ANNOUNCING TWO SPECIAL PREMIERE SCREENINGS WITH AUDIENCE DISCUSSION THIS MONTH:

*This Friday, June 13, 7:00 pm at Cinemapolis: THE RAPE OF EUROPA with discussion led by Frank Robinson, Director of the Johnson Museum

 

Coming June 27: THE FLIGHT OF THE RED BALLOON, plus the 1956 short that inspired it, THE RED BALLOON, with discussion led by Stuart McDougal, former professor of film studies at Macalester College and University of Michigan. Location and showtime to be announced.

 

SEE OUR WEBSITE, cinemapolis.org, for more information.

 

CHANGES THIS WEEK:

ENDS THURSDAY AT CINEMAPOLIS: MY BROTHER IS AN ONLY CHILD

STARTS FRIDAY AT CINEMAPOLIS: THE RAPE OF EUROPA

ENDS THURSDAY AT FALL CREEK: TUYA'S MARRIAGE, THEN SHE FOUND ME
STARTS FRIDAY AT FALL CREEK: PRICELESS, SON OF RAMBOW

 

Schedule for Cinemapolis (June 9-12)

THE VISITOR (103 PG-13) 7:15/ 9:35 + Wed. Mat. 5:00

MY BROTHER IS AN ONLY CHILD (108 unrated) 7:15/ 9:35+ Wed. 5:00 (ENDS THURSDAY)

 

Schedule for Fall Creek (June 9-12)

FORGETTING SARAH MARSHALL (112 R) 7:15/ 9:35

TUYA'S MARRIAGE (100 unrated) 7:15 (ENDS THURSDAY)

THEN SHE FOUND ME (100 R) 7:15/ 9:35 (ENDS THURSDAY)

SMART PEOPLE (95 R) 9:35 + Sat. Sun. Mats. 4:35

 

Schedule for Cinemapolis (June 13-19)

THE VISITOR (103 PG-13) 7:15/ 9:35 + Sat. Sun. Mats. 2:15/ 4:35 + Wed. Mat. 5:00

THE RAPE OF EUROPA (117 unrated) Fri. 7:00 (with discussion) and 10:00; Thurs.-Sat. 7:15/ 9:35 + Sat. Sun. Mats. 2:15/ 4:35 + Wed. 5:00

 

Schedule for Fall Creek (June 13-19)

FORGETTING SARAH MARSHALL (112 R) 7:15 + Sat. Sun. Mats. 2:15/

PRICELESS (104 PG-13) 7:15/ 9:35 + Sat. Sun. Mats. 2:15/ 4:35

SON OF RAMBOW (96 PG-13) 7:15/ 9:35 + Sat. Sun. Mats. 2:15/ 4:35

SMART PEOPLE (95 R) 9:35 + Sat. Sun. Mats. 4:35

 

 

 

 

SYNOPSES

 

THE RAPE OF EUROPA (117 unrated)

FRANKLIN ROBINSON, DIRECTOR OF THE JOHNSON MUSEUM, WILL BE WITH US FOR THE PREMIERE SCREENING OF RAPE OF EUROPA ON FRIDAY JUNE 13 AT 7:00 PM, TO LEAD AUDIENCE DISCUSSION AFTER THE MOVIE. 
"When people think about World War II, wondering what it meant for the fate of museum-quality art is probably not the first thing that comes to mind. Yet as the documentary THE RAPE OF EUROPA demonstrates, this is a surprisingly vast and involving topic. Based on the authoritative book of the same name by Lynn H. Nicholas, EUROPA covers a lot of territory and is packed with information. That art was on the World War II agenda at all is because of the unexpected makeup of German leader Adolf Hitler. As a young man he was eager to be an artist, but being turned down by the Academy of Fine Arts Vienna left him with a fierce hatred of modern art. That led, once he took power, to an 'unrelenting war of purification' against what he considered degenerate art, a wholesale removal of 16,000 works from museum walls.But Hitler didn't just purge all he hated, he also stole what he coveted, which was a lot. And his passion for art mandated a parallel passion in his subordinates; Hermann Goering, for instance, had 1,700 paintings, more than most museums, at his country estate. This led to industrial-strength looting of occupied countries, a plundering so systematic that German bureaucrats made up lists of desired artworks as part of their invasion plans. Some of the most interesting stories in EUROPA have to do with how Paris' Louvre reacted to the impending invasion of France. Almost everything that could be moved, including the large and fragile Winged Victory of Samothrace, was carted up and sent out of town in a convoy of some 300 trucks. Specific curators were assigned specific works of art to look after, and the daughter of the couple assigned the Mona Lisa tells of how it was transported in a specially sealed ambulance.
"Once the Germans occupied Paris, they looted art and furniture from Jewish apartments.
and the story is told of a prisoner in Auschwitz, detailed to help ship the furniture to Germany, who was shocked to come across his own family's household goods among the prizes of war.
For the invading American troops, how to treat historically and artistically significant buildings during attacks became a major issue. THE RAPE OF EUROPA details all these absorbing stories and more, even going into the postwar fights about who owns what painting. The picture painted by this film is not pretty, but it is a difficult one to turn away from." (Kenneth Turan, LA Times)

