|6:30 & 8:45 each evening|
|1:30 & 4:00 matinees Sat & Sun|
Rated PG; 112 minutes
Sheldon Wiebe, Eclipse Magazine (excerpted)
Sherlock Holmes is one of the most enduring characters in all of fiction. His ability to solve every problem (save for one, according to the Holmes canon) via a combination of knowledge and observation, and the logical extrapolations thereof, plus his acerbic no nonsense attitude make him far more intriguing than most fallible fictional characters and pretty much all other infallible ones.
So it’s odd that Mr. Holmes, a film dealing with the character long after he’s retired to his country home and bees, should be so satisfying.
Mr. Holmes opens with Holmes (Ian McKellen), at the age of ninety-three, trying to resolve his last case – a case involving a housewife and the memory of two children lost during pregnancy. As he struggles to recall, the case did not end well and, now, he’s trying to piece it all together and determine why.
Children ~ Under 12......$7.50
Matinees (all seats)......$7.50
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Checks payable to: “Savoy Theater”
|6:00 & 8:30 each evening|
Rated R;128 minutes
Peter Travers, Rolling Stone (excerpted)
The artistic life and awful death of Amy Winehouse at age 27 has been so exhaustively chronicled that we think we know everything about her. Think again. What makes Asif Kapadia's documentary a devastating don’t-miss dazzler — like the lady herself — is the way he lays out her story without editorializing. Kapadia shows us the transformation of this mischief-loving Jewish girl from North London into a peerless interpreter of jazz and soul, ready to take her place with such greats as Ella Fitzgerald, Thelonious Monk and Tony Bennett.
Winehouse, who died of alcohol and fame poisoning in 2011, was of a generation that casually records everyday details, mundane and mesmerizing. There are photos and personal videos shot by family and friends, that editor Chris King deftly weaves in to the narrative. Amy's youth, like her talent, explodes off the screen. That's what makes her public decline, brutally recorded by the media, so gut-wrenching. Kapadia is rightfully hard on Amy's dad, Mitch Winehouse, for pushing his daughter to work when she was already way past her limit. He's satisfyingly harder on her ex-husband who introduced Amy to crack cocaine and heroin and exploited her shamelessly.
Credit Kapadia, though, for not overplaying the victim card. This fragile moth's attraction to the flame is readily apparent. And you can hear it in her music. He wisely uses Amy's songs, often with lyrics spelled out on screen, to trace her story — from a teenager's rendition of "Happy Birthday" sung to Gilbert and her hits ("Rehab," "Love is a Losing Game") to her concert in Belgrade, a month before she died, when she went on stage drunk and never sang a note. That last section of the movie, with Amy wasted by alcohol, drugs and eating disorders, is gruesome. But you don't turn away, because the film has made Amy so touchingly, recognizably human. It’s her words, her music, her voicemails, her home videos, her friends, her family, her tormentors, and her timeless incandescence. Look, listen and weep.