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Gosling plays Luke, a stunt motorcycle rider, a two-bit carny Evel Knievel. As the tattooed, towheaded Luke passes through Schenectady, N.Y., he makes an effort to reconnect with Romina (Eva Mendes), a waitress with whom he had a fling. He learns that in his absence, she gave birth to their infant son, Jason. He decides to give up his itinerant existence, settle nearby and provide for his son, influenced by his own experience with an absentee dad.

Luke lands a low-paying job as a mechanic. After some convincing from his shady boss (Ben Mendelsohn), he agrees to take part in a scheme to rob local banks, with his adrenaline-fueled ability to race off on his motorcycle being a key component.

Things inevitably go awry. A thrilling pursuit leads to Luke's life intersecting dramatically with that of Avery (Bradley Cooper), a rookie police officer. Each character derails the other in strikingly different ways. Claudia Puig-USA Today

Gosling plays Luke, a stunt motorcycle rider, a two-bit carny Evel Knievel. As the tattooed, towheaded Luke passes through Schenectady, N.Y., he makes an effort to reconnect with Romina (Eva Mendes), a waitress with whom he had a fling. He learns that in his absence, she gave birth to their infant son, Jason. He decides to give up his itinerant existence, settle nearby and provide for his son, influenced by his own experience with an absentee dad.

Luke lands a low-paying job as a mechanic. After some convincing from his shady boss (Ben Mendelsohn), he agrees to take part in a scheme to rob local banks, with his adrenaline-fueled ability to race off on his motorcycle being a key component.

Things inevitably go awry. A thrilling pursuit leads to Luke's life intersecting dramatically with that of Avery (Bradley Cooper), a rookie police officer. Each character derails the other in strikingly different ways. Claudia Puig-USA Today

Set in 1962 London during the Cuban Missile Crisis, the story follows the tenderhearted Ginger (Elle Fanning), who lives with her thwarted-artist mother (Christina Hendricks) and her lefty academic father, Roland (Alessandro Nivola). She spends her days at pacifist marches with her wild best friend, Rosa (Alice Englert), and an older American activist (Annette Bening). Soon the BBC is reporting that the bomb may be dropped any day, and it feels like the end of the world to both girls. But then, when you're in high school, it always does. And you get the sense that even if the Cold War had never happened, Ginger and Rosa would find another cause to get worked up about. Still, Potter has enough compassion for these girls to imply that their lives might really be just as dramatic as they think. In dreamy, color-drenched scenes that look like they're turning into memories right before your eyes, Potter portrays their friendship as a great love-in-wartime romance. - Melissa Maerz, Entertainment Weekly

Set in 1962 London during the Cuban Missile Crisis, the story follows the tenderhearted Ginger (Elle Fanning), who lives with her thwarted-artist mother (Christina Hendricks) and her lefty academic father, Roland (Alessandro Nivola). She spends her days at pacifist marches with her wild best friend, Rosa (Alice Englert), and an older American activist (Annette Bening). Soon the BBC is reporting that the bomb may be dropped any day, and it feels like the end of the world to both girls. But then, when you're in high school, it always does. And you get the sense that even if the Cold War had never happened, Ginger and Rosa would find another cause to get worked up about. Still, Potter has enough compassion for these girls to imply that their lives might really be just as dramatic as they think. In dreamy, color-drenched scenes that look like they're turning into memories right before your eyes, Potter portrays their friendship as a great love-in-wartime romance. - Melissa Maerz, Entertainment Weekly

Gosling plays Luke, a stunt motorcycle rider, a two-bit carny Evel Knievel. As the tattooed, towheaded Luke passes through Schenectady, N.Y., he makes an effort to reconnect with Romina (Eva Mendes), a waitress with whom he had a fling. He learns that in his absence, she gave birth to their infant son, Jason. He decides to give up his itinerant existence, settle nearby and provide for his son, influenced by his own experience with an absentee dad.

Luke lands a low-paying job as a mechanic. After some convincing from his shady boss (Ben Mendelsohn), he agrees to take part in a scheme to rob local banks, with his adrenaline-fueled ability to race off on his motorcycle being a key component.