 

PRICELESS (104 PG-13)

 

This sexy and thoroughly charming French romantic comedy with Audrey Tautou is a fresh reimagining of the cinema classic Breakfast at Tiffany's.

"The perfect frothy fantasy for the obscene wealth gap era, PRICELESS (Hors de Prix) stars a gorgeous, cellophane-thin Audrey Tautou as Irene, a dedicated gold digger who finds herself accidentally mixed up with a penniless bartender. Irene's rather arduous profession involves nabbing, milking and holding onto very rich (and usually very old) men for as long as she can. Jean (Gad Elmaleh) is a sad-eyed service serf with the dejected air of a Fellini hero, whom she mistakes for a patron, an error that puts her right back in the poorhouse. When a twist of fate lands Jean in a relationship similar to the ones to which Irene is accustomed, she gleefully takes him on as a project: the kept man in training.Though PRICELESS is billed as a re-imagining of 'Breakfast at Tiffany's,' the film, with its canny, supremely pragmatic heroine knocking against a dreamy romantic hero, is closer to 'The Palm Beach Story' and 'The Lady Eve.' Director Pierre Salvadori doesn't try to contextualize Irene or make excuses for her. The movie is an altogether more French affair than that. And it's unencumbered by American squeamishness about less-than-innocent women. As Irene, Tautou is both aware and deliberate. She has no illusions about what she is, and no compunctions either. Any flightiness on her part is strictly a put-on for the benefit of potential suitors, not the audience. Of course, should an American remake be forthcoming, this delightfully adult sensibility will be the first thing to go. Tautou and Elmaleh make a wonderfully odd couple, a pair of scrappy kids trying to eke out an existence in an impossibly luxurious setting. With their lean, hungry frames (Irene eats ravenously whenever someone else picks up the tab), they're as plucky and resourceful as characters in a Preston Sturges comedy.
"A cynic is someone who knows the price of everything and the value of nothing, or so the saying goes, but the unadulterated joy Irene takes in throwing open the closet door to show Jean how this gold digging is done is positively infectious." (Carina Chocano, LA Times)

 

SON OF RAMBOW (96 PG-13)

 

Two British schoolboys team up to remake the Rambo movies with themselves as unlikely action heroes.
     "Every other movie that comes out these days seems to be about grim reality, from dysfunctional family drama to political intrigue to violent world conflict. While many of these films are very good, I hadn't realized how much I needed a break from them until I ran across something completely different. SON OF RAMBOW by director/screenwriter Garth Jennings, delivers a nostalgic ode to childhood that reminds us of what it's like to be a kid. It's charming and touching, and the best part is, it manages to be so without saccharine sweetness.
     "As part of a Plymouth Brethren family, young William Proudfoot is supposed to keep away from the corrupting influence of others, which makes for a lonely existence at school. While the rest of the kids are doing 'normal' things-like listening to rock music and watching television-Will creates a vivid fantasy world for himself. He is alone in this world until he gets mixed up with the school bully, Lee Carter. Will inadvertently sees a copy of 'First Blood' at Carter's house, and the odd relationship between the two boys quickly turns into friendship when they decide to film their own home movie version. The stunts that the two boys enact are achieved with the imperviousness and dumb luck that only kids possess. However, when other students-especially a popular foreign exchange student-get involved, the integrity of the secret project is corrupted. Will (Bill Milner) and Carter (Will Poulter) are like a contemporary Huck Finn and Tom Sawyer as they traipse around the idyllic woods on adventures fueled by imagination. Will's eventual seduction by the cool kids signals an end of their innocence, but even this is played in a light-hearted way. In a nod to the film industry, the school is represented as a microcosm of Hollywood-- groupies are schoolgirls, alcohol and drugs are Coca-cola and Pop Rocks, and the hipster elite are preteens dressed as Cure fans (it is supposed to be the 80's, after all). Milner does a great job as lead, but it is Poulter who steals the show, bringing a range of emotion to his role as incorrigible troublemaker. The movie captures a time gone by and extols the importance of lasting friendship, but it is shrewd enough to temper the sentimentality with a sense of humor. Like Little Miss Sunshine, SON OF RAMBOW is this year's diamond in the rough, a small movie that is big in heart and promises to be big at the box office." (Jamie Tipps, Film Threat)

