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<img src="http://www.cameracinemas.com/nav/new3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=11-23-52-1-14-2010-1505">2012 Oscar Nominated Animated Short Films</a><br><img src="http://www.cameracinemas.com/nav/new3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=17-19-13-2-9-2009-3409">2012 Oscar Nominated Live Action Short Films</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=15-45-35-10-26-2011-908">A Separation (Jodaeiye Nader az Simin)</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=14-10-58-1-2-2012-8128">Albert Nobbs</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=17-20-22-12-6-2011-4291">The Artist</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=10-47-50-11-11-2011-8818">Big Miracle</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=10-44-10-11-11-2011-1452">Chronicle</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=16-01-20-9-7-2011-5103">The Descendants</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=16-57-25-9-28-2011-6904">Extremely Loud and Incredibly Close</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=15-34-14-1-10-2012-6314">The Flowers of War (Jin ling shi san chai)</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=15-10-08-9-23-2011-4918">The Girl With The Dragon Tattoo</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=12-10-38-10-27-2011-6557">The Grey</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=15-42-41-1-9-2012-3017">Hugo (in 2D)</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a 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src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=14-37-33-1-4-2012-8012">Pina 3D</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=8-51-46-12-13-2011-6646">The Room</a><br><img src="http://www.cameracinemas.com/nav/new3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=11-00-44-11-11-2011-7892">Safe House</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=10-22-42-1-13-2012-6559">Shame</a><br><img src="http://www.cameracinemas.com/nav/new3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=16-13-15-12-7-2011-8490">Stars Wars Episode 1: Phantom Menace 3D</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=11-50-10-10-27-2011-8299">Underworld Awakening (in 2D)</a><br><img src="http://www.cameracinemas.com/nav/new3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=11-01-49-11-11-2011-3296">The Vow</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=17-04-45-9-28-2011-5507">War Horse</a><br><img src="http://www.cameracinemas.com/nav/bullit3.gif" border=0 alt="NEW" width=19 height=12><a href="http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=10-45-37-11-11-2011-6845">The Woman in Black</a><br> 
 
 
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1  Chronicle  $22M<br> 
2  The Woman in Black  $21M<br> 
3  The Grey  $9.5M/$34.7M<br> 
4  Big Miracle  $8.48M<br> 
5  Underworld: Awakening  $5.6M/$54.4M<br> 
6  One for the Money  $5.25M/$19.7M<br> 
7  Red Tails  $5M/$41.3M<br> 
8  The Descendants  $4.6M/$65.5M<br> 
9  Man on a Ledge  $4.46M/$14.7M<br> 
10  Extremely Loud & Incredibly Close  $3.92M/$26.8M<br> 
 
 
 
 
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<h1> Now Playing </h1>
<h2>War Horse</h2>
  
<table border=0 cellspacing=0 cellpadding=0><Tr><td valign=top><b>Playing at:</b></td><td> &nbsp; </td><td> Camera 7 Pruneyard <a href="http://boxoffice.printtixusa.com/camera/advance?i=10451&v=2516">- Buy Tickets</a><br>  </td></tr></table>
<b>FINAL WEEK</b><br>
<br><b>Director:</b> Stephen Spielberg
<img src="http://www.cameracinemas.com/moviepics/17-04-45-9-28-2011-5507.jpg" border=0 alt="" align="right">
<br><br><b>Cast:</b> Emily Watson, David Thewlis, Peter Mullan, Niels Arestrup, Tom Hiddleston, Jeremy Irvine, Benedict Cumberbatch and Toby Kebbell
<br><br>
<b>Synopsis:</b> <b>6 Academy Award Nominations, including Best Picture!</b> Against a sweeping canvas of rural England and Europe during the First World War, a remarkable friendship develops between a horse named Joey and a young man called Albert, who tames and trains him. They are forcefully parted when Joey is sold to the calvalry and sent to the war's trenches, where he changes the lives of all those he meets -- British cavalry, German soldiers, and a French farmer and his granddaughter -- before a stirring climax in the heart of No Man's Land. "A grandly made, tear-jerking film for all audiences, the way Hollywood used to make them."--Hollywood Reporter
 
