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
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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
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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)