 

MY BROTHER IS AN ONLY CHILD (108 unrated)

We love it, our audiences love it, but the distributor has a print shortage, so MY BROTHER must end ThursdayJune 12

Passionate sibling rivalry mirrors the right/left political divide in 1960s Italy, in this new film by the screenwriters of The Best of Youth. "One waves a red flag, banner of communism. The other wears a black shirt, symbol of fascism. The ideological battles of 1960s Italy pit brother against brother in Daniele Luchetti's freewheeling seriocomedy, MY BROTHER IS AN ONLY CHILD. Based on the Italian best-seller Il Fasciocomunista and adapted by Sandro Petragia and Stefano Rulli, screenwriters of the similarly themed The Best of Youth, the film centers on Accio (Elio Germano), the youngest of three in a family of working-class Christian Democrats. They live on the outskirts of Rome in Latina, a model city planned by Mussolini that shows the ravages of time and neglect. While they wait impatiently for new public housing, their humble apartment is coming apart almost as fast as their family.After being ejected from seminary, Accio exchanges religion for politics, sampling -isms as if they were gelato. His initial adolescent rebellion takes the form of embracing fascism, much to the contempt of Manrico (Riccardo Scamarcio), his hearthrob-handsome older brother, a charismatic Communist. While the brothers have doctrinal differences, they both have a yen for lovely Francesca (Diane Fleri), a bourgeois beauty besotted with Manrico. Shot on actual locations with a handheld camera, Luchetti's captivating coming-of-age film combines neorealist themes with New Wave filmmaking. Luchetti insinuates himself into the shaky lives of his characters so fully that we share their hunger for stability and their lust for life. Moviegoers of a certain age may feel as though they are watching a lost Bertolucci film. Germano, defiance with an appealing smile, and Scamarcio, a firecracker with double-dip eyelashes, play beautifully off, against and with each other. The film, which argues that blood brotherhood is stronger than political brotherhoods, vibrates with their youthful energy and ardor." (Carrie Rickey, Philadelphia Inquirer)

FORGETTING SARAH MARSHALL (112 R)

