AMC Loews Fantasy 5

The good news: Here's a lavish, serious science-fiction picture, one that on occasion transcends big-budget hit-making convention to glance audiences up against grandeur. Joseph Kosinski's Oblivion, based on his own graphic novel, is one of those... More »

The good news: Here's a lavish, serious science-fiction picture, one that on occasion transcends big-budget hit-making convention to glance audiences up against grandeur. Joseph Kosinski's Oblivion, based on his own graphic novel, is one of those futuristic puzzlers whose dramatic energies are most invested in the slow revelation of its own premise. You'll doubt the initial set-up-- it's 2077, and the Earth has been nuked in humanity's defeat of an invading alien force-- the second the hero mentions having recently had his memory wiped and that his wife has been "assigned" to him. Which brings us to Tom Cruise, the not-good news, that plot-moving app producers can download for their blockbusters but is still stuck with the usual bugs. He models sunglasses, races dirt bikes, and runs like a .gif titled "Tom Cruise Running." He's called Jack Harper-- is there a spigot in Hollywood that dispenses action hero names?―and each day he zips down to Earth from his home in the clouds, a Frank Lloyd Wright casserole dish speared atop a Jetsons pole. With the rest of our kind sent off to live on Titan, Harper traverses a ruined U.S. to monitor and repair the patrol drones designed to protect―well, what exactly they're protecting is a third-act revelation you’ll just have to wonder about until Harper finally does so himself. (The Cruise app never thinks more than required.) At its best, as Harper explores a cratered library, Oblivion takes on the immersiveness of video games. Here's your cypher/avatar, picking through a wide-open alien environment, with time given for you to savor the world around you. But then come the twists and explosions. « Less

Digital Presentation 1:45 PM, 4:45 PM, 7:45 PM

Digital Presentation 1:15 PM, 6:15 PM, 8:45 PM

There's a scene in Baz Luhrmann's The Great Gatsby in which Leonardo DiCaprio's hyperrich, super-awkward Jay Gatsby takes it upon himself to redecorate the bachelor pad of his less-prosperous friend, Nick Carraway (Tobey Maguire). Gatsby's old... More »

There's a scene in Baz Luhrmann's The Great Gatsby in which Leonardo DiCaprio's hyperrich, super-awkward Jay Gatsby takes it upon himself to redecorate the bachelor pad of his less-prosperous friend, Nick Carraway (Tobey Maguire). Gatsby's old flame, Daisy Buchanan (Carey Mulligan), is coming to Nick’s for tea. Eager to impress her, Gatsby has brought in boughs draped with explosive white flowers, macaroons in every color of the paintbox, and tiered cakes straight out of Marie Antoinette's court. "You think it's too much?" he asks Nick. Nick offers the polite answer: "I think it's what you want." The Great Gatsby is both too much and what Luhrmann wants, less a movie version of F. Scott Fitzgerald's novel than a movie version of Jay Gatsby himself. It’s polished to a handsome sheen and possesses no class or taste beyond the kind you can buy. And those are the reasons to love it. The performers often look lost, but the movie moves, breathes, and has color on its side. Though Fitzgerald couldn't have known it, he wrote a scene tailor-made for 3-D, the one in which Gatsby rummages through his collection of brilliantly colored silk shirts and tosses one after another toward his lady love. In Luhrmann's vision, they float down around Daisy like polychrome snowflakes. It's all so fake. It should all be so horrible. But really, all Luhrmann has done is build a crazy art deco Taj Mahal to the glory of The Great Gatsby. Like Gatsby, Luhrmann is a faker but not a phony. Fitzgerald knew the difference. Can we see it, too? « Less

Digital Presentation 1:00 PM, 3:00 PM, 4:15 PM, 6:30 PM, 7:30 PM

There's a scene in Baz Luhrmann's The Great Gatsby in which Leonardo DiCaprio's hyperrich, super-awkward Jay Gatsby takes it upon himself to redecorate the bachelor pad of his less-prosperous friend, Nick Carraway (Tobey Maguire). Gatsby's old... More »

There's a scene in Baz Luhrmann's The Great Gatsby in which Leonardo DiCaprio's hyperrich, super-awkward Jay Gatsby takes it upon himself to redecorate the bachelor pad of his less-prosperous friend, Nick Carraway (Tobey Maguire). Gatsby's old flame, Daisy Buchanan (Carey Mulligan), is coming to Nick’s for tea. Eager to impress her, Gatsby has brought in boughs draped with explosive white flowers, macaroons in every color of the paintbox, and tiered cakes straight out of Marie Antoinette's court. "You think it's too much?" he asks Nick. Nick offers the polite answer: "I think it's what you want." The Great Gatsby is both too much and what Luhrmann wants, less a movie version of F. Scott Fitzgerald's novel than a movie version of Jay Gatsby himself. It’s polished to a handsome sheen and possesses no class or taste beyond the kind you can buy. And those are the reasons to love it. The performers often look lost, but the movie moves, breathes, and has color on its side. Though Fitzgerald couldn't have known it, he wrote a scene tailor-made for 3-D, the one in which Gatsby rummages through his collection of brilliantly colored silk shirts and tosses one after another toward his lady love. In Luhrmann's vision, they float down around Daisy like polychrome snowflakes. It's all so fake. It should all be so horrible. But really, all Luhrmann has done is build a crazy art deco Taj Mahal to the glory of The Great Gatsby. Like Gatsby, Luhrmann is a faker but not a phony. Fitzgerald knew the difference. Can we see it, too? « Less

RealD 3D 2:00 PM, 5:15 PM, 8:30 PM

Digital Presentation 3:30 PM