad habit, say, or a fixation — like Olivia's fondness for costly lotions or Jane's sudden refusal to wash her hair — to get at the larger meaning. If on occasion, as with Christine's ritualized clumsiness, this tactic slips into contrivance (for someone in pain, she whimpers "ow" a little too often), most of what's here nonetheless feels startlingly honest.<BR>
<BR>
"Friends With Money" is greatly appealing if not especially adventurous, either for its director or for her admirers. Ms. Holofcener writes wonderful, recognizably real women characters, but the narrowness of their worlds and the continued modesty of her canvases suggest that, much like Olivia, she would prefer to stick her head under the covers than out the door. It's understandable that the filmmaker would be ambivalent about the choices women face, but it would be nice if she herself expanded on those choices a bit, or at least wrote a character that occasionally checked out Arianna Huffington's blog. After all, while Olivia and the rest have been drifting and freaking out, Ms. Holofcener has directed three very good features that, in themselves, prove there's more to the modern woman's life than her neuroses.<BR>
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<BR>
<B><I><U>As reviewed by Mick LaSalle writing for the San Francisco Chronicle<BR>
</U></I></B><BR>
Written and directed by Nicole Holofcener, who had more unambiguous triumphs with her previous two films, "Walking and Talking" and "Lovely & Amazing," "Friends With Money" is about the friendships and life struggles of four female friends, who all live in a well-heeled part of Los Angeles County.<BR>
<BR>
At the center of the action is Jennifer Aniston as Olivia, the most broke of the four friends and the only one who doesn't have a husband. Olivia, a former teacher, is an aimless pothead, working as a housekeeper and pining over an ex-boyfriend who is now married. The role brings out a fine performance from Aniston, who has here some of the downtrodden quality she had in "The Good Girl," plus a touch of recklessness and underlying anger.<BR>
<BR>
Olivia is suffering from the angst of midlife failure, while Frances McDormand as Jane has the opposite problem. A successful clothing designer, she has achieved her heart's desire but finds herself angry all the time, lashing out at minor injustices because she's afraid of having no more horizons, that the great story of her life is over. Equally troubled is Catherine Keener as Christine, a screenwriter who is married to her screenwriting partner (Jason Isaacs) but is developing a bad feeling that there might be something missing in his moral nature.<BR>
<BR>
Rounding out the foursome is Joan Cusack, who, as Franny, has the least developed role. She's rich and has always been rich, which makes her more childlike in some ways and harder in other ways, but unlike her friends, she is not going through any midlife crisis. In this, Holofcener seems to be implying, intentionally or not, that it's one thing to have money, but if you really want to have no problems, be enormously wealthy, and then you'll never have to worry about anything. This notion is further reinforced near the resolution.<BR>
<BR>
The film ambles from one incident to another. Sometimes the couples go out as a group. Sometimes the movie shows the women with their husbands, and at other times it follows a solo character out and about in the world. Simon McBurney plays one of the husbands, a gay-seeming straight man who is always getting hit on by guys. The scenes in which that occurs are interesting in the moment, but like a lot of what happens in the picture, there's a quality of randomness. In the end, the good news to take from "Friends With Money" has mainly to do with Aniston, who, playing opposite a trio of more seasoned actresses, doesn't just hold her own but snares the best moments.<BR>
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<B><I><U>As reviewed by Philip French writing for The Observer (London)<BR>
</U></I></B><BR>
When Jane Austen was once asked what she wrote about, she is said to have replied: 'I write about love and money. What else is there to write about?' These two subjects, thought by some to be intertwined, by others to be antithetical, are central to <U>Friends With Money</U>, the third, unsentimentally observant comedy by writer-director Nicole Holofcener, who here continues her Woody Allen-influenced preoccupation with sisterhood (by birth or choice), friendship, ambition and frustration among America's professional middle classes.<BR>
<BR>
>From her first movie, <U>Walking and Talking</U> , we learned that the way to propose marriage to a live-in lover in New York is to leave a ring in her diaphragm case. A similar joke opens <U>Friends With Money</U>. A cleaning woman, her face unseen, keeps returning during her work to a bedside drawer containing a vibrator. Eventually, she removes it, we hear a buzzing out of frame and, when it's returned, we see the maid's face - it's Jennifer Aniston giving one of her lopsided half-grins.<BR>
<BR>
It turns out that this character, Olivia, has given up her job teaching at a smart school in Santa Monica to do cleaning work, has no money, no regular guy and is the subject of concern to her three closest friends who are all married, prosperous and have a small child each. They're a successful scriptwriter (the marvelous Catherine Keener who's been in all three of Holofcener's pictures), a dress designer (Frances McDormand) and a seriously rich philanthropist (Joan Cusack).<BR>
<BR>
In their early forties, they're undergoing midlife crises and living at various distances from the ends of their respective tethers. Ironically, only the object of their concern, Olivia, whom they regard as a loser in need of a man and marriage, has the potential for a change of direction without causing harm to others.<BR>
<BR>
It's a delightful film, unsparing in its emotional realism and performed by a remarkable ensemble cast, full of incident and structured only by time (a few weeks before and after Christmas in Los Angeles). It falls down towards the end by bringing into the social and moral equation that familiar Hollywood character, the self-effacing, unprepossessing millionaire who travels economy class, buys clothes off the peg and is waiting to reward true love.<BR>
<BR>
<BR>
<I>Film reviews researched and edited by Peter Haggart<BR>
</I><B>* * *<BR>
</B><BR>
<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>
<BR>
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>
<BR>
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>
<BR>
For information about the Kenworthy Performing Arts Centre, call Julie Ketchum, Executive Director, at 208-882-4127.<BR>
<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>
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<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>
~~~~~~~~~~~~~~~~~~~~~~~~~~~<BR>
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