Author Archives: John Seal
I don’t much care for country music – particularly what’s passed for it since ‘The Nashville Sound’ developed during the anti-rock ‘n’ roll backlash of the 1950s. Slick and overproduced (and now barely distinguishable from mainstream pop rock), country has long since lost its ability to reflect the hopes and fears of the dirt-poor white working-class that gave it life.
Of course, prior to the arrival of rock ‘n’ roll (itself a misbegotten but marvelous stew of country, western swing, blues, and gospel music), country music was more than just a marketing niche — which brings me to The Winding Stream: The Carters, The Cashes, and the Course of Country Music, a documentary opening at Rialto Cinemas Elmwood on Friday, April 22.
Maces Springs, Virginia may be a tiny dot on the map, but its impact on the development of American popular music is immeasurable. It was here that the young A.P. (Alvin Pleasant) Carter was born in 1891, and where he worked the land during the 1910s and ’20s. … Continue reading »
Slavery, most of us will agree, is a bad thing. Based on a novel by Patricia McCormick, Sold (opening at Rialto Cinemas Elmwood on Friday, April 15) casts light on the crisis of child slavery – a significant issue worldwide, according to the International Labour Organization – and does a decent job of it, despite some unfortunate casting.
Beginning in Nepal — which appears to all intents and purposes to be as idyllic (if much wetter) than the fictional Shangri-La of Lost Horizon fame — Sold focuses on the travails of 12-year old Lakshmi (Niyar Saikia). The daughter of an unemployed lay-about who prefers a bottle to a pay check, the youngster is determined to contribute towards a tin replacement for the family’s leaky straw roof.
Opportunity arises when a visiting “auntie” promises to take the girl to the land of milk and honey (otherwise known as India), where she will soon earn enough money to buy a new roof. The fact that her job will involve selling her body while being held captive in a big city brothel, however, is a secret auntie chooses not to share with either Lakshmi or her parents. … Continue reading »
Do the French have an obsession with talking cats? Back in 2011 I reviewed The Rabbi’s Cat, a charming animated feature about a feline taking lessons in Jewish mysticism. Now comes Avril et le monde truqué (April and the Extraordinary World – though the print I previewed substituted the word ‘twisted’ for ‘extraordinary’), in which a particularly erudite kitty plays a most prominent role.
Opening at Landmark’s Shattuck Cinemas on Friday, April 8, April and the Extraordinary World offers an alternate steampunk version of French history (with particular emphasis on the steam). Beginning in 1870, the film imagines that the Franco-Prussian War has been avoided thanks to the deft intervention of Emperor Napoleon IV, whose efforts on behalf of peace involve government control over all scientific research — and the arrest of uncooperative scientists such as Gustave Franklin (Jean Rochefort), who’s been developing something called the ‘ultimate serum.’ … Continue reading »
The steady drip of films attempting to make sense of our apparently never-ending ‘War on Terror’ continues. Some, of course, are better than others, but almost all tell their stories entirely from the perspective of Western protagonists struggling with questions of morality and personal conscience.
Eye in the Sky (currently playing at Landmark’s California Theatre and opening at Landmark’s Piedmont Theatre in Oakland on Friday, April 1) is the latest such film, but does a better job than many of its cinematic predecessors. Despite focusing on the anguish experienced by several of its characters, its blunt appraisal of others is a welcome and refreshing change.
Prefaced by Aeschylus’ famous quote “In war, truth is the first casualty” (later adapted by author Phillip Knightley, who entitled his groundbreaking history of war propaganda ‘The First Casualty‘), Eye in the Sky travels back and forth between four locations: a British military base, a government office in London, a US Air Force station in Nevada, and Kenya, where we see a Muslim family going about their daily business selling bread and repairing bicycles. … Continue reading »
March seems an odd time to release a film set on Thanksgiving Day, but Krisha (opening at Landmark’s Shattuck Cinemas on Friday, March 25) is no routine holiday flick. It won’t play any better in the autumn than it will in the spring, and it’s less likely to put a damper on your next family reunion if you see it now – which you should.
