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to Section One | to Arts & Entertainment
posted Friday, December 28, 2012 - Volume 40 Issue 52
Movie Reviews
Arts & Entertainment
ALL STORIES
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Lush, operatic Les Misérables an emotional maelstrom
by Sara Michelle Fetters - SGN A&E Writer

LES MISÉRABLES
Now showing

There have been more cinematic incarnations of author Victor Hugo's novel Les Misérables than you can shake a stick at. It's been filmed so many times it's something of a wonder that people still actually read the book itself (which, come to think of it, if you haven't done so you really should - if any novel lives up to its rep as a literary classic it's this one). Iconic stars ranging from Henry Krauss to Walter Huston, Fredric March, Jean Gabin, Jean-Paul Belmondo, and Liam Neeson at one time or another have taken up the mantle of tortured, put-upon hero Jean Valjean at some point during their illustrious careers.

But director Tom Hooper, a recent Academy Award winner for The King's Speech, is the first to tackle the hugely popular Broadway musical version of Hugo's opus, going out of his way to transpose the lavish and over-the-top theatrical production to life in as gigantic a way as possible. With every dollar up on the screen, and with no facet left to the imagination, he's transposed the show (music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer) to the screen with noteworthy brio, shuttling forth images and emotions with aggressively invigorating panache that's more often than not breathlessly mesmerizing.

Yet no movie in 2012 catapulted me through so many wide-ranging reactions as this one did. I went from loving the movie, to hating it, to tolerating it, to being obsessed with every little nuance, to wanting to throw something at the screen, to wishing I could leap up from my seat and hug the celluloid as if it were a living, breathing human being. This Les Misérables had me so all over the map I didn't know what in the heck to do with it, all of which makes attempting to write a review next to impossible.

A CLASSIC TALE
First things first, however. Hooper's adaptation still follows the expected Hugo narrative: Convicted thief Valjean (Hugh Jackman) is released from prison with anger in his heart, feeling the French state has dealt him an unjustly harsh blow for stealing only a loaf of bread. His hardened heart is softened when a sudden act of kindness changes everything, leading the former convict to break parole and reinvent himself as a respected businessman who makes a point of assisting the poor and downtrodden.

Things take a turn when Inspector Javert (Russell Crowe) comes back into his life, leading Valjean to not notice when the lovely Fantine (Anne Hathaway) is wrongly axed from his employ. Discovering her at the edge of death, he promises to find and raise her child, Cosette (Isabelle Allen) as his own to make up for his mistake. Meanwhile, Javert has learned Valjean's true identity and pledges to bring him to justice, dogging the man's every move even as he tries over the years to do right by the beautiful young girl who has fallen into his care.

Les Misérables covers just under a half-century of French history as it chronicles Valjean's struggles to evade Javert and raise Cosette (played by Amanda Seyfried as a teen) as best he knows how. There are struggles. There are triumphs. There are failures. There is love. There is compassion. There is forgiveness. And, yes, eventually, there is redemption, all of it played out on a lush, grandly operatic scale befitting the prose that so dexterously inspired it.

SOME ISSUES
Thing is, for everything that Hooper gets right, there is just as much as he annoyingly gets so very, very wrong. Cinematographer Danny Cohen's (Pirate Radio) camera doesn't know when to stop, swooping, twirling, and revolving around the characters trying to give import to every single song whether it deserves the attention or not. Sometimes, the use of extreme close-ups zeroing in on the actor's face as they mine each lyric for maximum emotion works splendidly (see Hathaway's stunning rendition of 'I Dreamed a Dream'), while other times it decidedly does not (both of Crowe's big numbers, most notably 'Stars,' fall hopelessly flat through no fault of the actor).

The sudden shifts in tone are also a problem, the dead-serious nature of Jackman and Crowe's performances juxtaposed to the comic surrealism of Helena Bonham Carter and Sacha Baron Cohen's work (it's like they've just stepped off the set of Tim Burton's Sweeney Todd: The Demon Barber of Fleet Street, in which they both appeared). The speed of it all can also be a little distracting, the constant push to go through the decades as quickly as possible hurting the innate emotional impact of much of the tragedy and human sacrifices constantly put front and center.

Yet when the movie works, when it connects, it does so magnificently. Jackman has never been better - his work as Valjean is striking, filled with passion, vigor, and a hidden pain he's loath to bring forth for others, most notably Cosette, to see. He's a fascinating spectacle, moving through scenes with elegant, sometimes downtrodden, more often than not magnanimously forthright and moral, grace that's striking. He goes into territories I wasn't heretofore sure he was capable of, and any and all honors that are thrown his way are beyond justified.

