Fall Arts Movies

Bryant-Lake Bowl, 810 W. Lake St., Mpls.; 612.825.8949.

Showing how the hippie idealism of the first Woodstock concert became a marketing concept by the second and third Woodstocks in 1994 and '99, documentarian Barbara Kopple (American Dream) is on familiar ground here, depicting the struggles of "average" Americans with the corporate culture that clothes, feeds, entertains, and exploits them. Kopple gets great access to business meetings, featured artists, and twentysomethings clued in and clueless at Woodstock and elsewhere, but doesn't mention the rampant sexual violence that occurred at the 1999 event. The film, screening as part of "Get Real: City Pages Documentary Film Series," starts at 7:00 p.m. -Terri Sutton October 17


Lagoon Cinema, 1320 Lagoon Ave., Mpls.; 612.825.6006.

The story of American punk rock (1980-1986) isn't a lot easier to summarize than that of any other major war, but it's quite a bit funnier, as this belated documentary overview proves in each of 90 exuberantly irritable minutes. Like the three-chords-fast tunes themselves, director Paul Rachman's montage-including an astonishing array of milky VHS concert footage (Black Flag in 1981!)-takes a frenzied, propulsive pull from here and there. Images of Ronald Reagan's second inauguration seem to foretell the end, although no archival clip (or documentary, even) could fully explain the vast sociopolitical mystery by which hardcore takes its final stage dive. -Rob Nelson Opens October 20


area theaters

Starring Kirsten Dunst as the valley girl of old-world aristocracy, Sofia Coppola's well-appointed epic of entitlement before the fall uses downbeat Cure songs and other cool anachronisms to argue that the titular queen's removal from the throne by an angry mob was, like, you know, a total bummer. Naturally, French revolutionary film reporters came to collect Coppola's head at Cannes, where class's near-instantaneous trumping of age and gender suggested for about half a second (things move quickly in this court) that the fashion-loving young auteur actually wanted her latest message to be temporarily lost in translation. Let them eat whatever, she said, but never underestimate the bourgeoisie's discreet charm-or its political savvy, either. Bad buzz greeted the queen upon her debut as well; from here, there's nowhere for Marie Antoinette to go but up. -Rob Nelson Opens October 20


U of M, Bell Museum of Natural History, 10 Church St. SE, Mpls.; 612.624.7083.

The films in this Sunday afternoon series explore prairie landscapes from a variety of perspectives. All screenings begin at 2:00 p.m.

October 22 America's Lost Landscape: The Tallgrass Prairie

October 29 Minnesota: A History of the Land

November 5 Marsh Waters: Waste or Wealth?/Cry of the Marsh


Lagoon Cinema, 1320 Lagoon Ave., Mpls.; 612.825.6006.

This playfully wicked French thriller from twentysomething provocateur Gela Babluani blasts its way into your brainpan with the help of black-and-white widescreen cinematography whose striking but smooth textures better suit the upwardly mobile auteur than his poor protagonist. Contrivance abounds well past the point when a Georgian immigrant roof-patcher assumes another man's identity and learns that fate has tapped him to play a most dangerous game, although Babluani's own sport-shooting advances one's heart rate enough to push logic aside. As a brutal metaphor for the global economy, the movie takes care of business.-Rob Nelson Opens October 27


Lagoon Cinema, 1320 Lagoon Ave., Mpls.; 612.825.6006.

Making exactly the movie he wanted, Terry Gilliam presents an American Gothic Alice in Wonderland in which little Alice is the logorrheic offspring of two flaming junkies (Jennifer Tilly's Courtney Love-like slattern and Jeff Bridges's flatulent Captain Pissgums) and Wonderland is a pair of derelict Midwestern farmhouses seemingly furnished by Wisconsin cannibal Ed Gein. The creatures include a collection of doll heads and Brendan Fletcher's drooling Forrest Gump parody. Increasingly grotesque in its intimations of pedophilia (but not altogether unadmirable), Gilliam's spectacular example of kamikaze auteurism ends with a comic train wreck-literally.-J. Hoberman Opens November 3


Walker Art Center, 1750 Hennepin Ave., Mpls.; 612.375.7600.

The actress, daughter of Ingrid Bergman and Roberto Rossellini, appears in person at the Walker to discuss her distinguished career with a film critic. The dialogue, held in conjunction with a retrospective of her films (titles and screening dates TBA), begins at 8:00 p.m. November 4


Mill City Museum, 704 S. 2nd St., Mpls.; 612.341.7555.

Local filmmaker Melody Gilbert (Whole) hosts a fundraiser for the completion of her latest documentary, an unfinished version of which will be presented for discussion. The film, about an internet-based subculture of thrill-seeking youths who rappel, climb, and squeeze their way into defunct buildings and other landmarks of urban decay, begins at 8:00 p.m.; a cash bar will open at 6:30 p.m. November 10


Uptown Theatre, 2906 Hennepin Ave. S., Mpls.; 612.825.6006.

Richard Linklater's fictional adaptation of Eric Schlosser's Big Mac-is-murder exposť starts with an alarmingly close shot of a fat-filled patty sizzling on a grill at Mickey's, home of the Big One. Soon it's revealed that "there's shit in the meat," literally: Seems the "gut table" conveyor at the Mickey's meatpacking plant in Colorado has been making for some especially unhappy meals. Crappy beef is only one of the subjects of Fast Food Nation, which, after A Scanner Darkly, is Linklater's second film this year about the culture of addiction and exploitation. As another measure of the director's rare hunger for realism in the commercial realm, the movie is a whopper.-Rob Nelson Opens November 17

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