CINEMAPOLIS SEEKS EXECUTIVE DIRECTOR
- CELEBRATE CHARLES DICKENS' 200TH BIRTHDAY WITH US
- OKA! to be presented Sunday Feb.12, with director Lavinia Currier
- "MY REINCARNATION" PLAYS FEB. 16 AT 7 PM
- "AND THE WINNER IS..." GALA AT CINEMAPOLIS FEB. 26
- NATIONAL THEATRE LIVE WINTER/SPRING SCHEDULE
- PULP FICTION WINS AUDIENCE FAVORITE VOTE, SCREENS JAN.25
January 27-February 2
VIEW NEXT WEEK'S SCHEDULE
| Film | Evenings | Matinees | Runtime | Rating |
 |
7:20/9:20 | Sat.Sun. Mats. 2:20/4:20 | 99 |
R |
 |
7:25/9:40 | Sat.Sun. Mats. 2:25/4:40 | 101 |
NC-17 |
 |
7:00/9:15 | Sat. Sun.Mats 2:00/4:15 | 100 |
PG-13 |
 |
7:10/9:35 | Sat. Sun. Mats. 2:10/4:35 | 127 |
R |
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7:15/9:30 | Sat.Sun. Mats. 2:15/4:30 | 115 |
R |
A DANGEROUS METHOD
(99 R)
Showtimes: 7:20/9:20 + Sat.Sun. Mats. 2:20/4:20
The friendship, collaboration and disillusionment of Sigmund Freud and Carl Gustav Jung forms the basis of David Cronenberg's latest, starring Michael Fassbender, Viggo Mortensen, and Keira Knightley. “Cronenberg’s film is at once a lucid movie of ideas, a compelling narrative, and a splendidly acted love story—a sort of lopsided triangle involving Jung (Fassbender), Freud (Mortensen), and Sabina Spielrein (Knightley), the near-forgotten patient-turned-disciple who confounded both men en route to her own tragic destiny.” (J. Hoberman, Village Voice)
Seduced by the challenge of an impossible case, the driven Jung takes the unbalanced Spielrein as his patient. Jung's weapon is the method of his master, the renowned Freud the still experimental ‘talking cure.’Liberated by therapy from her symptoms, Spielrein proves clever, intuitive, and forward. She not only blurts out what’s on her mind, which includes aspiring to become a psychoanalyst, but also eventually takes the initiative in propositioning her married doctor. Later, when their affair founders, she will contact his mentor Freud, thus becoming one of the catalysts of the split. Cronenberg and screenwriter Christopher Hampton base their story on letters among the three principals, driven by the desire to resurrect their still resonating conversations.
Showtimes: 7:20/9:20 + Sat.Sun. Mats. 2:20/4:20
The friendship, collaboration and disillusionment of Sigmund Freud and Carl Gustav Jung forms the basis of David Cronenberg's latest, starring Michael Fassbender, Viggo Mortensen, and Keira Knightley. “Cronenberg’s film is at once a lucid movie of ideas, a compelling narrative, and a splendidly acted love story—a sort of lopsided triangle involving Jung (Fassbender), Freud (Mortensen), and Sabina Spielrein (Knightley), the near-forgotten patient-turned-disciple who confounded both men en route to her own tragic destiny.” (J. Hoberman, Village Voice)
Seduced by the challenge of an impossible case, the driven Jung takes the unbalanced Spielrein as his patient. Jung's weapon is the method of his master, the renowned Freud the still experimental ‘talking cure.’Liberated by therapy from her symptoms, Spielrein proves clever, intuitive, and forward. She not only blurts out what’s on her mind, which includes aspiring to become a psychoanalyst, but also eventually takes the initiative in propositioning her married doctor. Later, when their affair founders, she will contact his mentor Freud, thus becoming one of the catalysts of the split. Cronenberg and screenwriter Christopher Hampton base their story on letters among the three principals, driven by the desire to resurrect their still resonating conversations.
SHAME
(101 NC-17)
Showtimes: 7:25/9:40 + Sat.Sun. Mats. 2:25/4:40
"SHAME is a dispassionate treatment of a disturbing topic, and therein lies its power. Sexually graphic enough to earn its NC-17 rating yet made with a restraint that's both unflinching and unnerving, this is a psychologically claustrophobic film that strips its characters bare literally and figuratively.... Directed by Steve McQueen from a script he co-wrote with Abi Morgan, this story of the obsessive behavior of a man addicted to sexual activity demands an actor willing to completely reveal himself emotionally as well as physically. In Michael Fassbender, SHAME has gotten exactly that.
