Eugene weekly. (Eugene, Oregon) 1993-current, October 20, 2011, Image 24

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Eugene weekly., October 20, 2011, Page 24, Image 24

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About Eugene weekly. (Eugene, Oregon) 1993-current | View Entire Issue (Oct. 20, 2011)

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Newspaper Page TextHIGHER GROUND C I N E M A S 5:00 7:30 RESTLESS 4:45 7:00 2:30 4:45 7:00 9:10 4:45 7:00 9:10 ends tonight! for Oct 20 - 27 A R T THE FUTURE 7:45 POINT BLANK 5:45 10:00 686-2458 bijou-cinemas.com live in person! 9:00 2:30 4:45 7:00 9:10 3:30 7:45 1:30 5:45 3:30 7:45 1:30 5:45 THE OREGONIAN 11:15 11:15 COLOR ME OBSESSED: w/director Q & A 492 East 13 th movies BY RICK LEVIN from director Miranda July 4:45 7:00 9:10 4:45 7:00 9:10 4:45 7:00 4:45 7:00 9:10 7:45 7:45 7:45 7:45 PROJECT NIM ends tonight! Eugene Weekly & Cinema Pacific Filmmaker Dialogues present Oct 27 Oct 26 Oct 25 Oct 24 Oct 23 Oct 22 Oct 21 Oct 20 THU FRI SAT SUN MON TUES WED THU LATE NITE PASSES ACCEPTED! 5:45 5:45 5:45 9:30 5:45 10:00 10:00 10:00 LATE NITE PASSES ACCEPTED! 10:00 10:00 SOON: MOOD AREA 52 presents nosferatu SENNA BELLFLOWER A Film About The Replacements TAKE SHELTER THE LAST CIRCUS TUCKER & DALE VS. EVIL PASSIONE 10:00 10:00 amigo the interrupters the skin i live in melancholia *Adults—$7*Students w/ID—$6*Seniors—$5*Matinees—$5*Lates—$5*Miser Mondays—$3* TIX $2 Tix 21 & FOOD $5 Sun & Tues ovER MENU 762-1700 | 180 E. 5TH AVE davidminortheater.com Lindsay Pulsipher in The Oregonian THURS OCT 20 – WED OCT 26 THUR Bad Dream in Super 16 The Oregonian will give you the creeps BRIDESMAIDS 5:25, 9:40 TREE OF LIFE 5:25 THE OREGONIAN: Written and directed by Calvin Reeder. Cinematography, Ryan Adams. Music, Scott Honea, Jed Maheu and Reeder. Editor, Buzz Pierce. Starring Lindsay Pulsipher, Robert Longstreet, Roger M. Mayer, Matt Olsen and Barlow Jacobs. 81 minutes. 44421 BAD TEACHER SHOW 7:55 NO 10/22 COMING SOON RED STATE 9:40 HORRIBLE BOSSES 7:45 CAPTAIN AMERICA ATTACK THE BLOCK Y FEATURING FEATUR R IN I N G “TEXT “TEXT-A-BEER” T A BEER” “NO LONGER SNEAKING BEER INTO THE MOVIES SINCE 2008” Adv. Tix on Sale PUSS IN BOOTS IMAX: REAL STEEL (PG-13) ★ Fri. - Sun.1240 415 705 1000 PARANORMAL ACTIVITY 3 (R) - ID REQ'D Fri. - Sun.(1205 1245 220 300) 440 520 720 800 950 1030 THE THREE MUSKETEERS IN REAL D 3D (PG-13) ★ Fri. - Sun.(1150 230) 505 740 1020 THE THREE MUSKETEERS (PG-13) Fri. - Sun.(150) 435 710 945 JOHNNY ENGLISH REBORN (PG) Fri. - Sun.(1145 210) 455 730 1005 MIGHTY MACS (G) Fri. - Sun.(1130 200) 430 700 930 FOOTLOOSE (PG-13) Fri. - Sun.(1235) 410 650 925 THE THING (R) - ID REQ'D Fri. - Sun.(1220 245) 515 745 1010 THE BIG YEAR (PG) Fri. - Sun.(1225) 420 645 910 THE IDES OF MARCH (R) - ID REQ'D Fri. - Sun.(1230) 405 635 915 REAL STEEL (PG-13) Fri. - Sat.445 PM 735 PM Sun.445 PM OC: REAL STEEL (PG-13) Fri. - Sat.(155 PM) Sun.(155 PM) 735 PM 50/50 (R) - ID REQ'D Fri. - Sun.(1210 235) 510 750 1015 DOLPHIN TALE (PG) Fri. - Sun.(1215 PM 255 PM) 630 PM KILLER ELITE (R) - ID REQ'D Fri. - Sun.920 PM MONEYBALL (PG-13) Fri. - Sun.(1155 250) 640 935 THE LION KING IN REAL D 3D - EVENT PRICING (G) ★ Fri. - Sun.(1140 AM) DRIVE (R) - ID REQ'D Fri. - Sun.(1135 AM) 1025 PM THE THREE MUSKETEERS (PG-13) Fri. - Sun.410 PM 1000 PM THE THREE MUSKETEERS IN REAL D 3D (PG-13) ★ Fri. - Sun.