"We are going to make CRUZZIN' at Mesa Riverview an annual National Championship event", said Gary Sprinzl, spokesman for CRUZZIN' Main Street USA. "Thanksgiving Weekend is the time of year that Car Shows across the Nation usually end their season. Because this event is the last major event of the year, we think CRUZZIN' at Mesa Riverview is a great opportunity to showcase the City of Mesa, and the Mesa Riverview Mall to the Nation."

Cruzzin' Main Street USA has produced "Showtime Events" in Arizona, Missouri and Illinois. CRUZZIN at Mesa Riverview includes all of the elements of these past events, as well as new elements and will set the standard for Cruzzin' Main Street USA events across the major Route 66 cities in 2009.

Cruzzin' Main Street USA "Showtime Events" are held for the benefit of the Men and Women First Responders who put it all on the line for us. It benefits the families of fallen, or severely injured, on-duty police officers, fireman, and other first responders. The charitable contributions provide assistance to the families, scholarships for the children, and financial assistance to under-funded police and fire departments. The charitable contributions are 25% of the gross receipts of the event, and 100% of the direct contributions collected as a result of the event. All of the funds will be distributed through the 100 Club of Arizona. In addition, the American Red Cross will be in attendance to collect the much needed blood donations as well as direct contributions.

This event is open to the public at no charge. For more information, including how to register your vehicle , how to become a sponsor of this event, and a full schedule of activities, please visit www.mesariverview.com


About Mesa Riverview

Mesa Riverview is a 250-acre mixed-use commercial development in Mesa. The development, by Kimco Developers and De Rito Partners Development, features a lifestyle, entertainment, and shopping center with 1.3 million square-feet of retail, approximately 450,000 square-feet of two-story offices on the east side, an auto mall with three dealerships on the west side, and soon a Hyatt Hotel with eight acres dedicated to the hotel. Mesa Riverview boasts the Valley's first Cinemark Theatres with 16 screens, all stadium seating, as well as Arizona's first Bass Pro Shops. For more information, please visit www.mesariverview.com

But Police Capt. J.J. Jones (Jeffrey Donovan) doesn't believe Collins' quiet insistence, "This is not my son." Collins' only ally is Rev. Gustav Briegleb (John Malkovich), a Presbyterian community activist battling the notoriously corrupt city bureaucracy. Under pressure from LAPD Chief (Colm Feore) when courageously indefatigable Ms. Collins refuses to abandon the search for her real son, Capt. Jones orders her committed to a psychiatric ward, where she's befriended by another inmate (Amy Ryan). Meanwhile, Det. Lester Ybarra (Michael Kelly) arrests an illegal Canadian immigrant, teenage Sanford Clark (Eddie Anderson), who leads him to a grisly graveyard at a remote farm belonging to his psychotic uncle, twitchy Gordon Northcott (Jason Butler Harner).

J. Michael Straczynski's episodic screenplay pivots around the vulnerability of women, embodied by Angelina Jolie's subdued yet heartbreakingly powerful performance. Director/producer Clint Eastwood's disciplined, straightforward approach, deeply affecting in its dignity, is evidenced as the construction and pace of every scene pulsates with truth. Eastwood re-creates that socio-cultural context in the fabled City of Angels, even having Collins efficiently maneuver around the immense switchboard on roller-skates.

On the Granger Movie Gauge of 1 to10, "Changeling" is an elusive 8. Exploring oppression and corruption, Eastwood is a cinematic storyteller of extraordinary eloquence.

Working from a pulpy script co-written with Joe Carnahan ("Narc"), Gavin O'Connor's ("Miracle," "Tumbleweeds") direction and Declan Quinn's photography reek with bleak, gritty realism. Edward Norton, Jon Voight and Colin Farrell deliver top-notch performances. While female characters are peripheral, Jennifer Ehle and Lake Bell make their scenes memorable. Yet the melodrama is all too familiar and the dialogue is clogged with clichés, like "We protect our own" and "I was a good man once." Plus, the bruising, visceral violence goes over-the-top when Jimmy viciously threatens to burn a Hispanic infant with a hot iron and becomes laughably absurd in a climactic bare-knuckles bar brawl.