Seen this year in a range of films including 'A Dangerous Method,' 'Jane Eyre' and 'X-Men: First Class,' Fassbender's breakthrough performance was as Irish hunger striker Bobby Sands in British filmmaker McQueen's wrenching 2008 "Hunger," and he brings the same commanding magnetism and intensity to the director's latest work." (Kenneth Turan, LA Times)
Showtimes: 7:25/9:40 + Sat.Sun. Mats. 2:25/4:40
"SHAME is a dispassionate treatment of a disturbing topic, and therein lies its power. Sexually graphic enough to earn its NC-17 rating yet made with a restraint that's both unflinching and unnerving, this is a psychologically claustrophobic film that strips its characters bare literally and figuratively.... Directed by Steve McQueen from a script he co-wrote with Abi Morgan, this story of the obsessive behavior of a man addicted to sexual activity demands an actor willing to completely reveal himself emotionally as well as physically. In Michael Fassbender, SHAME has gotten exactly that.
Seen this year in a range of films including 'A Dangerous Method,' 'Jane Eyre' and 'X-Men: First Class,' Fassbender's breakthrough performance was as Irish hunger striker Bobby Sands in British filmmaker McQueen's wrenching 2008 "Hunger," and he brings the same commanding magnetism and intensity to the director's latest work." (Kenneth Turan, LA Times)
ARTIST, THE
(100 PG-13)
Showtimes: 7:00/9:15 + Sat. Sun.Mats 2:00/4:15
THE ARTIST WON the BEST PICTURE and BEST DIRECTOR awards from the New York Film Critics' Circle. It won the Golden Globes for Best Motion Picture--Musical or Comedy, for Best Actor--Musical or Comedy (Jean Dujardin), and for Best Score.
'Hollywood 1927. George Valentin is a silent movie superstar. The advent of the talkies will sound the death knell for his career and see him fall into oblivion. For young extra Peppy Miller, it seems the sky's the limit - major movie stardom awaits. The Artist tells the story of their interlinked destinies.
Showtimes: 7:00/9:15 + Sat. Sun.Mats 2:00/4:15
THE ARTIST WON the BEST PICTURE and BEST DIRECTOR awards from the New York Film Critics' Circle. It won the Golden Globes for Best Motion Picture--Musical or Comedy, for Best Actor--Musical or Comedy (Jean Dujardin), and for Best Score.
'Hollywood 1927. George Valentin is a silent movie superstar. The advent of the talkies will sound the death knell for his career and see him fall into oblivion. For young extra Peppy Miller, it seems the sky's the limit - major movie stardom awaits. The Artist tells the story of their interlinked destinies.
TINKER TAILOR SOLDIER SPY
(127 R)
Showtimes: 7:10/9:35 + Sat. Sun. Mats. 2:10/4:35
"The Cold War is over, but director Tomas Alfredson (Let the Right One In) and his collaborators have brought those suspicion-fueled days to vivid life in this masterful adaptation of John le Carré’s beloved 1974 spy novel. Here’s all you need to know: There’s a Soviet operative in the British secret service, and forcibly retired MI6 man George Smiley (Oldman, perfection) has to find out who it is.
Now immerse yourself in the world Alfredson creates, a paranoiac’s nightmare of cautiously opened doors, enigmatic glances and soundproofed rooms inhabited by men in suits with shady motives. (The film is extraordinarily photographed by Hoyte Van Hoytema.) At the center of it all is Smiley, practically a caricature with his oversize glasses and somnolently polite demeanor, but possessed of a scarily patient intelligence—a bespectacled predator waiting for just the right moment to pounce. Alfredson shares the character’s confident composure, allowing the narrative to unfold with trancelike precision and finding piercing moments of pitch-black humor—which augment and deepen a movie that’s already several cuts above the secret-agent cinema standard." (Keith Uhlich, Time Out New York)
STARRING GARY OLDMAN, COLIN FIRTH,CIARAN HINDS, TOBY JONES, BENEDICT CUMBERBATCH
Showtimes: 7:10/9:35 + Sat. Sun. Mats. 2:10/4:35
"The Cold War is over, but director Tomas Alfredson (Let the Right One In) and his collaborators have brought those suspicion-fueled days to vivid life in this masterful adaptation of John le Carré’s beloved 1974 spy novel. Here’s all you need to know: There’s a Soviet operative in the British secret service, and forcibly retired MI6 man George Smiley (Oldman, perfection) has to find out who it is.
