I love attending local college and university stage productions, partly because it's such a wonderful reminder of my days as a theatre major - ah, the reassuring familiarity of Augustana College's Potter Hall! - but also because the shows' participants are generally involved with theatre because they truly want to be; with the possible exception of staff members, no one's doing it just for the paycheck. (No one should ever be doing theatre for the paycheck, but that's another issue entirely.)

Jennifer Aniston and Clive Owen in DerailedDERAILED

There's nothing all that wrong with director Mikael Hafstrom's thriller Derailed, until, that is, it turns into a thriller. Chicagoan Charles Schine (Clive Owen) is a harried family man with a wife (Melissa George) and a young, diabetic daughter. While commuting to work one morning, he meets a stranger on the train: the beguiling, flirtatious - and similarly married - Lucinda (Jennifer Aniston). Over the course of a few days, the two enjoy snappy conversation, meet for drinks, and eventually find themselves a hotel. But before their affair can be consummated, LaRoche (Vincent Cassel), a scruffy-looking nightmare with a gun and a thick French accent, breaks into their room, takes their wallets, beats Charles within an inch of his life, and rapes Lucinda. Then everything goes to hell, both for the characters and, unfortunately, for the movie.

It's no newsflash that playwrights often find inspiration in their personal pasts, and use young leading characters as theatrical alter egos; if you want to better understand Tennessee Williams, listen to Tom's monologues in The Glass Menagerie, or watch Edmund's scenes in Long Day's Journey into Night for greater insight into Eugene O'Neill.
Your enjoyment of the stage version of It's a Wonderful Life - at least the James W. Rogers adaptation currently playing at the Playcrafters Barn Theatre - will likely depend on your familiarity with the classic film. I'm guessing that those who don't already know the story will get more out of the experience than those who do, but how many of us, exactly, does that leave?

Jake Gyllenhaal in JarheadJARHEAD

In movies, nothing is harder to define than tone, and the tone of Sam Mendes' Jarhead, based on Tony Swofford's Gulf War memoir, is so elusive that, hours after it ends, you might still not know what to make of it. In many ways, the movie is like a two-hour expansion of Full Metal Jacket's first 40 minutes, as the 20-year-old Swofford (Jake Gyllenhaal) and his fellow Marine recruits, pumped up to an almost insane degree, train for their mission in the unbearable desert heat and prepare for battle. In Mendes' film, however, there is no battle for his protagonists to respond to; the war ends while the Marines' bloodlust is still reaching a boil. The film is, in many ways, about the maddening banality of service, and it has resulted in an occasionally maddening movie, but its shifting tones and air of unpredictability make it impossible to shake off; at the finale, you might not know exactly what you've seen, but you certainly know you've seen something.

What makes the blood of most stage performers run cold? Seeing the first audience on opening night? Hearing silence after delivering supposedly hilarious dialogue? Knowing there's a critic in the house? Well, yes, yes, and yes.
Augustana College's production of Oscar Wilde's classic comedy of manners The Importance of Being Earnest is perfectly acceptable entertainment, rarely inspired but always watchable. Yet it has the enormous good fortune to feature one performance that shoots way past the acceptable and enters the realm of the extraordinary - David Cocks' portrayal of the delectably devious John Worthing is the sort of riotously funny and brilliantly executed stunt that makes you more than eager for his next appearance; he's so elemental to the show's success that it's nearly distracting when he's not on stage. And here's the kicker: This is freshman Cocks' first appearance on the Potter Hall stage. The mind boggles at what may be in store for audiences over the next four years.

Saw IISAW II

Since we're no longer forced to endure Cary Elwes shrieking his hammy little head off for 90 minutes, Saw II was inevitably going to be a less annoying experience than 2004's Saw, but the movie is pretty effective in its own right. Not entertaining, mind you, but effective. Last fall's surprise horror hit saw Elwes and another mad overactor at the mercy of the serial killer Jigsaw (Tobin Bell) - who devises for his prey wildly elaborate devices of torture that defy both description and belief - and in one of Saw II's few impressive twists, he's apprehended at the end of the movie's first reel. What follows resembles what might result if you watched The Silence of the Lambs and Seven in picture-in-picture format. As Jigsaw - in sinister, I-know-something-that-you-don't Hannibal Lecter mode - is interrogated, and his master plan dissected, by Donnie Wahlberg's quick-to-boil cop, a whole new slew of potential victims, including Wahlberg's teenage son, try to survive a vicious spook house by evading Jigsaw's contraptions and deconstructing the maddeningly obtuse sets of clues the killer has left them. (Like its precursor, Saw II makes explicit what Seven left to your imagination.)

In the Prenzie Players' hugely entertaining production of Shakespeare's Twelfth Night: Or, What You Will, there's an encounter so heart-stoppingly strong that it might be the single most effective stage moment I've witnessed all year.

Citing "the cost of film rentals and insurance" and "really low" attendance, Mike Reid, director of the Open Cities Film Society, announced that the organization was discontinuing its New York City Film Series at Davenport's Figge Art Museum, nine weeks and eight films ahead of schedule.

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