Bam Rose Cinemas

7:00 PM

4:30 PM, 9:30 PM

4:30 PM, 7:00 PM, 9:30 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

5:00 PM, 8:00 PM

Jean-Luc Godard said, "All you need for a movie is a girl and a gun." But really, all you need is a girl, preferably a charismatic one with a secret in her heart. Director and actress Sarah Polley has found that girl: her own mother. Polley's... More »

Jean-Luc Godard said, "All you need for a movie is a girl and a gun." But really, all you need is a girl, preferably a charismatic one with a secret in her heart. Director and actress Sarah Polley has found that girl: her own mother. Polley's documentary, Stories We Tell, attempts to unravel some of the mysteries of her own family's life. This wondrous, absorbing little picture covers a great deal of winding meta-territory, reflecting on the ways in which a single family's story can be told—or maybe, more accurately, examining the idea that there’s no such thing as a "single story." One girl, as Sarah Polley learns, can actually be many girls in one. Polley opens by introducing us to her cast of characters: her father, Michael Polley, an assortment of family friends, and various siblings and stepsiblings, all of whom look a little like Polley-- and yet don't. The director has assembled this tribunal to reassemble the story of her late mother, Diane, a woman we get to know gradually through home-movie footage, re-creations that have the look and feel of that home-movie footage, and recollections from the people who knew and loved her. She shapes the picture into a riddle that keeps us guessing every minute, and what she ends up with is so oddly shaped that it could be categorized an experimental film. But it's too warm to be off-putting. There's no way, Polley concludes, to tell a reliably true tale. But this particular story, which begins and ends with a woman’s face, feels true enough. « Less

4:30 PM, 7:00 PM, 9:30 PM