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About Eugene weekly. (Eugene, Oregon) 1993-current | View Entire Issue (June 15, 2017)
JUNE 16-22 6/16-6/22 492 E. 13th Ave 541-357-0375 MOVIES THAT MATTER bijou-cinemas.com PARIS CAN WAIT (PG) While her movie-producer husband (Alec Baldwin) is preoccupied with work, an American woman (Diane Lane) embarks on a road trip from Cannes to Paris with a charming French business associate of his (Arnaud Viard). Along the way, the pair enjoy fi ne food and appreciate the beauty of France. Directed by Eleanor Coppola. 1:00, 3:15, 5:30, 7:45 MY COUSIN RACHEL (PG-13) A young Englishman (Sam Clafl in) in the late 1800s seeks revenge against his beautiful cousin (Rachel Weisz), who he believes murdered his guardian. However, his feelings for her begin to change after he eventually falls for her unavoidable charms. This dark romantic fi lm is based on the 1951 novel by Daphne du Maurier and is directed by Roger Michell. COMING SOON: BEATRIZ AT DINNER opens on June 30 STOP MAKING SENSE (with bonus footage) on July 19 MAUDIE opens on July 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 TIX $5 SUNDAYS $7 $3 TUESDAYS BALLET L'OPÉRA NATIONAL DE PARIS: A MIDSUMMER NIGHT'S DREAM SAT 11:00 WED 6:00 43 W. BROADWAY (541) 686-2458 REGULAR ADMISSION $9 ADULTS $8 STUDENTS $6 SENIORS $6 BEFORE 5 PM OPEN EVERY DAY COMING SOON THE HAPPIEST DAY IN THE LIFE OF OLLI MÄKI MANIFESTO THE BAD BATCH THE LITTLE HOURS THE HERO MOKA GHOST STORY LANDLINE 13 MINUTES AN INCONVENIENT SEQUEL BUY TICKETS ONLINE AT BROADWAYMETRO.COM STUDENT & SENIOR DISCOUNT A L L A G ES 762-1700 | 180 E. 5TH AVE DAVIDMINORTHEATER.COM $3 TUESDAYS FRI JUNE 16TH - THUR JUNE 22ND ZOOKEEPER’S WIFE 5:10 I AM NOT YOUR NEGRO 9:05 GET OUT 7:10 LIFE 9:20 Asian Food Market 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 IMAX: CARS 3 [CC,DV] (G) ★ Fri. - Sat.1220 310 600 850 47 METERS DOWN [CC,DV] (PG-13) Fri. - Sat.(1230 300) 530 800 1030 ALL EYEZ ON ME [CC,DV] (R) Fri. - Sat.(1200 320) 640 1000 CARS 3 [CC,DV] (G) ★ Fri. - Sat.(1100 150) 440 730 CARS 3 3D [CC,DV] (G) ★ Fri. - Sat.(1140 110) 400 650 1020 ROUGH NIGHT [CC,DV] (R) Fri. - Sat.(1140 220) 500 740 1020 THE BOOK OF HENRY [CC,DV] (PG-13) Fri. - Sat.(1200 240) 700 950 IT COMES AT NIGHT [CC,DV] (R) Fri. - Sat.750 PM 1025 PM MEGAN LEAVEY [CC] (PG-13) Fri. - Sat.(1110 AM 200 PM) 450 PM MUMMY [CC,DV] (PG-13) ★Fri. - Sat.(1120 200) 440 720 1000 MUMMY 3D [CC,DV] (PG-13) ★ Fri. - Sat.(1220 310) 550 830 CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE [CC,DV] (PG) Fri.(1240 310) 540 810 1030 WONDER WOMAN [CC,DV] (PG-13) Fri. - Sat.(1230 350) 710 1030 WONDER WOMAN 3D [CC,DV] (PG-13) ★ Fri. - Sat.(1130 AM 250 PM) 940 PM PIRATES OF CARIBBEAN: DEAD MEN TELL NO TALES [CC,D (PG-13) Fri. - Sat.(1150 300) 610 920 BAYWATCH [CC,DV] (R) ★ Fri. - Sat.540 PM 840 PM GUARDIANS OF THE GALAXY VOL. 2 [CC,DV] (PG-13) Fri. - Sat.(250 PM) 620 PM 935 PM REGmovies.com ALL EYEZ ON ME [CC,DV] (R) Fri. - Sat.(1215 345) 715 1030 CARS 3 [CC,DV] (G) ★ Fri. - Sat.(100 PM) 700 PM CARS 3 3D [CC,DV] (G) Fri. - Sat.400 PM 950 PM HEAR YE, HEAR YE !! LEGAL NOTICES Sushi & Asian deli take-out Father’s Day & Graduation Special OPEN FATHER’S DAY 10AM - 6PM 10% OFF EVERYTHING IN THE STORE! * Excluding case prices and rice 10lbs and up. Offer expires 6/21/17 www.sunriseasianfood.com M-Th 9am-7pm•F 9am-8pm•Sa 9am-7pm•Su 10am-6pm 70 W. 29th Ave. Eugene • 541-343-3295 22 JOEL EDGERTON IN IT COMES AT NIGHT PREMIUM EVENT ADMISSION A 59-year-old British carpenter with a heart condition (Dave Johns) fi ghts against government bureaucracy to collect unemployment benefi ts. Along the way, he befriends a single mother (Hayley Squires) who is doing her best to care for her two children. Directed by Ken Loach. 1:15 pm (will be played with open captions) GIFTED 7:30 BY RICK LEVIN METROARTS 3:30, 5:45, 8:00 I, DANIEL BLAKE (R) BIG LEBOWSKI 5:00 MOVIES THE WEDDING PLAN (LAAVOR ET HAKIR) FRI-SUN 11:45 2:15 4:45 7:15 9:30 MON-THU 2:15 4:45 7:15 9:30 DEAN FRI 12:00 4:50 SAT-SUN 12:00 4:50 9:50 MON-THU 4:50 9:50 CHASING TRANE: THE JOHN COLTRANE DOCUMENTARY FRI 1:25 5:45 9:55 SAT-TUE 1:25 5:45 7:55 9:55 WED 1:25 9:55 THU 1:25 5:45 7:55 9:55 IT COMES AT NIGHT DAILY 3:35 7:50 9:30 A QUIET PASSION FRI-SUN 11:45 2:30 5:15 MON-THU 2:30 5:15 NORMAN DAILY 2:10 7:00 June 15, 2017 • eugeneweekly.com place your legal notices in the Eugene Weekly FAST, EFFICIENT SERVICE call: 541.484.0519 email: legals@eugeneweekly.com fax: 541.484.4044 Eugene Weekly qualifi es for posting legal ads THE WAGES OF FEAR Horror is human in It Comes