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Movie News & Reviews
Opening this week
Willis and Morgan team up for ‘Cop Out’ while Olyphant takes on ‘The Crazies’
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Photo by SAEED ADYANI/OVERTURE FILMS
The local high school is turned into a military compound with biohazard suited military personnel in Overture Films´ “The Crazies.”
A number of new movie releases will hit theaters this week, including the following films opening in wide release:

Cop Out

Genre: Action, adventure and comedy
Cast: Bruce Willis, Tracy Morgan, Adam Brody, Kevin Pollak and Guillermo Diaz
Director: Kevin Smith
Rated: R

Directed by Kevin Smith, “Cop Out” features two longtime NYPD partners on the trail of a stolen, rare, mint-condition baseball card who find themselves up against a merciless, memorabilia-obsessed gangster. But before they can recover the prized `52 Pafko, they must first rescue a Mexican beauty who holds the key to millions of dollars in off-shore bank accounts – and who has already witnessed one high-profile murder because of them.

Veteran detective Jimmy Monroe (Bruce Willis) needs to cash in on his perfect Pafko in order to pay for his daughter’s upcoming wedding, but in the tradition of everything that can go wrong ... it’s pilfered before he has a chance to collect. Paul Hodges (Tracy Morgan) is Jimmy’s “partner-against-crime,” whose preoccupation with his wife’s alleged infidelity makes it hard for him to keep his eye on the ball, or his mind on the crime. Already in trouble and with nothing left to lose, Jimmy and Paul will have to break all the rules – including enlisting the aid of stoner thief Dave (Seann William Scott), who’s working Paul’s last nerve as Paul and Jimmy try to work the case.

The Crazies

Genre: Suspense, horror and remake
Cast: Timothy Olyphant, Radha Mitchell, Joe Anderson and Danielle Panabaker
Director: Breck Eisner
Rated: R

A husband and wife in a small Midwestern town find themselves battling for survival as their friends and family descend into madness in “The Crazies.”

A mysterious toxin in the water supply turns everyone exposed to it into mindless killers and the authorities leave the uninfected to their certain doom in this terrifying reinvention of the George A. Romero horror classic.

The American dream goes horribly wrong when the residents of this picture-perfect town begin to succumb to an uncontrollable urge for violence and the horrific bloodshed escalates into anarchy. In an attempt to contain the epidemic, the military uses deadly force to close off access into or out of town, abandoning the few healthy citizens to the growing mayhem as depraved killers lurk in the shadows.

Sheriff David Dutton (Timothy Olyphant); his pregnant wife, Judy (Radha Mitchell); Becca (Danielle Panabaker), an assistant at the medical center; and Russell (Joe Anderson), Dutton’s deputy and right-hand man, find themselves trapped in a once-idyllic town they can no longer recognize.

Unable to trust former neighbors and friends, deserted by the authorities and terrified of contracting the illness themselves, they are forced to band together in a nightmarish struggle for survival.

The following will open in limited release.

The Art of the Steal

Genre: Documentary
Director: Don Argott
Not rated

In 1922, Dr. Albert C. Barnes created The Barnes Foundation in Lower Merion Pennsylvania, five miles outside of Philadelphia. He formed this remarkable collection of Post-Impressionist and early Modern art to serve as an educational institution.

Dr. Barnes built his foundation away from the city and cultural elite who scorned his collection as “horrible, debased art,” and set it on the grounds of his own home, an arboretum in the leafy suburbs. Tastes changed, and soon the very people who belittled Barnes wanted access to his collection.

When Dr. Barnes died in a car accident in 1951, he left control of his collection to Lincoln University, a small African-American college. His will contained strict instructions, stating the foundation shall always be an educational institution, and the paintings may never be removed. Such strict limitations made the collection safe from commercial exploitation.

But was it really safe?

More than 50 years later, a powerful group of moneyed interests have gone to court to take the art – recently valued at more than $25 billion – and bring it to a new museum in Philadelphia. Standing in their way is a group of former students who are trying to block the move. Will the students succeed, or will a man’s will be broken and one of America’s greatest cultural monuments be destroyed?

A Prophet

Genre: Foreign, drama and crime
Cast: Tahar Rahim, Niels Arestrup and Hichem Yacoubi
Director: Jacques Audiard
Rated: R

Condemned to six years in prison, Malik El Djebena, cannot read or write. Arriving at the jail entirely alone, he appears younger and more fragile than the other convicts. He is 19 years old. Cornered by the leader of the Corsican gang currently ruling the prison, he is given a number of “missions” to carry out, toughening him up and gaining the gang leader’s confidence in the process. Malik is a fast learner and rises up the prison ranks, all the while secretly devising his own plans.

The Yellow Handkerchief

Genre: Drama, romance and remake
Cast: William Hurt, Maria Bello, Eddie Redmayne, Kristen Stewart and Marco St. John
Director: Udayan Prasad
Rated: PG-13

Brett Hanson, an ex-convict just released from prison after serving six years for manslaughter, is now adrift in a world of new freedoms and responsibilities.

Finding initial difficulties in reconciling himself to a troubled past, he crosses paths with lonely and troubled teenager Martine and her new ‘ride’

Gordy. The trio head out in the same car and direction – Martine to cut loose and get away from her family, Gordy to get closer to Martine, and Brett who must decide whether he wants to return to his troubled past and an uncertainty with May, the woman that he left behind.

Once on the road, the trio find their relationships forging and changing in myriad ways, but it is Brett’s story and his need to reconcile his past to his future that drives the two young people to reassess their own passages as well.
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