| Film | Evenings | Matinees | Runtime | Rating |
 |
7:25/9:30 | Sat.Sun.Mats. 2:25/4:30 | 93 |
R |
 |
7:10/ 9:15 | Sat.Sun.Mats. 2:10/4:15 | 103 |
PG-13 |
 |
7:20/9:25 | Sat.Sun. Mats. 2:20/ 4:25 | 106 |
R |
 |
7:00 Ends Thursday |
103 |
G |
|
 |
7:15/ 9:20 | Sat. Sun. Mats. 2:15/ 4:20 | 100 |
R |
 |
9:00 | Sat.Sun. Mats. 4:00
|
129 |
R |
RESTREPO
(93 R)
Showtimes: 7:25/9:30 + Sat.Sun.Mats. 2:25/4:30
RESTREPO won the Grand Jury Prize for Documentary at Sundance.
"Filmmakers Sebastian Junger and Tim Hetherington bring the reality of war to the big screen with RESTREPO. What began as an assignment for Vanity Fair Magazine and later as reports for ABC News morphs into a feature-length documentary that limns a year in the life of U.S. soldiers deployed to one of the most dangerous spots in Afghanistan. Moving and at times as riveting as any dramatic narrative, RESTREPO is the filmmakers' powerful testimony.
The title has a double meaning. Restrepo is what the soldiers of Battle Company of the 173rd Airborne Brigade name their outpost in the remote Korengal Valley in eastern Afghanistan. But it is also the name of one of their comrades, Juan Restrepo, a medic who was killed in action prior to the Korengal posting. The name is a tribute but also a reminder of what can happen to anyone of them at any time, especially in a place like Korengal, where the Taliban hide in the surrounding mountains and where combat operations are carried out on foot. Junger and Hetherington capture it all. There are moments of calm or even boredom when the troops are not engaged with the enemy, but those can be interrupted at any time as the Taliban fires on the outpost. The actual combat operations are chaotic, scary and sometimes heartbreaking. The filmmakers are discreet and respectful in the worst moments, but that doesn't take away from the power of their images. Alternating with the Korengal footage are interviews with the soldiers conducted several months after their deployment ended. They are an engaging group, young men it is easy to emotionally invest in, and that makes watching the film that much more nerve-racking and affecting. Junger and Hetherington don't try to put the war or the troops' combat operations into context. They simply record what they and the soldiers experience. It's a brilliant strategy. By keeping their focus so narrow, the filmmakers have created a wrenching piece of work that allows the viewer to draw his own conclusions-and should make anyone of whatever political persuasion think about exactly what they mean when claiming to "support the troops." (Pam Grady, Box Office)
Showtimes: 7:25/9:30 + Sat.Sun.Mats. 2:25/4:30
RESTREPO won the Grand Jury Prize for Documentary at Sundance.
"Filmmakers Sebastian Junger and Tim Hetherington bring the reality of war to the big screen with RESTREPO. What began as an assignment for Vanity Fair Magazine and later as reports for ABC News morphs into a feature-length documentary that limns a year in the life of U.S. soldiers deployed to one of the most dangerous spots in Afghanistan. Moving and at times as riveting as any dramatic narrative, RESTREPO is the filmmakers' powerful testimony.
The title has a double meaning. Restrepo is what the soldiers of Battle Company of the 173rd Airborne Brigade name their outpost in the remote Korengal Valley in eastern Afghanistan. But it is also the name of one of their comrades, Juan Restrepo, a medic who was killed in action prior to the Korengal posting. The name is a tribute but also a reminder of what can happen to anyone of them at any time, especially in a place like Korengal, where the Taliban hide in the surrounding mountains and where combat operations are carried out on foot. Junger and Hetherington capture it all. There are moments of calm or even boredom when the troops are not engaged with the enemy, but those can be interrupted at any time as the Taliban fires on the outpost. The actual combat operations are chaotic, scary and sometimes heartbreaking. The filmmakers are discreet and respectful in the worst moments, but that doesn't take away from the power of their images. Alternating with the Korengal footage are interviews with the soldiers conducted several months after their deployment ended. They are an engaging group, young men it is easy to emotionally invest in, and that makes watching the film that much more nerve-racking and affecting. Junger and Hetherington don't try to put the war or the troops' combat operations into context. They simply record what they and the soldiers experience. It's a brilliant strategy. By keeping their focus so narrow, the filmmakers have created a wrenching piece of work that allows the viewer to draw his own conclusions-and should make anyone of whatever political persuasion think about exactly what they mean when claiming to "support the troops." (Pam Grady, Box Office)
GET LOW
(103 PG-13)
Showtimes: 7:10/ 9:15 + Sat.Sun.Mats. 2:10/4:15
GET LOW features sly, highly enjoyable performances by some of our favorite film actors--Robert Duvall, Bill Murray, Sissy Spacek.
