Shane Carruth's Upstream Color is a movie that deserves to be seen in a theater—it's gorgeous, both visually and aurally, and it requires the sort of attention that movie theaters are far more conducive to than living rooms. So, if you can, go see it at Cinema 21 (616 NW 21st), where it's playing through Thursday, every night at 7 and 9. Cinema 21 is a nice theater. You will enjoy your experience there.
HOWEVER. I'd be remiss if I didn't inform the bed-ridden, elderly, antisocial, and disgustingly lazy among you that Upstream Color is now available in about a billion different ways, too—from iTunes to Amazon to Blu-ray, you can rent or buy it in just about any way you want, thus leaving you with no excuse for not having seen one of the best and weirdest movies since... well, since Shane Carruth's Primer.
I can count on half of one hand the number of movies I've seen so far this year that I've loved, and Upstream Color is the first one that comes to mind. I think the last paragraph of Andrew Wright's review nails it, though your mileage is almost guaranteed to vary:
Movies that make you work for it can be a tough draw, of course, and Carruth's melding of Kubrickian control and Malick's expansiveness will likely have some begging off early. Those on the film's wavelength, however, may well find themselves floored by the nearly wordless final act, where all of the seemingly disparate elements are drawn together with a beauty and power that's a little freaky to behold. I've seen Upstream Color three times now, and my appreciation just keeps on growing. Whatever it is Carruth's doing, it reminds you of what movies can do.
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