Film listings

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Johnny Ray Huston, Louis Peitzman, Lynn Rapoport, Ben Richardson, Matt Sussman, and Laura Swanbeck. The film intern is Fernando F. Croce. For rep house showtimes, see Rep Clock. For first-run showtimes, see Movie Guide.

OPENING

Art and Copy Doc maker Doug Pray (1996's Hype!, 2001's Scratch, 2007's Surfwise) uses the mid-twentieth century's revolution in advertising to background an absorbing portrait of the industry's leading edge, with historical commentary, philosophical observations, and pop-psych self-scrutiny by some of the rebel forces and their descendants (including locals Jeff Goodby and Rich Silverstein). We see the ads that made a permanent dent in our consciousness over the past five decades. We hear conference-room tales of famous campaigns, like "Got Milk?" and "I Want My MTV." And during quieter interludes, stats on advertising's global cultural presence drift on-screen to astonish and unnerve. Lofty self-comparisons to cave painters and midwives may raise eyebrows, but Pray has gathered some of the industry's brighter, more engaging lights, and his subjects discuss their métier thoughtfully, wittily, and quite earnestly. There are elisions in the moral line some of them draw in the process, and it would have been interesting to hear, amid the exalted talk of advertising that rises to the level of art, some philosophizing on where all this packaging and selling gets us, in a branding-congested age when it's hard to deny that breakneck consumption is having a deleterious effect on the planet. Instead the film occasionally veers in the direction of becoming an advertisement for advertising. Still, Art and Copy complicates our impressions of a vilified profession, and what it reveals about these creatives' perceptions of their vocation (one asserts that "you can manufacture any feeling that you want to manufacture") makes it worth watching, even if you usually fast-forward through the ads. (1:30) Roxie. (Rapoport)

The Boondock Saints II: All Saint's Day Track down 2003's Overnight if you have any urge to see this. (1:57)

For the Love of Movies: The Story of American Film Criticism Informative, nostalgic, and incredibly depressing, Gerald Peary's For the Love of Movies traces film criticism from ye olden days (Vachel Lindsay's appreciation of Mary Pickford) to today (Harry Knowles drooling over Michael Bay). Peary, himself a film critic, captures big-name writers working (or recently out-of-work) today, with Roger Ebert, A.O. Scott, J. Hoberman, Jonathan Rosenbaum, and multiple others explaining why they chose to make a career out of their love for movies, and how the gig has changed over the years. Peary clearly believes the heyday of film criticism is over, having hit peak in the 60s and 70s, when new releases by filmmakers like Scorsese and Altman were argued-about in print and on talk shows by longtime rivals Andrew Sarris (who weighs in here) and the late Pauline Kael. Of course, these days, anyone with a blog can call him or herself a film critic, and while For the Love of Movies acknowledges the importance of the internet, it also points out that when "everyone's a critic," quality control suffers. Welcome to the future. (1:21) Roxie, Smith Rafael. (Eddy)

The Maid See "Clean Freak." (1:35) Shattuck, Smith Rafael.

Pirate Radio I wanted to like Pirate Radio, a.k.a., The Boat That Rocked –- really, I did. The raging, stormy sounds of the British Invasion –- sex, drugs, rock 'n' roll, and all that rot. Pirate radio outlaw sexiness, writ large, influential, and mind-blowingly popular.