Krisha (Krisha Fairchild) is an aging hippie whose bad luck and ill fortune is broadly suggested during the film’s opening scenes. Her flowing skirt caught in the door of a badly faded pick-up as she drives to Thanksgiving dinner, Krisha also suffers from a mysteriously abbreviated index finger clumsily wrapped in an ace bandage. Clearly, this is a woman with backstory.
It’s the first time our heroine has spent Turkey Day with her family in many years, and the reasons for her estrangement will be revealed over the course of Krisha’s brief but comfortable 81-minute running time. Writer-director Trey Edward Stults, however, is in no hurry to show his hand, and at first things seem guardedly friendly and only slightly tense. … Continue reading »
There was a time when the writings of Graham Greene were film producer catnip. Most of Greene’s novels have been adapted for the screen at least once – the most recent example being ‘Brighton Rock’, remade in lackluster fashion by Rowan (son of Roland) Joffe in 2010.
British director Carol Reed had a particular fondness for the renowned author, with whom he collaborated on three separate occasions: first, on 1948’s The Fallen Idol (featuring Ralph Richardson as a sinister butler); secondly (and only a year later) on the classic The Third Man; and finally, after a ten-year hiatus, on 1959’s Our Man in Havana (screening at Pacific Film Archive on Sunday, March 20 at 4:00 p.m. and on Friday, April 1st at 8:30 p.m.). … Continue reading »
As stylistically different from last week’s feature as chalk is from cheese, La Calle de la Amargura (Bleak Street, opening at Landmark’s Shattuck Cinemas on Friday, March 11) shares one thing in common with The Incident – its Mexican origins. Coupled with the ongoing success of Alejandro González Iñárritu, it seems Mexican cinema is experiencing a minor renaissance of late – if not a new Golden Age – and there is more on the way.
Directed by another of Mexico’s leading contemporary filmmakers, Arturo Ripstein, the aptly titled Bleak Street takes place in a grim, post-industrial slum somewhere south of the Border. Its characters – midget wrestlers, prostitutes, and a plethora of other down and outers – live on the edges of society, stealing from one another in a fruitless effort to get ahead – or at least stay afloat. … Continue reading »
Do you love “The Twilight Zone”? If so, prepare yourself for El Incidente (The Incident), an apparent tribute — right down to composer Eddy Lan’s Herrmann-esque score — to the classic television series of yesteryear. Opening at San Francisco’s Roxie on Friday, March 4, the film is not currently scheduled to play in the East Bay.
Though its title may be in the singular, The Incident – at least on the surface – consists of two stories. As with the portmanteaus of countryman Alejandro González Iñárritu, Mexican director Isaac Ezban eventually links the stories together, but unlike those in Iñárritu’s oeuvre, the tales told in The Incident play as well apart as they do together.
Story number one focuses on brothers Carlos (Amores Perros’ Humberto Busto) and Oliver (Fernando Álvarez Rebeil), petty criminals by trade. Carlos has just received good news regarding money that will help settle an outstanding debt, but his happiness comes to an abrupt end when Police Detective Marco Molina (Raúl Méndez) barges in to arrest the siblings. … Continue reading »
Regular readers of this column may recall my summer 2013 review of a Danish film entitled Kapringen (A Hijacking). Directed by Tobias Lindholm, that film starred red-bearded Pilou Asbæk as a morally conflicted merchant seaman battling pirates off the coast of Somalia. I noted that the film was well made but on shaky socio-political ground, its Somali characters even more cartoonishly drawn than those in Paul Greengrass’s contemporaneous Captain Phillips.
It’s with a sense of déjà vu, then, that I pen this review of Lindholm’s latest feature, the Academy Award-nominated Krigen (A War), opening at Landmark’s Shattuck Cinemas on Friday, Feb. 26. Sure enough, the film stars Pilou Asbæk as a morally conflicted, red-bearded Dane battling Taliban insurgents in Afghanistan.
