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Opening in Orlando: Poltergeist, Tomorrowland, The 100-Year-Old-Man Who Climbed Out the Window and Disappeared



The 100-Year-Old-Man Who Climbed Out the Window and Disappeared It's OK if you can't read this title without thinking of the scene in Ghost World where Enid walks into the video store and one of its monitors is advertising a little gem called The Flower That Drank the Moon: Some indie titles practically hit themselves over the head with unintentional self-parody. (One day, they'll all be part of a film festival with Patton Oswalt/Neill Cumpston's Thinkin' 'Bout Feelin' Sad and Zoe Gets a Latte.) To its credit, 100 gives us just what we'd expect: A senior citizen who takes it on the lam from a retirement home, encountering new adventures while recounting the fabulous occurrences of his past. Plus, it's Swedish, so it has to be good! (NR)

Poltergeist Every now and then, I get really pissed off at the thought of somebody befouling Steven Spielberg's classic Poltergeist – one of the greatest haunted-house movies ever made – but then I remember that Spielberg himself fucked up Robert Wise's The Haunting beyond all recognition, and suddenly my whole life seems back in balance. (And yes, I know that Tobe Hooper technically directed the '82 Poltergeist and Jan de Bont has his name on the '99 Haunting, but I'm going with the longstanding industry scuttlebutt that Spielberg had ultimate sway over both.) And honestly, the new P-geist has some impressive credits, including a starring role for the always fascinating Sam Rockwell, direction by Gil Kenan of Monster House and a screenplay by Pulitzer-winning playwright David Lindsay-Abaire (Rabbit Hole, Shrek the Musical). So maybe this thing does have a reason to exist beyond reinterpreting classic material for a generation that can't figure out what those fuzzy lines on the TV screen were supposed to be. Still, I do kind of miss the days when you could just come right out and say that the woman telling you to go into the light was a midget. (PG-13)

Tomorrowland Disney's parks division just doesn't know what to do with Tomorrowland. They finally ditched its original look and concept about 18 months before the Shag-led cocktail-art revolution would have made the place the height of retro-futurism. Perhaps in an attempt to avoid that sort of bad timing, the movie world's Tomorrowland is an alternate dimension that exists totally beyond the realm of traditional time and space. No Imagineers! No furious shaking of the Magic 8-ball! No Stitch! Just a good old metaphysical mystery for families with kids too young to have worked their way up to Christopher Nolan movies. Filmmaker Brad Bird takes yet another giant leap away from Pixar, while his co-writer and –producer Damon Lindelof really, really wants you to forget what he did to LOST and Alien. Hey, in Tomorrowland, none of that might have even happened! (I hear they're getting that swing music there any day now.) (PG)

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