HATHAWAY MAGNIFICENT
Then there is Hathaway. She is going to win the Academy Award for Best Supporting Actress. Would I give it to her? No, I'd hand it to Ann Dowd for Compliance. Does it make me sad that she's going to win, all the same? Not in the slightest. Truth be told, as brief as Fantine's part is, Hathaway dominates the film in a way I can barely believe. Her performance is one for the ages, a timeless spectacle of heart, energy, passion, pain, and emotion that ripped me in two. She is magnificent - a Fantine for the ages - and whenever she is center-stage this Les Misérables achieves a level of brilliance the remainder of the movie sadly only hints at whenever she is not around.

I could go on and on, Hooper's production of this spectacle suitably lavish in the majority of the ways that matter. The supporting cast more or less rises to the occasion, newcomer Samantha Barks as the tragically love-struck Éponine and up-and-coming British character actor Eddie Redmayne as the revolutionary Marius particularly so, and Eve Stewart's (The Damned United) lush and lived-in production design is a constant marvel. Jackman and Crowe play off one another with relish and fire, while the grandly operatic finale had me scrounging through the nether regions of my bag looking for additional tissues that woefully did not materialize.

This version of Les Misérables is hardly definitive. I felt every second of the film's 157 minutes, and there were segments during the midsection when I was emphatically unhappy and not even slightly entertained. But when Hooper brings this spectacle to life, when he allows his actors the floor and lets them rip and roar and doesn't get in their way with showy visuals or an intruding camera, Hugo's work comes to life like never before, making this cinematic musical an experience unlike few others - and one sure to be talked about and debated for many years to come.


Undisciplined Django packs a bloody punch
by Sara Michelle Fetters - SGN A&E Writer

DJANGO UNCHAINED Now showing

There is a lot to love about writer/director Quentin Tarantino's latest effort - so much so, I'm not sure I can comment on it all in a single review. At the same time, though, there is almost nearly as much to complain about, the movie a lengthy, self-indulgent slog at times that feels like three films unceremoniously crammed into a single, 165-minute narrative. At times brilliant, at others risible, the movie had me doing emotional cartwheels for the duration of its running time, a fact not lost on me as I left the theater after the screening.

The basics revolve around a slave, Django (Jamie Foxx). He has been freed, more or less, by bounty hunter Dr. King Schultz (Christoph Waltz), a man who abhors slavery but isn't above using its indecencies to get what he wants. In this case, what he wants is the Brittle Brothers, a trio of reprobates he's determined to get the bounty on. He does not know them but Django does, and so he'll give the man his freedom if he can lead him to them.

A PARTNERSHIP IS BORN
From there the relationship between the two men expands. Schultz takes Django under his wing and teaches him the tricks of the bounty-hunting trade, realizing that his new compatriot (and eventual friend) is a natural. As their relationship grows, so does the former's desire to assist the latter in finding his wife, Broomhilda (Kerry Washington), the pair setting out to free her no matter what the cost.

This leads them to despicable Louisiana plantation owner Calvin Candie (Leonardo DiCaprio). He's got Broomhilda, and knowing he won't be keen to get rid of her, Django and Schultz go undercover as partners looking to get into the Mandingo fighting game, in order to get into Candie's good graces. While their façade succeeds at first, house slave Stephen (Samuel L. Jackson), his master's despicable right hand, quickly sees through the pair, putting them into a precarious position.

NO SUGARCOATING SLAVERY
There's obviously a lot going on, Tarantino setting the action just two years before the chaos of the Civil War hoping to intimately explore the disgusting smear slavery and its lineage left upon, and continues to haunt, the United States. Some of the violence is the most honestly savage the director has ever chosen to showcase, the weight and meaning behind it leaving an abhorrent aftertaste that stayed with me long after the film had ended.

And that's a good thing. Tarantino has a flair for this sort of stuff - he always has - but in some ways the flippant stylistics integral to his narratives sometimes lessens the impact of much of the bloodshed and carnage. Not here. For once the filmmaker does not shy away, does not try to paint a rosy picture, doesn't allow for facetious sarcastic niceties where it comes to anything having to do with slavery. It's hardcore and unflattering, the reactions of those taking in the sight of the inhuman carnage perhaps more important than the on-screen depiction of it.

