The film examines the controversy surrounding the use of “biosolids,” fertilizer elements being spread on local and statewide farmlands — and in many cases near heavilypopulated areas. Evidence suggests that this “free fertilizer” has an adverse impact on the environment, air quality, water safety and general health.

Director Brett Whitcomb has fashioned a rousing triumph with the unlikeliest of topics — a documentary about the late-’80s cable-TV show “GLOW: The Gorgeous Ladies of Wrestling.” For those who remember the series (and you know who you are), “GLOW” wasn’t so much titillating and exploitative as campy and silly.

With characterization is a secondary consideration, the film is primarily concerned — and consumed — with its opulent (and admittedly eye-catching) production design and a flashy, hip-hop attitude that feels someone anachronistic amidst the Roaring Twenties’ surroundings but is right up Luhrmann’s alley.

Proceeds from this event, which is being sponsored by Mock Orange Bikes in Winston-Salem, will support to impending construction of a bicycle rack, designed by local artists, at the Milton Rhodes Center for the Arts. Showtime is 7:30 pm. Tickets are $10.

For those who savor spaghetti Westerns, this 1972 outing is a quintessential example and boasts a prime turn by Lee Van Cleef as a black-clad anti-hero.

The film’s title refers to the most lethal room in the haunted Overlook Hotel, while also recognizing one of the many changes Kubrick made in adapting Stephen King’s bestseller (in which the specific room was 217). In interviews over the years, King has acknowledged that the film version of The Shining.

Malick is clearly aiming for Deep Meaning here, but the film’s attempts at profundity and insight aren’t nearly as compelling as Lubezki’s cinematography. If you’ve seen Kurylenko dancing for joy once, you’ve seen it a dozen times — and, indeed, it almost seems as if there are.

“These findings are just the latest evidence of the economic benefit that film and television production has meant for North Carolina,” said Sen. Chris Dodd, the chairman and CEO of the Motion Picture Association of America (MPAA), in an official statement released last week.

Producer/director Laurence Olivier’s 1955 screen adaptation of the William Shakespeare is high-toned, highly theatrical and highly entertaining. The role of the corrupt, crook-backed king is a feast that Olivier the actor (who earned an Oscar nomination as Best Actor) savors with wicked relish.

There is, of course, a plot here — something about world domination (what else?) — and a couple of new archvillains in the Mandarin (Ben Kingsley), who’s something of a distaff Osama bin Laden, and Aldrich Killian (Guy Pearce), a quintessential mad scientist whose perfect hair and gleaming smile are a dead giveaway that he’s up to no good.