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About Eugene weekly. (Eugene, Oregon) 1993-current | View Entire Issue (May 11, 2017)
MAY 12-18 RISK FRI 2:25 5:00 SAT 11:45 2:25 5:00 SUN 11:45 2:25 5:00 MON-WED 2:25 5:00 THU 5/18 2:25 5:00 5/12-5/18 7:50 9:50 7:50 9:50 7:50 7:50 TRACKTOWN FILMMAKER Q&A FOLLOWING SAT 7:15 SHOW FRI-SAT 2:50 7:15 9:45 SUN-WED 2:50 7:15 THU 5/18 2:50 7:15 9:45 THE DINNER FRI 4:40 SAT-SUN 11:45 4:40 MON-THU 4:40 FRI 2:30 5:00 7:30 9:30 SAT 11:45 5:00 7:30 9:30 SUN 11:45 2:30 5:00 7:30 MON-WED 2:30 5:00 7:30 THU 5/18 2:30 5:00 7:30 9:30 THE LOST CITY OF Z FRI 2:00 5:00 7:10 SAT-SUN 11:45 2:00 5:00 7:10 MON-WED 2:00 5:00 7:10 THU 5/18 2:00 5:00 ALIEN: COVENANT SNEAK PREVIEW NO PASSES OR DISCOUNTS THU 5/18 7:15 7:45 9:45 10:10 BUY TICKETS ONLINE AT BROADWAYMETRO.COM TIX $5 SUNDAYS $7 $3 TUESDAYS 492 E. 13th Ave 541-357-0375 MOVIES THAT bijou-cinemas.com MATTER Serving the Eugene Community for Over 35 Years! THEIR FINEST (R) Friday - Sunday 12:30, 3:00, 5:30, 8:00 Monday - Thursday 2:30, 5:00, 7:30 GIFTED (PG-13) ONE WEEK ONLY! Friday - Sunday 1:00, 3:30, 6:00, 8:30 Monday - Thursday 3:00, 5:30, 8:00 COMING SOON: NW ANIMATION FESTIVAL (5/19 - 5/20) CHUCK (5/26) OBIT (6/2) MY COUSIN RACHEL (6/9) I, DANIEL BLAKE (6/9) PARIS CAN WAIT (6/16) MAUDIE (7/21) Local beer, wine and cider... & now kombucha on tap! TICKET PRICES: MATINEE before 5pm $6 ADULT $8 | STUDENT $7 | SENIOR 62+ $6 CHILD age 12 & under $6 STUDENT & SENIOR DISCOUNT Asian Food Market 762-1700 | 180 E. 5TH AVE DAVIDMINORTHEATER.COM $3 TUESDAYS FRI MAY 12TH - THUR MAY 18TH Largest Selection of Asian Groceries Seaweed, rice, noodles, frozen products, deli, snacks, drinks, sauces, spices, produce, housewares, and more. We carry groceries from Holland, India, Pakistan and Polynesia Sushi & Asian deli take-out HIDDEN FIGURES KONG: SKULL ISLAND LA LA LAND 4:35 4:20 6:35 Mother’s Day Special OPEN MOTHER’S DAY 10AM - 6PM 10% JOHN WICK 2 I AM NOT YOUR NEGRO 8:40 8:50 OFF EVERYTHING IN THE STORE! * Excluding case prices and rice 10lbs and up. Offer expires 5/17/17 www.sunriseasianfood.com M-Th 9am-7pm•F 9am-8pm•Sa 9am-7pm•Su 10am-6pm 70 W. 29th Ave. Eugene • 541-343-3295 88th SEASON! BEAUTY AND THE BEAST (2017) (DIG) (PG) 9:45, 12:45, 4:05, 7:15, 10:15 BORN IN CHINA (DIG) (G) 9:35, 11:45, 2:10, 4:25 THE BOSS BABY (DIG) (PG) 9:15, 11:50, 2:25, 5:05, 7:40 THE CIRCLE (2017) (DIG) (PG-13) 10:10, 1:05, 3:45, 6:45, 9:40 THE DINNER (DIG) (R) 10:10 THE FATE OF THE FURIOUS (DIG) (PG-13) 9:25, 12:40, 3:55, 7:10, 10:25 GIFTED (DIG) (PG-13) 6:50, 9:30 GOING IN STYLE (DIG) (PG-13) 9:20, 11:55, 2:35, 5:10, 7:45 GUARDIANS OF THE GALAXY VOL. 2 (3D) (PG-13) SPECIAL EVENT PRICING: $3.00 UPCHARGE ALL TICKETS 9:55, 11:30, 1:15, 2:55, 3:40, 4:55, 7:00, 8:30 GUARDIANS OF THE GALAXY VOL. 2 (DIG) (PG-13) 9:20, 10:30, 12:05, 12:50, 2:00, 4:20, 5:25, 6:25, 7:50, 9:00, 9:50, 10:30 KING ARTHUR: LEGEND OF THE SWORD (3D) (PG-13) SPECIAL EVENT PRICING: $3.00 UPCHARGE ALL TICKETS 11:25, 2:50, 4:10, 10:25 KING ARTHUR: LEGEND OF THE SWORD (DIG) (PG-13) 9:50, 1:00, 6:15, 7:20, 9:25 KONG: SKULL ISLAND (DIG) (PG-13) 10:20 THE LOST CITY OF Z (DIG) (PG-13) 12:35, 6:40 MOTHER’S DAY (DIG) (PG-13) 9:40, 3:50, 10:00 SMURFS: THE LOST VILLAGE (DIG) (PG) 9:30, 12:00, 2:30, 5:00, 7:25, 9:55 SNATCHED (DIG) (R) 9:10, 10:20, 11:35, 12:55, 2:05, 3:30, 4:35, 6:05, 7:05, 8:35, 9:35, The Very Little Theatre presents in STAGE LEFT: Time Stands Still by Donald Margulies James Aday, Director A photojournalist and a foreign correspondent forge a relation- ship in the world’s conflict zones. May 11-13 7:30 pm + added performance: May 20 Tix: $12 General Admission Box office open 2:00-6:00 Wed.