(110 PM) 720 PM PARANORMAL ACTIVITY 3 (R) - ID REQ'D Fri. - Sun.(140) 440 740 1020 THE THING (R) - ID REQ'D Fri. - Sun.(130) 430 700 940 FOOTLOOSE (PG-13) Fri. - Sun.(120) 420 730 1030 REAL STEEL (PG-13) Fri. - Sun.(100) 400 710 1010 DOLPHIN TALE IN REAL D 3D - EVENT PRICING (PG) ★ Fri. - Sun.(340 PM) 1040 PM DOLPHIN TALE (PG) Fri. - Sun.(1240 PM) 750 PM MONEYBALL (PG-13) Fri. - Sun.(1250 350) 650 950 PARANORMAL ACTIVITY 3 (R) - ID REQ'D Fri. - Sun.(145 215) 445 515 745 815 1000 1030 THE THING (R) - ID REQ'D Fri. - Sun.(200) 500 800 1040 MONEYBALL (PG-13) Fri. - Sun.(130) 430 730 1020 50/50 (DIGITAL) R 12:30,2:55,5:20,7:45,10:10 ABDUCTION (DIGITAL) PG-13 2:50,8:00 THE BIG YEAR (DIGITAL) PG 12:05,2:30,4:55,7:20,9:45 COURAGEOUS (DIGITAL) PG-13 1:20,4:15,7:10,10:05 DOLPHIN TALE (3D) PG 1:20,7:00 SPECIAL EVENT PRICING: $3.00 UPCHARGE ALL TICKETS DOLPHIN TALE (DIGITAL) PG 4:10,9:50 DRE,HOUSE (DIGITAL) PG-13 12:15,5:25,10:35 FOOTLOOSE (2011) (DIGITAL) PG-13 11:30,2:10,4:50,7:30,10:10 THE HELP (DIGITAL) PG-13 12:35,3:50,7:10,10:20 THE IDES OF MARCH (DIGITAL) R 11:45,2:15,4:45,7:15,9:45 JOHNNY ENGLISH REBORN (DIGITAL) PG 11:40,2:10,4:40,7:10,9:40 THE LION KING (2011) (3D) G SPECIAL EVENT PRICING: $3.00 UPCHARGE ALL TICKETS 11:50,2:20,4:50, 7:20,9:50 THE MIGHTY MACS (DIGITAL) G 11:50,2:15,4:40,7:05,9:30 MONEYBALL (DIGITAL) PG-13 1:25,4:25,7:25,10:25 PARANORMAL ACTIVITY 3 (DIGITAL) R 1:00,3:20,5:40,8:00,10:20 REAL STEEL (DIGITAL) PG-13 11:35,1:05,2:35,4:05,5:35,7:05,8:35,10:05 THE THING (DIGITAL) R 12:25,2:55,5:25,7:55,10:25 THE THREE MUSKETEERS (3D) PG-13 SPECIAL EVENT PRICING: $3.00 UPCHARGE ALL TICKETS 11:20,5:00, 7:50,10:40 THE THREE MUSKETEERS (DIGITAL) PG-13 2:10AM 30 MINUTES OR LESS R 10:35 CAPTAIN AMERICA: THE FIRST AVENGER PG-13 7:10, 9:55 CARS 2 G 12:45, 4:00 THE CHANGE-UP R 12:50, 4:10, 7:20,10:20 COLOMBIANA PG-13 12:35, 4:20, 7:35,10:30 COWBOYS & ALIENS PG-13 12:30, 3:40, 7:15,10:00 CRAZY, STUPID, LOVE PG-13 12:40, 3:50, 7:05, 9:50 FRIGHT NIGHT (2011) R 2:50, 7:50 FRIGHT NIGHT (2011) (3D) R SPECIAL EVENT PRICING: $2.00 UPCHARGE ALL TICKETS 12:10, 5:10,10:15 HARRY POTTER AND THE DEATHLY HALLOWS, PART 2 PG-13 12:00, 3:30, 7:00 OUR IDIOT BROTHER R 12:25, 2:45, 4:55, 7:30, 9:45 RISE OF THE PLANET OF THE APES PG-13 12:05, 2:35, 5:05, 7:40,10:05 SHARK NIGHT PG-13 12:20, 5:20,10:25 SHARK NIGHT (3D) PG-13 2:40, 7:45 THE SMURFS PG 11:55, 2:30, 5:00, 7:25,10:10 THE SMURFS (3D) PG SPECIAL EVENT PRICING: $2.00 UPCHARGE ALL TICKETS 1:15, 6:15 SPY KIDS: ALL THE TIME IN THE WORLD (3D) PG 3:45 8:45 ou might ask: Why would director Calvin Reeder title his debut full-length feature The Oregonian? Contrary to ﬁ rst impressions, the movie was not shot in Oregon, nor was it adapted from one of Louis L’Amour’s pulp Westerns or shot in the dust-and- dungaree tradition of a John Ford cowboy ﬂ ick. Reeder’s low-budget ﬁ lm has nothing to do with Portland’s daily newspaper. No — asking why Reeder named his exceedingly strange and disturbing movie after our statehood is about as fruitful as asking why The Oregonian includes among its many satanic splendors the surgical insertion of an omelet into a gaping abdominal cavity, a big red gas can full of white Russians and a furry green giant that looks like Kermit the Frog with a nasty case of hyperthyroidism. Better