The bad thing is Tarantino's insistence on sticking to the spaghetti-Western esthetics of the genre he's throwing this story inside of. The cartoonish (albeit with admittedly brilliant dialogue) opening sequence; a silly aside involving a wannabe lynch mob arguing over their ill-fitting hoods; a latter moment between Django and three dimwitted captors - none of it feels necessary. Moreover, the director's bleakly comedic tone doesn't always fit the proceedings, throwing things off-kilter in a way that left me slightly annoyed.

INCONSISTENT PACING
It did not help that I often felt the director was letting things develop at too haphazard a pace. The story he was telling was nowhere near as epic as what Sergio Leone was going for in The Good, the Bad and the Ugly or Once Upon a Time in the West, and as such, a running time nearly equal to those two classics doesn't feel warranted. The lackadaisical nature of the pacing was a constant distraction, and I couldn't help but wonder when Tarantino was going to get on with it and finally get around to scraping to the meat and bone of his narrative.

He does so in Candyland, Calvin's so-called plantation where all sorts of delights can be found for a price. DiCaprio is as slimy and as smarmy a villain as any Tarantino has ever created, the actor twirling his lips around each syllable with a malevolent relish that made me continually shudder. He throws himself into the character completely, never once shying from its odious aspects, and as depictions of pure, unadulterated evil go this is one that will be hanging in the pantheon of greats for quite some time.

JACKSON, WALTZ STANDOUTS
He's nothing, though, in comparison to Jackson's Stephen. As acting triumphs go, this is one of 2012's best, watching him navigate this man's complex waters as eerily unsettling as anything I've seen this year. Who Stephen is, why he has become the man he has, the reasons he is so willing to throw his own kind to the wolves and embrace as a brother the man who owns him - these are his and his alone, Jackson showcasing these internal machinations in a way that held be uncomfortably spellbound.

On the other side of the good-and-evil equation, Waltz is also terrific, giving the movie a pizzazz and a chutzpah I cannot believe it ever would have had without him. His Dr. King Schultz is a revelation, a man with purpose and charm, and while his business is death, his moral code is as unwavering as it is sacrosanct. When he gives Django his friendship, when he promises to help him free his beloved Broomhilda no matter the cost, I believed him instantly, making the carnage to come all the more heart-wrenching.

I could go on forever, discussing both sides of the Django Unchained coin, going into where I think his reverence for spaghetti Westerns pushed him into directions both right and wrong and the places where the movie soars intellectually but just as quickly comes up mentally stunted. The funny thing is, even with all its excess, even considering the times when I think Tarantino goes too far (especially during the latter portions where a hero rises to exact his revenge) I do indeed like this movie.

Why? I'm not entirely sure. The performances are indeed excellent throughout, and the technical facets of the production are beyond reproach. Tarantino's use of music - for the first time the majority of it, both songs and orchestral, original - is miraculous, while Robert Richardson's (Hugo) cinematography is some of the most richly defined in all of 2012. I also appreciated that, for once, there is a larger meaning behind much of the violence depicted, the impact it has upon an audience undeniable.

These facets help make Django Unchained a richly rewarding experience, too be sure, but its shortcomings and indulgences do dilute them to a certain extent. Tarantino has taken chances, and I respect and admire many of the choices he made while bringing this film to life. I can recommend this effort pretty much without reservation, but my feelings that it doesn't quite live up to its potential do remain.


2012 in cinema: Despite a slow start, it was a banner year for moviegoers
by Sara Michelle Fetters - SGN A&E Writer

Back in June, I wasn't sure 2012 was going to be that great a year for cinema. Sure, there were some terrific and ballsy flicks that I liked a lot (Seeking a Friend for the End of the World, Kill List, Moonrise Kingdom, Safety Not Guaranteed, and a handful of others) but there weren't many that I was completely over the moon about. I loved The Hunger Games. I enjoyed John Carter more than most. But other than some intriguing foreign titles, and the emergence of Channing Tatum, of all people, as a bona fide superstar with legitimate talent to burn, I wasn't crowing about much, and I was starting to think that coming up with 10 titles to list as the year's best was going to be impossible.

Fast-forward six months, and how things have changed. By my count there are 52 films worthy of discussion and debate in regard to being among the year's top efforts. Moreover, at any given moment there are 15 or so titles that could easily enter in my own best-of countdown. For my money, that doesn't make 2012 a great year - it makes it a borderline spectacular one, and I'm more or less positive that we're going to be talking about a number of these releases for many years to come.

