- $ 8.00 Adults
- $ 7.00 Seniors
- $ 7.00 Students (High School and younger)
- $ 6.00 Matinees
- $ 5.50 Children 12 and under
- $ 65.00 10 Film Pass
Fri. - September 26 - 6:30 - 9:00 pm ASat. - September 27 - 4:00 - 6:30 - 9:00 pm ASun. - September 28 - 2:00 - 4:30 - 7:00 pm AMon. - September 29 - 7:00 pm ATues. - September 30 - 7:00 pm AWed. - October 1 - 7:00 pm AThurs. - October 2 - 7:00 pm A
Filmgoers in Helena will unite with audiences in over 250 cities spanning six continents to view and judge the work of the next generation of filmmakers from around the world when the 17th Annual MANHATTAN SHORT Film Festival screens at the Myrna Loy September 26 to October 3.
This year, MANHATTAN SHORT received 589 short film entries from 47 countries, England, Norway, Australia, Netherlands, France, Mexico, Germany and the USA are the countries represented in this year’s Festival. These short films will not only entertain a global audience but will be judged by that audience as well. Cinema goers will become instant film critics as they will be handed a ballot upon entry that allows them to vote for Best Film and Best Actor. Votes will be sent through to MANHATTAN SHORT HQ with the winner announced at ManhattanShort.com on Monday, Oct. 6, at 10 AM (EST).
With past finalists achieving the ultimate in recognition by being nominated and even winning the Oscar in the short film category, MANHATTAN SHORT is known as a breeding ground for the next big thing in film. The 10 selected films are set in diverse locales, ranging from outer space to the deserts of Mexico and the mountains of Norway to the streets of New York, Berlin, London, and Amsterdam. The MANHATTAN SHORT 2014 line-up is as follows:
- "97%" - (Ben Brand) - Netherlands
- "Crime – The Animated Series" - (Alix Lambert & Sam Chou) - USA
- “On The Bridge” - (Elena Fuller) - England
- “Shift” - (James Croke) - Australia
- “The Fall" - (Andreas Thaulow) - Norway
- “On/Off” - (Thierry Lorenzi) - France
- “La Carnada” - (Josh Soskin) - Mexico
- “Mend And Make Do” - (Bexie Bush) - England
- “The Bravest, The Boldest” (Monn Molson) - USA
- “Rhino Full Throttle” - (Erik Schmitt) - Germany
“This film festival will unite people in all corners of the globe, from Sydney to Mumbai, from Buenos Aires to Cairo. Venues also include cinemas in 20 cities in the Ukraine, 40 cities in Russia, and 47 states in the USA. In times like these, cross-border events like MANHATTAN SHORT that contribute toward greater tolerance and understanding are needed more than ever. I want to thank and congratulate all the filmmakers and cinemas involved in this global cinematic event. This project is not going to cable TV or Video on Demand, it’s about communities bonding together via their local cinema,” said MANHATTAN SHORT Founding Director Nicholas Mason.
MANHATTAN SHORT began in 1998, when Mason screened 16 short films onto a screen mounted to the side of a truck on Mulberry Street, Little Italy, in New York City. A year later, the Festival moved uptown to Union Square Park in New York City. In the aftermath of 9/11, MANHATTAN SHORT transformed into a worldwide phenomenon, becoming the only film festival on the planet that unfolds, simultaneously, in more than 250 cinemas on six continents, bringing over 100,000 film-lovers in all corners of the globe together for one week, via the next generation of filmmakers. For more information on the Festival and to read detailed interviews with the 10 Finalists visit www.manhattanshort.com
Thurs. - September 25 - 7:00 pm SFri. - September 26 - 7:00 pm SSat. - September 27 - 4:15 pmSSun. - September 28 - 4:15 - 7:15 pm SMon. - September 29 - 7:15 pm STues. - September 30 - Not ShowingWed. - October 1 - 7:15 pm SThurs. - October 2 - Not Showing
SYNOPSIS: The Trip to Italy co-stars Steve Coogan and Rob Brydon as they reunite for a culinary road trip through Italy. Along the way they debate musical tastes, compare impressions and discuss Batman's voice in this sequel from director Michael Winterbottom.