When much-feared hermit Felix Bush (Robert Duvall) comes to town with a wad of cash and announces his intention to preside over his own funeral, fast-talking mortician Frank Quinn (Bill Murray) smells a big payday in the air.
Showtimes: 7:10/ 9:15 + Sat.Sun.Mats. 2:10/4:15
GET LOW features sly, highly enjoyable performances by some of our favorite film actors--Robert Duvall, Bill Murray, Sissy Spacek.
When much-feared hermit Felix Bush (Robert Duvall) comes to town with a wad of cash and announces his intention to preside over his own funeral, fast-talking mortician Frank Quinn (Bill Murray) smells a big payday in the air.
KIDS ARE ALL RIGHT, THE
(106 R)
Showtimes: 7:20/9:25 + Sat.Sun. Mats. 2:20/ 4:25
Annette Bening and Julianne Moore play Nic and Jules, a married couple with teenage children, in The Kids Are All Right. This comfortable Southern California family has got problems like any other: Bening's Nic, a driven, sharp-edged doctor, relies a bit too much on red wine to soften up; Moore's Jules is prone to insecurity and can't get a career in gear. (Her newest venture is landscape gardening.) Their daughter, Joni (Alice in Wonderland's radiant Mia Wasikowska), an A student about to leave the nest for college, feels the strain of high expectations. Their 15-year-old son, Laser (Josh Hutcherson), doesn't even realize how much he's been missing a fatherly presence until, after hiding the quest from their moms, the siblings track down their biological ''donor dad,'' Paul (Mark Ruffalo), a loose and groovy bachelor restaurateur. (Ruffalo looks sexy as hell harvesting organic veggies for the restaurant's locavore menu.) With the addition of Paul's footloose, hetero masculine energy — he might as well stitch the motto ''It's all good!'' on his motorcycle jacket — the clan is in for some bumps ahead.
I don't know what's more delightful — that The Kids Are All Right stars Bening, Moore, and Ruffalo at the top of their games in an irresistible story of lesbian marriage, sperm-donor fatherhood, sex, red wine, and teen angst. Or that this warm, funny, sexy, smart movie erases the boundaries between specialized ''gay content'' and universal ''family content'' with such sneaky authority. So let's say both, and give high fives (or whatever they give in Southern California) to director Lisa Cholodenko (High Art, Laurel Canyon) and her co-writer, Stuart Blumberg, for using the components of a commercial dramedy to cross boundaries with such indie élan. (Perhaps there's no substitute for experience; Cholodenko and her partner are mothers of a young son.)
Guided by an outstanding script, everyone is able to go deep into her or his character. Particular huzzahs are due Bening for the precision she brings to the brusque yet emotionally expressive Nic. A famously natural, mature beauty in a Hollywood culture of youth-oriented artifice, Bening uses physical authenticity as a source of dramatic strength. Comfortable in her own skin, she's at ease inhabiting the body and exposing the soul of Nic, a complicated woman who also knows exactly who she is. (Lisa Schwarzbaum, EW)
Showtimes: 7:20/9:25 + Sat.Sun. Mats. 2:20/ 4:25
Annette Bening and Julianne Moore play Nic and Jules, a married couple with teenage children, in The Kids Are All Right. This comfortable Southern California family has got problems like any other: Bening's Nic, a driven, sharp-edged doctor, relies a bit too much on red wine to soften up; Moore's Jules is prone to insecurity and can't get a career in gear. (Her newest venture is landscape gardening.) Their daughter, Joni (Alice in Wonderland's radiant Mia Wasikowska), an A student about to leave the nest for college, feels the strain of high expectations. Their 15-year-old son, Laser (Josh Hutcherson), doesn't even realize how much he's been missing a fatherly presence until, after hiding the quest from their moms, the siblings track down their biological ''donor dad,'' Paul (Mark Ruffalo), a loose and groovy bachelor restaurateur. (Ruffalo looks sexy as hell harvesting organic veggies for the restaurant's locavore menu.) With the addition of Paul's footloose, hetero masculine energy — he might as well stitch the motto ''It's all good!'' on his motorcycle jacket — the clan is in for some bumps ahead.