With that in mind, here are my picks (always subject to change) for the best movies to hit theaters in 2012.

THE TOP TEN OF 2012
1. Zero Dark Thirty
For me, picking director Kathryn Bigelow and writer Mark Boal's Zero Dark Thirty as the year's best film was a no-brainer. I knew the instant it was over that I'd just watched something close to an absolute masterpiece, their emotionally complex, morally ambiguous thriller chronicling the hunt and eventual killing of Osama bin Laden one of the most harrowing experiences I've ever had in a movie theater. They fact that they dare to bring up touchy subject matter and make you think about it in detail, the way they do not beat around the bush but instead show you the murky minefield of international intelligence and terror in absolute minutia, all of it adds up to something beyond extraordinary. Anchoring it all is the quiet, driven, confidently self-assured grace of Jessica Chastain, her blistering, unsentimental performance one for the ages.

2. Amour
Michael Haneke does not make easy movies - anyone who has ever watched the auteur's The White Ribbon or Funny Games could tell you that - but that doesn't mean he can't elicit sympathy or wax poetic about complex emotions with the best of them when he sets his mind to it. His latest more than lives up to its title, its chronicling of a married couple in their eighties (the superb Jean-Louis Trintignant and Emmanuelle Riva) dealing with a sudden illness and the effect it has on their relationship as startling as it is profound.

3. The Perks of Being a Wallflower
No movie spoke to me on a more personal level than writer/director Stephen Chbosky's adaptation of his own novel. I knew these Pittsburgh kids, could relate to just about everything they were going through, understood their day-to-day lives on about as intimate a level that there is. Chbosky raises the bar by never pushing the innate melodrama hidden within his coming-of-age narrative, instead letting the characters and the actors portraying them (Logan Lerman, Emma Watson, and Ezra Miller in three of 2012's best performances) speak for themselves. As close to an instant classic as anything I've seen this year.

4. Silver Linings Playbook
David O. Russell's adaptation of Matthew Quick's novel is constantly on the verge of teetering out of control - which is perfect, considering its main character, bipolar former high-school substitute American history teacher with anger management issues Pat Solatano (Bradley Cooper), is constantly on the precipice of doing the very same thing. It's a startling high-wire act that is as beautiful and invigorating as it is honest and profound, the movie having a confident lived-in esthetic that's close to perfection. Add in Jennifer Lawrence's amazing, free-spirited, and emotionally centered performance as the woman who might just win Pat's heart if he gives her half a chance, and you have not just the best romantic comedy of the past year, but maybe the best one in over a decade.

5. How to Survive a Plague
Journalist David France's breathtaking documentary about the early days of the AIDS crisis and the rise of activist organizations with a mission to fight it plays more like All the President's Men than it does your typical retrospective think piece. The filmmaker digs right into the marrow of this story, never flinching and never wavering, easily crafting one of the more entertaining, yet still informative, nonfiction narratives I've had the privilege to see in quite some time.

6. The Master
Getting a handle on Paul Thomas Anderson's The Master is purposely difficult, the filmmaker weaving a tale of abuse, addiction, friendship, and seduction that is as ephemeral and as obtuse as they come. But the level of filmmaking on display is of such a staggeringly high caliber, while the performances of Joaquin Phoenix, Philip Seymour Hoffman, and Amy Adams are so monumentally extraordinary, one dismisses The Master at one's own peril. This is a movie we are surely going to be discussing and debating for many years to come, its treatise on discourse key to deciphering a great deal many of its cryptic, labyrinthine layers.

7. Argo
Ben Affleck comes into his own as a director with Argo, as giddily entertaining a historical suspense procedural as any a viewer ever could have hoped for. While Zero Dark Thirty has (understandably) stolen some of its thunder, that doesn't make this examination of the rescue of six Americans from Tehran during the 1979 Iranian hostage crisis any less wonderful. Filled with strong character turns from a crackerjack cast (including Alan Arkin, John Goodman, and Scoot McNairy), the movie moves with a tense, all-encompassing energy that lingers long afterward. A triumph.

8. Moonrise Kingdom
Wes Anderson's beguiling triumph of the romance between two 12-year-olds on a secluded New England island is one of the more honest and invigorating examinations of young love to see the light of day in quite some time. While packed with a superstar cast, including Bruce Willis, Bill Murray, Frances McDormand, Edward Norton, and Tilda Swinton, it's the fresh faces of Jared Gilman and Kara Hayward who resonate the most here, their refined, delicately nuanced performances a sunny sojourn through complex emotions that held me completely, and happily, spellbound.