Things inevitably go awry. A thrilling pursuit leads to Luke's life intersecting dramatically with that of Avery (Bradley Cooper), a rookie police officer. Each character derails the other in strikingly different ways. Claudia Puig-USA Today

“42” begins in 1945, when Brooklyn Dodgers General Manager Branch Rickey (Harrison Ford) decides to integrate the team. Insisting to his nervous associates that dollars aren’t black or white, only green, Rickey begins scouting for a player who not only will help the team win, but also has the character to withstand the backlash that will ensue.

He settles on Robinson, a gifted athlete from California with an impressive record in the Negro leagues. When Robinson asks Rickey if he’s looking for a player without the guts to fight back, Rickey famously replies that he’s looking for “a player with the guts not to fight back.”

The film’s most gratifying sequences are on the field, when Robinson is silencing his critics with the sheer beauty and athleticism of his playing, and when his teammates -- who early in his career petitioned to have him removed -- can be seen gradually coming around, as if waking from a particularly toxic trance. By the time Pee Wee Reese (Lucas Black) famously puts his arm around Robinson during a game in Cincinnati, “42” has taken on cumulative, undeniable momentum, not just as classically rousing entertainment but as a quintessential story of American aspiration. Ann Hornaday-Washington Post

On Oct. 5, 1988, after 15 hard years under a dictatorship, the Chilean public voted No — as in, Enough already — in a historic national plebiscite that removed Gen. Augusto Pinochet from power. Pablo Larraín's superb, Oscar-nominated, fact-based drama, No, explores the power of popular dissent, and the coordinated persuasions of media, marketing, and targeted advertising in shaping the word no to invigorate a populace pessimistically conditioned to think that nothing will ever change for the good.

Gael García Bernal is typically soulful as a (fictional) adman who devises the effective and unexpectedly upbeat campaign, even while his agency boss (Alfredo Castro) works for Team Yes. One other nice touch: The movie — the third in a trilogy of powerful political dramas from Larraín, including Tony Manero and Post Mortem — uses period detail, archival footage, and '80s-era technology to create an excellently authentic, bleached, crummy-looking document of a great democratic accomplishment.  - Lisa Schwarzbaum, Entertainment Weekly

The 14th annual Doors Open presented by Great Gulf offers residents and visitors an opportunity to take a peek behind the doors of nearly 150 architecturally, historically, culturally and socially significant buildings across the city on Saturday May 25 and Sunday May 26, 2013. 

The Fox is open only on Saturday May 25 from 10 AM - 4 PM (the last admittance is 3:30 PM). 

The Fox is an experience not to be missed! Visitors get a behind the scenes look at this beautiful old theatre. Guided tours on the half hour will include the projection booth. Each visitor will receive a bag of free popcorn!

We look forward to welcoming you!

“42” begins in 1945, when Brooklyn Dodgers General Manager Branch Rickey (Harrison Ford) decides to integrate the team. Insisting to his nervous associates that dollars aren’t black or white, only green, Rickey begins scouting for a player who not only will help the team win, but also has the character to withstand the backlash that will ensue.

He settles on Robinson, a gifted athlete from California with an impressive record in the Negro leagues. When Robinson asks Rickey if he’s looking for a player without the guts to fight back, Rickey famously replies that he’s looking for “a player with the guts not to fight back.”

The film’s most gratifying sequences are on the field, when Robinson is silencing his critics with the sheer beauty and athleticism of his playing, and when his teammates -- who early in his career petitioned to have him removed -- can be seen gradually coming around, as if waking from a particularly toxic trance. By the time Pee Wee Reese (Lucas Black) famously puts his arm around Robinson during a game in Cincinnati, “42” has taken on cumulative, undeniable momentum, not just as classically rousing entertainment but as a quintessential story of American aspiration. Ann Hornaday-Washington Post

“42” begins in 1945, when Brooklyn Dodgers General Manager Branch Rickey (Harrison Ford) decides to integrate the team. Insisting to his nervous associates that dollars aren’t black or white, only green, Rickey begins scouting for a player who not only will help the team win, but also has the character to withstand the backlash that will ensue.

He settles on Robinson, a gifted athlete from California with an impressive record in the Negro leagues. When Robinson asks Rickey if he’s looking for a player without the guts to fight back, Rickey famously replies that he’s looking for “a player with the guts not to fight back.”

