Tag Archives: Shattuck Cinemas Landmark
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 »
We’ve barely had time to digest this year’s Academy Awards, but surely it’s not too soon to start prognosticating about next year’s nominees. By peering into the deepest recesses of my crystal ball, I see that The Rocket – an Australian-Laotian co-production, the first Laotian film I’ve ever seen, and one of only 66 films listed by IMDb to be at least partly of Laotian origin — will feature prominently in 2014’s Best Foreign Language Film competition.
Opening at Landmark’s Shattuck Cinemas on Friday, March 7, The Rocket is the at times surreal, at other times mytho-poetic tale of young Ahlo’s against-all-odds effort to shrug off the effects of the curse placed upon him by (of all people) his grandmother Taitok (Bunsri Yindi). Little Ahlo is the surviving sibling of a stillborn twin – and his tribe considers twins very bad news indeed. … Continue reading »
We’re just a couple of weeks away from this year’s Academy Awards, but one of the Best Foreign Language Film nominees is only now going on general release (to be eligible, films must screen publicly in Los Angeles County for a full week during the prior year but may open later elsewhere). That’s no reflection on the nominated film’s quality, however – and I’ll go out on a rather long limb and predict Oscar glory for Omar, a powerful Palestinian drama about life in the Occupied Territories opening at Landmark’s Shattuck Cinemas on Friday, Feb. 21.
Omar (Adam Bakri) is a typical young West Bank resident. Having grown up under the occupation he’s adapted to it in innumerable ways, including making a daily climb over the 26 foot-tall ‘security wall’ in order to visit friends and get to work. Despite the best efforts of Israeli Defense Force patrols to prevent such breaches, Omar scales the wall on a regular basis, sometimes with a boost from kindly passers-by. … Continue reading »
In his now legendary concurring opinion in the case Jacobellis v. Ohio, Supreme Court Justice Potter Stewart famously noted that, despite the difficulty of defining the pornographic, “I know it when I see it.” I used to think that was a pretty fair definition, too, but after screening the NC-17 rated L’inconnu du lac (Stranger by the Lake, opening at Landmark’s Shattuck Cinemas on Friday, Feb. 7), I’m not so sure anymore.
Written and directed by Alain Guiraudie, Stranger by the Lake is both incredibly intense (in terms of on-screen sex) and incredibly languorous (in terms of Guiraudie’s approach to storytelling). It’s a fascinating feature guaranteed to polarize opinion, a cinematic poster child for the cliché “you’ll either love it or hate it,” and a film all but certain to generate a few walkouts by low-information moviegoers. … Continue reading »
It’s time once again to handicap the Oscar races that most obsess Berkeleyside readers – I’m speaking, of course, of the short subjects. 2013’s crop of nominees is a strong one, and as in previous years will play as a package at Landmark’s Shattuck Cinemas beginning on Friday, Jan. 31.
Of the three categories, the Live Action group is (with one notable exception) particularly impressive. I’m picking former child actor Xavier Legrand’s Just Before Losing Everything – the riveting tale of a Frenchwoman (Lea Drucker) attempting to escape from her abusive husband – as the winner. Suspenseful and moving, the film suggests Legrand could easily transition to feature length productions should he so desire. … Continue reading »
Did you hear the one about the joint American-British-Chinese-Irish mission to Mars — the one that didn’t actually include any Chinese astronauts? No? Well, prepare to discover it in Last Days on Mars, a thoroughly average science fiction adventure opening at Landmark’s Shattuck Cinemas on Friday, Dec. 13.
Directed by Ruairí Robinson, Last Days on Mars is headlined by Liev Schreiber, last heard in these parts narrating Federal Reserve documentary Money for Nothing. Schreiber plays Vince Campbell, one of an octet of astronauts who’ve spent the last six months conducting scientific research on the Red Planet: collecting soil samples, monitoring the weather, and trying to prove that Marvin the Martian really exists. Their tour of duty almost up, the group eagerly awaits the imminent arrival of space shuttle Aurora and a restful return trip to Earth. … Continue reading »
I have to admit I didn’t expect to be writing about another Rwanda documentary this year, but here we are. After being featured in cycling epic Rising from Ashes in a September review, the central African nation returns to the Big Screen Berkeley spotlight only three months later, this time in the form of Sweet Dreams, a locally grown feature opening Friday, December 6th at Landmark’s Shattuck Cinemas.
