BY LOIS WADSWORTH
686-2458
For the week of July 2nd!
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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