The film’s most gratifying sequences are on the field, when Robinson is silencing his critics with the sheer beauty and athleticism of his playing, and when his teammates -- who early in his career petitioned to have him removed -- can be seen gradually coming around, as if waking from a particularly toxic trance. By the time Pee Wee Reese (Lucas Black) famously puts his arm around Robinson during a game in Cincinnati, “42” has taken on cumulative, undeniable momentum, not just as classically rousing entertainment but as a quintessential story of American aspiration. Ann Hornaday-Washington Post

On Oct. 5, 1988, after 15 hard years under a dictatorship, the Chilean public voted No — as in, Enough already — in a historic national plebiscite that removed Gen. Augusto Pinochet from power. Pablo Larraín's superb, Oscar-nominated, fact-based drama, No, explores the power of popular dissent, and the coordinated persuasions of media, marketing, and targeted advertising in shaping the word no to invigorate a populace pessimistically conditioned to think that nothing will ever change for the good.

Gael García Bernal is typically soulful as a (fictional) adman who devises the effective and unexpectedly upbeat campaign, even while his agency boss (Alfredo Castro) works for Team Yes. One other nice touch: The movie — the third in a trilogy of powerful political dramas from Larraín, including Tony Manero and Post Mortem — uses period detail, archival footage, and '80s-era technology to create an excellently authentic, bleached, crummy-looking document of a great democratic accomplishment.  - Lisa Schwarzbaum, Entertainment Weekly

Oscar Diggs (James Franco), a small-time circus magician with dubious ethics, is hurled away from dusty Kansas to the vibrant Land of Oz. At first he thinks he's hit the jackpot-fame and fortune are his for the taking. That all changes, however, when he meets three witches, Theodora (Mila Kunis), Evanora (Rachel Weisz), and Glinda (Michelle Williams), who are not convinced he is the great wizard everyone's been expecting. Reluctantly drawn into the epic problems facing the Land of Oz and its inhabitants, Oscar must find out who is good and who is evil before it is too late. Putting his magical arts to use through illusion, ingenuity-and even a bit of wizardry-Oscar transforms himself not only into the great and powerful Wizard of Oz but into a better man as well.

On Oct. 5, 1988, after 15 hard years under a dictatorship, the Chilean public voted No — as in, Enough already — in a historic national plebiscite that removed Gen. Augusto Pinochet from power. Pablo Larraín's superb, Oscar-nominated, fact-based drama, No, explores the power of popular dissent, and the coordinated persuasions of media, marketing, and targeted advertising in shaping the word no to invigorate a populace pessimistically conditioned to think that nothing will ever change for the good.

Gael García Bernal is typically soulful as a (fictional) adman who devises the effective and unexpectedly upbeat campaign, even while his agency boss (Alfredo Castro) works for Team Yes. One other nice touch: The movie — the third in a trilogy of powerful political dramas from Larraín, including Tony Manero and Post Mortem — uses period detail, archival footage, and '80s-era technology to create an excellently authentic, bleached, crummy-looking document of a great democratic accomplishment.  - Lisa Schwarzbaum, Entertainment Weekly

“42” begins in 1945, when Brooklyn Dodgers General Manager Branch Rickey (Harrison Ford) decides to integrate the team. Insisting to his nervous associates that dollars aren’t black or white, only green, Rickey begins scouting for a player who not only will help the team win, but also has the character to withstand the backlash that will ensue.

He settles on Robinson, a gifted athlete from California with an impressive record in the Negro leagues. When Robinson asks Rickey if he’s looking for a player without the guts to fight back, Rickey famously replies that he’s looking for “a player with the guts not to fight back.”

The film’s most gratifying sequences are on the field, when Robinson is silencing his critics with the sheer beauty and athleticism of his playing, and when his teammates -- who early in his career petitioned to have him removed -- can be seen gradually coming around, as if waking from a particularly toxic trance. By the time Pee Wee Reese (Lucas Black) famously puts his arm around Robinson during a game in Cincinnati, “42” has taken on cumulative, undeniable momentum, not just as classically rousing entertainment but as a quintessential story of American aspiration. Ann Hornaday-Washington Post

On Oct. 5, 1988, after 15 hard years under a dictatorship, the Chilean public voted No — as in, Enough already — in a historic national plebiscite that removed Gen. Augusto Pinochet from power. Pablo Larraín's superb, Oscar-nominated, fact-based drama, No, explores the power of popular dissent, and the coordinated persuasions of media, marketing, and targeted advertising in shaping the word no to invigorate a populace pessimistically conditioned to think that nothing will ever change for the good.

