movies
for
1/22-1/28
ART Schedule
CINEMAS
492 East 13th 686-2458
BY MOLLY TEMPLETON
“Boo”
www.bijou-cinemas.com 1986-2009
Thurs-Sat $7 Sun-Wed $6 all shows before 6pm- $4
Penélope Cruz in
Pedro Almodóvar’s
BLOW
BROKEN EMBRACES
Starting Friday, 1/22—
oon!
4:40 & 7:20 nightly must end s
R
The Imaginarium of
Doctor Parnassus
Starting Friday, 1/22—
5:00, 7:30 & 10:00 nightly
PG-13
mu
e st
soo nd
n!
Starting Friday, 1/22—
Sat & Sun Mat 12:00 & 2:35
PG
GOLDEN GLOBE WINNER! Mo’Nique-
BEST SUPPORTING ACTRESS
PRECIOUS
TOOTH FAIRY PG
12:15, 1:30, 2:45, 4:00, 5:15, 6:30,
7:45, 9:00, 10:15
LEGION R
12:30, 1:45, 3:00, 4:15, 5:30, 6:45,
8:00, 9:15, 10:30
EXTRAORDINARY MEA-
SURES PG
11:55, 2:30, 5:05, 7:40, 10:15
THE BOOK OF ELI R
12:25, 1:50, 3:15, 4:40, 6:05*, 7:30,
8:55*, 10:20
*EXCEPT WED 1/27
THE LOVELY BONES PG13
1:20, 4:20, 7:20, 10:20
THE SPY NEXT DOOR PG
12:15, 2:35, 4:55, 7:15, 9:35
IT’S COMPLICATED R
2:05, 4:45, 7:25, 10:05
AVATAR 3D PG13
SPECIAL EVENT PRICING:
$3.50 UPCHARGE ALL
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12:00, 3:30, 7:00, 10:30
AVATAR PG13
1:45, 5:15, 8:45
THE METROPOLITAN
OPERA: DER ROSENKAVA-
LIER ENCORE NR
ONLY ON WED 1/27 AT 6:30 PM
EDGE OF DARKNESS R
ONLY ON THURS 1/28 AT
12:01AM
DAYBREAKERS R
4:40, 7:10, 9:40
LEAP YEAR PG
2:45, 7:55
SHERLOCK HOLMES PG13
1:00, 4:00, 7:00, 10:00
ALVIN AND THE CHIP-
MUNKS: THE SQUEAKQUEL
PG
12:05, 2:25, 4:35, 7:05, 9:25
UP IN THE AIR R
12:10, 5:20, 10:25
THE BLIND SIDE PG13
1:35, 4:30, 7:35, 10:35
PRINCESS AND THE
FROG G
2:00
Starting Friday, 1/22—9:50 Nightly
Sat & Sun Mat 11:45am & 2:20 R
View from Above
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$1 Sunday
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21 &
OVER
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since 2008
A murder victim hovers in purgatory
MORE THAN A GAME PG
12:05, 2:35, 5:00, 7:25, 10:00/
2012 PG13
12:15, 4:15, 8:00
A CHRISTMAS CAROL PG
11:40, 2:05, 4:25, 7:05, 9:30
NINJA ASSASSIN R
12:00, 2:25, 4:50, 7:45, 10:25
PLANET 51 PG
12:30, 2:45, 5:15, 7:50, 10:10
WHERE THE WILD THINGS
ARE PG
11:45, 2:30, 5:10, 7:40, 10:15
LAW ABIDING CITIZEN R
12:40, 4:10, 7:00, 9:55
CLOUDY WITH A CHANCE
OF MEATBALLS PG
12:10, 2:20, 4:40, 7:30, 9:40
THE FANTASTIC MR. FOX PG
12:25, 2:50, 5:05, 7:20, 9:35
COUPLES RETREAT PG13
12:35, 3:10, 7:10, 9:45
ZOMBIELAND R
11:50, 2:15, 4:45, 7:55, 10:20
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THE MEN WHO STARE AT
GOATS R
11:55, 2:10, 4:30, 7:35, 9:50
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Adv. Tix on Sale EDGE OF DARKNESS
AVATAR IN REALD 3D - EVENT PRICING (PG-13) ★
Fri. - Sun.(1200 330) 700 1030
TOOTH FAIRY (PG)
Fri. - Sun.(1130 215) 445 715 945
LEGION (R) - ID REQ'D
Fri. - Sun.(1155 230) 500 800 1040
EXTRAORDINARY MEASURES (PG)
Fri. - Sun.(1220) 415 745 1015
THE BOOK OF ELI (R) - ID REQ'D ★
Fri. - Sun.(1205 200 340) 450 705 735 955 1025
