Tag Archives: Big Screen Berkeley
When it comes to leading ladies, I’m apparently a bit of a cad. I have no trouble telling my Alan Ladds from my Errol Flynns, but put headshots of (for example) Merle Oberon and Joan Fontaine in front of me, and, despite decades of intense movie watching, chances are no better than 50:50 that my ingénue identification skills won’t let me down.
There are, happily, exceptions: I have no trouble recognizing women who specialized in strong or assertive roles. Bette Davis, Joan Blondell, or Joan Crawford are among my favorite brassy dames – and then there’s Barbara Stanwyck, one of the greatest actresses of Hollywood’s Golden Age.
Stanwyck garnered four Academy Award nominations during her career, but never won the big prize. Perhaps her best shot came via the greatest film noir of them all, Double Indemnity (screening at Pacific Film Archive at 8:30 p.m. on Saturday, Jan. 17 as part of the series “Ready for His Close-Up: The Films of Billy Wilder”), but it was not to be: Ingrid Bergman took home the gong that year for her performance in Gaslight. … Continue reading »
Are you an admirer of Terrence Malick? If so, you’ll definitely want to make time for The Better Angels, a black-and-white tone poem reflecting the best and worst of the director’s style opening at Landmark’s Shattuck Cinemas on Friday, Nov. 21. If, on the other hand, you don’t have much time for his frequently meandering efforts, you can probably give it a miss.
Written and directed by A.J. Edwards (who got his start working with Malick on both The New World (2005) and The Tree of Life (2011), The Better Angels was produced by Malick. It takes place in the woods of Indiana circa 1817, where a young boy is being raised in treacherous frontier conditions.
Spoiler alert: the young boy is Abraham Lincoln, though the film doesn’t name him until the final credit crawl. A brilliant young lad (Braydon Denney) who’s the apple of mother Nancy’s (the excellent Brit Marling) eye (she proclaims early on that her son “has a gift…he asks questions I can’t answer”), Abe doesn’t always get along quite as well with rough-edged farmer dad Tom (Aussie expat Jason Clarke). … Continue reading »
I’ve always been a little ambivalent about Stanley Kubrick. I never grokked the appeal of his science fiction epic 2001: A Space Odyssey (1968), found much of A Clockwork Orange (1971) offensive (which was probably the point, but still), and — as much as the word ‘bravura’ could have been invented to describe the filmmaking displayed within it – The Shining (1980) has always left me cold.
On the other hand, there’s the enduring black comic brilliance of Dr. Strangelove or: How I Stopped Worrying and Loved the Bomb (1964), the first-half perfection of Full Metal Jacket (1987), and the quiet, literate triumph that is Barry Lyndon (1975). Based on those three films alone, I consider myself a pretty big Kubrick fan.
The director’s early films, however, also offer rich rewards. Pacific Film Archive’s forthcoming series, ‘Eyes Wide: The Films of Stanley Kubrick’, provides film fans an opportunity to view the director’s complete works (thirteen features over a period of five decades) in (almost) chronological order. … Continue reading »
We all knew it wouldn’t last. My dalliance with popular comedy was truly an aberration — and as the song goes, after laughter comes tears. This week, we return to our regularly scheduled programming with The Kill Team, a grim new documentary opening at Landmark’s Shattuck Cinemas on Friday, Aug. 1.
Directed by Dan Krauss (who previously shot the Paul Krugman-focused doc Inequality for All), The Kill Team examines the moral rot affecting a platoon of American infantrymen engaged in combat in Afghanistan. Uncomfortable playing the role of school builders and well diggers, the platoon lost its collective moral compass and began indulging in a deadly sport involving the murder of innocent Afghanis. … Continue reading »
It’s summer time, so I’m sure you’ll forgive me for writing about something other than my usual assortment of depressing foreign dramas, grim documentaries, and art-house snoozers. How does a comedy sound this week – and an American one at that?
Despite being one of the country’s most respected repositories of film history, Pacific Film Archive isn’t averse to having a little fun from time to time. How else to explain their decision to host ‘Rude Awakening: American Comedy, 1990-2010’, a series incorporating such decidedly lowbrow fare as Borat and Knocked Up? … Continue reading »
The tradition continues with Siddharth, a new drama from India opening at Landmark’s Shattuck Cinemas on Friday, July 18. Directed by Richie Mehta, the film brings the theme to the sub-continent, where a bereft and guilt-ridden father searches desperately for his missing 12-year-old son. … Continue reading »
Two years ago I penned an all too brief single paragraph recommendation for The Waiting Room, an outstanding documentary about the emergency room at Oakland’s Highland Hospital, the East Bay’s primary trauma center and public health care facility. The film deservedly ended up being shortlisted in 2013 by the Academy of Motion Picture Arts and Sciences for Best Documentary, but ultimately didn’t make the final cut.
