Metro Pulse Online: Movies, Past &Amp; Future

Armed only with his mysterious mental connection to the feral minds of studio executives, the Movie Guru reveals just how good or bad this week's new releases will be:

Alfie (R)
In the remake of the 1966 romantic comedy starring Michael Caine, British hottie Jude Law is the “heat-seeking bachelor” Alfie Elkins, who begins to wonder if his womanizing ways are a blessing or a curse.
Now Showing: Tinseltown USA, Knoxville Center, Farragut Towne Square, Halls Cinema 7, Wynnsong 16, Foothills 12

Head in the Clouds (R)
Romantic drama dominates this period piece set in the days before World War II. Charlize Theron is a carefree and bisexual fashion photographer who romances Penelope Cruz and seduces Stuart Townsend before the bombs rain down.
Now Showing: Downtown West

The Incredibles (PG)
These days, it seems to be a requirement for Hollywood’s A-listers to lend their voice to animated films—or maybe they are all just sick of the Zone diet. Anyhow, Pixar has done it again, rounding up Holly Hunter, Jason Lee, and Samuel L. Jackson for the hero-packed adventure. The plot follows Bob Parr, a former superhero known as “Mr. Incredible,” who moves to the ‘burbs for a normal life with the wife and kids. But it’s not long before he gets the call to duty for a hush-hush mission.
Now Showing: Tinseltown USA, Farragut Towne Square, West Town Mall, Halls Cinema 7, Carmike 10, Foothills 12

Stage Beauty (R)
Billy Crudup’s fine features and sparkling eyes could easily lend themselves to feminine beauty. In Stage Beauty, Crudup plays Edward “Ned” Kynaston, a heralded actor playing women’s roles in England in the 1660s. That is, until King Charles II, bored with male actors, allows women to take the stage. Ned’s former dresser, Maria (Claire Danes), steals Ned’s spotlight and winds up also stealing his heart.
Now Showing: Downtown West

Head West, Young Man

For one week during the summer of 1970, a rust-colored train steamed west across the Canadian countryside with the words FESTIVAL EXPRESS emblazoned across it. On board were boozed-up rock legends Janis Joplin, The Grateful Dead, The Band and Buddy Guy, along with a host of exuberant roadies and a film crew dedicated to nabbing the nuances of the whole crazy thing. The mobile music festival stopped off for divinely inspired gigs in Toronto, Winnipeg and Calgary. Only just recently has the poignant footage, of both festival performances and impromptu jam sessions, been arranged into the film Festival Express. The documentary includes commentary from original concert promoters and surviving musicians, split-screened with images of wild-haired hippies turned jumping beans in peasant tops and bare feet.

Though the surviving members of The Dead claim that the Festival Express proved to be the most creatively exhilarating experience of their lives, many concertgoers didn’t share the sentiment. In each city, mobs of indignant people roared outside the concert gates, bemoaning the $14 ticket price. In fact, it was evident from the festival’s first date in Toronto that promoters would lose an extravagant amount of money. Still, the train chugged on, all in the name of good company and good tunes.

Though The Band’s renditions of “The Weight” and “I Shall Be Released” are stunning, and Joplin’s stage presence is bloodcurdling, the real magic is what happens within the confines of the train. Promoters arranged for the train to be lavishly furnished with food, instruments, alcohol and hallucinogens, thus birthing one hell of a bitchin’ party. Bob Weir reminisces frankly about the drug usage, saying, “We achieved lift off, yes.”

Arguably the most memorable moment of the film occurs when a raven-haired Jerry Garcia leans tenderly towards Joplin, who would die of a drug overdose several months later, and says, “Janice, you know, I’ve loved you since the day I first met you.” Behind her round, purple sunglasses, she is clearly shy and speechless over such an appraisal. This is the particular allure of Festival Express, that it allows fans to experience their most beloved musicians in the throes of youth, at their most invincible and their most authentic.

—Ellen Mallernee