instead to leave such questions at the box ofﬁ ce and tell yourself, repeatedly, that it’s only a dream. From opening shot to rolling credits, The Oregonian is, by all practical parameters, a nearly plotless kaleidoscope of images held together by a dream logic that is by turns hellish, hallucinatory and completely wonky-doodle. Breadcrumbs of information are scattered here and there: A woman (True Blood’s Lindsay Pulsipher) crashes her car in the middle of nowhere; bleeding, she wanders around the forest and down a highway and through an empty town; she encounters a series of grotesque characters who scream and/or make inscrutable oracular pronouncements; she ﬂ ashes back to domestic scenes of sadism and abuse; she either goes crazy or falls asleep or dies. As with dreams, the ﬁ lm’s narrative — or lack thereof — is relatively unimportant; what holds you is the aura, that id-driven collage of images and the way they conﬂ ate and collide to create an atmosphere. The atmosphere of The Oregonian is distinctly freaky and unnerving, like Oz on Old Crow and strychnine: an elderly woman with a wicked clown smile appears and disappears; a grunting van driver pulls over to piss in rainbow colors; a specter levitates above a roof. Such jarring, disconnected images pile one atop the next, creating context by virtue of their very relentlessness. Nothing makes sense, yet it’s hard to look away. It’s scary. Reeder, working with shoestring resources, ingeniously turns his low-budget limitations into a sort of aesthetic. Shooting with a Bolex on Super 16 stock, he taps all the tricks of grindhouse and B-movies (especially those of Texas Chainsaw Massacre director Tobe Hooper): Sudden zooms, blurry focus, startling edits, weird white noise and a hand- held tremor that makes The Blair Witch Project look downright serene. At times the movie relies on visual cliché — yes, we know, slow-zoom-into-noisy-rotary-fan symbolizes impending-psychosis — but, overall, the director’s use of old, pre-digital tricks of the trade is surprisingly effective. The Oregonian does have something of a Northwest feel, if by Northwest you mean the mossy malignancy and sinister psychosexuality of David Lynch’s brilliant late-‘80s TV series Twin Peaks. Reeder in fact draws heavily on Lynch’s style, which author David Foster Wallace described as “a particular kind of irony where the very macabre and the very mundane combine in such a way as to reveal the former’s perpetual containment within the latter.” Toss into this recipe a splash of John Waters disgusting and a pinch of Stanley Kubrick surreal, and you’ve got a creepy little movie that traipses a ﬁ ne line separating parody and homage. Several audience members have walked out of festival screenings of The Oregonian, including a sizable exodus at this year’s Sundance. Others, however, have found the ﬁ lm’s under-the-skin spookiness quite to their liking. If your tastes in cinema run toward the perverse, the forbidden and the oblique — if you happen to be fascinated by that phantasmal hinterland where hilarity bleeds into terror — take a gander at The Oregonian. It’s a scream. ew The Oregonian opens Friday, Oct. 21, at the Bijou; info at bijou-cinemas.com Times For 10/21 - 10/23 © 2011 24 OCTOBER 20, 2011 EUGENE WEEKLY WWW.EUGENEWEEKLY.COM • BLOGS.EUGENEWEEKLY.COM