Eugene Weekly

Within a minute of Zero Dark Thirty, I was in tears. Director Kathryn Bigelow doesn’t pull punches, and the film’s dark-screen open is no exception: It leaves the images to your imagination as the audio gives you scared, horrified, frantic voices. I assume these are re-creations of audio from 9/11. If they’re not, I don’t want to know.  Continue reading →

Léos Carax’s baffling, magical Rorschach blot of a film, Holy Motors, is a magic mirror: It gives you what you want from it. If you think it’s funny, you’ll be amused; if you think it’s serious, you’ll be somber. Continue reading →

2013 will be the year of … more comic book-based films, more action flicks and more zombie apocalypse movies, not to mention sequels, more sequels and reboots: Man of Steel (another Superman reboot), The Hunger Games: Catching Fire (the second film of the trilogy), Jack Ryan (a second reboot of the Tom Clancy franchise), A Good Day to Die Hard (Bruce Willis’ fifth time as Mr. McClane), World War Z (Brad Pitt fights zombies), Pacific Rim (robots vs. Continue reading →

The Hobbit is not a particularly large book. It’s a friendly size, a book that a kid can read happily, without tripping over the endless pages of description — and walking — that fill The Fellowship of the Ring. The Hobbit: An Unexpected Journey is not the same size. The first film in Peter Jackson’s Hobbit trilogy pulls from Tolkien’s seemingly endless trove of Middle-Earth lore, filling out An Unexpected Journey until it’s more of a war story than the sprightly adventure on which it’s based.  Continue reading →

Taylor Guterson’s quietly likable debut feature, Old Goats, is a very Northwestern film — damp, relaxed, full of the mellow charms of its Bainbridge Island setting and featuring more cups of coffee than you can count. The film showcases three old goats, each wrestling with age in a specific way: Bob (Bob Burkholder), who’s just written a memoir detailing his colorful life and plentiful sexual conquests, can hardly hold still; he’s constantly asking friends for a ride or offering unsolicited advice on their futures. Continue reading →

The first half hour of Atonement director Joe Wright’s Anna Karenina is such a joy to watch, I began to doubt my expectations of the story. This has a tragic ending, doesn’t it? Terrible things are going to happen? For that matter, unfortunate things are happening in the first act, but the clever way they’ve been pieced together is a magical distraction, and appropriately so. Continue reading →

Lincoln, contrary to what its name implies, is not a defining portrait of a man, though Daniel Day-Lewis’ performance as Abraham Lincoln is one of his defining roles. Stooped, quiet, introverted, exhausted, brilliant and prone to making his point via stories, Day-Lewis’ Lincoln is the calm center to a complex and flawed film about the 16th president — and about the role of politics in America’s terrible relationship with race. Continue reading →

The Sessions, a candid, gentle film about a paralyzed man’s quest to have sex, walks a tricky, balanced, grave and funny path that’s all its own. Struck by polio at a young age, Mark O’Brien (John Hawkes) lives mostly in an iron lung; he can get out for a few hours at a time, his assistant pushing him on a gurney. Three assistants are key in the film: Amanda (Annika Marks), a pretty young woman with whom Mark falls in love; Rod (Hawkes’ fellow Deadwood alum W. Continue reading →

If you look at Richard Gere’s body of work, it appears he should be on movie screens constantly. A film or two every year, an I’m Not There slipped in between every couple of Unfaithfuls. But Gere still gives the impression, somehow, of popping up every so often, not remaining constantly visible, not sustaining a movie star presence. And when was the last time Gere actually impressed you? Continue reading →

Four years ago, this country was gearing up to elect Team Obama-Biden or Team McCain-Palin. Four years ago there were flag pins, Bill Ayers and lipsticked pigs instead of Big Bird, Bain and bayonets. Four years ago, Mitt Romney was a blip on the election trail and the U.S. was toppling into one of the largest economic downturns in history. And four years ago, the David Minor Theater (DMT) opened at 5th and Pearl St., bringing film and libations to Eugene. Friday, Nov. 2, the theater will host a “Re-election Party” to mark the conclusion of that crucial first term. Continue reading →