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About Eugene weekly. (Eugene, Oregon) 1993-current | View Entire Issue (Oct. 12, 2017)
OCTOBER 13-19 10/13-10/19 492 E. 13th Ave 541-357-0375 MOVIES THAT bijou-cinemas.com MATTER Serving the Eugene Community for Over 35 Years! ONE WEEK ONLY FRI SAT-SUN 12:15 MON-THU PROFESSOR MARSTON AND THE WONDER WOMEN (R) B Y M O L LY T E M P L E T O N 2:40 5:00 7:25 2:40 5:00 7:25 2:40 5:00 7:25 DOLORES FRI 2:45 5:00 7:15 SAT-SUN 12:30 2:45 5:00 7:15 MON-TUE 2:45 5:00 7:15 WED 2:45 5:00 7:15* THU 2:45 5:00 *WED 7:15: SPECIAL SCREENING TO BENEFIT SISTER DISTRICT PROJECT. FOR INFO AND TICKETS, VISIT HTTP://BIT.LY/2Y4FVJ4. The unconventional life story of Harvard psychologist Dr. William Marston and the relationships that inspired the creation of the iconic super heroine Wonder Woman. Starring Luke Evans, Rebecca Hall, Bella Heathcote. 1:00, 3:30, 6:00, 8:30 FACES PLACES (VISAGES, VILLAGES) (PG) In French with English Subtitles Legendary fi lmmaker Agnès Varda and photographer JR travel the French countryside and encounter people and places that become the subjects of their public art installations. 100% RT. 1:30, 5:45, 8:00 MOTHER! DAILY 7:10 NEITHER WOLF NOR DOG WALK WITH ME (NR) A meditative fi lm about a community of Zen Buddhist monks and nuns who have dedicated their lives to mastering the art of mindfulness with their world-famous teacher Thich Nhat Hanh. Narrated by Benedict Cumberbatch. 3:45 pm 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 43 W. BROADWAY (541) 686-2458 REGULAR ADMISSION $9 ADULTS $8 STUDENTS $6 SENIORS $6 BEFORE 5 PM OPEN EVERY DAY FINAL WEEK FRI SAT SUN 11:45 MON-THU 2:15 4:45 4:45 2:15 4:45 2:15 4:45 METROarts: NATIONAL THEATRE: ANGELS IN AMERICA PART I PREMIUM EVENT ADMISSION SAT 11:00 THU 7:00 THE FUTURE IS PAST STUDENT & SENIOR DISCOUNT Dennis Villeneuve’s Blade Runner 2049 is a tidy but unsatisfying sequel to Ridley Scott’s cult classic 762-1700 | 180 E. 5TH AVE DAVIDMINORTHEATER.COM $3 TUESDAYS FRI OCT 13TH - THUR OCT 19TH THE BIG SICK 4:30 SPIDER-MAN: HOMECOMING 4:45 WONDER WOMAN 6:40 LUCKY LOGAN 7:10 BABY DRIVER 9:10 DUNKIRK 9:20 Sponsored by 10TH ANNUAL Sprout Film Festival OCTOBER 19-21, 2017 Featuring unique fi lms by people with disabilities that are sure to break stereotypes, promote greater acceptance of differences and build awareness of similarities! For festival lineup & tickets, go to fullaccess.org/events RYAN GOSLING IN BLADE RUNNER 2049 BUY TICKETS ONLINE AT BROADWAYMETRO.COM A L L A G ES 28 MOVIES THE UNKNOWN GIRL (LA FILLE INCONNUE) FRI 2:15 4:45 7:15 SAT-SUN 11:45 2:15 4:45 7:15 MON-THU 2:15 4:45 7:15 TROPHY AMERICAN MADE (DIG) (R) 10:30, 1:35, 4:25, 7:15, 10:05 THE BATTLE OF THE SEXES (2017) (DIG) (PG-13) 10:00, 1:05, 4:05, 7:20, 10:20 BLADE RUNNER 2049 (3D) (R) SPECIAL EVENT PRICING: $3.00 UPCHARGE ALL TICKETS 3:20, 10:40 BLADE RUNNER 2049 (DIG) (R) 10:20, 11:30, 12:45, 2:05, 4:30, 6:05, 7:00, 8:15, 9:50 FLATLINERS (DIG) (PG-13) 10:25, 1:15, 5:00, 7:50, 10:30 THE FOREIGNER (DIG) (R) 10:35, 1:25, 4:20, 7:25, 10:15 HAPPY DEATH DAY (DIG) (PG-13) 11:35, 2:10, 4:50, 7:45, 10:25 THE HITMAN’S BODYGUARD (DIG) (R) 10:05, 12:55, 3:45, 6:50, 9:45 IT (2017) (DIG) (R) 10:10, 12:30, 1:30, 3:40, 4:40, 7:05, 8:05, 10:15 KINGSMAN: THE GOLDEN CIRCLE (DIG) (R) 9:45, 1:00, 4:15, 7:30, 10:45 THE LEGO NINJAGO MOVIE (DIG) (PG) 9:50, 11:20, 2:00, 4:45, 7:35, 10:10 THE MOUNTAIN BETWEEN US (DIG) (PG-13) 10:45, 1:40, 4:35, 7:40, 10:35 MY LITTLE PONY (DIG) (PG) 9:55, 10:40, 1:20, 4:10, 6:55, 9:40 PROFESSOR MARSTON AND THE WONDER WOMAN (DIG) (R) 10:15, 1:10, 3:50, 7:10, 10:00 THE STRAY (DIG) (PG) 11:25, 1:55, 4:55, 7:55, 10:25 IMAX: BLADE RUNNER 2049 [CC,DV] (R) ★ Fri. - Sat.1100 245 630 1015 FOREIGNER [CC,DV] (R) Fri. - Sat.(1130 225) 510 750 1035 HAPPY DEATH DAY [CC,DV] (PG-13) Fri. - Sat.(1140 215) 450 720 950 1040 BLADE RUNNER 2049 [CC,DV] (R) Fri. - Sat.(1130 315) 700 915 BLADE RUNNER 2049 3D [CC,DV] (R) ★ Fri. - Sat.(1245 PM) 430 PM 815 PM CITY OF ROCK NR Fri. - Sat.730 PM 1030 PM MOUNTAIN BETWEEN US [CC,DV] (PG-13) Fri. - Sat.(1120 205) 500 740 1020 MY LITTLE PONY [CC,DV] (PG) Fri.(1110 1250 155 335) 440 620 Sat.1030 (1110 1250 155 335) 440 620 AMERICAN MADE [CC,DV] (R) Fri.(100 355) 650 940 Sat.