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MOTHER!
BATTLE OF THE SEXES (PG-13)
FINAL WEEK
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PROFESSOR MARSTON AND
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8:50
NEITHER WOLF NOR DOG
FINAL WEEK
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2:30 7:10
7:10
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RUMBLE: THE INDIANS WHO
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DUNKIRK
3:15*
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WIND RIVER
THE BIG SICK
LUCKY
LOGAN
A GHOST
STORY
7:25
7:10
9:25
9:15
AMERICAN MADE (DIG) (R)
10:05, 12:50, 3:35, 6:45, 9:35
THE BATTLE OF THE SEXES
(2017) (DIG) (PG-13)
3:45, 6:50
BLADE RUNNER 2049 (DIG) (R)
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8:10, 9:50
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10:25, 1:15, 5:00, 7:50, 10:35
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11:00, 2:00, 4:55, 7:55, 10:25
IT (2017) (DIG) (R)
12:30, 3:40, 7:00, 10:15
KINGSMAN: THE GOLDEN
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9:50, 11:05, 1:55, 4:45, 7:40,
10:20
THE MOUNTAIN BETWEEN US
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10:45, 1:40, 4:35, 7:25, 10:35
MY LITTLE PONY (DIG) (PG)
9:55, 10:40, 1:20, 4:10, 6:55,
9:40
ONLY THE BRAVE (DIG) (PG-13)
9:50, 12:55, 4:05, 7:15, 10:25
PROFESSOR MARSTON AND
THE WONDER WOMEN (DIG) (R)
10:00, 1:05, 9:45
SAME KIND OF DIFFERENT AS
ME (DIG) (PG-13)
10:55, 1:50, 4:50, 7:45, 10:40
THE SNOWMAN (DIG) (R)
10:50, 1:45, 4:40, 7:35, 10:30
THE STRAY (DIG) (PG)
10:15, 1:10, 3:50, 6:40, 9:30
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Fri. - Sat.1135 220 505 750 1035
DISNEY JUNIOR AT THE MOVIES - HALLOWEEN
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ONLY THE BRAVE [CC,DV] (PG-13)
Fri. - Sat.(1210 325) 640 955
GEOSTORM [CC,DV] (PG-13)
Fri. - Sat.(130 PM) 420 PM 710 PM
SAME KIND OF DIFFERENT AS ME [CC,DV] (PG-13)
Fri. - Sat.(1250 350) 650 950
Fri. - Sat.1000 PM
GEOSTORM 3D [CC,DV] (PG-13) ★
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TYLER PERRY'S BOO 2! A MADEA HALLOWEEN
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FOREIGNER [CC,DV] (R)
Fri. - Sat.(150) 440 730 1025
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Fri. - Sat.(1220 255) 535 810 1040
BLADE RUNNER 2049 [CC,DV] (R)
Fri. - Sat.(1130 315) 550 700 940 1040
MY LITTLE PONY [CC,DV] (PG)
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AMERICAN MADE [CC,DV] (R)
Fri. - Sat.1020 PM
MOUNTAIN BETWEEN US [CC,DV] (PG-13)
Fri. - Sat.(245 PM) 920 PM
VICTORIA AND ABDUL [CC,DV] (PG-13)
Fri. - Sat.(1240 335) 620 910
MARK FELT: THE MAN WHO BROUGHT DOWN THE WHITE
HOUS (PG-13)
Fri. - Sat.(1240 325) 610 850
LEGO NINJAGO MOVIE [CC,DV] (PG)
Fri. - Sat.(1130 210) 455 740
KINGSMAN: THE GOLDEN CIRCLE [CC,DV] (R)
Fri. - Sat.(1130 AM) 600 PM
IT [CC,DV] (R)
Fri. - Sat.(315 PM) 630 PM 940 PM
Sunrise
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JESSICA ROTHE
IN HAPPY DEATH DAY
STUDENT
& SENIOR
DISCOUNT
A L L A G ES
SPIDER-MAN:
HOMECOMING GOOSEBUMPS GOOSEBUMPS
BY RICK LEVIN
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LUCKY
October 19, 2017 • eugeneweekly.com
Groundhog Day meets Scream in the recurring nightmare
of Happy Death Day
I
n Ambrose Bierce’s classic story “An Occurrence at Owl Creek Bridge,” a plantation
owner in the Civil War is hanged from a bridge. Between the time he is pushed off and
the moment he hits the bottom of the rope, the prisoner dreams of escape, hallucinating
an elaborate story that ends, surprising the reader, when his neck snaps in the noose.
The chilling implication of this story, of course, is that life itself is but the dream of
a dying animal, a fantasy concocted before oblivion closes in for good. Egad — perchance
to dream, indeed!
The 1993 film Groundhog Day inverted the horror of Bierce’s existential nightmare into
a fable of secular resurrection. In it, Bill Murray plays a cynical, selfish TV reporter who
keeps waking up in the same day, doomed to repeat it until he figures out how to be a better
man. Brilliantly directed by Harold Ramis (who also co-wrote the script), Groundhog Day
mines its conceit of eternal return for comic effect, but it’s also a strangely affecting film,
a deep meditation on narcissism, stagnation and renewal that is inspiring without being
corny.
Happy Death Day is essentially Groundhog Day updated as a slasher flick in the style
of Wes Craven’s Scream franchise. It is a poor study of Ramis’s film, lacking the coherence
and zip of its predecessor, though it’s not without a certain schlocky appeal.
Jessica Rothe plays Tree, a solipsistic sorority sister who wakes up hungover in the
dorm room of Carter (Israel Broussard), just the nicest guy ever. Turns out Tree is a serious
asshole — a lout, abusive and careless — though not without reason.
Pulling herself together, she stumbles through her day being mean to people and having
an affair with a professor and ignoring her dad’s calls until, at night, she is murdered by
someone wearing the creepiest baby mask you’ve ever seen.
And then she wakes up hungover, in the same dorm room, and the day repeats itself, ad
infinitum. It’s her birthday. It’s her death day.
It’s best, if you decide to see Happy Death Day, not to think too hard about it all. Un-
like Groundhog Day, which maintained an impossibly tight narrative that somehow made
endless repetitions mesmerizing, Happy Death Day is clunky and inconsistent. It pastes its
slasher tropes willy nilly to the skeleton of a romantic comedy, without much concern for
the absurdities that arise and remain unanswered.
Director Christopher Landon seems unconcerned with anything but the mechanics of
advancing from scene to scene, and this creates massive gaps in the film’s internal logic. He
leans too heavily on our awareness of Groundhog Day itself, as though that reference point
will clear up issues he seems unwilling to develop. This doesn’t so much derail the film as
diminish its ability to generate intensity and tension — the staple of horror.
There is, however, one very good reason to see Happy Death Day, and that is Rothe’s
star-making turn in the lead. She’s an unusual actor, in the best sense of the word: a bit
threatening, in a coiled, cubist sort of way, and capable of rapidly registering emotions with
a sharp-edged, frazzled naturalism that wraps her in an aura of tensed vulnerability. Rothe
seems equally attuned to the rhythms of comedy and tragedy, and it’s exciting to think of
her landing a role she could really bite into — one of those arid domestic psychodramas by
Tracy Letts, for instance, or even some good-old Tennessee Williams.
For now, however, her performance in Happy Death Day, as a woman forever threat-
ened with extinction, is enough to recommend the film. ■