Monday, October 23 - Thursday, October 26: (4:30), 6:45
A rare glimpse into the relationship between beloved children's author A. A. Milne (Domhnall Gleeson) and his son Christopher Robin, whose toys inspired the magical world of Winnie the Pooh. Along with his mother Daphne (Margot Robbie), and his nanny Olive, Christopher Robin and his family are...Read more
‘Goodbye Christopher Robin’: in Hundred Acre Wood, respite from war
• 4 stars out of four •
Mick LaSalle / San Fransico Chronicle
“Goodbye Christopher Robin” is an exquisite, beautiful film, and like most beautiful things, there’s something painful about it. It depicts a kind of beauty, innocence and purity that can’t be forever, whose existence forces you to stop and appreciate it now — and in the moment of appreciating it, to contemplate its future nonexistence. That’s really the governing emotion of this film, the pitch that it reaches and sustains from beginning to end, a kind of sadness in the midst of happiness, a paradise with an awareness of mortality. It’s the story of the creation of Winnie-the-Pooh by A.A. Milne and of the rewards and consequences those books had for him and for his family, but particularly for the little boy depicted in them, his son, Christopher Robin Milne. This is the movie’s one big idea, which is more than an idea but an enveloping emotion that surrounds every scene, that the pain of war somehow led to this expression of childhood innocence and joy — and further, that this expression of childhood joy led to pain. In expressing this, “Goodbye Christopher Robin” touches something bigger than its own ambitions. It touches, in a way movies rarely do, on some essential current of life.
Thirty years after the events of the first film, a new blade runner, LAPD Officer K (Ryan Gosling), unearths a long-buried secret that has the potential to plunge what's left of society into chaos. K's discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade...Read more
'Blade Runner 2049' takes us back to the future
• Four stars out of four •
Calvin Wilson / St. Louis Post-Dispatch
“Blade Runner 2049” is a big-budget art film that’s likely to frustrate as many moviegoers as it fascinates. Some will complain that it’s too long, or too confusing, but such criticisms are simply beside the point. Very much in the spirit of the original “Blade Runner” (1982), the film is more slow burn than slam-bang. And for that true cinema buffs surely will be grateful. Working from a script by “Blade Runner” co-author Hampton Fancher and Michael Green (“Logan”), director Denis Villeneuve (“Arrival”) delivers a moody, visually stunning celebration of existential angst. Not that he skimps on the kind of mayhem that’s de rigueur these days, but you have to wait for it — and wait for it. But when it does arrive, it’s awesome.
Ford is generating Oscar buzz for his return to the role of Deckard, and Gosling brings to K a touching soulfulness.
“Blade Runner 2049” is not just a movie but an event. Don’t be the only human on your block not to see it.
An understated and wonderful St. Louis gem, the Hi-Pointe Theatre was built in 1922 at the incredible intersection of Interstate 64, Clayton Road, Clayton Avenue, McCausland Avenue, Forest Avenue, Oakland Avenue and Skinker Boulevard, today also the home of the world’s largest Amoco sign and just at the southwest corner of Forest Park. Continue Reading