- $ 8.00 Adults
- $ 7.00 Seniors
- $ 7.00 Students (High School and younger)
- $ 6.00 Matinees
- $ 5.50 Children 12 and under
- $ 65.00 10 Film Pass
Fri. - October 17 - 7:00 pm SSat. - October 18 - 4:00 - 7:00 - 9:15 pmA/SSun. - October 19 - 2:15 - 4:15 - 7:00 pm S/AMon. - October 20 - 7:00 pmTues. - October 21 - 7:15 pm SWed. - October 22 - 7:00 pm AThurs. - October 23 - Not Showing
SYNOPSIS: DAYS AND NIGHTS is writer/director Christian Camargo's directorial debut, inspired by Anton Chekhov's The Seagull and set in rural New England in the 1980s. The film centers around Elizabeth (Allison Janney), a movie star, who brings her paramour Peter to her lakeside estate to visit her family on Memorial Day weekend. The household includes her ailing brother (William Hurt), her artist son (Ben Whishaw), his ethereal muse (Juliet Rylance), the family doctor (Jean Reno) and the estate's custodian (Russell Means), the careless caretaker (Michael Nyqvist) and his wife (Cherry Jones), their temperamental daughter (Katie Holmes) and her long suffering ornithologist husband (Mark Rylance) -- the keeper of the sacred land where a bald eagle is trying to raise its young. During the weekend a disastrous turn of events leads the family from dysfunction to heartbreak and, ultimately, salvation
SELECTED REVIEW: The cast list for “Days and Nights,” a modern reworking of Chekhov’s “The Seagull,” is so juicy that I approached the movie with lip-smacking expectations of scenery being chewed and spit out with histrionic gusto. Even at its worst, how bad could an updated version of the play be, if actors of the caliber of Allison Janney, William Hurt, Cherry Jones and Mark Rylance had signed on? The answer is worse than you could imagine.
The truncated shambles on the screen is evidence, if any more proof were needed, that great actors can go only so far (not very) to salvage an artistic shipwreck. Written and directed by Christian Camargo, the film, which runs a scant 92 minutes, is set at a lakeside estate in Connecticut during Memorial Day weekend in 1984.
The manor is owned by Elizabeth (Ms. Janney), a famous actress whose career is in eclipse. She arrives with her younger lover, Peter (an inert, expressionless Mr. Camargo), an opportunistic filmmaker with a roving eye. Also on hand are her desperately unhappy son, Eric (Ben Whishaw), an aspiring multimedia artist whose work she viciously derides; her ailing brother, Herb (Mr. Hurt); and Herb’s resident doctor (Jean Reno).
They are joined by the estate’s gun-happy caretaker (Michael Nyqvist); his wife (Ms. Jones); and their daughter (Katie Holmes), who is married to a local ornithologist (Mr. Rylance); and by Eva (Juliet Rylance, Mr. Rylance’s stepdaughter, who is married to Mr. Camargo), a restless neighbor whom Eric adores and Peter ogles.
Ms. Janney’s bitter diva has none of the self-deluded grandeur of her Chekhovian prototype, Irina Arkadina. No slouch when it comes to playing angry, jealous women of a certain age, Ms. Janney oozes a malicious narcissism. She and Mr. Whishaw, whose character is modeled after Irina’s son, Konstantin, give the fullest performances, and the ensemble acting is fluid.
But “The Seagull,” with its depiction of fin de siècle ennui, has been hollowed out and trivialized. So little time is given to the subsidiary characters in “Days and Nights” that, at times, the movie barely makes sense. The avian symbol has been changed from a sea gull to a bald eagle. What remains is a cracked shell.
Fri. - October 17 - 9:00 pm SSat. - October 18 - 4:15 - 7:15 pmSSun. - October 19 - 2:00 - 4:00 pm AMon. - October 20 - 7:15 pm STues. - October 21 - Not ShowingWed. - October 22 - 7:15 pm SThurs. - October 23 - Not Showing
SYNOPSIS: Craig Johnson's The Skeleton Twins stars Saturday Night Live alums Bill Hader and Kristen Wiig as estranged siblings who are forced to spend time together again after an unexpected tragedy. Brother Milo (Hader) returns to their small New York hometown in order to be closer to his sister Maggie (Wiig), who he discovers is in an unhappy marriage. Milo hooks up with an old buddy and reminisces about his troubled teen years. The Skeleton Twins screened at the 2014 Sundance Film Festival, where it won the Waldo Salt Screenwriting Award.
