Tag Archives: Movies
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.
His new feature, Ah-ga-ssi (The Handmaiden, opening at Landmark’s Shattuck Cinemas on Friday, Oct. 28) is no exception to the rule. Despite a sedate opening act suggesting Park may have mellowed with age, The Handmaiden proceeds to prove the director is as challenging and transgressive as ever.
Set in Japanese-occupied Korea early in the 20th century, the film tells the story of pickpocket Sook-Hee (Tae-Ri Kim) and a professional swindler known pseudonymously as Count Fujiwara (Jung-Woo Ha). Fujiwara has his eye on the fortune possessed by Korean collaborator Kouzuki (Jin-Woong Jo), whose work on behalf of the Japanese invaders has made him remarkably wealthy. … Continue reading »
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?
I didn’t see the film again until the Criterion Collection released their outstanding three-disc DVD edition in 2004. Criterion’s timing was perfect: the then 40-year old film was about to become an unexpected hit at the Pentagon, where America’s generals used it as a training aid to combat Iraq’s growing urban insurgencies.
Newly restored, The Battle of Algiers begins a weeklong run at Landmark’s Shattuck Cinemas on Friday, Oct. 21. Restored or not, though, it’s a classic of modern cinema that always rewards another viewing. … Continue reading »
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.
Nor will its big screen adaptation. Command and Control (opening at Landmark’s Shattuck Cinemas on Friday, Oct. 14) underscores the book’s conclusions and suggests that, despite receding into the deep distance of our collective cultural and social memory, the danger posed by The Bomb remains clear and present.
Schlossel framed his broad history of catastrophic close calls around a single incident, the near detonation of a nine-megaton warhead at a Damascus, Arkansas missile base in September, 1980. That incident is the singular focus of this new documentary, co-produced by Schlossel and directed by Robert Kenner, previously responsible for the noteworthy climate change denial doc Merchants of Doubt. … Continue reading »
In the days and weeks ahead you’ll probably be reading a great deal about Birth of a Nation. No, we haven’t travelled back in time to 1915 (that will have to wait until after President Trump’s inauguration) – this Birth of a Nation (opening at Landmark’s California Theatre on Friday, Oct. 7) is entirely unrelated, though it’s also likely to provoke controversy.
The film tells the highly fictionalized story of Nat Turner, the rebellious slave who led a brief, bloody revolt against Virginia farmers in 1831. It’s written and directed by Nate Parker, a filmmaker whose Polanski-esque transgressions have left him open to considerable criticism.
Parker (who also headlines as Turner) has taken substantial liberties with the historical record, no doubt to broaden the film’s appeal and avoid its relegation to the art-house circuit. Birth of a Nation is a dramatic film first and a history lesson second; an understandable artistic decision, as it will be a conversation starter and hopefully a conduit to some bigger truths. … Continue reading »
Berkeley writer Sylvia Brownrigg was 21 when she met her paternal grandmother for the first time. It was not an easy start, as her grandmother, a world traveler and famous book collector, was “frosty” and not easy to relate to. But, with time, Sylvia and her grandmother developed a close and lasting bond.
Elements of that relationship – with some significant changes – can be found in Kepler’s Dream, a movie that will have its film festival premiere Friday, Oct. 7 at 6:30 p.m. at the Mill Valley Film Festival.
The movie, produced by Sedge Thompson of West Coast Live fame, and directed by Amy Glazer, tells the story of an 11-year-old California girl who is forced to go live with her grandmother in New Mexico because her mother is sick and her father seems to want to avoid parenting. The young girl, Ella, played by British actress Isabella Blake Thomas, becomes captivated by a rare book written by Johannes Kepler. Its theft sets into motion a series of events that both challenges the family and brings them together.
The movie is based on a book that was published in 2012 and written under Brownrigg’s nom de plume, Juliet Bell. Glazer, a local film director with whom Brownrigg hikes regularly, read the book and declared she wanted to turn it into a movie. The two wrote the screenplay with another pair of women.
“I am really excited it has come out,” said Brownrigg. “It has been a three-year project so it’s great to see it make its way into the world.” … Continue reading »
Summer is all but over, and it’s not quite Oscar season yet. New releases are thinner on the ground than autumn leaves in May, but fear not film fans: Pacific Film Archive has two very different but equally worthwhile motion pictures with which to tempt you this weekend.
Fistful of Dollars (Per un pugno di dollari, 1964) was the film that single-handedly kicked off the spaghetti western craze, which spawned well over 500 films before the genre petered out in the mid ’70s. Love it or hate it, it’s an important film — not least because it marked the arrival of a significant new talent (and the focus of PFA’s current series ‘Something To Do with Death’), director Sergio Leone.