9. Compliance
Can you handle the truth? That's what writer/director Craig Zobel's Compliance is asking. Unsettling, uncompromising, engineered to make the viewer to feel as uncomfortable in his or her own skin as humanly possible, this movie is an unflinching exercise in control that is as disgusting and despicable as it is essential.

10. Wuthering Heights
Much to my immense surprise, Andrea Arnold's bleak, barren, and emotionally obtuse adaptation of Emily Brontë's Wuthering Heights has latched hold of my psyche in a way I cannot entirely comprehend. Filled with unforgettable images, moving with a hardened grace difficult to embrace, let alone find captivating, the movie is nonetheless a staggering meditative romantic drama I couldn't forget even if I wanted to. Not for the faint of heart, and certainly not for those who prefer their Brontë gussied up in a classic BBC shine, this Wuthering Heights is a work of striking resonance made for the here-and-now. Personally, I wouldn't have it any other way.

THE RUNNERS-UP
11. Seeking a Friend for the End of the World - Lorene Scafaria's intimate and seductively layered comedic romantic drama involving an apocalypse was easily one of the year's most unjustly maligned and forgotten gems.

12. Lincoln - Daniel Day-Lewis is as brilliant as you've heard portraying America's most revered president, director Steven Spielberg delivering easily his most subtly self-assured drama in what feels like forever.

13. Killing Them Softly - Eviscerating satire of American consumerism and greed that's as smart as it is emotionally inflexible. A triumph for all involved.

14. Safety Not Guaranteed - Director Colin Trevorrow and writer Derek Connolly's sarcastically hysterical and rapturously romantic debut is the time-travel experience of the year. The fact that Aubrey Plaza isn't getting talked up for a Best Supporting Actress nomination is a colossal shame.

15. Kill List - Is it a horror film? Is it a hit-man thriller? Is it a relationship drama? Discovering what Ben Wheatley's Kill List is ends up being the name of the game, the movie building to a devastatingly brutal coda that is as disturbing as it is unexpected.

16. The Deep Blue Sea - Rachel Weisz and Tom Hiddleston sizzle in Terence Davies' emotionally disemboweling adaptation of the Terence Rattigan play. Calling it awesome is an understatement.

17. The Hunger Games - Jennifer Lawrence commands the screen in director Gary Ross' stupendous take on the first volume of author Suzanne Collins' best-selling trilogy. Magnificent.

18. Cloud Atlas - Andy Wachowski, Tom Tykwer and Lana Wachowski's adaptation of the surreal David Mitchell novel was one of the more audaciously ambitious projects of the entire year, filled with highs and lows so spectacular they simply must be seen, and experienced, to be believed. 19. Holy Motors - There was nothing else in 2012 quite like Leos Carax's Holy Motors, the freewheeling, devil-may-care drama pirouetting threw genres with spectacular abandon.

20. Sound of Noise - Sonic terrorists produce percussion-fueled mayhem against an unsuspecting city helping craft a movie that's a joyous cacophony of sound, fury, silence, ingenuity, and inspiration that is as original as it is entertaining.

21. The Secret World of Arrietty - Studio Ghibli's reworking of Mary Horton's The Borrowers is a beautiful animated treasure trove of imagination and emotion that stirred my heart and made me want to do joyful backflips as I exited the theater.

22. A Royal Affair - Nikolaj Arcel's stupendous costume drama chronicling the affair between a Norwegian queen (Alicia Vikander) and her mentally ill husband's (Mikkel Boe Følsgaard) conscientious doctor (Mads Mikkelsen) a delectable, emotionally fragile treat signifying the arrival of a major directorial talent.

23. The Cabin in the Woods - Director Drew Goddard and co-writer Joss Whedon's invigorating horror deconstruction is a divine mix of the terrifying and the absurd, everything building to the type of apocalyptic climax John Carpenter would have been proud to have called his own.

24. Looper - Filmmaker Rian Johnson takes sci-fi time-travel thriller conventions and then believably spins them on their head, building to a brutal, emotionally satisfying climax that's as good as it gets.

25. Haywire - Steven Soderbergh's star-studded '70s-style revenge opus is a snarky, adrenaline-filled reminder that you don't need computer-generated trickery to engineer thrills and chills.