I don't know what's more delightful — that The Kids Are All Right stars Bening, Moore, and Ruffalo at the top of their games in an irresistible story of lesbian marriage, sperm-donor fatherhood, sex, red wine, and teen angst. Or that this warm, funny, sexy, smart movie erases the boundaries between specialized ''gay content'' and universal ''family content'' with such sneaky authority. So let's say both, and give high fives (or whatever they give in Southern California) to director Lisa Cholodenko (High Art, Laurel Canyon) and her co-writer, Stuart Blumberg, for using the components of a commercial dramedy to cross boundaries with such indie élan. (Perhaps there's no substitute for experience; Cholodenko and her partner are mothers of a young son.)
Guided by an outstanding script, everyone is able to go deep into her or his character. Particular huzzahs are due Bening for the precision she brings to the brusque yet emotionally expressive Nic. A famously natural, mature beauty in a Hollywood culture of youth-oriented artifice, Bening uses physical authenticity as a source of dramatic strength. Comfortable in her own skin, she's at ease inhabiting the body and exposing the soul of Nic, a complicated woman who also knows exactly who she is. (Lisa Schwarzbaum, EW)
TOY STORY 3
(103 G)
Showtimes: 7:00 Ends Thursday
"A kids’ movie for grown-ups. A grown-up movie for kids. Exactly what you’d expect — and hope for — from the latest, and we’re guessing final, Woody and Buzz adventure." (Dan Jolin, Empire)
"This installment, the best of the three, is everything a movie should be: hilarious, touching, exciting and clever. The tale touches the heart as no movie in recent memory has done. Who would think a movie about plastic toys could speak so powerfully to audiences of all ages? Years have gone by since 1995's Toy Story. The toys' boy, Andy, is now 17 and about to leave for college.Andy's toys have been amusing themselves, though consigned to a toybox. But the gang's future is uncertain: Will they get played with again or languish in lonely obscurity in a dusty attic? Following a few twists, the toys end up at Sunnyside day care center, 'a place of ruin and despair,' according to the dramatic Mr. Pricklepants. The movie segues into a prison escape thriller with apocalyptic undertones, the suspense always leavened with laughs." (Claudia Puig, USA Today)
Showtimes: 7:00 Ends Thursday
"A kids’ movie for grown-ups. A grown-up movie for kids. Exactly what you’d expect — and hope for — from the latest, and we’re guessing final, Woody and Buzz adventure." (Dan Jolin, Empire)
"This installment, the best of the three, is everything a movie should be: hilarious, touching, exciting and clever. The tale touches the heart as no movie in recent memory has done. Who would think a movie about plastic toys could speak so powerfully to audiences of all ages? Years have gone by since 1995's Toy Story. The toys' boy, Andy, is now 17 and about to leave for college.Andy's toys have been amusing themselves, though consigned to a toybox. But the gang's future is uncertain: Will they get played with again or languish in lonely obscurity in a dusty attic? Following a few twists, the toys end up at Sunnyside day care center, 'a place of ruin and despair,' according to the dramatic Mr. Pricklepants. The movie segues into a prison escape thriller with apocalyptic undertones, the suspense always leavened with laughs." (Claudia Puig, USA Today)
WINTER'S BONE
(100 R)
Showtimes: 7:15/ 9:20 + Sat. Sun. Mats. 2:15/ 4:20
17 year old Ree Dolly has a terrifying quest: she must find her missing father or lose the Ozark homestead where she and her two younger siblings just manage to get by. To find him she must confront one by one the hard-bitten, meth-dealing, secretive and ungiving members of her extended family. WINTER'S BONE won the Grand Jury Prize for Dramatic Film at Sundance, and its reviews are the best of the year so far. The film scored a rare 90% on metacritic .com, and even rarer are the 18 reviews which rated the film at 100%. The buzz is there that this small film by a nearly unknown woman director (Debra Granik) will be or should be Oscar-nominated for Best Picture and Best Actress (19-year-old Jennifer Lawrence, also a newcomer). Some characteristic quotes: "As a modern heroine, Ree Dolly has no peer, and Winter’s Bone is the year’s most stirring film." (New York Magazine) "Spectacular for its humanity, austere beauty and heart-stopping urgency." (Joe Morgenstern, WSJ) "Every so often a film gets under our skin with its haunting authenticity, reinforcing our faith in the wonderfully transporting power of cinematic storytelling. Winter's Bone is unquestionably that film."(Claudia Puig, USA Today)
Showtimes: 7:15/ 9:20 + Sat. Sun. Mats. 2:15/ 4:20