<br><br>

<b>Running Time:</b> 146 Minutes  <br>(plus 8-10 minutes of trailers) <br><br>  

<b>Official Web Site:</b><br><A target="_blank" href="http://www.warhorsemovie.com">http://www.warhorsemovie.com</a> 
<br><br>
<b>MPAA Rating:</b> PG-13


<h2>Showtimes</h2>
<b>Camera 7 Pruneyard</b> <a href="http://boxoffice.printtixusa.com/camera/advance?i=10451&v=2516">Buy Tickets</a>  <br> <i>Must End Thu, Feb. 16th!</i><br2><br>Daily at 1:20pm, 9:20<br><br>

<b> </b>


<h2>Reviews:</h2>
<b>One of Year's Best Films</b><br2><br2><p><br2>By Richard Corliss <br2><p><br2>After six years when he directed just one feature (the commissioned fourth episode of Indiana Jones), Steven Spielberg launches two films within four days; and both reveal the old boy wonder in splendid form. On Dec. 21 comes Spielberg's 3-D motion-capture animated feature The Adventures of Tintin, from Herg�'s world-beloved comic books, a kind of Raiders of the Lost Art of boys' adventures and the niftiest pirate movie ever. Then, on Christmas day, the perfect holiday gift: this traditional, live-action adaptation of the Michael Morpurgo novel about an English boy and the horse he loved as the first World War was ravaging Western Europe. War Horse also inspired the every-prize-winning stage production in which Joey and the other equine characters are full-size puppets manipulated by actors inside them.<br2><p><br2> Viewers coming to the movie version might think it's no fair using real horses (seven played Joey), but Spielberg's team wrangled eloquent performances from all of them, and from the human stars Jeremy Irvine, Emily Watson, Peter Mullan and Tom Hiddleston. In his most painterly film, Spielberg has appropriated the lavish visual palette of John Ford movies: The Quiet Man for the rural settings, The Horse Soldiers for the war scenes. Boldly emotional, nakedly heartfelt, War Horse will leave only the stoniest hearts untouched.<br2><p>Copyright 2011 Time Magazine<br2><br2><br2><p><br2><br><b>Beautifully Classical Period Drama</b><br2><p><br2>Reviewed by Lisa Schwarzbaum <br2><br2><p><br2>In Michael Morpurgo's 1982 children's novel War Horse, Joey � a spirited horse drafted from an English farm to serve in World War I � narrates his own story. In War Horse, the 2007 London theater sensation adapted by Nick Stafford and now on stage in New York, Joey is a giant puppet built of wood and metal, manipulated in an �amazing semblance of lifelike movement. Now comes War Horse the movie, directed by Steven Spielberg from a screenplay by Lee Hall and Richard Curtis. For the first time, Joey is a real horse. He doesn't �narrate books. He is, in the way of real horses, awesome to behold. And Spielberg, attuned to the power of that equine eloquence, gives Joey and his human costars exactly what they need to run free. This is a beautifully built, classically framed movie, shot with the unshowy natural expressiveness of a John Ford Western by Spielberg's great cinematographer, Janusz Kaminski. The tears this War Horse wrings are honest, as Joey's fate becomes entwined with those of British and German soldiers equally �capable (amidst bombs, gun blasts, and hideous barbed wire) of appreciating animal magnificence.<br2><p><br2>The universal horror of war provides a grave backdrop for Morpungo's very accessible story. A kind farm boy named Albert (well-cast newcomer Jeremy Irvine) raises, trains, and grows to love Joey then must tearfully hand him over for cavalry duty � a parting so unbearable for both parties that Albert later enlists and embarks on a �mission to find him. Peter Mullan and Emily Watson personify homestead gumption as Albert's tenant-farmer parents, and their domestic scenes of gruff tenderness� give way to military scenes of heartbreaking bravery, and one spectacular sequence of charging cavalry. No wonder the filmmaker was smitten by the source material: The project is tailor-made for Saving Private Ryan Spielberg, the war-story specialist, as well as for E.T. Spielberg, the chronicler of boyhood desires and yearnings for family. Under the circumstances, simplistic class conflict, embodied by David Thewlis as a wealthy, sneeringly insensitive landlord feels like one talking point too many.