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About Eugene weekly. (Eugene, Oregon) 1993-current | View Entire Issue (July 1, 2004)
BY LOIS WADSWORTH 686-2458 For the week of July 2nd! Sign-up for our weekly WebPage Update! www.bijou-cinemas.com Come in to buy advance tickets! Box office opens on weekdays— 4:30 pm, weekends—11:40 am.(Sorry, no phone or internet sales.) CINEMARK - SPRINGFIELD Gateway Mall - Beltline @ Gateway 746-5202 - 7/2-7/8 Digital Sound in ALL Auditoriums PURCHASE TICKETS ONLINE AT CINEMARK.COM SPIDER-MAN 2 PG13 9:30, 10:00, 10:40, 11:45, 12:25, 12:55, 1:35, 2:40, 3:20, 3:50, 4:30, 5:35, 6:30, 7:05, 7:40, 8:30, 9:25, 10:00, 10:35 FAHRENHEIT 9/11 R 10:05, 1:15, 4:15, 7:35, 10:35 NOTEBOOK PG13 9:45, 12:50, 3:45, 7:15, 10:10 TWO BROTHERS PG 4:50, 7:10 & 9:30 Nightly Sat & Sun Mat 12:10 pm & 2:30 pm 10:50, 1:30, 4:20, 7:25, 10:05 WHITE CHICKS PG13 AROUND THE WORLD IN 80 DAYS 9:40, 12:40, 3:35 SHREK 2 PG 11:25, 2:00, 2:30, 4:25, 7:00, 7:45, 9:30 GARFIELD PG 9:55, 12:20, 2:50, 5:15 STEPFORD WIVES PG13 9:50, 12:15, 2:45, 5:20, 7:55, 10:20 CHRONICLES OF RID- DICK PG13 10:15, 11:00, 1:05, 3:55, 5:00, 7:10, 7:05, 10:00 9:55, 10:30 A FILM OF EPIC PORTIONS 9:40 Nightly Sat Mat 2:40 pm Sun Mat 12:30 pm THE TERMINAL PG13 NR 9:35, 10:10, 12:45, 3:40, 4:00, 7:10, 9:20, 10:15 WHAT THE BLEEP DO WE KNOW!? DODGEBALL PG13 5:00 & 7:20 Nightly FINAL WEEK! Sat Mat 12:20 pm & Sun Mat 2:40 pm BIJOU LATENITE Fr-Sat $4 Su $3 Dizzy Gillespie leads a jazz ensemble composted of Gerry Mulligan, Max Roach, and 23 other jazz legends. LATENITE JAZZ! DIZZY'S DREAM BAND Fri, Sat, & Sun 11:50 pm Soon: MAYOR OF SUNSET STRIP The Coen brothers' classic! Jeff Bridges John Goodman Fri, Sat, & Sun 11:40 pm Soon: FLESH GORDON R The Big Lebowski 11:05, 1:10, 1:40, 4:05, 6:50, 7:15, 9:55 HARRY POTTER 3: PRIS- ONER OF AZKABAN PG 11:40. 3:10, 7:00, 7:30, 10:20, 10:45 *NO PASSES/NO SUPERSAVERS MOVIES 12 - SPRINGFIELD Bargain Shows: $1.50 - Early Bird: $1.00 - Wednesday all shows: $1.00 No children under age 6 will be admitted to any R-rated feature after 6:00 PM 50 FIRST DATES PG13 SCOOBY DOO 2 PG ELLA ENCHANTED PG STARSKY & HUTCH PG13 12:10, 2:30, 5:00, 7:20, 9:40 ENVY PG13 12:20, 2:50, 5:15, 7:50, 10:25 HELLBOY PG13 HARVARD CINEMAS 3161 W. Harvard • Roseburg • 673-6604 *SPIDER-MAN 2 – PG-13 11:30 2:30 5:30 8:30 *TWO BROTHERS – PG 1:10 3:45 6:20 *AROUND THE WORLD IN 80 DAYS - PG 8:45 *HARRY POTTER AND THE PRISONER OF AZKABAN – PG 11:50 2:55 6:00 9:00 11:15, 2:05, 4:55, 7:45, 10:30 HILDAGO PG13 12:05, 3:15, 6:50, 9:55 HOME ON THE RANGE PG 11:20, 1:25, 3:30, 5:30, 7:35, 9:45 KILL BILL VOL. 2 R 11:50, 3:00, 7:10, 10:20 11:55, 2:15, 4:40, 7:15, 9:35 1:55, 7:00 THE DAY AFTER TOMORROW PG13 11:00, 1:45, 4:35, 7:25, 10:15 THE LADYKILLERS R 11:25, 4:30, 10:10 THE PUNISHER R 1:30, 7:05 VAN HELSING PG13 STEREO SURROUND SOUND IN ALL AUDITORIUMS SHOWTIMES AVAILABLE AT CINEMARK.COM ROSEBURG CINEMA 7 1750 NW Hughwood • 673-6604 *SPIDER-MAN 2 – PG-13 12:20 3:20 6:20 9:20 *NOTEBOOK – PG-13 12:30 3:30 6:10 9:00 *FAHRENHEIT 9/11 – R 1:20 4:00 6:35 9:10 *WHITE CHICKS- PG-13 3:10 5:50 8:30 TERMINAL – PG-13 12:10 3:00 6:00 8:50 DODGEBALL – PG-13 12:55 2:55 5:10 7:25 9:40 CHRONICLES OF RIDDICK – PG-13 8:40 GARFIELD – PG 1:00 STEPFORD WIVES – PG-13 12:40 2:45 4:55 7:05 9:30 SHREK 2 – PG 1:45 4:10 6:25 STARTS FRIDAY, 7/9: "SLEEPOVER", WILL FARRELL IN "ANCHORMAN" www.catheaters.com AVALON C I N E M A 2nd & Jackson • Corvallis "A remarkable Italian drama that elevates a thriller to the artful level of deeply affecting drama." R Italian/English Subtitles I’m Not Scared Also playing as a separate admission "An accomplished, contemplative work rooted in the philosophy of Buddhism." R SPRING SUMMER FALL WINTER SIGN UP Korean/English Subtitles . . .AND SPRING % FOR WEEKLY EMAILS! Bill Murray Call or log on for showtimes DOLBY in STEREO SURROUND SOUND $6.50 General • $5.50 Student • $4.50 SC, Matinee & Wed. 752-4161 avaloncinema.com v m 24 JULY 1, 2004 FAHRENHEIT 9/11: Nonfiction. Written and di- rected by Michael Moore. Produced by Moore, Jim Czarnecki, Kathleen Glynn. Cinematography, Mike Desjarlais. Editor, Kurt Engfehr, Christopher Seward and T. Woody Richman. Music, Jeff Gibbs. Released by Lions Gate Films, IFC Films and the Fellowship adventure Group, 2004. R. 116 minutes. W in ne r P al m e d ’ O r at Ca n ne s , 20 04 . 11:40, 2:45, 6:55, 10:05 4-DAY ADVANCE TICKET SALES - NO PASSES -NO SUPERSAVERS STARTS WEDNESDAY, 7/7: "KING ARTHUR" ‘Access is power.’ THE ALAMO PG13 12:00, 3:05, 6:45, 9:45 KIDS’ SUMMER MOVIE FUN 7/6 & 7/7 WITH "PETER PAN" @ 10:00 As Dubya Says, Gateway Mall - Beltline @ Gateway 741-1231 - 7/2-7/8 11:30, 4:25, 10:00 SCHEDULE FOR 7/2-7/8 • ( ) = FRI–SUN & WED–THUR EARLY SHOWS While everyone else in America was watching the towers burn … F ilmmaker Michael Moore has cho- sen to exercise restraint, and his new nonfiction film is the better for it. The lack of in-your-face intimidation, blustering or swaggering, as well as fewer and smarter commentaries made me more comfortable. I already know Moore’s posi- tion on the issues. The film is most powerful in its first half hour, which goes fast, and its most heartfelt later when Moore interviews Lila Lipscomb in Flint. letproof, tinted-glass limo for the ride. Likewise, I appreciated Moore’s well-ed- ited archival footage showing, one-after-an- other, African American Congressional rep- resentatives protesting the Florida election before the U.S. Senate. As president pro tem of the Senate, Vice-President Al Gore ironi- cally had to preside over these congress members’ failed attempt to protest the politi- cal disenfranchisement of Florida’s black voters. Gore ruled that because none of the protests carried the required signature of a member of the Senate, they could not be ad- mitted into the record. I don’t recall a public uprising against the Senate for that body’s shameful behavior. I am less enamored of Moore’s heavy- handed cutting from scenes of injured Iraqi The film is most powerful in its first half hour, which goes fast, and its most heartfelt later when Moore interviews Lila Lipscomb in Flint. In the early part of the film, Moore uses his newfound self-control to avoid the trap of picturing the planes crashing into the two towers, for which I am personally and profes- sionally grateful. We hear the responses of people at the scene, but the screen stays dark. It’s a highly effective way to draw our atten- tion to the images burnt onto our personal memory screens, while acknowledging the stress we all experienced from visual over- load of the horror. Moore’s blackout also re- frains from exploiting the images for com- mercial or artistic reasons, an example I wish others would follow. Another of the film’s strengths is to re- mind us of important political events that may have slipped past during the stunned five weeks in 2000 following the country’s closest and most controversial presidential election. (Popular vote: Bush 50,456,002 and Gore 50,999, 897.) Moore draws the connec- tion between the Fox newscaster who first “broke” the news that Bush had won Florida’s 25 electoral votes, at a time when Gore was predicted winner by all the major networks. Turns out the guy’s a Bush rela- tive. Also, I don’t recall seeing footage of the enormous number of protestors who lined the streets as George W. Bush’s inaugural caval- cade passed on the way to his swearing-in ceremony. There were so many protesters that Bush didn’t follow the custom of walk- ing the last stretch but stayed put in his bul- children to Bush golfing, for instance. Such juxtaposed images work, but they cheapen the children’s sacrifice by using them to make a point unrelated to their suffering. Moore still needs a lighter touch. The business relationships of the Bush and bin Ladin families as well as that of Bush father and son with the Saudi royal family could be an interesting film on its own. But Moore doesn’t develop the issue deeply enough. I, too, think the buddy-buddiness smacks of deal-making and secret agendas, but what exactly is the deal? Moore’s too vague on this point. The emotional center of the film, Lila Lipscomb, is an articulate, reasonable woman who supports the military. Her daughter served in Desert Storm, and when we first meet Lipscomb, her son is in Iraq. When she loses him, her sense of betrayal is deep and real. After the film was over, I ran into a friend in the hallway. She was crying, and I put my arms around her and held on when she told me her son is in Iraq right now. As a former Air Force mom for more than 20 years, I understand the terrible conflict fami- lies face as the war drags on — loyalty and pride in your grown son or daughter mixed with fear for their safety and anger at the Bush administration for its blundering and lying. See this film, now playing at the Bijou and Cinemark. And vote, dammit. Very high- est recommendations. ew LIONS GATE FILMS, IFC FILMS AND THE FELLOWSHIP ADVENTURE GROUP, 2004 492 E. 13th