SELECTED REVIEW: The founder of this site once said a very wise thing. Well, he actually said quite a few very wise things, but here’s one I go over and over pretty frequently: "There are two things you can't argue in film: comedy and eroticism. If something doesn't make you laugh, no one can tell you why it's funny, and it's difficult to reason someone out of an erection." That’s pretty funny in and of itself. Anyway, I’ve always respected Roger Ebert’s rule of comedy, which he articulated differently in various pieces over the course of his life, and which I distilled in my own mind as an instruction: If something’s funny, and you laugh at it a lot, you’ve gotta own it. (If you know me at all, you also know that I’ve got a laugh that’s kind of hard not to own—when I lose it, it’s pretty loud. I think Fox Searchlight bought “Napoleon Dynamite” at Sundance partially in the strength of my reaction to the steak-throwing joke.)
So here’s the breakdown: I laughed like a maniac at the Michael-Caine-impersonation reprise performed by comic actors Steve Coogan and Rob Brydon at the front end of “The Trip To Italy,” the followup (to call this a sequel is kind of special pleading, really) to “The Trip.” The difference, by the way, being that in the prior film—both are distilled from somewhat longer television mini-series-es broadcast in Great Britain—the fellows gallivanted around the British countryside and in this picture they are in, you guessed it, Italy. To get back to the record, I also laughed like a maniac at the pictures end, in which Brydon and Coogan discuss various James Bonds in front of an appreciative audience of actors playing the publicist and teenage son of the characters played by Brydon and Coogan, who are lightly fictionalized versions of themselves. And I laughed consistently and appreciatively at many of the scenes in between, some of which depict the actors singing along to an Alanis Morrissette CD.
So if you go in for allusive British humor that builds slowly from dry to uproarious, as executed by two absolute masters of the form, “The Trip To Italy” will work for you, I believe. I also think the film, directed, like the prior one, by the astute Michael Winterbottom, is a somewhat smoother trip than the first. In that one, Coogan, who’s better known internationally than Brydon, was the focus, and the movie’s plot, such as it was, was hooked into his work and personal anxieties as he took a break from his Hollywood career just as it entered a pivotal moment. Here the focus is on Brydon, who gets a call from Hollywood, and also succumbs to a vacation flirtation that results in a pretty serious domestic misstep. Because the viewer is arguably less familiar with Brydon, the fiction is more convincing; we’re spared the potential distraction of trying to separate and/or combine the “real” person from the character he’s playing. Which leaves us more focus for the incredible-looking Italian meals the pair sample (these trips are foodie fodder for newspaper articles Brydon writes), and the impeccably delivered banter they exchange. It all looks scrumptious, which makes this movie a terribly refreshing one with which to close out the summer.
Thurs. - September 25 - Not ShowingFri. - September 26 - 9:15 pm SSat. - September 27 - 7:00 - 9:15 pm SSun. - September 28 - 2:15 pm SMon. - September 29 - Not ShowingTues. - September 30 - 7:15 pm SWed. - October 1 - Not ShowingThurs. - October 2 - 7:15 pm S
SYNOPSIS: Set in the 1920s on the opulent Riviera in the south of France, Woody Allen's MAGIC IN THE MOONLIGHT is a romantic comedy about a master magician (Colin Firth) trying to expose a psychic medium (Emma Stone) as a fake. What follows is a series of events that are magical in every sense of the word and send the characters reeling. In the end, the biggest trick MAGIC IN THE MOONLIGHT plays is the one that fools us all.
SELECTED REVIEW: Compulsive filmmaker Woody Allen has pretty much admitted that his cinematic practice is such that each of his pictures is a swing at something. And that he’s the last to know, in a sense, the extent to which he “connects.” Which is not to say he has no opinions about his pictures—he does, and they’re usually ones related to disappointment—but rather that he keeps up the pace that he does—making one film a year, like clockwork, since 1983—out of a genuinely aspirational impulse.