<br2><p><br2>Here's the thing about world wars, though: They level the playing (and dying) field for the villainous ruling class and virtuous working class alike. In the end, all who hate war are united as Steven Spielberg's War Horse unspools to its stirring conclusion. While the book plows ahead on the simplicity of its sentences and the play thunders along on the spectacle of its stagecraft, Spielberg expertly harnesses light, shadow, and landscape in the cause of peace. A-<br2><p>Copyright 2011 Entertainment weekly<br2><br2><p><br2><br><b>A grandly made, tear-jerking film for all audiences</b><br2><p><br2>by Todd McCarthy<br2><br2><p><br2>An elegant, elemental, borderline corny boy-and-his horse story magnified in significance by its battleground backdrop, War Horse possesses a simplicity that is both its greatest strength and an ultimate liability. As the material has already made forceful impact on the public in print and onstage, there is little reason to doubt that the same won't hold true for this film version, which Steven Spielberg has skillfully wrought as an atmospheric, tear-jerking, highly cinematic melodrama. <br2><br2>But putting this episodic saga on the big screen accentuates its one-dimensionality more than does the still-running legitimate theater version, where its symbolic and allegorical elements can be more easily accommodated in abstract terms. All the same, this is a story that people of all ages and from all nations can understand, which, propelled by Spielberg's name and much undoubted acclaim, will translate into major rewards at the box office.<br2><p><br2>The idea behind Michael Morpugo's 1982 best-seller possesses a fundamental universality and innate elegance that is impossible to refute: The title character, an innocent, blameless farm animal, is sent off to war and likely death like so many millions of animals and humans down through the millennia, cannon fodder for a conflict that wasn't necessary in the first place. As became clear even as it was being fought, World War I was the final war in which horses figured much at all.<br2><p><br2>Tie this to to rural English setting, the intense bond between the horse and the youngster who cares for him and the fact that the horse is a fleet runner, and you have something not far from National Velvet on the Western Front. From a different realm of the cinematic world emanates the echo of Robert Bresson's sublime 1966 Au Hasard, Balthazar, in which the central figure of a donkey silently endures the abuse doled out by humans and the world at large.<br2><p><br2>So many of Spielberg's interests dovetail here: A boy, isolated in an adult world, who takes to heart a non-human creature; 20th century war, and storylines that force humanity to take stock and encourage rising above differences to come together. Some specific stylistic enticements might have drawn him as well: The chance to shoot in the fashion of an early 1950s British film shot by F.A. Young, Oswald Morris or Jack Cardiff, with bold, solid hues redolent of I.B. Technicolor, changeable weather and no modern technical gimmicks; the opportunity to stage an amazing battle charge beginning with concealment in wheat fields, pushing bloodily through an encampment and concluding in a massacre; the excuse to do some long Paths of Glory-style takes moving through trenches and a barbed-wired-strewn battlefield and, repeatedly, the occasion to design beautiful sequences around one of the most inherently cinematic phenomena the natural world provides, a running horse.<br2><p><br2>To those who have seen the stage production of War Horse, which debuted in 2007 in London and last year in New York, the big question is whether or not real horses can match the dramatic power of the fantastic large-scale puppets that have made the play such a triumph of stagecraft. The answer, in a word, is no. The magnificently designed and manipulated theatrical equines transport the spectator into a realm beyond the drama articulated in the text; they're creations far more breathtaking than anything similar (as in The Lion King) most audiences have seen before, making the stage piece a singular event. No matter how dynamic and dramatic everything that surrounds it may be, a horse onscreen is still just a horse.<br2><p><br2>But what's appealing about the way Spielberg has made War Horse is the extent to which it recalls the way Hollywood used to produce movies for everyone. Whatever its missteps, this is a film that kids, middle-aged adults and grandparents can all see -- together or separately -- and get something out of in their own ways. There are precious few films that fit this description today and hats off to Spielberg for making one.<br2><p><br2>The adept script by Lee Hall (Billy Elliott) and Richard Curtis (Four Weddings and a Funeral, et al.) draws upon both the book and Nick Stafford's dramatization. Setting the course for the horse's life is a rash bid by drunken farmer Ted Narracott (Peter Mullen) to buy the steed at auction just to show up his landlord Lyons (David Thewlis), no matter that this blows through his rent money. The demon-ridden Ted, his long-suffering wife Rosie (Emily Watson) and earnestly handsome teenage son Albert (Jeremy Irvine) live in a spacious cottage so attractively appointed in a spare, roughhewn way that it comes perilously close to resembling the sort of idyllic rustic farmhouse that now commands hundreds of pounds per night from upscale travelers.