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About Eugene weekly. (Eugene, Oregon) 1993-current | View Entire Issue (Dec. 6, 2012)
3:45 6:10 1:00 4:15 8:30 3:45 6:10 1:30 1:30 1:00 4:15 C I N E M A S for December 6 - 13 A R T 5:15 7:40 6:25 THE QUEEN 7:00 OF VERSAILLES Valtari Film 492 East 13 th 686-2458 9:20 8:30 4:15 8:30 4:15 8:30 6:10 6:10 6:10 4:00 6:00 9:20 4:00 4:00 4:00 9:20 9:20 9:20 9:20 FLYING LESSONS 7:00 7:00 7:00 7:00 COMING: OLD GOATS 7:00 THE FOUND FOOTAGE FESTIVAL SAVING GRACE B. JONES featuring 8:00 Sigur Rós $10 no passes A LATE QUARTET BILL W. 8:30 *Adults—$7*Students w/ID—$6*Seniors—$5*Matinees—$5*Lates—$5*Miser Mondays—$3* ENDS TONIGHT! bijou-cinemas.com BY MO LLY T E MP LE TO N SEARCHING FOR SUGAR MAN 1:30 7:00 4:15 8:30 THE SESSIONS 6:10 Experiment 4:10 4:15 8:30 3:45 9:20 MO V IE S WUTHERING HEIGHTS 1:00 4:15 SMASHED Dec 13 Dec 12 Dec 11 Dec 10 Dec 9 Dec 8 Dec 7 Dec 6 THU FRI SAT SUN MON TUES WED THU TIX $2 Tix 21 & FOOD $5 Sun & Tues ovER MENU 762-1700 | 180 E. 5TH AVE davidminortheater.com THURS DEC 6 - WED DEC 12 THU HOPE SPRINGS 5:15 LAWLESS 5:15 MOONRISE KINGDOM 7:15 PARANORMAN 7:15 DARK KNIGHT RISES 9:00 SAFETY NOT G GUARANTEED 9:00 ALL THE WORLD’S A STAGE “NO LONGER SNEAKING BEER INTO THE MOVIES SINCE 2008” “TEXT-A-BEER” 541-913-5733 ORDER DRINKS & FOOD RIGHT FROM YOUR SEAT Joe Wright’s Karenina is a pretty player ANNA KARENINA: Directed by Joe Wright. Screenplay by Tom Stoppard, based on the novel by Leo Tolstoy. Cinematography, Seamus McGarvey. Editor, Melanie Oliver. Music, Dario Marianelli. Production designer, Sarah Greenwood. Starring Keira Knightley, Jude Law, Aaron Taylor-Johnson, Matthew Macfadyen and Kelly Macdonald. Focus Features, 2012. R. 129 minutes. 00011 ® Purch Adv Tix @ cinemark.com 800-326-3264 + Exp # CINEMARK 17 Gateway Mall - Beltline @ *DWHZD\ ([S&RGH THE COLLECTION (DIGITAL) R 1:05, 3:15, 5:25, 7:35, 9:45 END OF WATCH (DIGITAL) R 12:10, 2:45, 5:20, 7:55, 10:30 FLIGHT (DIGITAL) R 1:10, 4:15, 7:20, 10:25 KILLING THEM SOFTLY (DIGITAL) R 12:00, 2:25, 4:50, 7:15, 9:40 LIFE OF PI (DIGITAL) PG 2:55, 8:35 LIFE OF PI (3D) PG SPECIAL EVENT PRICING: $3.00 UPCHARGE ALL TICKETS 12:05, 1:30, 4:20, 5:45, 7:10, 10:00 LINCOLN (DIGITAL) PG-13 11:45, 3:45, 7:00, 10:15 PLAYING FOR KEEPS (DIGITAL) PG-13 11:45, 2:20, 4:55, 7:30, 10:05 RED DAWN (DIGITAL) PG-13 12:20, 1:35, 2:50, 4:05, 5:20, 6:35, 7:50, 9:05, 10:20 RISE OF THE GUARDIANS (DIGITAL) PG 1:10, 3:40, 6:10, 8:40 RISE OF THE GUARDIANS (3D) PG SPECIAL EVENT PRICING: $3.00 UPCHARGE ALL TICKETS 11:55, 2:25, 4:55, 7:25, 9:55 SKYFALL (DIGITAL) PG-13 12:55, 2:30, 4:05, 5:40, 7:15, 8:50, 10:25 TWILIGHT SAGA: BREAKING DAWN, PART 2 (DIGITAL) PG-13 12:40, 2:05, 3:30, 4:55, 6:20, 7:45, 9:10, 10:30 WRECK-IT-RALPH (DIGITAL) PG 1:45, 4:25, 7:05, 9:50 MOVIES 12 Gateway Mall - Beltline @ *DWHZD\([S&RGH ALEX CROSS PG-13 12:10, 2:40, 5:10, 7:45, 10:15 BRAVE (3D) PG SPECIAL EVENT PRICING: $2.00 UPCHARGE ALL TICKETS 