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About Eugene weekly. (Eugene, Oregon) 1993-current | View Entire Issue (July 6, 2017)
TIX $5 SUNDAYS $7 $3 TUESDAYS STUDENT & SENIOR DISCOUNT MOVIES BY RICK LEVIN A L L A G ES 762-1700 | 180 E. 5TH AVE DAVIDMINORTHEATER.COM $3 TUESDAYS SPIDER-MAN: HOMECOMING FRI JULY 7TH - THUR JULY 13TH NOW PLAYING JULY 7-13 DEAN 5:00 ZOOKEEPER’S WIFE 5:10 I AM NOT YOUR NEGRO ALIEN COVENANT 7:25 8:55 SPIDER-MAN: HOMECOMING 11:50 1:45 4:30 7:10 DAILY THE EXCEPTION DAILY 12:10 2:35 5:00 7:30 BAND AID FRI 12:30 5:00 SAT 5:00 SUN 12:30 5:00 MON-TUE 12:30 2:45 5:00 7:15 WED 12:30 2:45 THU 12:30 2:45 5:00 7:15 THE HERO DAILY 11:40 2:45 5:00 7:25 IT COMES AT NIGHT DAILY 9:50 NORMAN 6:50 GET OUT 9:05 43 W. BROADWAY (541) 686-2458 REGULAR ADMISSION $9 ADULTS $8 STUDENTS $6 SENIORS $6 BEFORE 5 PM OPEN EVERY DAY 9:30 9:45 9:45 9:45 9:45 9:45 9:45 9:40 METROARTS PREMIUM EVENT ADMISSION OPÉRA NATIONAL DE PARIS: COSÌ FAN TUTTE SAT 11:00 WED 6:00 BUY TICKETS ONLINE AT BROADWAYMETRO.COM THE MAN, THE MYTH, THE MUSTACHE AMERICAN LAZARUS Sam Elliott shines as a washed-up actor confronting his own mortality in The Hero Asian Food Market Now Featuring Middle Eastern Food & Vegetarian Items Including Vegetarian Seafood, Meat Substitutes & Snacks Asian Groceries Seaweed, rice, noodles, frozen products, deli, snacks, drinks, sauces, spices, produce, housewares, and more. Sushi & Asian deli take-out SHOPPING CENTER 29TH AVENUE SPIDER-MAN: HOMECOMING [CC,DV] (PG-13) ★ Fri. - Sat.(1200 230) 700 1015 SPIDER-MAN: HOMECOMING 3D [CC,DV] (PG-13) ★ Fri. - Sat.(115 345) 545 900 DESPICABLE ME 3 [CC,DV] (PG) ★ Fri. - Sat.(130) 415 645 930 DESPICABLE ME 3 3D [CC,DV] (PG) ★ Fri. - Sat.(1215 300) 530 815 HOUSE [CC,DV] (R) Fri. - Sat.(1245) 400 740 1020 REGmovies.com OAK STREET Woodfi eld Station WILLAMETTE STREET IMAX: SPIDER-MAN: HOMECOMING 3D [CC,DV] (PG-13) ★ Fri. - Sat.100 410 720 1030 SPIDER-MAN: HOMECOMING [CC,DV] (PG-13) ★ Fri. - Sat.(1100 1200 210 310) 520 620 650 830 930 1000 SPIDER-MAN: HOMECOMING 3D [CC,DV] (PG-13) ★ Fri. - Sat.(1130 240 340) 550 900 BEGUILED [CC,DV] (R) Fri. - Sat.(1140 200) 430 700 930 DESPICABLE ME 3 [CC,DV] (PG) ★ Fri.(1110 1250 230) 410 600 730 910 Sat.1030 (1110 1250 230) 410 600 730 910 DESPICABLE ME 3 3D [CC,DV] (PG) ★ Fri. - Sat.(1200 140 320) 500 640 840 1000 HOUSE [CC,DV] (R) Fri. - Sat.(1220 250) 530 800 1025 BABY DRIVER [CC,DV] (R) Fri. - Sat.(1110 200) 450 740 1030 TRANSFORMERS: LAST KNIGHT [CC,DV] (PG-13) Fri. - Sat.(1130 300) 630 1010 CARS 3 [CC,DV] (G) Fri. - Sat.(1120 210) 500 750 1035 WONDER WOMAN [CC,DV] (PG-13) Fri. - Sat.(1240 350) 710 1025 PIRATES OF CARIBBEAN: DEAD MEN TELL NO TALES [CC,D (PG-13) Fri. - Sat.(1150 300) 610 920 GUARDIANS OF THE GALAXY VOL. 2 [CC,DV] (PG-13) Fri. - Sat.(1230 PM) Sunrise www.sunriseasianfood.com M-Th 9am-7pm•F 9am-8pm•Sa 9am-7pm•Su 10am-6pm 70 W. 29th Ave. Eugene • 541-343-3295 INSTEAD OF JUST HANGING OUT ON SATURDAYS I HELP KIDS HANG IN THERE AT SCHOOL BECAUSE I DON’T JUST WEAR THE SHIRT, I LIVE IT. GIVE. ADVOCATE. VOLUNTEER. LIVE UNITED ® Michael Cleveland is part of United Way’s ongoing work to improve the education, income, and health of our communities. To find out how you can help create opportunities for a better life for all, visit LIVEUNITED.ORG. 26 July 6, 2017 • eugeneweekly.com Y ou know the voice: a burbling purple baritone hung like a bass note plucked by the hand of God, a testosterone lullaby, a heavenly man-purr, canyon-deep in its middle passages and twisted at the bookends by a lispy twang that lops off syllables like a hot knife separating warm