Produced and directed by siblings Lisa and Rob Fruchtman – she, a resident of Berkeley and Academy Award winner for her editing work on The Right Stuff (1983); he, a Sundance Best Director winner for Sister Helen (2002); each a veteran of Francis Ford Coppola’s Apocalypse Now (1979) – Sweet Dreams offers another perspective on Rwandan efforts to recover from the genocide of 1994. This time, bicycles are nowhere in evidence, here replaced by traditional drums and decidedly non-traditional ice cream scoops. … Continue reading »
On May 17, 1974, my impressionable 11-year-old eyes watched an after-school special I would never forget: the live television broadcast of a police shootout. Hundreds of heavily armed officers were besieging a Los Angeles house occupied by a revolutionary group known, cryptically, as the Symbionese Liberation Army, and Eyewitness News was there to record every gunshot and explosion. By the time the siege was over, six members of the SLA were dead, the house was destroyed, and television’s vast wasteland had expanded into some disturbing new territory.
Eleven years later, an eerily similar incident took place in Philadelphia, Pennsylvania, but with even grimmer results: 11 deaths and the destruction of four city blocks. The events leading up to this tragedy are examined in Let the Fire Burn, a remarkable new documentary opening at Landmark’s Shattuck Cinemas on Friday, Nov. 1. … Continue reading »
What kind of person would detonate a bomb in the middle of a busy suburban mall – a Muslim teenager seeking revenge for the mistreatment of his father at the hands of the American government, or a non-Muslim teenager making good on a schoolyard threat? That’s the question posed by Torn, a locally produced drama opening at Landmark’s Shattuck Cinemas on Friday, October 25.
Directed by Jeremiah Birnbaum and written by Michael Richter, Torn takes place in an inconspicuous and unnamed East Bay burg. Judging from a glimpsed Argus newspaper headline it’s probably Fremont, but wherever it may be, Anytown USA is home to Ali (Iron Man’s Faran Tarir) and Maryam Munsif (Mahnoor Baloch), Pakistani immigrants living the middle-class American dream with their high-school age son Walter. … Continue reading »
Memo to filmmakers: if you’re planning to make a music documentary, please resist the temptation to call Bono’s agent. Judging from his recent appearances in rockumentaries about The Ramones, Leonard Cohen, Joe Strummer, and B. B. King, the world’s most annoying and pompous tax-evading rock star is hovering anxiously over the phone waiting for another invitation to expound pointlessly on music far superior to any he’s ever created himself.
He’s at it again in Muscle Shoals, an uneven but reasonably entertaining feature opening at Landmark’s Shattuck Cinemas on Friday, October 11. Mumbling platitudes about songs rising from the mud, the man and his ostentatious designer sunglasses is accompanied this time by other familiar but slightly less annoying rock gods, including Mick Jagger, Keith Richards and Steve Winwood. … Continue reading »
Along with Jeanette McDonald-Nelson Eddy musicals and John Wayne westerns, biopics are, generally speaking, among my least favorite films. More often than not, they are boring recreations of historical (or, frequently, ahistorcial) events ripe for molehill-to-mountain criticism concerning the tiniest of factual errors. Biopics rarely entertain or enlighten, apparently existing only to generate buzz during awards season and annoy pedants.
Sometimes, however, the humble biopic puts the lie to my crude stereotyping and blunt-force pigeonholing. Consider Hannah Arendt (opening at Landmark’s Shattuck Cinemas on Friday, August 2): Despite a title promising another predictable trawl through the life and times of a Very Important Person, it actually manages to deliver more than another dose of birth, school, work, death. … Continue reading »
In 1995, Danish filmmakers Lars Von Trier and Thomas Vinterberg released their infamous Dogme Manifesto, an artistic ‘vow of chastity’ designed (it was claimed) to cut away the layers of artifice they believed had grown, barnacle-like, upon the body of cinema. As if to prove their point, the very first Dogme film, Vinterberg’s The Celebration (Festen), subsequently won the Jury Prize at the 1998 Cannes Film Festival.
Fifteen years and several dozen films later, the Manifesto has, by and large, gone by the wayside. Neither Von Trier nor Vinterberg attach the Dogme label to their work; indeed, Von Trier seems now to be more interested in exploring the artificiality of cinema (see, for example, 2011’s Melancholia) than in abiding by the extremely strict and somewhat puckish rules (‘the film must not contain superficial action’) he and Vinterberg cooked up one long ago afternoon. … Continue reading »
If the traditional Hollywood playbook is to be believed, piracy was once one of the most glamorous and lucrative career choices available to the average Joe. All it took was a ship, a few scurvy knaves, and a twinkle in your eye, and you — along with Douglas Fairbanks, Errol Flynn, Burt Lancaster and a host of other handsome hunks — would be set for life. And as a bonus, there were wenches and grog aplenty!
Trust the Danish to suck all the fun out of high seas misbehavior. In A Hijacking (Kapringen, opening at Landmark’s Shattuck Cinemas on Friday, June 21), there’s a distinct lack of swashbuckling, and (bar one “What Shall We Do with a Drunken Sailor?” sing-a-long sequence) none of the film’s characters seem to be having a particularly good time. 21st century piracy, it seems, is a very serious business indeed. … Continue reading »