The Cedar Lee Theatre is opening four new arthouse movies this weekend. Here are our reviews.
Dead Snow A group of medical students head to a remote cabin for what they think will be a fun week of snowmobile riding and frolicking in the snow. You don’t have to be a rocket scientist to know things aren’t exactly going to go as planned, especially when an old man shows up to warn them that the area has a history of violence. As predictable as Dead Snow might be, it’s also got a good twist: The zombies that come after these college kids are wearing swastikas (take that, Quentin Tarantino!). Yes, they’re Nazis, returned from the dead to decapitate and mutilate everyone that gets in their way. The bloodbath that ensues is campy good fun, especially since director Tommy Wirkola doesn’t rely on CGI graphics but instead uses cheap props and bucket loads of fake blood. *** (Jeff Niesel)
The September Issue As Vogue magazine editor for 20 years, Anna Wintour believes that most of the public doesn’t understand and is frightened of fashion. And many members of the public believe that the people in the fashion industry are frightened of her. R.J. Cutler’s documentary doesn’t dispel or confirm that idea. Instead, it follows the process of putting together the largest issue in Vogue’s history — September 2007. In the nine months he follows her and her staff, he gets closer to Wintour than anyone thought possible. Cinéma-vérité veteran Cutler and his camera step into the action at the magazine’s headquarters during meetings and into private offices during tense decisions. When Grace Coddington, Vogue’s creative director, stands by her convictions, it’s with a sense of artistry, and she’s right too: Her work is flawless. Wintour may cut the number of pages devoted to Coddington’s lush tableaus featuring 1920s-inspired narratives, but she knows Coddington will watch the progress on the wall mapping out every page in the magazine. They’ve been working together for two decades, and although it’s Wintour’s magazine — and her movie — the contrast with frazzled, emotional Coddington makes you appreciate more how she works. *** (Wendy Ward)
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