Now immerse yourself in the world Alfredson creates, a paranoiac’s nightmare of cautiously opened doors, enigmatic glances and soundproofed rooms inhabited by men in suits with shady motives. (The film is extraordinarily photographed by Hoyte Van Hoytema.) At the center of it all is Smiley, practically a caricature with his oversize glasses and somnolently polite demeanor, but possessed of a scarily patient intelligence—a bespectacled predator waiting for just the right moment to pounce. Alfredson shares the character’s confident composure, allowing the narrative to unfold with trancelike precision and finding piercing moments of pitch-black humor—which augment and deepen a movie that’s already several cuts above the secret-agent cinema standard." (Keith Uhlich, Time Out New York)
STARRING GARY OLDMAN, COLIN FIRTH,CIARAN HINDS, TOBY JONES, BENEDICT CUMBERBATCH
DESCENDANTS, THE
(115 R)
Showtimes: 7:15/9:30 + Sat.Sun. Mats. 2:15/4:30
THE DESCENDANTS has won the Golden Globes for Best Drama and Best Actor. "Is THE DESCENDANTS a laugh-out-loud comedy? Or a multi-hankie melodrama? An escapist star vehicle or scruffy indie road trip movie? Larger than life or completely true to it? The answer, gratifyingly, is yes....THE DESCENDANTS is an ode to emotional dissonance, wherein regret and antic humor can coexist and even share a drink; it's a tricky tonal high-wire act that writer-director Alexander Payne (Sideways, Election, About Schmidt), working from Kaui Hart Hemmings's novel, pulls off with uncommon skill and aplomb. King, as Clooney's voice tells us in a voice-over, is the wealthy descendant of Hawaiian royalty, a privileged native of the islands who as the movie opens is watching his wife, Elizabeth, lie comatose in a hospital bed after suffering a near-fatal boating accident. A distant husband and father, Matt must find a way to bond with his daughters, 10-year-old Scottie (Amara Miller) and 17-year-old Alex (Shailene Woodley), the first of whom has a penchant for flipping her dad the bird, while the latter is spending her boarding school years in a cloud of permanent rage and incipient alcoholism..." (Ann Hornaday, Wash.Post)
"The film treats the serious business of life and death with a light hand, while handling the overtly comic material with a sneaky sense of gravity. THE DESCENDANTS makes quality look easy. It's one of the year's most pleasurable American movies." (Michael Phillips, Chicago Tribune)
Showtimes: 7:15/9:30 + Sat.Sun. Mats. 2:15/4:30
THE DESCENDANTS has won the Golden Globes for Best Drama and Best Actor. "Is THE DESCENDANTS a laugh-out-loud comedy? Or a multi-hankie melodrama? An escapist star vehicle or scruffy indie road trip movie? Larger than life or completely true to it? The answer, gratifyingly, is yes....THE DESCENDANTS is an ode to emotional dissonance, wherein regret and antic humor can coexist and even share a drink; it's a tricky tonal high-wire act that writer-director Alexander Payne (Sideways, Election, About Schmidt), working from Kaui Hart Hemmings's novel, pulls off with uncommon skill and aplomb. King, as Clooney's voice tells us in a voice-over, is the wealthy descendant of Hawaiian royalty, a privileged native of the islands who as the movie opens is watching his wife, Elizabeth, lie comatose in a hospital bed after suffering a near-fatal boating accident. A distant husband and father, Matt must find a way to bond with his daughters, 10-year-old Scottie (Amara Miller) and 17-year-old Alex (Shailene Woodley), the first of whom has a penchant for flipping her dad the bird, while the latter is spending her boarding school years in a cloud of permanent rage and incipient alcoholism..." (Ann Hornaday, Wash.Post)
"The film treats the serious business of life and death with a light hand, while handling the overtly comic material with a sneaky sense of gravity. THE DESCENDANTS makes quality look easy. It's one of the year's most pleasurable American movies." (Michael Phillips, Chicago Tribune)