Critical opinion on the extent to which he connects varies pretty wildly. I remember seeing Allen’s 2005 drama "Match Point" at the Cannes Film Festival and thinking it a lot of silly rot. So did another critic friend, and imagine our surprise as we filed out into the lobby of the screening area to mix with dozens, if not hundreds, of critics who found the picture a thrilling return to form, or an Allen renaissance even. But the follow-up to that, 2006’s "Scoop," was hardly anyone’s idea of primo Woody, and reception was wobbly from that point on, although the past four years have been, most would agree, pretty good artistic ones (although not so good with respect to certain aspects of Allen’s personal life, one is obliged to note). 2011’s "Midnight In Paris" was considered by many a bonafide comedic masterwork and became a commercial hit; the more pro forma but not-without-its-innovations (and pleasures) 2012 "From Rome With Love" did more than coast on the good will generated by "Midnight;" and 2013’s "Blue Jasmine," derivative of Tennessee Williams or not, garnered a Best Actress Oscar for its lead, Cate Blanchett.
While Allen’s new picture, "Magic In The Moonlight," isn’t even close to being a disaster (for that, see, well, "Scoop"), I don’t think it’s unreasonable to note that, in my estimation, it’s where Allen’s latest streak…well, let’s not say “ends.” Let’s be moderate and say “ebbs.” Don’t get me wrong, much of "Magic In The Moonlight" is a pleasure to experience, particularly if you’re an aficionado of the sort of sophisticated, neurosis-laden romantic comedy that counts as one of Allen’s specialties. The movie is a period piece, set in Europe in the late 1920s, which is also a boon as it frees Allen from trying to have to come up with credible dialogue for contemporary characters in their 30s, something he’s more challenged to achieve as the years go on.
The premise, too, is charming: celebrated stage magician Colin Firth, a dyed-in-the-wool materialist, is enlisted by an old friend to sojourn to the South of France and debunk a young woman claiming to be a spiritualist, who at the moment seems to have hoodwinked a rich American family, particularly its moony first-born son and heir. Once in the intoxicating atmosphere of not just the playgrounds of the idle rich but that attending Sophie, the utterly disarming communicator-with-the-afterworld, a young redhead played by Emma Stone, Firth’s Stanley softens. Upon discovering that he cannot, in fact, find any mechanical trickery or other sham stuff in her routine, the character, who initially proclaimed to all within earshot of spirituality, “There is no real thing; it’s all phony, from the séance table to the Vatican,” does a complete turnaround and declares himself a believer. A new sense of well-being infuses the heretofore sour and cynical Stanley, and he is resoundingly grateful for it. Does this gratitude also translate into romantic feelings for her?
Well, one knows the answer to that—sort of. Some admirers of this picture seem under the impression that writer/director Allen is showing a new depth of feeling in this picture; that Stanley’s conversion to a belief in a supreme being is a sign that the auteur himself is feeling reflective, mellow. I did not get that feeling at all—there are plenty of Woody Allen movies in which rational characters succumb to Allen’s idea of irrationality. As the creator has not copped to some kind of spiritual epiphany himself, I did not expect the one in this movie to last—it was just a matter of when, and how, the other shoe would drop. This is actually where the movie’s problems start; after Stanley gets turned around, partially in an observatory-set scene that recalls the Museum of Natural History sequence in Allen’s semi-classic "Manhattan," "Magic in the Moonlight" grows a little diffuse and floppy, almost hesitant to blossom into a romance. While slightly frustrating, the reticence was also momentarily encouraging—as an old person myself, I’m loathe to bring it up, but let’s face it, Colin Firth’s age is a little advanced for him to be pursuing the likes of Emma Stone. What if the hemming and hawing in the second half of "Magic" were to be an indicator that Allen was going to do something really different?
Suffice it to say that the movie falls back on a couple of Allen standbys: the much-quoted “the heart wants what it wants” line from "Hannah And Her Sisters," and or that press conference where Allen explained the whole Soon-Yi business, and the “Yeah, but we need the eggs” joke with which Allen closes "Annie Hall." The only big news here is Colin Firth’s strong, unfussy performance, a straightforward delight that only gets better during his scenes with Eileen Atkins, who plays Stanley’s predictably wise aunt. Stone is breezy and free of contemporary affect; Hamish Linklater, as her moony suitor, is fine but appears to be in it for the company rather than the actual role (which also seemed to be the case with his appearance in the thankless "The Angriest Man In Brooklyn" opposite Robin Williams). And I don’t know why Allen enlisted the Australian actress Jacki Weaver, playing the mater of the rich American clan, to essay a Sally Struthers impersonation when Ms. Struthers herself is alive and as far as I know available. That’s showbiz these days I guess.
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