Movie Times Film times reflect the most current listings as of Tuesday afternoon. As schedules at individual theaters sometimes change, we recommend calling ahead to avoid any inconvenience.
Broadway Cinema
1223 Broadway St., Eureka, (707) 443-3456 Epic Fri: (2:10, 4:45), 5:35, 7:20, 9:40; Sat-Mon: (11:35a.m., 2:10, 4:45), 5:35, 7:20, 9:40; Tue-Thu: (2:10, 4:45), 5:35, 7:20, 9:40 Epic 3D Fri-Thu: (12:20, 2:55), 8:15 Fast & Furious 6 Fri-Thu: (11:55a.m., 1:55, 3), 5, 6:05, 8:05, 9:10 The Great Gatsby Fri-Thu: (2), 5:15, 8:25 The Hangover Part III Fri-Thu: (12:55, 1:45, 3:30, 4:25), 6, 7, 8:40, 9:30 Iron Man 3 Fri: (2:50), 5:55, 9; Sat-Mon: (11:45a.m., 2:50), 5:55, 9; Tue-Thu: (2:50), 5:55, 9 Iron Man 3 3D Fri-Thu: (2:20), 5:25, 8:35 Oblivion Fri-Thu: (12:25, 3:25), 6:20, 9:15 Star Trek Into Darkness Fri-Thu: (12, 3:10), 6:15, 9:20 Star Trek Into Darkness 3D Fri: (2:40), 5:45, 8:50; Sat-Mon: (11:40a.m., 2:40), 5:45, 8:50; Tue-Thu: (2:40), 5:45, 8:50
Mill Creek Cinema
1575 Betty Court, McKinleyville, (707) 839-2222 Epic Fri-Mon: (12:40, 2:25, 3:15), 5:45, 7:30, 8:20; Tue-Thu: (3:15), 5:45, 7:30, 8:20 Epic 3D Fri-Mon: (11:55a.m., 4:55); Tue-Thu: (4:55) Fast & Furious 6 Fri-Mon: (12, 3), 6, 9:05; Tue-Thu: (3), 6, 9:05 The Great Gatsby in 3D Fri-Thu: (2:45), 9:10 The Great Gatsby Fri-Mon: (11:45a.m.), 5:50; Tue-Thu: 5:50 The Hangover Part III Fri-Mon: (1:45, 4:20), 6:55, 9:30; Tue-Thu: (4:20), 6:55, 9:30 Iron Man 3 Fri-Thu: (2:50), 8:55 Iron Man 3 3D Fri-Mon: (11:50a.m.), 6:10; Tue-Thu: 6:10 Star Trek Into Darkness Fri-Mon: (12:05, 3:10), 6:20, 9:20; Tue-Thu: (3:10), 6:20, 9:20 Star Trek Into Darkness 3D Fri-Mon: (2:20), 5:25, 8:30; Tue-Thu: 5:25, 8:30
Minor Theatre
1001 H St., Arcata, (707) 822-3456 The Great Gatsby Fri: 5:20, 8:30; Sat-Mon: (2:10), 5:20, 8:30; Tue-Thu: 5:20, 8:30 The Hangover Part III Fri: (4:20), 6:50, 9:20; Sat-Mon: (1:50, 4:20), 6:50, 9:20; Tue-Thu: (4:20), 6:50, 9:20 Star Trek Into Darkness Fri: (3:05), 6, 8:55; Sat-Mon: (12:15, 3:05), 6, 8:55; Tue-Thu: (3:05), 6, 8:55
Fortuna Theatre
1241 Main St., (707) 725-2121 Epic Fri: 6:30; Sat-Mon: (1:15), 6:30; Tue-Thu: 6:30 Epic 3D Fri-Sun: (3:50), 9; Mon-Wed: (3:50); Thu: (3:50), 9 Fast & Furious 6 Fri: (4), 6:50, 9:40; Sat-Sun: (1, 4), 6:50, 9:40; Mon: (1, 4), 6:50; Tue-Wed: (4), 6:50; Thu: (4), 6:50, 9:40 The Great Gatsby Fri: (3:40), 6:40, 9:40; Sat-Sun: (12:30, 3:40), 6:40, 9:40; Mon: (12:30, 3:40), 6:40; Tue-Wed: (3:40), 6:40; Thu: (3:40), 6:40, 9:40 The Hangover Part III Fri: (4:50), 7:10, 9:30; Sat-Sun: (12:10, 2:30, 4:50), 7:10, 9:30; Mon: (12:10, 2:30, 4:50), 7:10; Tue-Wed: (4:50), 7:10; Thu: (4:50), 7:10, 9:30 Iron Man 3 Fri: (4:10), 7, 9:45; Sat-Sun: (12:40, 4:10), 7, 9:45; Mon: (12:40, 4:10), 7; Tue-Wed: (4:10), 7; Thu: (4:10), 7, 9:45 Star Trek Into Darkness Fri: 6:35; Sat-Mon: (12:20), 6:35; Tue-Thu: 6:35 Star Trek Into Darkness 3D Fri-Sun: (3:35), 9:35; Mon-Wed: (3:35); Thu: (3:35), 9:35
Garberville Theatre
766 Redwood Drive, (707) 923-3580 42 Fri-Tue: 7:30; Wed: 6:30; Thu: 7:30
“Dude, gross. You really oughta wash behind those things.”