THE SPY NEXT DOOR (PG) Fri. - Sun.(1205 220) 440 725 950
YOUTH IN REVOLT (R) - ID REQ'D Fri. - Sun.(205 PM) 940 PM
DAYBREAKERS (R) - ID REQ'D
Fri. - Sun.1005 PM
LEAP YEAR (PG)
Fri. - Sun.(1145 AM) 425 PM 645 PM
OC: THE LOVELY BONES (PG-13)
Fri.(1210 PM) 710 PM
Sat.410 PM 1010 PM
Sun.(1210 PM) 1010 PM
THE LOVELY BONES (PG-13)
Fri.410 PM 1010 PM
Sat.(1210 PM) 710 PM
Sun.410 PM 710 PM
IT'S COMPLICATED (R) - ID REQ'D
Fri. - Sun.(1240 335) 635 935
SHERLOCK HOLMES (PG-13) Fri. - Sun.(1220) 420 720 1020
ALVIN AND THE CHIPMUNKS: THE SQUEAKUEL (PG)
Fri. - Sun.(1140 210) 430 650
AVATAR (PG-13)
Fri. - Sun.(1230) 400 730 1000
THE PRINCESS AND THE FROG (G)
Fri. - Sun.(1135 AM)
UP IN THE AIR (R) - ID REQ'D Fri. - Sun.(1150 225) 630 930
THE BLIND SIDE (PG-13) Fri. - Sun.(1245 PM) 405 PM 655 PM
TRADITIONAL AMERICAN BREAKFAST
Saturday & Sunday
starting at 9:30am, $5.95
Authentic Thai Cuisine
Daily Delivery 4:30-9:00pm
Lunch & Dinner Specials
All Organic Spices, Greens & Tofu
Vegetarian & Vegan Options
Wine & Cocktails
Beer on Tap
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11am-9:30pm MON-FRI
9:30am-9:30pm SAT & SUN
80 E. 29th & Willamette • 302-6444
26 JANUARY 21, 2010
EUGENE WEEKLY
THE LOVELY BONES : Directed by Peter
Jackson. Screenplay by Jackson, Philippa Boyes
and Fran Walsh, based on the novel by Alice Sebold.
Cinematography, Andrew Lesnie. Editor, Jabez
Olsson. Music, Brian Eno. Starring Saoirse Ronan,
Mark Wahlberg, Stanley Tucci, Rachel Weisz, Susan
Sarandon and Rose McIver. Dreamworks/Paramount,
2009. PG-13. 135 minutes. 42111
LEGION (R) - ID REQ'D
Fri. - Sun.(110) 450 730 1000
TOOTH FAIRY (PG)
Fri. - Sun.(130) 400 700 930
AVATAR (PG-13)
Fri. - Sun.(120 PM) 500 PM 900 PM
THE BOOK OF ELI (R) - ID REQ'D ★
Fri. - Sun.(100) 430 720 1010
THE LOVELY BONES (PG-13) Fri. - Sun.(1255 350) 650 950
THE SPY NEXT DOOR (PG)
Fri. - Sun.(200) 420 640 920
ALVIN AND THE CHIPMUNKS: THE SQUEAKUEL (PG)
Fri. - Sun.(150 PM) 410 PM 630 PM
SHERLOCK HOLMES (PG-13)
Fri. - Sun.910 PM
EXTRAORDINARY MEASURES (PG)
Fri. - Sun.(115) 400 720 950
THE BOOK OF ELI (R) - ID REQ'D ★
Fri. - Sun.(130) 415 700 940
YOUTH IN REVOLT (R) - ID REQ'D
Fri. - Sun.(145) 430 710 920
IT'S COMPLICATED (R) - ID REQ'D
Fri. - Sun.(100 350) 650 930
Times For 01/22 - 01/24 © 2010
t seemed like a strange yet appropriate
match: Peter Jackson — he of
Lord of the Rings, of course — and
Alice Sebold’s bestselling novel about
a murdered girl looking back on her life
and her family. Jackson has an expansive
vision that had the potential to beautifully
stretch Sebold’s intimate story across a
cinematic framework; let us not forget his
previous fi lm involving teenage girls and
death, Heavenly Creatures. When Saoirse
Ronan (Atonement), with her narrow,
intense face, was cast as poor dead Susie
Salmon, The Lovely Bones became a fi lm
to look forward to.