at Night T oo much has already been said about It Comes at Night, a completely insidious and utterly unsettling new horror film that continues to worm its way under my skin, days after viewing it. So, instead of talking about It Comes at Night, and thereby disarming its power to shock and disturb you, I’d like to speak for a moment about horror films in general, and what they tell us about ourselves. The exquisite hidden truth of all the best horror films is that, really, there are no monsters, only human beings, and the evil we do to one another — all in the name of safety and comfort. Hell is always other people. Zombies, killer sharks, gargantuan monkeys, spawning aliens — these are simply forces of nature blown up and writ large, singular and entirely predictable organisms doing what they do, which is kill. Trains kill people, too, but the only way I’m getting run over by a train is if I throw myself on the tracks, or someone pushes me. The oceanic terror of Jaws ends if the mayor simply closes the beach, and Alien becomes a very short film if the evil corporation doesn’t force an emergency stop in deep space. The Walking Dead? It’s not the zombies. It’s the survivors. In horror films, life itself is the monster, and death is the disguise it wears. And our vicarious part in this drama remains obscured and thereby unenlightened, which is why scary movies continue to scare us. Nothing is natural about human nature; in fact, horror films play a great trick on us by confounding humanity and nature as polar opposites, confronting us with an organic, consistent threat and revealing our own turncoat monstrosity. It’s a great scapegoat act. Fools us every time. Boo! Rod Serling understood the political implications of this, which is why The Twilight Zone remains the most radical political show in the history of television. And we still don’t have the ears to hear it. The monsters are indeed due on Maple Street. Any day now. Any day, neighbor. Is Trump a monster? A lot of people think so. Are you a fascist or an anti-fascist? Are you holding the first stone? Let the massacre begin. Which brings me, at some length, to writer-director Trey Edward Shults’ absolutely chilling new movie. Understandably, It Comes at Night is being marketed as a horror film, but more properly I would call it a fear film: that corrosive, soul-stripping fear that turns the higher human self into a mean, paranoid, murderous bastard. It Comes at Night is set almost exclusively in a boarded-up house where Paul (Joel Edgerton), his wife, Sarah (Carmen Ejogo), and teenaged son, Travis (Kelvin Harrison Jr.), are holed-up against an apparent outbreak of disease that may or may not be global. Evidence of any real apocalyptic threat is scant, as far as we can see, save for the paranoia and discomfort that has the family walking around in gas masks and toting guns. Reluctantly, after a violent encounter, Paul agrees to take in a family of strangers forced from their own home in their search for water. As Will (Christopher Abbott), his wife, Kim (Riley Keough), and their young son, Andrew (Griffin Robert Faulkner), settle in, things become increasingly unsettled and edgy. Paul, the faltering patriarch, sees threats around every dark corner, and he’s indoctrinated his family into a level of distrust that makes their vigilance indistinguishable from a state of constant warfare. Only Travis, a mild-mannered and inquisitive kid, seems to resist the unnatural order dictated by his father, who is always quick to play judge, jury and executioner in the name of family protection. It is in the character of Travis that the film finds its quiet barometer of compassion; he plays Jesus to his father’s weak Caesar act (it’s no accident that Paul, before the alleged shit hit the supposed fan, was a history teacher specializing in the Roman Empire). There has always been a very fine line separating dystopia from horror, 1984 from Dawn of the Dead. This film obliterates that line, revealing the real apocalypse at the heart of the human condition. In a sense, It Comes at Night creates a kind of erasure, holding a mirror up to its audience and exposing the lie at the heart of our fear. There are moments of real fright in this film, but the lurking terror it inspires is, in the end, of a distinctly existential variety. Nietzsche said it best: “Whoever fights monsters should see to it that in the process he does not become a monster.” Or, put differently, what comes at night might just kill us in broad daylight. (Broadway Metro, Cinemark 17, Regal Valley River)