" In its chosen Guyville niche FORGETTING SARAH MARSHALL is really, really funny, and too many months have passed since I've been tempted to haul out that second 'really' for any film."(Michael Phillips, Chicago Tribune)
"Early in FORGETTING SARAH MARSHALL, the protagonist Peter Bretter (Jason Segel) steps out of the shower as his girlfriend (Kristen Bell) arrives back at their apartment. Peter thinks it's carnival time. Sarah, however, has come to call it quits and Peter realizes, in all his mistimed nudity-that he's getting dumped. Segel (star of the TV series 'How I Met Your Mother') has what Nicolas Cage and Gene Wilder and a precious handful of other witty actors have: The ability to make egregious humiliation and painful neediness a source of limitless mirth. In its chosen Guyville niche FORGETTING SARAH MARSHALL is really, really funny, and too many months have passed since I've been tempted to haul out that second 'really' for any film. If the raunch of 'The 40-Year-Old Virgin,' 'Knocked Up' or 'Superbad' wasn't to your liking, disregard the previous sentence. Looser, less formulaic and more detour-friendly than the average Hollywood comedy the stories of Judd Apatow's films are guided by boy-men being dragged, kicking and screaming, into manhood. [Similar in style], FORGETTING SARAH MARSHALL differs in that it's about a functioning adult who falls apart, cries, schemes, stalks, endures petty indignation after petty indignation, and must put himself back together again.
Segel wrote the script, and the director is first-timer Nicholas Stoller, who wrote for Apatow's short-lived series 'Undeclared.' Segel's role works because the writer and the actor understand each other, and fearlessly they dive into all sorts of pathetic misbehavior. After the breakup, Peter's brother (Bill Heder) advises our hero-schlub to take a vacation in Hawaii. At a resort staffed by, among others, a very promising front-desk manager played by the vibrant Mila Kunis ('That '70s Show'), Peter runs smack into Sarah and her new beau, a preening British rock god played by Russell Brand. Paul Rudd as the resort's blissfully stoned surfing instructor, Jonah Hill as a star-struck restaurant employee who has a way of rubbing salt in Peter's emotional wounds-the supporting cast blends familiar faces with less familiar ones, and they're all welcome. Kunis really pops out here as well, leaving her manic 'That '70s Show' quality behind her. Here's an indication of Segel's writing skills: Brand's character may be a clown and a cad, but he keeps trying to be Peter's friend, too. Nobody's a cardboard villain in FORGETTING SARAH MARSHALL. It's worth seeing just for the banter between Segel and Hader. Bell's best scenes show her co-starring with William Baldwin on her 'CSI'-inspired series, 'Crime Scene,' in which every forensic detail and world-weary glare is spot-on. As with all good Apatow comedies, some of the detours end up in a cul-de-sac. But unlike its own bluntly nasty ad campaign, featuring taxi signs and billboards saying snotty things like 'You DO look fat in those jeans Sarah Marshall,' this story of one man's rebound has a heart to go with its comic nerve." (Michael Phillips, Chicago Tribune)

 

THEN SHE FOUND ME (100 R) (ENDS THURSDAY)

 

Under Helen Hunt's deft direction , an impressive cast (Colin Firth, Bette Midler, Matthew Broderick, Helen Hunt) light up  Elinor Lipman's serio-comic tale of a woman whose brash birth mother re-connects  just as she confronts the uncertainty of everything else in her life

"THEN SHE FOUND ME, the first film to be directed by Helen Hunt, is about a thirty-nine-year-old grade-school teacher, April (Hunt), who has the unsettling adventure of becoming a mother and a daughter at the same time. April has been brought up by adoptive parents, but she has felt the absence of her own mother and father as if they were a pair of missing limbs. And she's terrified of losing out on motherhood herself. When her husband, Ben (Matthew Broderick), a mousy teacher at the same school, tries to tell her that he wants to leave her, April ignores him and pulls him into bed. The next day, the father of one of her students, Frank (Colin Firth), comes on to her like a summer tempest. The British Firth has a cloud of dark hair, a strong voice, and a baleful stare. His temperament, in its rages and its ardor, owes something to the nineteenth century-he is best known here, perhaps, as a great Mr. Darcy in the 1995 BBC miniseries version of 'Pride and Prejudice.' In this movie, he's a kind of domesticated Heathcliff, issuing imperious commands and then collapsing into apologies or morose rants. April, now pregnant with the child of her departing husband, falls in love with this unsteady warrior, a divorced man with two children of his own. With the screenwriters Alice Arlen and Victor Levin, Hunt adapted the story from a 1990 novel by Elinor Lipman, and has turned the material into a fine, tense, unpredictable comedy of mixed-up emotions and sudden illuminations. Hunt, in her work as an actress, has a talent for lucidity, but lucid is exactly what April is not. She can't quite make out what she wants, apart from a baby, and Frank, wounded and defensive after a failed marriage, is irresolute and changeable, too. THEN SHE FOUND ME is about people acting on their immediate emotions and screwing themselves up. As if April's situation weren't muddled enough, her birth mother, Bernice, appears, in the form of Bette Midler, who barges into the movie like Shelley Winters on roller skates. A daytime-TV talk-show host, Bernice is a force of nature-she's initially so rude and needy that it takes a while to realize that she's an intelligent woman-and April wants to hide from her. What makes this small movie work is the filmmakers' curiosity about the many-sidedness of need-the way genuine benevolence, say, can be cloaked in blunt intrusiveness, or the way insults can be a reckless demand for love. We get the feeling that these people are far from completed as personalities, and that the movie's end, when it comes, is more like a pause. With any luck, Helen Hunt will continue to put complicated people on the screen." (David Denby, New Yorker)

