ARMORED Columbus Short, Matt Dillon, Jean Reno, Amaury Nolasco, and Skeet Ulrich (!?!?) star in this crime flick about a (duh) armored-truck job that goes awry from Vacancy director Nimród Antal. Opens Dec. 4.
BROTHERS Jim Sheridan helms this remake of Susanne Bier's 2004 Danish drama of the same name, about a domestic power keg that develops when one brother (Tobey Maguire) returns from service in Afghanistan with PTSD to discover that his wife (Natalie Portman) and brother (Jake Gyllenhaal) have become extremely close. Opens Dec. 4.
LA DANSE--PARIS OPERA BALLET Esteemed documentary filmmaker Frederick Wiseman turns his unblinking lens on the legendary French ballet company. Opens Dec. 4 at the Charles Theatre.
MAGIC EYE FILM SERIES Mary Helena Clark's indispensable experimental cinema night offers a slight change of pace for its latest installment: Brooklyn-based Iranian artist Raha Raissnia and drummer Kenny Wollensen present their collaborative sound performance "Passerine." Raissnia is a painter and expanded cinema artist whose hand-painted films visually emerge out of line of ingenious image-making thinkers that runs from Hans Richter to Bruce Conner. Wollensen is a veteran downtown NYC figure who co-founded of the New York Klezmer Trio and plays in John Zorn's Bar Kokhba Sextet. Don't miss. At the LOF/t Dec. 6 at 8 p.m. Visit magiceyecinema.blogspot.com for more details.
NINETEEN23 This month's installment of City Paper contributor Martin Johnson's film series is title "Future Shock," inspired by Alvin Toffler's 1970 book of the same name, and features the 1972 documentary short based on it, George Gipe's 1972 "New Architect in Town," 1971's "The Perfect Drug Film," Alan Watt's 1969 "Zen And Now," and Sally Cruikshank's 1975 animation "Quasi at the Quackadero." Dec. 4 at the 14-Karat Cabaret at 9 p.m.
SLAVES OF NEW YORK The career-long collaboration between producer Ismail Merchant and director James Ivory hit a rough patch in this 1989 adaptation of Tama Janowitz' 1986 short-story collection about a wannabe New York hat designer (Bernadette Peters) who, by economic necessity, willfully enters into a series of quasi-servitude with art-world frauds. As a movie it's pretty formless, with the pixie-ish Peters doing the best she can with such a listless role. As a nostalgic time capsule of a mondo SoHo and Lower East Side of Manhattan that was already slipping into the rear-view mirror by the time this movie was shot, it's an episodic love letter to an anything-goes downtown underground art community that has, for the most part, since fled the island for the outer boroughs. At the Towson University's Van Bokkelen Hall Auditorium Dec. 7 at 7:30 p.m.
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