(110 355) 650 940 FLATLINERS [CC,DV] (PG-13) Fri. - Sat.(120) 410 700 1000 VICTORIA AND ABDUL [CC,DV] (PG-13) Fri. - Sat.(1100 145) 430 710 1005 BATTLE OF THE SEXES [CC,DV] (PG-13) Fri. - Sat.(1150 305) 600 900 KINGSMAN: THE GOLDEN CIRCLE [CC,DV] (R) Fri. - Sat.(1140 255) 610 1035 LEGO NINJAGO MOVIE [CC,DV] (PG) Fri. - Sat.(1200 235) 520 800 930 IT [CC,DV] (R) Fri. - Sat.(1210 325) 640 955 REGmovies.com FOREIGNER [CC,DV] (R) Fri. - Sat.(130) 415 700 940 HAPPY DEATH DAY [CC,DV] (PG-13) Fri. - Sat.(115) 430 720 950 October 12, 2017 • eugeneweekly.com W ill we reach a moment in time when the real world looks more science- fictional than movies? Or does it already? Ridley Scott’s Blade Runner, released in 1982, was set in 2019 — just 15 months from now. They have flying cars and replicants; we have tiny computers that go everywhere with us, digital cameras, drones and a constant connection to people around the world. It’s always interesting what science fiction predicts and what it doesn’t. “We’re almost always wrong,” William Gibson has said of writers’ takes on the future. The Blade Runner movies, though, borrow plenty of cues from the past — these stories are driven by questions of who has autonomy, who’s fully human and what that means. Or maybe it’s the present we’re talking about. Blade Runner 2049 picks up the thread 30 years after Scott’s cult favorite. On the perpetually damp, occasionally snowy, deeply cavernous streets of Los Angeles, K (Ryan Gosling) hunts replicants — the bad ones, not the good, obedient ones like him. He stumbles onto a secret that could “break the world” according to his boss, Lt. Joshi (the underused Robin Wright), who wants him to erase all evidence of this secret. Quest mode: activated! K exists because a new tech guru, Niander Wallace (Jared Leto, enunciating hard), has created a new line of (supposedly) fully obedient replicants. But that’s not enough for Wallace, who cloaks his messianic garbage behind notions of improving the world. He wants them to breed. Wallace’s desire and K’s secret are, of course, connected, because in this gorgeous new Blade Runner, the narrative slots neatly together in a way that’s tidy but unsatisfying. There are few surprises, and some moments in which you might wish director Denis Villeneuve (Arrival) and screenwriters Hampton Fancher and Michael Green would trust their audience just a teensy bit more and not beat us about the head with overlong scenes, some of which lead to obvious reveals (and, in one case, an unwatchably drawn-out death). That time might’ve been better spent digging into some of the ideas that hover in the background, present yet unexamined. 2049 isn’t without philosophical questions, but they’re like pop-up video bubbles that appear and quickly dissipate. What are the hierarchies of artificial intelligence? Can believing you’re special make you a different person? Is giving something up — your family, your life — for a better future the most noble, most human thing you can do? What does it mean when we trust our memories to technology in one way or another? And then there are the unasked questions: What does it mean to tell a story about autonomy and slavery that’s so intensely white? Why does this view of the future have such a heavy Asian influence and so few Asian characters? And why, especially in a story about bodies creating life, do the female characters revolve so fully around the men? 2049 is a breathtakingly beautiful movie; perhaps cinematographer Roger Deakins will finally get that Oscar. Villeneuve excels at depicting human forms in overwhelming spaces: tiny men under towering holograms, statues, cityscapes, looming concrete walls — lonely places that both isolate characters and remind us how vital they are, how much they want to live and how difficult that living can be. A generous reading might view the film as a warning about how society functions when self-aggrandizing white men have all the power — of course K gets to investigate his humanity, but Luv (Sylvia Hoeks), Wallace’s right-hand replicant, doesn’t get that freedom to invest in herself. Science fiction is as much about the past as the future, but shouldn’t the best of it suggest something more, something other than a neon-streaked, whitewashed vision of now?