SELECTED REVIEW: As I’m writing this review of “The Skeleton Twins,” I have Starship’s sparkly, glossy pop tune “Nothing’s Gonna Stop Us Now” stuck in my head. It’s probably stuck in yours now, too, and for that, I sincerely apologize.
Originally the theme to the 1987 romantic comedy “Mannequin,” this relentlessly optimistic No. 1 hit makes a crucial appearance in a very different way in “The Skeleton Twins.” But before you cringe at the very prospect of hearing it again, just hear me out. Director and co-writer Craig Johnson uses the song so surprisingly and beautifully, you actually won’t mind. Actually, you'll have an enormous smile on your face.
It’s one of many examples of how Johnson and co-writer Mark Heyman take clichéd notions, upend them, breathe fresh life into them and make them feel excitingly new. That Starship song comes in the form of a spirited lip-sync between Bill Hader and Kristen Wiig, who co-star as estranged twins fumbling to reconnect. They also get high together–a classic shorthand for breaking the ice and bonding in films–and they dress up in drag for Halloween.
We’ve seen countless uses of these devices and too often they seem wacky, forced and flat. In “The Skeleton Twins,” an off-kilter sense of humor, as well as a pervasive feeling of loneliness and regret, provides a more complex and far more human vibe.
Wiig and Hader co-star as Maggie and Milo, twins who live across the country from each other and haven’t spoken in a decade. She stayed in their hometown of Nyack, N.Y., got married and became a dental hygienist; he moved to Los Angeles with dreams of becoming an actor but instead works as a waiter. Their father committed suicide when they were 14. Their mother (Joanna Gleason in a brief but amusingly zany appearance) is a selfish self-help guru.
But despite the time and distance that have divided them, they’re still eerily in sync, and on the brink of self-destruction. The only thing that stops Maggie from swallowing a handful of pills at the film’s start is the phone call from a hospital informing her that Milo has just tried to kill himself.
She flies to L.A. and offers to bring him home with her, hoping that this will provide him with some stability. But obviously, she’s in need of some herself. “The Skeleton Twins” follows the process as Milo and Maggie learn to restore themselves by returning to each other. Again, it probably sounds very familiar–like “You Can Count on Me,” with an even more twisted sense of humor. But there are obstacles and twists on the road to recovery–and lies, and secrets, and baggage.
Maggie appears to be happily married to Lance (Luke Wilson), an overly eager and earnest nature lover who never quite gets the siblings’ jokes (which makes them even funnier). Wilson finds the tricky balance of playing an ebullient and optimistic type without overplaying it, and the filmmakers were smart to portray him as an abidingly decent dude when it would have been safer to make him a joke or a jerk.
Milo, who’s gay, can’t help but track down the man with whom he had a scandalous affair when he was much younger (Ty Burrell in a small and slightly underdeveloped role). Hader finds his own tricky balance in playing the character in an effeminate and sarcastic way without ever going over the top into flamboyance or camp.
Fundamentally, though, Wiig and Hader make this work together through their tremendous chemistry–something you’d expect, given that they were longtime “Saturday Night Live” castmates and are good friends off-camera. (I half expected an episode of "The Californians" to break out at any moment.) But this movie asks a lot of them. It asks them to navigate territory that’s both funny and dramatic, light and raw, goofy and brutally honest. And they do it spectacularly. We’ve seen Wiig handle heavier material while still playing to her comic strengths in movies like “Bridesmaids,” and she does so deftly here, as well. But Hader is just shockingly great. His performance is reminiscent of some of Robert Downey Jr.'s early work, with his ability to rattle off a wry, biting one-liner and still remain lovable, or to ooze bravado and vulnerability in a single breath.
As we enter this season of big, important awards contenders that “matter,” “The Skeleton Twins” is a small, intimate gem that might truly matter.