Gael García Bernal is typically soulful as a (fictional) adman who devises the effective and unexpectedly upbeat campaign, even while his agency boss (Alfredo Castro) works for Team Yes. One other nice touch: The movie — the third in a trilogy of powerful political dramas from Larraín, including Tony Manero and Post Mortem — uses period detail, archival footage, and '80s-era technology to create an excellently authentic, bleached, crummy-looking document of a great democratic accomplishment.  - Lisa Schwarzbaum, Entertainment Weekly

“42” begins in 1945, when Brooklyn Dodgers General Manager Branch Rickey (Harrison Ford) decides to integrate the team. Insisting to his nervous associates that dollars aren’t black or white, only green, Rickey begins scouting for a player who not only will help the team win, but also has the character to withstand the backlash that will ensue.

He settles on Robinson, a gifted athlete from California with an impressive record in the Negro leagues. When Robinson asks Rickey if he’s looking for a player without the guts to fight back, Rickey famously replies that he’s looking for “a player with the guts not to fight back.”

The film’s most gratifying sequences are on the field, when Robinson is silencing his critics with the sheer beauty and athleticism of his playing, and when his teammates -- who early in his career petitioned to have him removed -- can be seen gradually coming around, as if waking from a particularly toxic trance. By the time Pee Wee Reese (Lucas Black) famously puts his arm around Robinson during a game in Cincinnati, “42” has taken on cumulative, undeniable momentum, not just as classically rousing entertainment but as a quintessential story of American aspiration. Ann Hornaday-Washington Post

On Oct. 5, 1988, after 15 hard years under a dictatorship, the Chilean public voted No — as in, Enough already — in a historic national plebiscite that removed Gen. Augusto Pinochet from power. Pablo Larraín's superb, Oscar-nominated, fact-based drama, No, explores the power of popular dissent, and the coordinated persuasions of media, marketing, and targeted advertising in shaping the word no to invigorate a populace pessimistically conditioned to think that nothing will ever change for the good.

Gael García Bernal is typically soulful as a (fictional) adman who devises the effective and unexpectedly upbeat campaign, even while his agency boss (Alfredo Castro) works for Team Yes. One other nice touch: The movie — the third in a trilogy of powerful political dramas from Larraín, including Tony Manero and Post Mortem — uses period detail, archival footage, and '80s-era technology to create an excellently authentic, bleached, crummy-looking document of a great democratic accomplishment.  - Lisa Schwarzbaum, Entertainment Weekly

The apple of a young man’s eye doesn’t fall too far from the (family) tree in Renoir. This handsomely mounted historical drama concerns the desirous triangle between the great Impressionist painter Pierre-Auguste Renoir, his live-in teenage model Andrée Heuschling, and his son Jean, who recovered from a battlefield injury in the First World War to become one of the most important French filmmakers of all time. The idea that two generations of great artistry would be inspired in two very different media by the same tempestuous, temperamental young woman is poetic, but Gilles Bourdos’s film is more conventional than its mould-breaking subjects deserve.- Adam Nayman, The Globe & Mail

“42” begins in 1945, when Brooklyn Dodgers General Manager Branch Rickey (Harrison Ford) decides to integrate the team. Insisting to his nervous associates that dollars aren’t black or white, only green, Rickey begins scouting for a player who not only will help the team win, but also has the character to withstand the backlash that will ensue.

He settles on Robinson, a gifted athlete from California with an impressive record in the Negro leagues. When Robinson asks Rickey if he’s looking for a player without the guts to fight back, Rickey famously replies that he’s looking for “a player with the guts not to fight back.”