dough, altogether an emblem of life, liberty and pastoral beauty, like an echo resounding from the unconquered American West, at once primordial and ruggedly civilized. And if you know the voice, you know the man: Sam Elliott, latterly of The Big Leb- owski, where his iconic cameo as the bowling-alley guru with “the whole cowboy thing going” granted him a slacker slice of recent cinematic history (“I like your style, Dude”). There isn’t a dude in the world who couldn’t use a few sage words of advice from The Stranger. For my money, however, it was Elliott’s turn as Lily Tomlin’s ex in Grandma (2015) that really nudged him forth as one of Hollywood’s most underrated character actors; it’s an edgy, savage and ultimately heartbreaking performance, and it elevates the film into near-greatness. In a sense, the depths revealed by Elliott in Grandma set the stage for The Hero, a film that is completely his. And he owns it. Co-written and directed by Brett Haley, The Hero fits rather neatly into a genre of film that we can call, cautiously, “the swan song,” in that it gives an aging actor in the twi- light of his or her career a chance to shine in a particularly bright and focused spotlight. On Golden Pond, starring Peter Fonda and Katherine Hepburn, is one of Hollywood’s more notable swan songs, as is the performance of the late, great Peter O’Toole in 2006’s Venus (and it is to the Academy’s eternal shame that O’Toole was passed over, one final time, for the best acting Oscar that year). On its surface, The Hero is so orthodox in its treatment of the late-life crisis-and- renewal theme that it verges on cliché: Elliott plays Lee Hayden, a 70-year-old actor whose one great film, a Western, is 40 years in the past (Elliott’s first movie role, by the way, was as a card player in Butch Cassidy and the Sundance Kid in 1969). Now Lee does commercial voice-overs for Lone Star barbecue sauce (a great inside joke that lends the film a pleasant winky quality). Yes, Lee is adrift. Lee smokes too much pot. Lee is alienated from his daughter Lucy (Krysten Ritter), and his ex-wife merely tolerates him (Katherine Ross, Elliott’s real-life wife). Lee’s best friend is his drug dealer (Nick Offerman). Lee gets diagnosed with terminal cancer. He starts dating a woman half his age, an L.A.-hip stand-up comedian named, of course, Charlotte (Laura Prepon). Although well-written and interestingly directed in places, The Hero never delves all that deeply (or even, at times, convincingly) into any of these relationships which, admit- tedly, are pretty hackneyed to begin with; instead, the film hones in tight on Elliott, and in that it gains considerable gravity despite a thin and fairly worn premise. Of course, I would be more than happy to watch, and listen to, an entire film of Sam Elliott making voice-overs for barbecue sause, so any criticism I might level at The Hero falls to the wayside here. In fact, this film works entirely when viewed as a sort of prose-poem to Elliott, who stands at the center of it like an aging anti-hero in a moment of mortal reckoning — sad but not yet tragic, broken but unbowed, dying but yearning for life, alienated but slouching toward reconnection. The light in Elliott’s eyes belies the leathery topography of his handsome face, and his performance here is painfully, joyfully humane, shot through with subtlety and an au- thenticity of emotion that is as captivating as the voice that defines his surface celebrity. In The Hero, Elliott proves himself more than capable of carrying a movie, and here’s to many more. The dude’s got style. (Broadway Metro)