<br2><p><br2>The countryside is stunning too (locations included Dartmoor in the south of Devon, Berkshire, Surrey, Bedfordshire and Wiltshire), but rocky and tough to plow, which is what the thoroughbred will need to be taught to do if the family has any hope of remaining on the land. Albert eagerly takes charge of the training, patiently coercing Joey to do a job the locals refuse to believe he's fit for.<br2><p><br2>The 45-minute first act shows hardship and struggle alleviated by the bracing beauty of landscapes and Albert's inspiring bond with Joey, setting a firm foundation for what's to come. A skilled and fortuitous combination of horse training, camera operating and direction has caught many privileged moments of equine behavior.<br2><p><br2>Spielberg has long expressed enthusiasm for the look of mid-century British films and, in this first section, he and his longtime cinematographer Janusz Kaminski have taken pains to reproduce that handsome style, even down to the noticeable use of artificial light outdoors. What results are richly satisfying visuals that wonderfully capture the rugged locations but also a possess a faintly studied, old school feel entirely in line with the period and story values.<br2><p><br2>When war is declared, reliable old Ted comes through again, traumatizing his son by selling Joey to the army. Still too young to sign up himself, Albert vows he'll somehow make sure his horse gets back home.<br2><p><br2>Joey's odyssey begins in France. In the brilliantly filmed wheat field sequence, what looks like an English rout of unsuspecting Germans in camp turns into slaughter when the Brits are mowed down by machine guns from the edge of an adjacent forest. Thus does Joey fall into the hands of a young German who soon thinks as highly of him as Albert does.<br2><p><br2>War then buffets the horse into the care of an old Frenchman (Niels Arestrup) and his teenage granddaughter Emilie (Celine Buckens), whose pristine farmhouse has thus far eluded army ransacking. In Emilie does Joey again find a human ready to love and pamper him, but tranquility is fleeting as Joey is hitched to a team of fatigued work horses to pull a mighty German cannon up a steep incline.<br2><p><br2>By the time of the Somme offensive, Albert has entered the English army, with Joey coincidentally just across No Man's Land with the kaiser's men. The horrors of trench warfare have been depicted many times before, from The Big Parade and J'accuse to Gallipoli and A Very Long Engagement, most often stressing the same themes, very much present here, about the absurdity of the conflict and resulting pointlessness of the lives lost.<br2><p><br2>But when Albert and a German youngster recklessly venture out into No Man's Land to try to save Joey, who has disentangled himself in barbed wire, the essential realism of the cinema begins to show up the symbolic artificiality and essential implausibility of the young men's private detente. Onstage, the barbed wire incident is properly appalling emotionally and morally, but decidedly abstracted due to the dramatic lighting and virtuoso puppetry; onscreen, the reaction is more, oh, poor horse, and why can't warring nations get along just as these two fellows do? What follows next runs even deeper into audience-pleasing wish-fulfillment and sentimentality, topped by a grandly phoney ending that will set many tears flowing but feels overweening artificial, partly because of the Gone With the Wind-style colored lighting in which it's bathed.Along with the universal thematic notes, the eager-to-please elements assert themselves increasingly as the film marches forward; neither aspect was necessary to stress.<br2><p><br2>The cast is exemplary down the line, with both names and newcomers delivering expansive, emotional and almost entirely sympathetic performances. Neither side in the conflict is ennobled or demonized; like Joey (and a striking black steed who's his companion for a while), the grunts are just pawns in the hands of unseen manipulators of countless fates. Irvine is the very picture of a sturdy, well-intentioned, ruddy-faced English country lad of a hundred years ago and Mullen and Watson look to have come from the earth they tread. Tom Hiddleston cuts a striking figure as an English officer who understands Joey early on, setting an example for the many others who briefly come and go through the horse's life as the war grinds on.<br2><p><br2>Unsurprisingly from Spielberg, as a production the film is everything one could desire in the design aspects, editing and the various sorts of effects needed to make the war look real. Entirely in synch with the aims of the film itself, John Williams' score pushes too hard, never holding back when less might well have been more.<br2><p>Copyright 2011 Hollywood Reporter


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