17 year old Ree Dolly has a terrifying quest: she must find her missing father or lose the Ozark homestead where she and her two younger siblings just manage to get by. To find him she must confront one by one the hard-bitten, meth-dealing, secretive and ungiving members of her extended family. WINTER'S BONE won the Grand Jury Prize for Dramatic Film at Sundance, and its reviews are the best of the year so far. The film scored a rare 90% on metacritic .com, and even rarer are the 18 reviews which rated the film at 100%. The buzz is there that this small film by a nearly unknown woman director (Debra Granik) will be or should be Oscar-nominated for Best Picture and Best Actress (19-year-old Jennifer Lawrence, also a newcomer). Some characteristic quotes: "As a modern heroine, Ree Dolly has no peer, and Winter’s Bone is the year’s most stirring film." (New York Magazine) "Spectacular for its humanity, austere beauty and heart-stopping urgency." (Joe Morgenstern, WSJ) "Every so often a film gets under our skin with its haunting authenticity, reinforcing our faith in the wonderfully transporting power of cinematic storytelling. Winter's Bone is unquestionably that film."(Claudia Puig, USA Today)
GIRL WHO PLAYED WITH FIRE, THE
(129 R)
Showtimes: 9:00 + Sat.Sun. Mats. 4:00
"Picking up a year following the incidents in the first movie, the story's two protagonists are estranged from each other. The 'girl' in all the titles is Lisbeth Salander (a perfectly cast Noomi Rapace), a brooding, anti-social, fiercely independent bisexual computer hacker with multiple tattoos and body piercings. After helping crusading business journalist Mikael Blomkvist (Michael Nyqvist) solve a 40-year-old cold case and, not incidentally, restore his good name in journalism, Lisbeth is horrified to find she has fallen in love with the older man. This is an even greater threat to her independence than her legal guardian, a lawyer who liked to beat and rape her until she violently turned the tables on him. So Lisbeth has cut off all contact with the bewildered publisher of Millennium magazine. Then, on the eve of the magazine's publication of an expose of extensive sex trafficking in Sweden, its two authors are murdered.
Shockingly, Lisbeth's fingerprints are found on the murder weapon. Making matters worse, the gun belongs to her guardian, and soon he (spoiler alert) also is found dead. Separately, the two plunge into an investigation. Police are certain of Lisbeth's guilt, but Mikael means to prove her innocent. As with all the stories in the series, these investigations shed more and more light about Lisbeth's troubled past. She certainly is one of the most original and electrifying characters in all of crime fiction, gifted with phenomenal investigative abilities from a photographic memory to computer skills as well as a fearless capacity to physically attack much larger men. Rapace does full justice to the character. Her eyes brim with cold hatred when an adversary approaches, and her lithe moments are like a big cat's when intent on a kill..." (Kirk Honeycutt, Hollywood Reporter)
Showtimes: 9:00 + Sat.Sun. Mats. 4:00
"Picking up a year following the incidents in the first movie, the story's two protagonists are estranged from each other. The 'girl' in all the titles is Lisbeth Salander (a perfectly cast Noomi Rapace), a brooding, anti-social, fiercely independent bisexual computer hacker with multiple tattoos and body piercings. After helping crusading business journalist Mikael Blomkvist (Michael Nyqvist) solve a 40-year-old cold case and, not incidentally, restore his good name in journalism, Lisbeth is horrified to find she has fallen in love with the older man. This is an even greater threat to her independence than her legal guardian, a lawyer who liked to beat and rape her until she violently turned the tables on him. So Lisbeth has cut off all contact with the bewildered publisher of Millennium magazine. Then, on the eve of the magazine's publication of an expose of extensive sex trafficking in Sweden, its two authors are murdered.
Shockingly, Lisbeth's fingerprints are found on the murder weapon. Making matters worse, the gun belongs to her guardian, and soon he (spoiler alert) also is found dead. Separately, the two plunge into an investigation. Police are certain of Lisbeth's guilt, but Mikael means to prove her innocent. As with all the stories in the series, these investigations shed more and more light about Lisbeth's troubled past. She certainly is one of the most original and electrifying characters in all of crime fiction, gifted with phenomenal investigative abilities from a photographic memory to computer skills as well as a fearless capacity to physically attack much larger men. Rapace does full justice to the character. Her eyes brim with cold hatred when an adversary approaches, and her lithe moments are like a big cat's when intent on a kill..." (Kirk Honeycutt, Hollywood Reporter)