Few would suggest that Fistful of Dollars (screening on Friday, Sept. 23 at 8:15 p.m.) is the equal of Leone’s classics The Good, the Bad, and the Ugly and Once Upon a Time in the West (both of which have also screened in the series). Nonetheless, it’s thoroughly entertaining, was beautifully shot in southern Spain, and (of course) includes an unforgettable original score by Ennio Morricone (actually credited on screen as the pseudonymous ‘Dan Savio’ – as with Leone, Morricone would become a household name thanks to this film).
And then there’s Clint Eastwood, who parlayed his performance as the serape’d Man With No Name into a career that still continues today. Unsurprisingly, Eastwood is pretty affectless here, but that was the gimmick: who is that masked-man-with-no-mask? What secrets lie behind the emotionless stare? When you compare his work here to that of other spaghetti stars such as Robert Woods, George Eastman, and Brad Harris, you realize how good Clint genuinely was as the man of mystery. … Continue reading »
Before the Second World War, heavily Catholic Poland was also home to most of the world’s Jewish population. That changed, of course, during the war, when at least 90% of Poland’s 3 million Jews were killed by the Nazi extermination machine, leaving only a few thousand survivors behind.
Poland is still coming to terms with the legacy left by the Jewish Holocaust’s dead millions. Director Marcin Wrona’s Demon (opening at Landmark’s Shattuck Cinemas on Friday, Sept. 16) examines that legacy, emphasizing how this historical memory has largely been left buried and forgotten by the country’s Christian majority.
Based on Piotr Rowicki’s play ‘Clinging’, Demon takes place in a decrepit southern town where the rain never seems to let up. Fashionable youngster Piotr (Israeli actor Itay Tiron) has returned from success in London to marry Zaneta (Agnieszka Zulewska), daughter of local mining magnate Zygmunt (Andrzej Grabowski). … Continue reading »
I vaguely remember bits and pieces of the J. T. LeRoy saga. Around the turn of the 21st century, LeRoy was an author of great repute and considerable mystery: he (or was it a she?) was actually a she (or was it a he?). Whatever the case, it was a great opportunity to get into some serious pronoun trouble.
Never being much interested in contemporary fiction, however, that was about it for my LeRoy memories, and once the story left the front pages (at a time when we still had front pages for stories to leave) I forgot all about it. Now comes Author: The J. T. LeRoy Story (opening at Landmark’s Shattuck Cinemas on Friday, Sept. 9), a documentary that helps me remember (and understand) what actually happened.
Laura Albert was 28 years’ old when she created her alter ego, J. T. (Jerome ‘Terminator’) LeRoy. LeRoy was the teenage son of a truck-stop prostitute; a troubled youngster infected with AIDS by one of his mother’s clients. Albert, by contrast, was a woman ashamed of her weight and scarred by the emotional and sexual abuse she’d suffered as a child. … Continue reading »
During Hollywood’s Golden Age, most major features were produced within the studio system. When you went to the theatre you could expect your show to be prefaced by such familiar logos as the Fox searchlights, the MGM lion, the Paramount peak, the Warner Brothers shield, or (if you weren’t downtown that day) perhaps the RKO radio tower or Columbia statue.
When the system began to break down in the 1960s, those trusty corporate symbols began to go by the wayside. In their stead came government funding bodies and small independent production companies, each with their own ideas about promotional artwork: now it’s not at all unusual for a movie to be preceded by four or five of these less familiar static or animated logos.
This week’s film, In Order of Disappearance (Kraftidioten, opening on Friday, Sept. 2 at Landmark’s Shattuck Cinemas), sets the bar higher still: in addition to the Berlin Film Festival bear, it begins with no less than 14 (14!) corporate logos. We’ll forgive it, though, because the narrative of this Norwegian-Swedish co-production actually does involve a long (and ever growing) list of names.
Set in the icy vastnesses of northernmost Scandinavia, the story revolves around snow-plough operator Nils (a podgy Stellan Skarsgård), recently named Citizen of the Year by the residents of the (fictional) town of Tyos. This is somewhat surprising, we’re told, because he’s Swedish — and apparently the Norwegians don’t particularly care for the Swedes. … Continue reading »
First, let’s get my minor complaint out of the way: the marketing for The People versus Fritz Bauer (Der Staat gegen Fritz Bauer, opening at Landmark’s Opera Plaza Cinema on Friday, Aug. 26 – no East Bay play dates are currently scheduled) leaves something to be desired. Specifically, a more accurate translation of the film’s original title would be ‘The State Against Fritz Bauer’, which is a far more accurate representation of its content.
