This week at the Avon: Only Oscar-worthy allowed

The Avon is still feeling the Oscars excitement, so they’ve brought back two films that picked up a combined four Academy Awards.

12 Years a Slave is back, for those of you who missed it the first time around. Having won Best Picture, Best Supporting Actress, and Best Adapted Screenplay, the film has done pretty well for itself. I have to admit that the promise of tears, fear, and depression kept me away before, but I’m committing to finally watching 12 Years this week.

Who doesn’t love watching Joaquin Phoenix being weird (in real life or fictionally)? Her is everyone’s new favorite love story which explores the increasingly relevant idea of alienation in an overly technological society and the question of whether artificial intelligence will always be so artificial. It is better summarized, though, as a man falling for Siri, our beloved alumna.

12 Years a Slave is playing at 1 p.m. and 6:20 p.m. daily, with Her playing at 3:40PM and 8:55 p.m. Don’t miss out on either one. Oh, and if you haven’t already, please watch this amazing video of kids acting out all the Oscar nominees. My personal favorite: The Wolf of Wall Street spoof, but I have to say the baby Joaquin does a pretty stellar job.


This week at the Avon: ’12 Years a Slave’

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It’s almost besides the point to say that 12 Years a Slave, which began playing at the Avon on Friday, is a great movie. Of course it’s a great movie. It’s technically polished, well-acted by all involved–Chiwetel Ejiofor and Michael Fassbender, primarily, with brief appearances by everyone from Brad Pitt to The Wire‘s Michael K. Williams –and well-managed, if a bit self-consciously, by director Steve McQueen (not the guy from the 70s car chase movies). But this is beyond a great movie: it’s a statement, with enough sheer power to transcend its medium and become something far more important.

A lot has already been written about 12 Years a Slave‘s cultural significance, including this Washington Post article that quotes African Studies professor Tricia Rose and this Grantland column that is near as long as War and Peace. I can’t speak to the kinds of issues those pieces bring up. I’m not well-read or well-learned or well-cultured enough to be articulate about the broader relevance of the film in the context of American race relations or in the context of American filmmaking.

Here’s what I do know: Continue Reading