Suffering when compared with dramas like "The Departed," "American Gangster," and "We Own the Night" (about father/son loyalty/career clashes), on the Granger Movie Gauge of 1 to 10, "Pride and Glory" is a brutal, scummy 6. It's a misery-laden, all-too-conventional corrupt cop story.

By Harvey Karten (AZR) - We may be in for a return to the classic films of bygone days—classically done without fancy surrealism and manic shifts with hand-held cameras from the present to the past and back again. "Changeling," one such film, brings to mind Olivia de Havilland's role in Anatole Litvak's 1948 melodrama "The Snake Pit"—in which de Havilland's character, Virginia Cunningham, finds herself locked into an asylum for the insane without a clue about how she got there. "Changeling," which deals as well with a woman improperly detained as are several others of her gender, deals with the true story of a woman who becomes a feminist without consciously meaning to do so, part of the movement that dates back to the first women's rights convention in 1848 at Seneca Falls, New York. Ironically, or perhaps the better word would be paradoxically, "Changeling," a strongly feminist drama, is directed by Clint Eastwood who used to be as macho as they come but now knocks out a women's story on the heels of his 2004 entry, "Million Dollar Baby"—about a manager determined to coach a woman intent on becoming a major boxer.

"Changeling" is one movie that's going to capture the attention of the awards people, given its stellar starring role by Angelina Jolie as a distraught mother with strong support from Jeffrey Donovan as a police captain determined to make her go away. The picture is delightfully old-fashioned in its treatment of a true story that began in Los Angeles in 1928, and stylistically conventional—and these are meant to be compliments. Truth has its own force without the need for wild experimentation.

The plot could be almost a sequel to Eastwood's stunning "Mystic River," about three men who come together when one loses a daughter. "Changeling" is as powerful a testament, though now to the perseverance of a woman despite radical steps to shut her up.

The title comes from a myth that would have fairies kidnap a youth substituting another in the victim's stead. In J. Micahel Straczynski's script based on the Wineville Chicken Murders in rural California, a ten-year-old boy, Walter Collins (Gattlin Griffith) is left alone for a while by his single mother, Christine Collins (Angelina Jolie). Since the year is 1928, telephone operators sat at long switchboards while Christine, a supervisor, literally skating around the floor handling calls that needed her assistance. When she returns home late, she finds her boy missing, her calls to the police receiving brush-offs because of a lack of "resources." Five months later, after being hounded by Christine, the police announce that her son has been found, though upon reuniting the boy with the woman, they find her insist that "This is not my son," which becomes an oft-repeated mantra of the suffering woman.

Despite the willingness of the Walter's teacher and dentist to testify that this substitute boy is an impostor, she is stonewalled until, finally, at the end of their rope, police captain J.J. Jones (Jeffrey Donovan) has her committed to an institution for the insane—which houses mainly political prisoners—those who challenged the status quo vociferously. A radio reverend, Gustav Briegleb (John Malkovich), strongly takes up her case, which is not surprising since his sermons revolve largely around the corruption of the L.A. police department. The commissioner (Colm Feore) urged his men to deal with gangsters without mercy—mainly because organized crime competed with the pre-Serpico police department which has half of its members on the prostitution and loan sharking take. Cops commit machine-gun murders of the competition. Eastwood soon divides the film into two scenes—one a murder trial that has relevance to the missing person's case, another back to the campaign to find the lost boy and get some justice from a jaundiced police department.

Tom Stern's lensing takes in the period scene, capturing views of several antique cars, a city that, 80 years ago, looks more like modern Wasilla than Los Angeles. Somehow single mom Christine on the salary of a phone company supervisor, is able to chase down the cops in a fur wrap—and this in Los Angeles, not Wasilla. As stated, Jolie is Oscar-bait. Somewhere Brad Pitt is green with envy.