Written and directed by Lars Kraume, Fritz Bauer tells the true story of the State of Hesse’s post-World War II Attorney General. A Jewish émigré who fled Germany for the safety of 1935 Denmark (and later, 1943 Sweden), Bauer returned (along with friend and future Chancellor Willy Brandt) to his homeland after the end of the war, determined to bring Nazi war criminals to justice at the hands of a democratized West German judicial system.
Some of those war criminals — including such infamous villains as Martin Bormann, Adolf Eichmann, and Josef Mengele — had, of course, long since fled Europe for South America. Many less prominent former Nazis, however, had settled into the business of rebuilding and governing the new bundesrepublik, insinuating themselves into the reborn country’s business, governmental, and judicial bureaucracies. … Continue reading »
Like many adults, I really enjoy a good children’s film. Now that my nest is thoroughly empty, however, I have far fewer opportunities (or imperatives!) to scope them out.
Of course, the emphasis must always be on ‘good’ – not an adjective to be applied lightly in the broad church of cinema, especially when it comes to kiddie flicks (I will never fully recover from my exposure to Baby Geniuses). So I was quite excited to see that Phantom Boy, a new animated feature from the creators of 2014’s Oscar-nominated A Cat in Paris, will open at Landmark’s Shattuck Cinemas on Friday, July 29.
Unlike A Cat in Paris, there are no anthropomorphized animals to be found in Phantom Boy. The film’s characters are (almost) uniformly human: Leo, a young boy suffering from a serious illness (presumably, though not explicitly, cancer); Tanguy, a wheelchair-bound police officer; Mary, a spunky young journalist voiced by Audrey Tautou; and a super villain with a yappy dog (non-talking variety). … Continue reading »
At a time when so much of the world’s news seems so dark, HBO is airing a documentary featuring a Berkeley nonprofit that is literally bringing more light into the world. Open Your Eyes focuses on the work of the Seva Foundation, which helps restore sight to blind and visually-impaired people by helping fund cataract surgeries, glasses, medicine and professional training in clinics around the world. The 25-minute documentary is being aired this month as part of HBO’s summer documentary series, and is also available on HBO Go.
“In the early days our tagline was ‘compassion in action,” said Seva Executive Director Jack Blanks. “Our current tagline is ‘a solution in sight’.”
The roots of the organization go back to the ideals of the 1960s, and its original co-founders include icons such as Ram Dass, Wavy Gravy and Dr. Larry Brilliant, who was part of the World Health Organization’s team working to eradicate smallpox. Steve Jobs, who studied for a time at the same India-based ashram as Brilliant, served on the advisory board for a few months just before Apple took off, and gave Seva its very first grant. Many Berkeleyans may be familiar with Seva through the groups’ benefit concerts featuring musicians such as the Grateful Dead, David Crosby and Graham Nash, Jackson Brown and Bonnie Raitt.
The documentary subtitled “A Journey from Darkness to Sight,” doesn’t focus on Seva or its colorful Berkeley roots. Instead, it focuses on the equally compelling story of two Nepali grandparents who have been blinded by cataracts and regain their sight after a surgery funded by Seva. It was filmed by the Portland-based Irene Taylor Brodsky, who had a long-time interest in both Nepal and Seva. She asked to accompany some Seva outreach workers on their rounds doing eyesight screenings in remote mountainous area, and the story we see unfolded during that three-day journey. … Continue reading »
Matt Ross had a smile on his face. Maybe it was no surprise, as he was at the Ritz-Carlton Hotel in San Francisco for a long string of press interviews about his movie, Captain Fantastic.
The smile, and accompanying open demeanor, are not how most of the world usually sees Ross, who lives in Berkeley. He is best known for his roles as Gavin Belson, the competitive and ruthless tech tycoon on the hit HBO TV show, “Silicon Valley,” and Albie Grant, the controlling Mormon polygamist who represses his homosexuality in HBO’s “Big Love.” Both of those parts require Ross to purse his lips and scowl — a lot.
But the world is now about to see another side of Ross, one that brings out his smile. Although he is a classically trained actor who went to Juilliard, Ross has been writing movie scripts and making short films since he was 12. His first feature movie, 28 Hotel Rooms, was decently received. Captain Fantastic has been enthusiastically embraced. John Seal, Berkeleyside’s film reviewer, called it “frequently excellent (if periodically absurd).” This reporter loved the film for its intelligent and unpredictable script. Ross won Best Director in the Un Certain Regard category at the Cannes Film Festival in July.