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?