This year will be my fourth attending the Seattle International Film Festival, and it remains an intense and overwhelming experience. Spanning 25 days, this year’s festival will include over 420 films representing 85 countries, making it the largest film festival in the United States. Here at /Film and on the /Filmcast, I’ll do my best to keep up with some of the highlights of the fest, and let you know what films might be worth checking out when they hit wide release.
After the jump, you can read a few of my mini-reviews of Weiner, The Last King, and Tickled. If you see me at the festival, feel free to say hi, and leave comments below if you think there are any films on SIFF’s full calendar that one should not miss this year.
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Posted on Friday, May 13th, 2016 by Angie Han
Note: With Love & Friendship in limited release this weekend, we’re re-running our review from the Sundance Film Festival.
Jane Austen may have a reputation as a romantic, but I’d argue that her real forte is as a humorist. She’s second to none when it comes to elegantly written, sharply observed comedies about the foibles of England’s upper classes, combining a wry, biting wit with a genuine sense of affection for the characters she’s created.
Naturally, this makes Austen’s work the perfect source of inspiration for Metropolitan and Last Days of Disco director Whit Stillman, who has brought her novella Lady Susan to life in the laugh-out-loud hilarious Love & Friendship. Kate Beckinsale plays Lady Susan herself, a cunning widow out to secure her position in society via favorable marriage matches for herself and her daughter. Read More »
Posted on Friday, May 13th, 2016 by Angie Han
Note: With The Lobster in limited release this weekend, we’re re-running our review from the New York Film Festival.
Audiences have come to expect the bizarre from director Yorgos Lanthimos, who broke out in 2009 with the wonderful and unsettling Dogtooth, and The Lobster definitely doesn’t disappoint on that front. It’s set in a dystopia where single people are transformed into animals; the title refers to the animal that Colin Farrell‘s David has chosen to become if he can’t find a mate.
If weird were all The Lobster had going for it, though, it’d be little more than an experimental curiosity. What makes The Lobster must-see viewing is the film’s pitch-black sense of humor, its uncomfortably keen insights into real-life relationships, and even, in spite of everything else, its aching romanticism. Read More »
After the collateral damage caused by the previous efforts of the Avengers proves to be too much for the world’s governments, the United Nations comes together to introduce the Sokovia Accords, a resolution that will turn the superheroes into a task force supervised and directed by the UN itself. But not all our heroes are ready to blindly follow the commands of an organization that could just as easily have an agenda like S.H.I.E.L.D. (or Hydra) before it, and that’s what leads to the titular superhero conflict in Captain America: Civil War.
The result is a sharp, astounding, action-packed summer blockbuster that’s the kind of superhero movie you’ve been waiting to see your whole life. This is a comic book film where the action is just as harrowing as it is entertaining due to the care and respect that we’ve come to have for these superheroes after spending a total of 11 films (not counting Guardians of the Galaxy) with them in the Marvel cinematic universe. Directors Anthony & Joe Russo have pulled together a movie that brings as much hard-hitting drama to the table as much as it does astounding action. It’s the perfect model for what serial comic book movies can be.
Keep reading our Captain America Civil War review after the jump. Read More »
Posted on Thursday, April 21st, 2016 by Angie Han
At first glance, the 1970 picture of Elvis Presley and Richard Nixon shaking hands in the Oval Office looks flat-out bizarre. The flamboyantly attired musician makes for a striking contrast to the staid politician, and it’s a little jarring to realize that not only did these two people once inhabit the same universe, they actually crossed paths once. Somehow, the story behind that picture is even stranger: To Elvis, at least, this was no mere photo up but a meeting to discuss his swearing-in as an undercover federal agent-at-large for the Bureau of Narcotics.
Liza Johnson‘s Elvis & Nixon is about that how that meeting came to be and what happened when these two larger-than-life figures finally collided, with Michael Shannon as the King and Kevin Spacey as Tricky Dick. But it’s less about the vast differences between this two men than the one thing, even more than a shared distaste for the counterculture of the times, that truly bound them together: the strangeness of fame. Read More »
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Posted on Monday, April 18th, 2016 by Angie Han
Stop me if you’ve heard this one before: a successful young(ish) creative type hits the film festival circuit with a semi-autobiographical dramedy about a somewhat less successful young(ish) creative type who struggles to pull his life together, grow up, and move on. That’s the very familiar premise of comedian Demetri Martin‘s directorial debut Dean, which premiered this week at the Tribeca Film Festival. Fortunately, Dean‘s got a few fresher tricks up its sleeve that justify retracing this very familiar pattern.
One is that Dean is less about the precious ennui that all young(ish) creative types seem to suffer from in indie dramedies, than it is about the strange and complicated and even ugly process of grief. Another is a gently played subplot about Dean’s father (played by Kevin Kline). And the third and perhaps most important are the many wry cartoons Martin uses to emphasize and comment on Dean’s mental and emotional state. Read More »
Posted on Friday, April 15th, 2016 by Angie Han
Between Sean Parker’s Screening Room and AMC’s tentatively proposed (and quickly discarded) texting-allowed policy, we’ve seen a lot of debate in recent weeks about the sanctity (or lack thereof) of the theatrical experience. Cinephiles will swear up and down that a pristine movie theater is the only proper way to enjoy a movie — and I tend to agree — but the truth is that for a lot of moviegoers, the drawbacks outweigh the benefits. Why fork over $100 for tickets and popcorn and a babysitter, put up with screaming kids and sticky floors, when you can just rent something from the comfort of your own couch? So what if you’re missing out on 3D and giant screens and surround sound?
Jon Favreau‘s The Jungle Book is the answer to that “so what.” It’s a technical achievement on par with Avatar and Life of Pi, the kind of cutting-edge stunner that actually justifies all the extra premiums and hassles associated with 3D and the theater experience in general. If you’re planning to see this movie at all, see it in 3D while it’s still in theaters. The film’s heart and humor will still be intact when it reaches home video, and thank goodness for that, but the magic of its special effects is on another level altogether. Read More »
Note: We originally ran this review during the Sundance Film Festival. We’re republishing it today as the movie hits theaters this weekend.
When you come to the Sundance Film Festival, you can’t wait to fall in love with a movie. As a sucker for coming-of-age movies, I’m always looking for one that really makes me run the gamut of emotions, and if it also has a hellacious soundtrack, fantastic breakout performances, and a glamorous reference to Back to the Future, then that’s even better. That’s why Sing Street, from Once and Begin Again director John Carney, is marvelous, delightful and just plain great. Read my full Sing Street review after the jump. Read More »
I was a big fan of Jean-Marc Vallée‘s last film Wild, which featured Reese Witherspoon playing the real-life author Cheryl Strayed and taking on a physically impossible task as a means of working out issues in her personal life. When I heard Vallée would be directing a similar film with Jake Gyllenhaal, I was excited at what new aspects of the human spirit the movie might illuminate.
Demolition (out today in theaters) has many of the same virtues of Wild, only with a male protagonist. Both films are shot beautifully and have some of the best editing I’ve seen, using cuts in footage not just to convey the passage of time, but also to establish mood, and to explain a character’s mindset. On a technical, they are exceptionally executed.
Unfortunately, I found Demolition ultimately amounted to less than the sum of its parts. Hit the jump for my brief video review.
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