In accordance with the wishes of George W. Bush to build a ‘Coalition of the Willing’, Denmark contributed combat troops to the Afghan war for more than a decade. Between 2002 and 2014, the Danes lost 43 soldiers – per capita, the most of any of country. … Continue reading »
We all know what to expect from a Michael Moore film: snark. Though politically pointed and frequently hilarious, Moore’s bad attitude has been offending viewers ever since his groundbreaking boob tube series ‘TV Nation’ aired for a single season in 1994 (who can ever forget the Serbo-Croatian peace process pizza party?).
Now comes Moore’s latest feature, Where to Invade Next (opening at Landmark’s California Theatre on Friday, Feb. 12). Has the enfant terrible of documentary filmmaking toned things down since his last polemic, 2009’s Wall Street takedown Capitalism: A Love Story — or is his passive-aggressive sarcasm still in full flower?
The first five minutes of Where to Invade Next suggest that little to nothing has changed in Moore-land. Beginning with patriotic imagery, martial drumbeats, and a fictional visit to the Joint Chiefs of Staff, the film seems intent on repeating themes previously examined in Fahrenheit 9/11. … Continue reading »
The last coat of paint has been applied, the fixtures are all in place, and the hard hats have departed: it’s time to celebrate the re-opening of BAMPFA’s film programming. Yours truly managed to get a sneak peek of what’s in store for Bay Area cinéastes, and I can happily report that we’re all in for quite a treat.
Located at 2120 Oxford St. in downtown Berkeley, the new BAMPFA building is an open, airy, and naturally lit paradise for art enthusiasts and film fans. For the first time in 16 years, BAMPFA screenings will take place under the same roof — in this case, a gleaming curvaceous stainless steel roof — as the museum’s art galleries.
The new PFA features two screening rooms, with the Barbro Osher Theater serving as the Archive’s centerpiece. This 232-seat room is vastly superior to the ‘temporary’ space the Archive occupied for the last decade – and, dare I suggest, also a considerable improvement over BAMPFA’s previous ‘permanent’ home in the old Ciampi building on Bancroft Way. … Continue reading »
Call it a rite of mid-winter: it’s time once again for my annual (and usually futile) effort to guess which short subjects will win gongs at the forthcoming Academy Awards ceremony. And you can play, too, as all the films – Animated and Live Action – will be screening at Landmark’s Shattuck Cinemas beginning on Friday, Jan. 29.
The Animated category is almost always dominated by whichever short Disney/Pixar has produced during the preceding twelve months, and I suspect this will continue to be the case on Feb. 28. This year’s likely shoo-in is a warm-hearted ‘toon entitled Sanjay’s Super Team, in which a young lad repurposes his action figures as Hindu gods and goddesses doing battle with a multi-headed, multi-armed purple demon. Featuring rich, deep colors bathing in an almost psychedelic atmosphere, it’s a beautiful film book-ended by a nice personal note from director Sanjay Patel. … Continue reading »
The Romanian New Wave peaked a decade ago with such gritty, neo-realist films as The Death of Mr. Lazarescu (2005) and 4 Months, 3 Weeks and 2 Days (2007). Grim commentary on Romania’s changed circumstances post-communism, these films reflected the cultural and political shocks reverberating throughout the country at the turn of the 21st century.
The Death of Mr. Lazarescu provided an opportunity for a recent film school graduate named Radu Jude to work second unit for director Cristi Puiu. Now Jude has graduated to making his own features films, and the latest, Aferim!, opens at Landmark’s Opera Plaza Cinema in San Francisco on Friday, Jan. 22. As with last week’s Flowers, no East Bay play dates are currently scheduled.
Lazarescu was the sort of film that once would have been described as ‘torn from today’s headlines’. Aferim!, on the other hand, is an historical drama set in the 1830s, when the Ottoman Empire’s grip on the Balkans was ever so slowly beginning to weaken — not least in the province of Wallachia, where the story is set. … Continue reading »