TUYA'S MARRIAGE (100 unrated) (ENDS THURSDAY)
*TUYA'S MARRIAGE WAS THE GRAND PRIZE WINNER (GOLDEN BEAR) AT THE BERLIN FILM FESTIVAL

"Arthur Miller described his screenplay of The Misfits as 'an Eastern Western.' Shot against the striking desert landscapes of Inner Mongolia, TUYA'S MARRIAGE is a radically different sort of Eastern Western, following a simple story of a frontier woman's travails as she seeks a new husband willing to take care of her old one, along with their two children. An unusual situation. Tuya is an unusual, even mythic heroine. The film, by Chinese director Wang Quan An, is a fine and plaintive experience, more modern-day folklore than ethnographic study, and a wonderfully assured piece of cinema.
"Tuya belongs to a select roster of self-sacrificing heroines faced with hard choices. Tending her sheep, Tuya, played by Yu Nan, surveys the land around her. She is a beacon of vibrant womanhood in a harsh part of the world marked by limitless sky and limited options. We begin with two children fighting outside, while a group of people have convened for a wedding ceremony. All is not well. 'He said I have two fathers!' one of the boys cries. Tuya breaks up the fight. She seems on the verge of breaking down herself. Without melodrama, without forcing or falsifying our response to the characters' circumstances, TUYA'S MARRIAGE reveals how its protagonist came to this point in her life. We learn that her husband, a herdsman, has been disabled for some time. Tuya does all the manual labor. Her neighbor, Senge, loves her. If only things were different. Tuya is everything Senge's own (unseen) wife is not: admirable, stalwart, trustworthy. In his serene fashion, Tuya's husband pushes Tuya to divorce him and remarry someone, to ease her troubles. A suitor, the rich Baolier, has made his money in the oil business. He sets up Tuya's husband in a nursing home. Meantime, the lovable screw-up Senge begins digging a well on Tuya's property, as a show of his devotion. This is a world of connected stories and interdependent lives, yet TUYA'S MARRIAGE doesn't feel overly schematic. The wryly observed story moves at a graceful pace, and the way director Wang lays everything out, we see the emblems of modernization intruding on an ancient place. Wang's eye is well-attuned to various modes of transportation and how they reflect the changes wrought in Inner Mongolia. One character riding a camel becomes part of a visual chain that includes a shot of another character riding a horse, or a motorcycle, or a truck, or a Mercedes. Life moves on.
So do careers. The actress who plays Tuya can be seen in Speed Racer. That's a juxtaposition no less surprising than any of the contrasts so lovingly relayed in TUYA'S MARRIAGE. This is the inaugural feature film release of the local Music Box Films banner (musicboxfilms.com). The venture has begun in style." (Michael Phillips, Chicago Tribune)

 

SMART PEOPLE (95 R)

 

"In the engaging dysfunctional-family movie SMART PEOPLE, Dennis Quaid plays a mid-50ish, widowed professor who aspires to be head of the Carnegie-Mellon English department and has just written a book that's been rejected by 'all the publishers.' He's a fairly despicable human being: arrogant, self-absorbed, combative -- who's alienated his aspiring-poet son (Ashton Holmes) and turned his teenage daughter (Ellen Page) into a neo-conservative, obsessive-compulsive version of himself. One night, the prof has a falling accident that puts him in the hospital, where he meets an ER doctor who was once his student (Sarah Jessica Parker) -- an awkward encounter that gradually leads to his first romantic relationship since the death of his wife. Since he suffered a seizure and can no longer legally drive his car, he also has no choice but to go against his instincts and allow his prodigal adoptive-brother (Thomas Haden Church) to move into the house and become his temporary chauffeur. In the way of relationship comedy-dramas, these two unexpected associations will cause the hero a great deal of complicated stress but they will also profoundly change him, force him to confront his demons and ripple through his family in a healing way. And the joy here is that this transformation happens in small, surprising, emotionally satisfying moments. If the movie has a downside, it's that first-time director Noam Murro's establishing scenes of the character's eccentricity are overdone, almost heavy-handed. But after its rough opening, SMART PEOPLE settles down to be a funny, wryly enjoyable, effortlessly poignant parable of family life and a splendid showcase for its cast -- especially Page, who handily steals the movie and proves that her Juno success was no fluke." (William Arnold, Seattle Post-Intelligencer)

THE VISITOR (103 PG-13)

 

