|6:30 & 8:30
Monday - Thursday
Rated PG-13; 106 minutes
Cath Clarke, Time Out (excerpted)
Nearly 100 years after smashing shop windows and blowing up letterboxes, the British suffragettes finally get a film they deserve. And thankfully it’s not a sugarcoated period drama. Writer Abi Morgan and director Sarah Gavron's tough, raw, bleak-looking film makes the suffragettes' dilemma feel immediate and real. You feel the knife-edge danger of women risking everything: sacked from their jobs, locked up in prison, separated from their children. But if not, them, who?
Carey Mulligan is Maud, an east London laundry worker in 1912 who’s always done as she’s told. Maud is 24 but her face is exhausted and lined from years sweating over dirty clothes. It’s a tremendous, awards-worthy performance from Mulligan. The film plays out in her eyes. You see the emotion flicker in her face as Maud wakes up and finds her voice. The rest of the cast is excellent too – including Helena Bonham Carter as a pharmacist cooking up homemade bombs. Meryl Streep makes a cameo as Emmeline Pankhurst, wanted by the police but popping up to rally the troops from a London balcony.
Children ~ Under 12......$7.50
Matinees (all seats)......$7.50
VISA M/C Accepted
Checks payable to: “Savoy Theater”
|6:00 & 8:15
Monday - Thursday
Rated R; 113 minutes
Joe Morgenstern, The Wall Street Journal (excerpted)
Much of Room takes place in a single room where a young mother, Ma, and her 5-year-old son, Jack, are living as prisoners. She’s been there for seven years, ever since her kidnapping by a sexual predator; Jack has been there his whole life. Yet this drama is as big as all outdoors in scope; poetic and profound in its exploration of the senses; blessed with two transcendent performances, by Brie Larson and Jacob Tremblay; and as elegantly wrought as any film that has come our way in a very long while.
The story’s derivations are anything but poetic—notorious cases of real-life imprisonment and abuse. But that’s not what this film is about, even though Ma lives in terror of her captor, who bursts in on her and Jack from time to time. The director, Lenny Abrahamson,and the writer, Emma Donoghue, who adapted her novel for the screen, have transformed ghastly reality into an exquisitely intimate study of a mother’s devotion and a child’s efforts to understand what lies beyond the four walls of his room (which they both refer to, almost affectionately, as Room).
She tries her best to enrich his constricted life, all the while explaining how vast the world is in comparison to what he sees through the distorting window of a dinky TV. (A skylight in the ceiling reveals nothing but sky.) There are too many trees to count, she tells him, and vast oceans. “No way,” he replies. “How do they all fit?” One could ask the same thing about the movie, a small container for a host of enthralling ideas about child development, the maternal bond, the nature of reality, the psychic cost of repression and the existential perils, as well as the ineffable joys, of freedom. How do they all fit? Through the mysterious process by which art packs meaning into microcosms, although the action in Room isn’t confined to Room and the narrative pace doesn’t flag after leaving it.