-Sat., 2350 Hilyard St. Tix on-line at TheVLT.com 541-344-7751 26 May 11, 2017 • eugeneweekly.com GEMMA ARTERTON IN THEIR FINEST UNDER A BOMBER’S MOON A L L A G ES GET OUT 6:45 BY RICK LEVIN *2:30 pm show on Wednesday will be played with open captions COLOSSAL 43 W. BROADWAY (541) 686-2458 REGULAR ADMISSION $9 ADULTS $8 STUDENTS $6 SENIORS $6 BEFORE 5 PM OPEN EVERY DAY MOVIES About a team of British filmmakers during the Blitz, Their Finest is a movie for people who love the movies S ome movies make me talk, others shut me up good. After watching Lars von Trier’s Melancholia, for example, I couldn’t talk for two hours. Total silence. Couldn’t find a word. On the other hand, director Lone Scherfig’s new movie, Their Finest, made me giddy. Walking out of the Bijou, full of fellow feeling, I impulsively chatted up the older couple on the sidewalk in front of me. “They just don’t make movies like that anymore,” I said at one point. The woman turned to me with a smile. “I know,” she said. “But they just did.” Indeed. Based on the 2009 novel by Lissa Evans, Their Finest tells the story of Catrin Cole (Gemma Arterton), a Welsh woman hired by the British Ministry of Information to help write the screenplay to an “authentic” but optimistic film that will revitalize the war effort in 1940s London, which is getting bombed by Germany on a regular basis. In short, Catrin is enlisted to write propaganda to boost public morale, by providing the “slop” of female dialogue. Married to a wounded painter (Jack Huston) who can’t seem to land an exhibition, Ca- trin starts to work on a screenplay based, rather loosely, on a real-life story of two sisters who hijacked their father’s boat to aid in the Dunkirk evacuation. Romantic tensions ensue with her handsome bully of a co-writer Tom Buckley (Sam Claflin), and she also butts heads with aging actor Ambrose Hilliard (the wonderful Bill Nighy), who gets penned by Catrin into the script as the sisters’ drunken uncle. The film is funny and romantic and tragic and thrilling in nearly equal measure. And yet, it is neither a typical period piece nor a feminist rescuing of prestige nor even a romantic comedy with British bite. In part, it is a film-within-a-film, as Scherfig brilliantly weaves in scenes from the final cut of The Nancy Starling, the fictional movie everyone is struggling to make to push against the Nazi onslaught. More than anything, however, Their Finest is a celebration of movies themselves — the people who make them and the people who love them. What I meant when I said they don’t make them like this anymore is this: The film captures, with uncommon charm and a distinct lack of cynicism, an era when movies were made with naive faith in their own transformative power to move the masses. Which is not to say that the film is uncritical and overly sentimental. Their Finest oozes smarts and a wry sense of its own artifice, and it grounds itself in the realpolitik of wartime England. But it never loses an exuberance of its own movie-ness; like the classics of the ‘40s and ‘50s (it recalls the work of British directors as diverse as Michael Powell, David Lean and Alfred Hitchcock), the film glows with the promise of big-screen transcendence, something at once innocent and forever besieged life outside the magical setting of the studio. As they say, there’s no business like show business. With its excellent cast and intel- ligent writing and direction, Their Finest harkens back to a time — before everyone alive wanted his 15 minutes of fame — when show business was an insular and joyful endeavor, generated by a tight clutch of silly, talented dreamers who believed movies could change the world. Stylized directors like Wes Anderson and the Coen Brothers consistently mine mid- century Hollywood for its twee postmodern value, but in Their Finest, the golden age of movies is recreated without a touch of irony in a spirit of generosity and humanity that gives escapism a good name. (Bijou Art Cinemas)