1:30, 3:50, 6:15, 8:35 THE DARK KNIGHT RISES PG-13 12:20, 4:00, 8:00 FINDING NEMO (2012) (3D) G 11:55, 2:25, 4:55, 7:25, 9:55 ICE AGE: CONTINENTAL DRIFT PG 12:00, 2:10, 4:45, 7:30, 9:40 LOOPER R 12:45, 3:55, 7:00, 9:35 THE MAN WITH THE IRON FISTS R 12:05, 4:35, 10:05 THE ODD LIFE OF TIMOTHY GREEN PG 12:35, 2:55, 5:15, 7:40, 10:00 PARANORMAN PG 12:15, 2:35, 4:50 PITCH PERFECT PG-13 12:40, 4:05, 7:05, 7:35, 9:45, 10:20 SEVEN PSYCHOPATHS R 11:50, 2:15, 4:40, 7:15, 9:50 TAKEN 2 PG-13 12:30, 2:20, 2:50, 5:10, 7:20, 7:50, 10:10 Assistive Listening and Captioning System Avail 28 Adv. Tix on Sale LES MISERABLES Adv. Tix on Sale LORD OF THE RINGS MARATHON - EVENT PRICING LORD OF THE RINGS MARATHON - EVENT PRICING (PG-13) ★ Sat.1115 AM PLAYING FOR KEEPS [CC,DV] (PG-13) Fri. - Sat.(1200 230) 500 730 1000 ANNA KARENINA [CC] (R) Fri. - Sat.(1220) 420 720 1020 KILLING THEM SOFTLY (R) Fri. - Sat.(1155 235) 510 745 1025 THE COLLECTION (R) Fri. - Sat.(225 PM) 715 PM RED DAWN [CC,DV] (PG-13) Fri. - Sat.(1210 240) 505 725 950 LIFE OF PI 3D [CC,DV] (PG) ★ Fri.(1145 1215) 410 710 940 1010 Sat.(1215) 410 710 1010 RISE OF THE GUARDIANS [CC,DV] (PG) Fri. - Sat.(1245 PM) 415 PM 645 PM LIFE OF PI [CC,DV] (PG) Fri.(245 PM) 640 PM RISE OF THE GUARDIANS 3D (PG) ★ Fri. - Sat.920 PM TWILIGHT SAGA: BREAKING DAWN, PART 2 [CC,DV] (PG-13) Fri. - Sat.(1240) 450 740 1030 SKYFALL [CC,DV] (PG-13) Fri. - Sat.(1130 250) 630 945 LINCOLN [CC,DV] (PG-13) Fri. - Sat.(1140 300) 650 1005 IMAX: SKYFALL [CC,DV] (PG-13) ★ Fri. - Sat.1205 350 700 1015 WRECK-IT RALPH [CC,DV] (PG) Fri. - Sat.(1225) 400 655 935 FLIGHT [CC,DV] (R) Fri. - Sat.(1135 255) 635 945 ARGO [CC,DV] (R) Fri. - Sat.(1230) 405 705 955 END OF WATCH [CC,DV] (R) Fri. - Sat.(1150 AM) 440 PM 930 PM Adv. Tix on Sale LES MISERABLES Adv. Tix on Sale THE HOBBIT: AN UNEXPECTED JOURNEY IN REALD 3D RED DAWN (PG-13) Fri. - Sat.(130) 430 730 950 RISE OF THE GUARDIANS (PG) Fri. - Sat.420 PM 915 PM LIFE OF PI 3D (PG) ★ Fri. - Sat.(100) 400 700 955 RISE OF THE GUARDIANS 3D (PG) ★ Fri. - Sat.(140 PM) 650 PM TWILIGHT SAGA: BREAKING DAWN, PART 2 (PG-13) Fri. - Sat.(120) 410 715 1000 LINCOLN (PG-13) Fri. - Sat.(100 PM) 500 PM 830 PM SKYFALL (PG-13) Fri. - Sat.(145 PM) 530 PM 900 PM WRECK-IT RALPH (PG) Fri. - Sat.(110 345) 640 920 PLAYING FOR KEEPS (PG-13) Fri. - Sat.(115) 415 715 935 KILLING THEM SOFTLY (R) Fri. - Sat.(145) 430 700 945 SKYFALL (PG-13) Fri. - Sat.(130 PM) 500 PM 830 PM ARGO (R) Fri. - Sat.(100 355) 640 925 Times For 12/07 - 12/08 © 2012 December 6, 2012 • eugeneweekly.com T he first half hour of Atonement director Joe Wright’s Anna Karenina is such a joy to watch, I began to doubt my expectations of the story. This has a tragic ending, doesn’t it? Terrible things are going to happen? For that matter, unfortunate things are happening in the first act, but the clever way they’ve been pieced together is a magical distraction, and appropriately so. Anna (Keira Knightley)’s brother, Oblonsky (Matthew Macfadyen, hidden under one hell of a moustache) has cheated on his wife, the pretty, sweet Dolly (Kelly Macdonald), and Dolly doesn’t want to forgive him — so in swoops Anna, a cheery presence despite her loveless marriage to Karenin (Jude Law). Anna tells Dolly that if she doesn’t choose to forgive, she will make herself and Oblonsky miserable. Their happiness is in her hands; never mind that she did nothing to deserve that choice. This Karenina is not exactly subtle. Wright sets nearly all of the action inside a worn theater; the stage is a bedroom, a racetrack, a ballroom. For the first act, this makes a marvel: Actors walk through doors into other settings without regard to the time that must have passed from one scene to the next; the theater’s seating area becomes a train station or Oblonsky’s office, where rows of men stamp papers with mechanical precision as Oblonsky walks through, changing coats as he goes, talking to idealistic Levin (Domhnall Gleeson) all the while. All that movement and magic makes Karenina begin like a musical without singing, carefully choreographed and bursting with energy that has nowhere to go. But two things let down this enrapturing first act: The theater setting starts to fall aside, to become less key, and cuts between scenes become more traditional, less dependent on clever sets and ingenious, compelling transitions. The magic seeps out; you can still see the footlights, but the sense of containment has been handed over to the late-19th century society, and even someone who’s never read Karenina can see that this is far more obvious, and far less interesting. Also less interesting is poor Anna, and her poor, meant-to-be-ever-so-handsome Vronksy (Aaron Taylor-Johnson), whose silly mop of blonde hair gives him a disconcerting resemblance to a prettier Borat. Taylor-Johnson is rather miscast; his sultry expressions provide little heat, and he lacks chemistry with Knightley, who’s wound so tightly that you expect her to go off more dramatically than she eventually does. Their burning desire for one another is far less convincing than society’s disdain for Anna’s choice. The quiet flame that Levin holds for Kitty (Alicia Vikander), the young girl who grows into a kind woman, is so much more effective that Levin becomes even more sympathetic than intended. Partly, perhaps, Knightley isn’t quite up to the task at hand, but Tom Stoppard’s adaptation fails her, fails to make Anna into a human and not just a symbol for society’s tight constraints on women (Oblonsky’s affair is between him and his wife, but Anna’s is the talk of the town). Anna Karenina drags in the middle and rushes to its ugly end — one too heavily foreshadowed by the frost-covered trains that race into scenes — but the sets, the choreography, the glorious costumes and the secondary characters (including a brilliantly cool Olivia Williams as Countess Vronsky) are pieces of a superior film. ■