26. The Sessions - John Hawkes and Helen Hunt shine in this based-on-fact drama of a 38-year-old poet and writer living in an iron lung attempting to have sex for the very first time.

27. Sound of My Voice - Director Zal Batmanglij and actor/writer Brit Marling join forces to craft a surreal and disturbing drama involving cults and cultists. It's never what you think it is going to be, and that's a good thing.

28. Barbara - Nina Hoss commands the screen in Christian Petzold's multifaceted Cold War thriller about an East German doctor who must decide if freedom can come at the expense of her patients' well-being.

29. Skyfall - Sam Mendes takes James Bond and makes him his own while still paying homage to the 50 years of history preceding his taking over the directorial reigns. Awesomely entertaining.

30. John Carter - The year's most unjustly libeled spectacle, Disney's lavish take on the highly influential Edgar Rice Burroughs character a thrilling, eye-popping epic that deserved better both from critics and audiences.

HONORABLE MENTION
Bernie, The Brooklyn Brothers Beat the Best, The Central Park Five, Chasing Ice, The Dark Knight Rises, Django Unchained, Flight, The Grey, The Innkeepers, The Intouchables, Jeff Who Lives at Home, The Kid With a Bike, Lawless, Life of Pi, Magic Mike, On the Road, ParaNorman, Rise of the Guardians, Smashed, Tonight You're Mine, 21 Jump Street, Wreck-It Ralph

THE BOTTOM TEN OF 2012
1. Alex Cross - A misbegotten abomination that takes author James Patterson's character and subsequently does little of note or merit with him. An extended Chrysler commercial masquerading as a major motion picture.

2. Project X - A rancid high-school comedy that's as awful as it is in bad taste. Close to unwatchable.

3. Abraham Lincoln: Vampire Hunter - Visual ingenuity aside, Timur Bekmambetov's adaptation of the revered Seth Grahame-Smith graphic novel is an unfocused, undisciplined nonsensical mess impossible to enjoy.

4. Lockout - Guy Pearce does his best, but this Escape from New York variation set in space is an incoherent hodgepodge of concepts and ideas that never gels into anything remotely substantive.

5. This Means War - Reese Witherspoon, Chris Pine, and Tom Hardy anchor this insipid, action-heavy romantic comedy from director McG that is as idiotic as it is juvenile. A waste of talent and time.

6. Red Dawn - Misbegotten remake of the cult 1984 John Milius favorite that hasn't the first clue as to what it wants to do, what its themes are, or what to make of itself. A lost cause right from the word 'Wolverine!'

7. The Apparition - Idiotic, badly written horror yarn that was delayed by its studio for almost two years before getting a perfunctory release. It should have stayed on the shelf.

8. Total Recall - Another remake of a popular favorite, this failed reboot is an action-heavy mess that goes through the motions of aping everything from The Bourne Identity to Minority Report, showing little to now imagination of its own. Philip K. Dick is surely rolling over in his grave.

9. Act of Valor - Real-life Navy SEALs prove that just because you look the part (and, in all fairness, really are the part) doesn't mean you can act it out in this silly, horribly written potpourri of action clichés that would make Chuck Norris blush.

10. Won't Back Down - Gifted actresses Maggie Gyllenhaal, Viola Davis, and Holly Hunter are left stranded in a monstrously didactic melodrama purportedly about the educational system but is really nothing more than a union-bashing commercial for charter schools.

(DIS)HONORABLE MENTION
American Reunion, Battleship, The Cup, Darling Companion, Dr. Seuss' The Lorax, Fun Size, House at the End of the Street, Lay the Favorite, One for the Money, Playing for Keeps, The Raven, Resident Evil: Resurrection, Sparkle, Tai Chi Zero, Taken 2, Trouble with the Curve, Vamps, The Watch, What to Expect When You're Expecting, The Woman in the Fifth, The Words




Bette: The showgirl goes on
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'This is my cause' - Local musician Andrew Jons honors the brother he lost to leukemia
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Arne and Gordon - Two stalwarts of Seattle theater talk early days
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No drama queens here
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2013 concert alert: 10 big shows coming to the Seattle area
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A fond farewell - Saying goodbye to musical artists we lost in 2012
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Out Gay rapper reveals his 'Meat'
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Lush, operatic Les Misérables an emotional maelstrom
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Undisciplined Django packs a bloody punch
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2012 in cinema: Despite a slow start, it was a banner year for moviegoers
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Northwest News
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Letters
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