~~~~~~~ Upstairs ~~~~~~~
Me and Earl and the Dying Girl
|6:30 & 8:45 each evening|
|1:30 & 4:00 matinees Sat & Sun|
Rated PG-13;104 minutes
Gregory Ellwood, HitFix (excerpted)
Greg (Thomas Mann) has spent most of high school trying to be casual friends with everyone while remaining as invisible as possible. He spends his time watching foreign language flicks with Earl (a fantastic RJ Cyler). Even though he's known Earl since they were five-years-old he'd want you to know they aren't friends but "co-workers" (Greg appears to have an issue with getting close to people). The two spend most of their free time creating their own skewed versions of classic films such as "Senior Citizen Kane" and "2:48 PM Cowboy."
Life becomes more complicated for Greg when his mom forces him to befriend his classmate Rachel after she's diagnosed with leukemia. Rachel (wonderfully played by Olivia Cooke) isn't sure what to make of this, but the two slowly bond even if Greg's inherent awkwardness makes it harder for him than for her. Eventually, Greg gets pushed into making a film just for Rachel, but months after starting he can't seem to finish it.
It's often easy to overhype a film at a festival like Sundance, but Me and Earl is as genuinely wonderful as the kudos will suggest. It's a fresh, beautiful and heartbreaking achievement that continues to surprise until the very last scene. It's dangerous to call something an instant classic, but sometimes it's simply the truth.
Children ~ Under 12......$7.50
Matinees (all seats)......$7.50
VISA M/C Accepted
Checks payable to: “Savoy Theater”
~~~~~~~ Downstairs ~~~~~~~
Love & Mercy
|6:00 & 8:15 each evening|
Rated PG-13;119 minutes
John DeFore, The Hollywood Reporter (excerpted)
A deeply satisfying pop biopic whose subject's creative life lends itself to an unconventional structure, director Bill Pohlad's Love & Mercy spends time with Brian Wilson both while his mental illness was a storm gathering on the Beach Boys' horizon and years later, as he tried to break away from a doctor who was using that illness to control his life.
Balancing the emotionally involving drama in that later story with the thrilling musical creation in the earlier one, the picture would be exciting even if all it offered was the vision of Paul Dano's Wilson guiding musicians through the creation of Pet Sounds; but as the older Wilson, John Cusack gives one of the best performances of his career.
Unlike most music biographies, this one has no real interest in showing its hero performing for adoring crowds. It understands Wilson's desire to "play the studio," making perfect records instead of living off the energy of an audience. It never needs to explain how well suited the artist's particular gifts were to the anxieties that crippled the man.