The film’s most gratifying sequences are on the field, when Robinson is silencing his critics with the sheer beauty and athleticism of his playing, and when his teammates -- who early in his career petitioned to have him removed -- can be seen gradually coming around, as if waking from a particularly toxic trance. By the time Pee Wee Reese (Lucas Black) famously puts his arm around Robinson during a game in Cincinnati, “42” has taken on cumulative, undeniable momentum, not just as classically rousing entertainment but as a quintessential story of American aspiration. Ann Hornaday-Washington Post

“42” begins in 1945, when Brooklyn Dodgers General Manager Branch Rickey (Harrison Ford) decides to integrate the team. Insisting to his nervous associates that dollars aren’t black or white, only green, Rickey begins scouting for a player who not only will help the team win, but also has the character to withstand the backlash that will ensue.

He settles on Robinson, a gifted athlete from California with an impressive record in the Negro leagues. When Robinson asks Rickey if he’s looking for a player without the guts to fight back, Rickey famously replies that he’s looking for “a player with the guts not to fight back.”

The film’s most gratifying sequences are on the field, when Robinson is silencing his critics with the sheer beauty and athleticism of his playing, and when his teammates -- who early in his career petitioned to have him removed -- can be seen gradually coming around, as if waking from a particularly toxic trance. By the time Pee Wee Reese (Lucas Black) famously puts his arm around Robinson during a game in Cincinnati, “42” has taken on cumulative, undeniable momentum, not just as classically rousing entertainment but as a quintessential story of American aspiration. Ann Hornaday-Washington Post

The apple of a young man’s eye doesn’t fall too far from the (family) tree in Renoir. This handsomely mounted historical drama concerns the desirous triangle between the great Impressionist painter Pierre-Auguste Renoir, his live-in teenage model Andrée Heuschling, and his son Jean, who recovered from a battlefield injury in the First World War to become one of the most important French filmmakers of all time. The idea that two generations of great artistry would be inspired in two very different media by the same tempestuous, temperamental young woman is poetic, but Gilles Bourdos’s film is more conventional than its mould-breaking subjects deserve.- Adam Nayman, The Globe & Mail

Rooney Mara stars as Emily, a loyal wife whose husband is (a) about to get out of prison after serving four years for insider trading and (b) played by Channing Tatum. You'd think things would be looking up for Emily, but she's plagued by anxiety and, after impulsively driving her car into a brick wall, ends up in therapy with Dr. Banks (Jude Law). After trying several of the usual antidepressants, Emily ends up on a brand-new medication called Ablixa, which turns out to have tragically consequential (you guessed it) side effects.

Of course, at least a couple of facts in the preceding paragraph turn out not to be true. The screenplay by Scott Z. Burns serves up plenty of twists over the last half of the film, all of them genuinely surprising in the moment but in retrospect decipherable. Soderbergh directs with subtlety, placing clues delicately but firmly along the way; he never cheats by revealing something the audience didn't have a chance to suspect on its own.  - Marc Mohan, Portland Oregonian

Rooney Mara stars as Emily, a loyal wife whose husband is (a) about to get out of prison after serving four years for insider trading and (b) played by Channing Tatum. You'd think things would be looking up for Emily, but she's plagued by anxiety and, after impulsively driving her car into a brick wall, ends up in therapy with Dr. Banks (Jude Law). After trying several of the usual antidepressants, Emily ends up on a brand-new medication called Ablixa, which turns out to have tragically consequential (you guessed it) side effects.

Of course, at least a couple of facts in the preceding paragraph turn out not to be true. The screenplay by Scott Z. Burns serves up plenty of twists over the last half of the film, all of them genuinely surprising in the moment but in retrospect decipherable. Soderbergh directs with subtlety, placing clues delicately but firmly along the way; he never cheats by revealing something the audience didn't have a chance to suspect on its own.  - Marc Mohan, Portland Oregonian

The apple of a young man’s eye doesn’t fall too far from the (family) tree in Renoir. This handsomely mounted historical drama concerns the desirous triangle between the great Impressionist painter Pierre-Auguste Renoir, his live-in teenage model Andrée Heuschling, and his son Jean, who recovered from a battlefield injury in the First World War to become one of the most important French filmmakers of all time. The idea that two generations of great artistry would be inspired in two very different media by the same tempestuous, temperamental young woman is poetic, but Gilles Bourdos’s film is more conventional than its mould-breaking subjects deserve.- Adam Nayman, The Globe & Mail