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Articles by John

Page 2
  • Big Screen Berkeley’s favorite films of 2016

    2016 has, thankfully, almost run its course, which means that it’s time for film critics coast-to-coast to compile their end-of-the-year lists. Unlike others, however, I can’t profess to know what the year’s ‘best films’ were, because I haven’t seen enough of the contenders. With time to take in only 500 or so films a year — many being older films I’m catching up on (or revisiting, such as The Battle of Algiers) — it would be an insult to my readers’ intelligence to suggest I really know what’s best.

  • Big Screen Berkeley: ‘Old Stone’, ‘Fire at Sea’

    Over the last few decades the term ‘film noir’ has been increasingly misused. Where once it represented a distinct type of story – one in which the central character finds him or herself trapped in a predicament not entirely of their own making – it’s since been applied to routine police procedurals, gothic thrillers, and any film (especially those filmed in black and white!) with a suspenseful and tricksy plot.

  • Big Screen Berkeley: ‘Seasons’

    Wildlife documentaries used to be fun and educational diversions: while watching cute animals frolic in the wilderness, you also got to learn about the magical ‘circle of life’ that made all that frolicking possible. Well, unless it was a Werner Herzog wildlife documentary — then you got to see the food chain in action, up to and including human beings. But I digress.

  • Big Screen Berkeley: ‘National Bird’

    Last week’s feature The Love Witch was the sort of fluffy distraction we could use right now, but alas – all I can offer you this week is an ice cold cinematic shower entitled National Bird (opening at San Francisco’s Roxie Theatre on Friday, Nov. 18th; no East Bay playdates are currently scheduled). A timely and depressing reminder of the powers soon to be vested in the man some call Cheeto Jesus and others call names that aren’t quite so nice, it’s one of the best documentaries of 2016.

  • Big Screen Berkeley: ‘The Love Witch’

    In a recent Guardian interview, director Quentin Tarantino claimed he’d be retiring after completing two more films, his legacy as ‘one of the greatest filmmakers of all time’ likely assured. About the kindest thing one can say about this Trumpian piece of self-regard is that Mr. Tarantino, whose career has largely consisted of the wholesale theft of dialogue, scenarios, and music from other films (as well as depressingly liberal use of the ‘n’ word), is sadly deluded.

  • Big Screen Berkeley: ‘The Handmaiden’, ‘Company Town’

    If you’re familiar with South Korean filmmaker Chan-Woo Park you know his reputation. The creator of such outrageous, over-the-top features as Lady Vengeance and Oldboy (remade by Spike Lee in 2013), Park specializes in pushing the cinematic envelope and making audiences uncomfortable.

  • Big Screen Berkeley: ‘The Battle of Algiers,’ Do Not Resist’

    I first saw Gillo Pontecorvo’s 1965 feature La Battaglia di Algeri (The Battle of Algiers) at Berkeley’s UC Theatre sometime in the mid 1980s. To say it was an eye opener would be an understatement: here was a ‘war movie’ that told its story from the perspectives of both sides. Who was I supposed to root for?

  • Big Screen Berkeley: ‘Command and Control’; ‘Girl Asleep’

    If you’ve yet to read Eric Schlossel’s 2014 book Command and Control: Nuclear Weapons, the Damascus Accident, and the Illusion of Safety, allow me to proffer a strong recommendation — but be warned. If you’re at all nervous about the possibilities of a nuclear apocalypse, it won’t put your mind at rest or help you sleep at night.