But Bones is a hollow, rattling
disappointment. With its fi xation on serial
killer George Harvey (Stanley Tucci) and
the bright, shifting, ever-so-meaningful
in-between — the place where Susie fi nds
herself after her off-screen murder — the
fi lm bogs down in showiness. The story,
adapted from Sebold’s novel by Jackson
and his writing partners Philippa Boyes
and Fran Walsh, is too loosely stitched
together, its brief stronger pieces connected
by narrow threads. Apart from Susie, a
wide-eyed teen discovering an interest in
photography, a fi rst crush and the ability
to sass her parents, the characters are
limited to one key expression and hobby
apiece: Susie’s father (Mark Wahlberg)
meticulously builds ships inside bottles
and frowns heartbrokenly as he tries to
solve Susie’s case when he feels the police
aren’t doing enough. Her mother (Rachel
Weisz) spends her too-rare screen time
reading voraciously from feminist texts,
looking fragile and pushing her husband to
move on. Susie’s moppet of a little brother
makes childlike pronouncements about
the afterlife; her sister mostly just goes
running.
And then Susan Sarandon, as Grandma
Lynn, sweeps in on a cloud of cigarette
smoke and whiskey fumes, ostensibly to
put the family back together. Instead, the
Salmons fragment further, and Sarandon’s
big moment, a montage of cleaning
mishaps, plays out as a desperate attempt
at levity in the least appropriate place. All
the while, Susie is running around the in-
between, where certain symbolic images
crop up repeatedly: a lighthouse, a gazebo,
a blooming red fl ower, the penguin from a
snowglobe she had as a child. From time
to time, Susie seems to stare through a
window in the in-between, watching the
goings-on back on earth as her sister and
father get closer and closer to pegging
Harvey as the vicious creep he is.
In some circles, much has been made
of Jackson’s choice to avoid depicting
Susie’s fate. There’s no mention of rape
in the fi lm, and we don’t see the murder;
Susie’s ghost bolts from the scene of the
crime. The grisly truth of her demise is
slipped between the frames, where neither
we nor she have to look at it. It was the
right choice to skip showing the murder,
but it somehow needed to feel present
in order for this story to mean much of
anything. Jackson leans too heavily on
Tucci’s creepy George Harvey to provide
a sense of danger and the reminder of
mourning; we watch Harvey making his
deadly plans and see the threat he poses,
but it’s oddly disconnected from what
happened to Susie.
The Lovely Bones is about what happens
to a family after a terrible loss, but Jackson’s
focus is on everything but the repercussions
for Susie’s family — and her spirit, hovering
in a purgatory of her own devising. It’s
all well and good to dream up a lovely
afterworld in which we’re given the time
to come to terms with leaving our loved
ones behind, but Jackson avoids facing the
horrors that sent Susie to that world, opting
instead for a mushy-sweet suggestion that
everything will be fi ne if we just move
on. Everyone, mystically, will get what’s
ew
coming to them.
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