    "Devotees of The Station Agent  will be relieved to know that writer-director Tom McCarthy gives no indication of a sophomore slump. His second film, THE VISITOR,  is if anything more imaginative and touching than his first.  McCarthy puts a mark on each film, identifying it as distinctly his own. A couple more like them, and he'll be knighted an auteur. Besides a minimalist title, THE VISITOR shares with its predecessor a profound understanding of how it feels to be alone - not as a phase one is going through but as a chronic condition.  McCarthy likes to pick out character actors and put them into the lead. This time it is Richard Jenkins, the dead dad on Six Feet Under, who gradually reveals layers of Walter Vale, a widowed economics professor. There's a toughness to Walter that precludes feeling sorry for him (much as there was to the station agent character). Shown slacking off in early scenes by recycling class syllabuses and moving a clock ahead so it appears that office hours are over, he is neither sympathetic nor likable. While in New York to present an academic paper, Walter intends to stay at a pied-a-terre he rarely uses, but is shocked to find it occupied. Zainab (Danai Gurira), a Senegalese jeweler, and her musician boyfriend, Tarek (Haaz Sleiman), from Syria, have rented it from a con man taking a chance its owner will never show. Here is where  THE VISITOR veers off in an unexpected direction. Walter, whom you'd expect to throw the strangers out, instead invites them to stay and, in the process, discovers his own humanity.
     "Jenkins' multilevel performance is continually surprising. He gently hints that Walter may have rhythm in the way his body sways to music. When Tarek plays the African drum at the apartment they now share, Walter's walk picks up the beat, and his hands move in time with the beat. Walter greets Tarek's offer to teach him the drum as if he'd been given a sabbatical.
     "Tarek and Zainab are both in this country illegally. When one of them is taken into custody, Walter hires a lawyer and does everything he can to help. McCarthy keeps the focus on how Walter changes by doing good and not on fixing a screwed-up system. Tarek's mother, Mouna (Hiam Abbass), visits New York and gives Walter another reason to come fully alive. Jenkins registers the distance Walter has traveled from a closed world on a Connecticut campus to his small international apartment. Mouna, a widow, is so lovely he can't stop doing things for her. The tenderness between them is sexier than a lot of explicit sex scenes.
     "The part of Walter was written for Jenkins, and he inhabits it like a second skin. It's daft to be talking about Oscars with the memory of Tilda Swinton's makeup-less face still strong. Still, it's hard to imagine five other performances as worthy of recognition as his. The meaning of the title shifts. It appears to be about illegal immigrants in the United States. Ultimately, though, the label belongs to Walter - a visitor who comes in from the cold." (Ruthe Stein, SF Chronicle)

 

Coming soon:  THE FALL, THE BEST OF '68 FILM FESTIVAL, FLIGHT OF THE RED BALLOON, MONGOL, CHILDREN OF HUANG SHI, JELLYFISH, , THE WACKNESS AND WHEN DID YOU LAST SEE YOUR FATHER?, BRICK LANE, ALEXANDRA, STANDARD OPERATING PROCEDURE, BEFORE THE RAINS, BLADE RUNNER: THE FINAL CUT, THE FALL, REPRISE, BRIDESHEAD REVISITED, ROMAN DE GARE

PRICES:
General Admission $8.50; Seniors (64 and over) and children (12 and under)$6.50; Students with I.D. Sunday through Thursday $6.50 (students pay General Admission on Friday and Saturday nights). Matinees (Sat. and Sun.):$6.50. CHEAP NIGHTS (Mon. at Fall Creek, Tues. at Cinemapolis) $6.50
CINEMAPOLIS and FALL CREEK PICTURES are owned and operated by the
7th Art Corporation of Ithaca, a not-for-profit corporation which encourages central New York residents to explore the power of film to entertain, educate, and to celebrate the human experience.
7TH ART is in the midst of a capital campaign to raise funds for the new Cinemapolis, to open later this year with improved sound, image, seating and refreshments, on the north side of Green Street. We recently received a challenge grant from a community supporter which means that your donation is doubled in value. You can learn more about the campaign and make a donation on our website (cinemapolis.org), by clicking the "A Theater as Good As Our Movies" button at the top of the page. Your support is needed to make this major improvement in Ithaca moviegoing. Donate online through a secure link, or pick up donation envelopes at Cinemapolis or Fall Creek Pictures.