If you were as impressed as I was by The Waiting Room, you’ll get similar mileage from Code Black, a new medical documentary opening at Rialto Cinema’s Elmwood next week, on Friday, July 18. Shot in and around Los Angeles County Hospital – like Highland, a publicly funded facility — the film details the work done by doctors, nurses and interns in one of the country’s busiest emergency rooms. … Continue reading »
Most major studio productions -– heck, most films period — cleave to a formula. Though you may not be able to predict each specific plot development before it occurs, nine times out of ten you’ll be able to guess with some precision how the story will unfold: hero/heroine meets boy/girl, hero/heroine loses boy/girl, hero/heroine learns valuable lesson and regains boy/girl’s undying love (or, alternatively, monster emerges from ocean, monster stomps major metropolis, monster succumbs to best efforts of military-industrial complex).
Such, however, is not the case with Borgman (opening at Landmark’s Opera Plaza Cinema on Friday, June 20 – no East Bay play dates are currently scheduled), Dutch filmmaker Alex van Warderman’s challenging and discomfiting new feature. Preceded by the cryptic (and unattributed) quote, “And they descended upon Earth to strengthen their ranks”, and cut from cloth similar to that used in Michael Haneke’s Funny Games, it’s unpredictable from start to finish. … Continue reading »
Ever wondered what a horror film directed by Terrence Malick might look like? The 57th San Francisco International Film Festival (continuing through May 8 at Pacific Film Archive) is here to help. Screening at the Archive at 8:45 p.m. next Wednesday, May 7, Historia del miedo (History of Fear) blends the brooding naturalism of Malick with the existential dread of Michael Haneke, the end-result a grimly fascinating examination of the discreet discomfort of the bourgeoisie.
Set during a hot Argentinian summer plagued with power outages, History of Fear introduces viewers to an extended upper middle-class family living on a large estate in Buenos Aires’ Moreno district. It’s not only the constant blinking on and off of electricity that has the family on edge, however, but a multitude of other disturbances: holes cut in the estate fence by unseen intruders, fires left burning unattended, violent reality television, and – of course – naked men at the local toll booth. … Continue reading »
It was my fourth favorite film of 2013. Now, thanks to the miracle of modern technology – okay, more likely thanks to the erratic release pattern afforded British comedies in the U.S. these days — Alan Partridge (originally titled, somewhat cryptically, Alan Partridge: Alpha Papa) finally appears stateside, opening on Friday, April 18 at Landmark’s Shattuck Cinemas.
For those unfamiliar with the character, Alan Partridge is a massively egotistical radio and television personality plowing a rather small furrow in the backwaters of BBC Norfolk. The subject of several wildly popular UK mockumentary series (including ’Knowing Me, Knowing You with Alan Partridge’ and ‘I’m Alan Partridge’) that somehow never made it to the States, Partridge went into semi-retirement in 2002, but his rabid fan base clamored for a comeback. This is it. … Continue reading »
And still they come: it’s already April, and last season’s Best Foreign Language Film Oscar nominees continue to saunter lackadaisically into Berkeley. This week’s tardy contestant is L’image manquante (The Missing Picture), a Cambodian-French co-production opening at Landmark’s Shattuck Cinemas on Friday, April 4.
Written and directed by Rithy Panh – best known in these parts for his grueling 2003 documentary S21: The Khmer Rouge Killing Machine – The Missing Picture is a genuinely unique feature. Part fictional, part semi-autobiographical, the film blends clay recreations of pre- and post-revolutionary Cambodian life with rare archival footage of the aftermath of Democratic Kampuchea’s ‘Year Zero’. You really haven’t seen anything else quite like it. … Continue reading »
It’s almost spring time in the East Bay (and, not too surprisingly, the rest of the Northern Hemisphere as well), which means two things are about to happen: the Oakland Athletics will drop their Opening Day game (can the team extend its already impressive nine-season losing streak to an unprecedented tenth, setting a new Major League record?), and the Asian American Film Festival (officially known as CAAMFest 2014) is about to put in its annual appearance at Pacific Film Archive.
This year’s Berkeley component of the Festival kicks off at 7:00 p.m. on Friday, March 14 with Farah Goes Bang, a comedy about a young campaign volunteer desperately trying to lose her virginity while working tirelessly to get John Kerry elected President in 2004. Nikohl Boosheri stars as the title character, an Iranian-American lass spending her days criss-crossing the battleground state of Ohio in search of votes and love. Despite its less than promising premise – is there anything or anyone less exciting than John Kerry? – the film won the Nora Ephron Prize at last year’s Tribeca Film Festival. … Continue reading »