Fri. - October 17 - Not ShowingSat. - October 18 - 9:00 pmASun. - October 19 - 7:15 pm SMon. - October 20 - Not ShowingTues. - October 21 - 7:00 pm SWed. - October 22 - Not Showing SThurs. - October 23 - 7:15 pm S
SYNOPSIS: An irreverent American podcaster interviews a Canadian adventurer whose wild tale of survival at sea masks sinister intentions in this twisted horror comedy from writer/director Kevin Smith (Clerks, Red State). Wallace (Justin Long) and Teddy (Haley Joel Osment) are the wisecracking co-hosts of "The Not-See Party", a popular podcast focused on bizarre viral videos and humorous interviews with the internet-famous. The concept is simple - Wallace travels the country conducting outlandish videos, and returns to their make-shift studio to share his stories with Teddy and the listeners. When Wallace ventures to Canada for an interview that falls through at the last minute, he stops at a local bar for a drink and finds a flyer posted by an old adventurer (Michael Parks) who seeks to share his stories with anyone who will listen. Arriving at the old man's secluded estate under the shroud of darkness, Wallace is promptly treated to a hot cup of tea, and a strange tale of being rescued by a walrus following a shipwreck at sea. It all seems like the perfect fodder for an unforgettable podcast -- that is until Wallace blacks out and regains consciousness bound to a wheelchair. Meanwhile, as Teddy and Wallace's girlfriend venture north to investigate his sudden disappearance, the old man subjects his terrified guest to a bizarre medical procedure that will transform more than just his perception of one of the sea's most majestic creatures
SELECTED REVIEW: Kevin Smith's style of comedy is too unfocused to pull off a cinematic prank like "Tusk," a horror-comedy about a walrus-monster. Had Smith been more disciplined, the film's deliberately absurd plot twists might have been more alienating, and funny. But even a Kevin Smith apologist like myself will readily admit that "discipline" and "Kevin Smith" do not belong in the same sentence. "Tusk" is bearable thanks in no small part to its game cast, particularly character actor Michael Parks's Vincent Price-esque baddy. And yes, Smith does get in a few good scares, especially during the movie's creature scenes. But as it is, "Tusk"'s sophomoric gag is rarely as funny or creepy as it could have been.
"Tusk" is what you'd get if you wrote a comedy inspired by both "The Human Centipede" and Roger Corman's Edgar Allan Poe adaptations. Shock jock podcaster Wallace Bryton (Justin Long) visits Manitoba to interview "The Kill Bill Kid," a YouTube star that gets famous after a video of him cutting his own leg off goes viral. But fate intervenes, and Wallace pursues another seemingly easy target: Howard Howe (Michael Parks), a paralyzed adventurer with a yen for flippered marine mammals. Unfortunately for Wallace, a selfish schlub who somehow becomes more annoying every time he talks, Howe's not as helpless as he seems. This leaves Wallace's girlfriend Ally (Genesis Rodriguez) and co-host/best friend Teddy (Haley Joel Osment) to rescue Wallace from Howe.
A younger Smith might have sympathized with Wallace, but the current Smith really goes after him for being as hatefully jaded as, uh, himself (Wallace is clearly a stand-in for Smith as "Tusk" originated from Smith's Smodcast podcast). Through a series of flashbacks, Smith makes Wallace cartoonishly obnoxious, especially when Ally whines to Wallace about how much he's changed, and that she "[misses] the old Wallace." These scenes are especially tedious since Smith inevitably loses interest in taunting Wallace. For example, he really likes mocking Canadians, who all say "Eh" or "Aboot." Thankfully, Smith's Mike Myers-worthy gags aren't lethal, save for every scene featuring Guy LaPointe (Johnny Depp, doing a very bad Johnny Depp impression), a Clouseau-like Canadian detective.
Thankfully, Wallace isn't Smith's main target. As in "Red State," a slightly-superior experiment in terror, Smith's eye is on Parks, a legitimately impressive performer. Smith doesn't like Howe either, as we see in the scenes where Howe blames his psychological instability on a never-ending gauntlet of child abuse. But that's besides the point. He does like Howe enough to give him several theatrical soliloquies, but those speeches make it impossible to invest in the villain as a legitimate threat. Which is a problem since "Tusk" works better as a horror movie than a comedy. Most of the scenes in which Wallace realizes how helpless he is are effectively creepy, particularly ones where Howe mocks Wallace by wailing, moaning and snarling at him.
Parks isn't to blame for his role's shortcomings, including bloated scenes of dialogue that verge on Shakespearian. Smith doesn't know when to trust him, and let his line-delivery establish both the absurdity and horror of being a walrus-obsessed loner. It's not surprising that Smith's characterizations and dialogue lack subtlety given the type of broad comedy that Smith has practically made his brand. But somehow, watching him fail to make something interesting of "Tusk" is more disappointing than any of his other post-"Chasing Amy" misfires.
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