Spock versus Spock
J.J. Abrams makes another slick Trek, hold the cheese
By John J. Bennett filmland@northcoastjournal.com
Reviews
STAR TREK INTO DARKNESS. My personal investment in all this Star Trek business is pretty minimal. Years ago, I burned through the first four or five movies over the course of a languorous, lost afternoon. I enjoyed the experience, but I chose those movies because they were the only ones in the house where I was staying. I’ve seen enough of the original series to know
May 24-31 Fri May 24 - Labyrinth (1986) Doors at 7:30 p.m., $5, Rated PG Sun May 26 - Harry Potter & The Deathly Hallows: Part 2 (2011) Doors at 5:30 p.m., $5, Rated PG-13 Wed May 29 - Sci Fi Night ft. Mesa of Lost Women (1953) Doors at 6 p.m., All ages, Free Fri May 31 - Willow Creek by Bobcat Goldthwait, Doors at 7 p.m., $7, Mature Audiences Only
arcatatheatre.com • 822-1220 • 1036 G St.
36 North Coast Journal • Thursday, May 23, 2013 • northcoastjournal.com
what a Tribble is, and to kind of understand the Kobayashi Maru. But I’m by no means an acolyte. I get that J.J. Abrams is Hollywood’s new king of nerds, and I dig his style, though I prefer Super 8 (2011) to his Star Trek. The former, a pitch-perfect ode to early Spielberg, amounts to about 7/8 of a great movie. Because it’s a tribute, Abrams was able to borrow visual cues aplenty from his forbearer. In the process he out-Spielberged Spielberg and made a movie that looks even better, with all its lens flares blazing, than Close Encounters of the Third Kind or Jurassic Park. Plus, he’s one of the few monster directors working who can hang onto the childlike enjoyment of story that’s so vital, and yet increasingly rare, to movie-making. So Abrams has the credentials, and the proven chops, to take on something as contentious as re-imagining Star Trek. In his hands, the franchise’s well-known characters have authentic emotions, plausible reactions and believable motivations. And the new batch of actors brings them convincingly to life. Abrams clearly loves these characters, and the care and devotion he’s taken with them show in every frame.
With his reverence of Gene Roddenberry’s vision, he hasn’t tried to outsmart the originals. Rather, the first movie in his rebooted series used an alternate universe model that allows the original characters to comfortably co-exist with their new Hollywood versions. The device comes into play again this time around, allowing Leonard Nimoy and Zachary Quinto to interact, Spock to Spock. This, for Trekkies, must be like putting two awesome mirrors face to face. But the aesthetic elements I so enjoyed in Super 8 are nowhere to be found. Granted, it wouldn’t do to crib Spielberg’s look, again. But now that he’s been called upon to invent his own visual style, Abrams doesn’t quite pull it off. He’s got the best sets, costumes, and effects a huge budget can buy, but his camerawork is generally uninspired. This would seem a minor complaint in light of all the movie’s positive attributes, but I think it gets at why Abrams’ vision never fully engages me. After a brisk, admittedly dazzling opening sequence, Kirk’s (Chris Pine) headstrong leadership lands him in trouble with Starfleet (no spoiler). After a disciplinary hearing, he and Spock are separated and assigned to work under other, more established captains. But almost immediately, a shadowy super-soldier (Benedict Cumberbatch) starts waging war on Starfleet, then retreats to a deserted corner of the Klingon home world. Kirk’s command is reinstated and the Enterprise is sent to find and destroy the assassin. Once they track down their prey, it becomes clear that not everything — or everyone — is as it would seem. At about this point I realized that this is essentially the plot of Star Trek II: The Wrath of Khan (1982) with a few updates and revisions. I’m not sure how purists will feel, but I found it a fun, future-retro maneuver on the part of the writers. As I mentioned, the top-notch production level creates an enveloping atmosphere that draws us in and holds us. The actors take on their roles with exhilarating commitment and enjoyment; the writing is spot-on, with inventive structure, funny jokes and gripping suspense; but somehow the movie keeps us at a remove. The experience, at least from my seat, is a lot like the look: clean, streamlined, snappy, modern — and maybe a bit dull for all of that. It feels too futuristic, too imagined, not grounded enough in the real stuff of the story. Even when cleverly incorporating elements of the first round of movies — the Nimoy cameo, a Tribble, the plot of Khan — Into Darkness sacrifices their now-dated warmth and quirks in favor of overarching modernism. I can’t fault Abrams for the choice; he’s actively reinventing a half-century-old sci-fi program for new