Reviews of albums, films, concerts, and more from the Bay Area Music and Movie Nerds
Author: Carrie Kahn
Moving from the arthouse to the multiplex with grace, ease, and only the occasional eye roll. Proud member of the San Francisco Bay Area Film Critics Circle.
Riggan (Michael Keaton) is shadowed by his alter ego, BIRDMAN!
Much of the recent press coverage of writer/director Alejandro González Iñárritu’s new film Birdman has focused on the film’s meta aspects concerning the casting of actor Michael Keaton in the lead role as a former big screen superhero trying to restart his career. Keaton himself famously played Batman in two films over 20 years ago, only to find his star fading as new actors assumed the role. In interviews, Keaton has been asked repeatedly about being cast in a role so close to his own reality, and he has steadfastly distanced himself from speculating on any deeper meaning of the coincidence. I think it’s important, then, to look at the film on its own terms, and not just as some sort of reflection of Keaton’s career arc. And, indeed, the movie is one of the fall season’s best so far – a highly entertaining, wickedly funny, brilliant black comedy.
We’ve got three final spotlights from the 37th Mill Valley Film Festival, which closed Sunday night after ten days of showcasing dozens of fresh and exciting titles. Festival highlights, photos, and videos are available at: http://mvff.com. We’ll see you at the Fest next year!
Wild (USA 2014, 120 min)
Cheryl (Reese Witherspoon) at the start of her long and often arduous journey.
Director Jean-Mark Vallée (Dallas Buyers Club) and writer Nick Hornby have turned Cheryl Strayed’s exceedingly popular memoir Wild into one of the best pictures of the year. Reese Witherspoon gives perhaps the fiercest performance of her career as Strayed, who, in the mid-1990s, hiked the Pacific Crest Trail (PCT) solo as a way to cope with several losses in her life. A powerful meditation on grief, healing, strength, and redemption, Vallée’s picture benefits enormously from the emotionally raw performances of is two lead actresses. Laura Dern, as Strayed’s mother Bobbi, seen in flashbacks, is devastating as a young mother whose capacity for hope and love is beyond measure. Shot on location at various points along the PCT, Yves Bélanger’s cinematography is breathtaking, and fittingly accentuates the emotional complexity of Strayed’s story.
Affleck, Pike anchor brilliant adaptation of best-selling novel
Ben Affleck’s Nick warily addresses a crowd gathered to help find his missing wife.
One of the most hotly anticipated movies of the fall season, Director David Fincher’s Gone Girl more than lives up to its expectations. Based on Gillian Flynn’s popular novel of the same name, and benefitting tremendously from a screenplay penned by the author herself, the film is sure to please both the book’s rabid fans as well as those fresh to the story. The picture has been heavily marketed as a crime mystery, and although it is that, it is also much, much more. In reality, Fincher and Flynn have given us a searing portrait of a marriage cleverly disguised as a taut thriller.
Adam Sandler’s Don looks for some extramarital fun in Men, Women & Children.
Jason Reitman disappointed many of his fans with his hackneyed, sugary film Labor Day last fall. Unfortunately, one year later, he still has not returned to top form. His latest effort is a heavy-handed mess of a film called Men, Women & Children, the title of which more aptly describes everyone who should avoid it.
The 37th Mill Valley Film Festival opens this Thursday, October 2nd, and runs until October 12th. The Festival is screening some of this fall’s most hotly anticipated pictures: Jason Reitman’s Men, Women & Children and Tommy Lee Jones’s The Homesman (opening night films); Theory of Everything (featuring Eddie Redmayne as the young Stephen Hawking); and Wild, which has already garnered much festival buzz for Reese Witherspoon’s turn as Cheryl Strayed, the author of the popular memoir of the same name. But here at Spinning Platters, we thought we’d spotlight some of the lower profile films that risk being overshadowed by the bigger movies. Full schedule, tickets, and more information are available at: http://mvff.com, and be sure to check back here for more updates during the Fest.
In Order of Disappearance (Norway/Sweden/Denmark 2014, 116 min; English, Norwegian, Swedish, and Danish with English subtitles)
Stellan Skarsgard is out for revenge.
This Scandinavian crime thriller owes a debt not only to 2011’s terrific Norwegian noir film Headhunters, but also to the American movies Pulp Fiction and Fargo in terms of its surreal, darkly comic atmosphere and chilly landscape. Norwegian director Hans Peter Moland has cast Stellan Skarsgard to great effect as a sort of Swedish Liam Neeson in full-blown action mode. A Swedish immigrant living and working in a small Norwegian town, Skarsgard’s Nils gives new meaning to his recently earned Citizen of the Year award when he single-handedly takes on both a Serbian crime syndicate and the local gangsters to avenge the death of his son, an unwitting pawn in a dangerous turf war. Indelibly drawn characters and a screenplay filled with unexpected plot turns are highlights of this edgy, well-crafted picture.
Screenings:
– Friday, October 10, 5:45pm, Rafael Film Center, San Rafael
– Sunday, October 12, 2:45pm, Cinéarts Sequoia Theater, Mill Valley
Pegg’s performance is high point of mostly unoriginal travel tale
Hector (Simon Pegg) tries to find happiness in China… will he succeed!?
Hector and the Search for Happiness is a curious movie. Based on the trailer alone, you might think you’re in for a lighthearted, feel-good, seize-the-day picture, wherein the lead character Learns and Grows by ditching his staid life in search of adventure, à la Eat, Pray, Love or last year’s The Secret Life of Walter Mitty. And you wouldn’t be entirely wrong. But the surprising thing about director Peter Chelsom’s film, based on a popular French novel by François Lelord, is that while it certainly contains its fair share of clichés and groan-inducing scenes, it is both darker and more sensitive than you might expect. Continue reading “Film Review: Hector and the Search for Happiness”
Sister and brother Wendy and Judd (Tina Fey and Jason Bateman) take a time-out together.
Director Shawn Levy, whose previous efforts include the funny but lightweight Night at the Museum and the mediocre Google commercial (er, film) The Internship might not seem like an obvious choice to bring Jonathan Tropper’s more literary serio-comic novel This is Where I Leave You to the big screen. But Levy has the good fortune to be working with a screenplay written by Tropper himself, as well as an extraordinary cast of both up and coming and tried and true talent. This collaboration has yielded one of the year’s most highly enjoyable pictures. Continue reading “Film Review: This is Where I Leave You”
Charming Paris apartment for sale: Long-term tenant and family secrets included
Kristin Scott Thomas’s Chloé and Kevin Kline’s Jim talk and talk and talk and talk some more as they walk the streets of Paris.
Playwright and screenwriter Israel Horovitz makes his directorial debut with this feature film adaptation of his 2002 play of the same name, and the results are commendable, particularly since this project marks his first big-screen directorial attempt. The picture retains its theatrical pacing, with much dialogue and limited action, but both the story and the acting are compelling enough to keep you so thoroughly engrossed that you won’t even miss having an intermission. Continue reading “Film Review: My Old Lady”
Michael Fassbender portrays the mysterious rocker Frank.
Loosely inspired by alt rocker Chris Sievey’s stage creation Frank Sidebottom, Irish director Lenny Abrahamson’s new film is co-written by Peter Straughan and Jon Ronson, whose memoir details his experiences with Sidebottom. But no knowledge of the film’s backstory is necessary to be utterly delighted by this quirky and very funny film, which chronicles Jon’s (Domhnall Gleeson) induction into, and relationship with, an avant-garde band led by the mysterious Frank (Michael Fassbender). The catch is that Frank wears a large papier-mâché mask not only when on stage, but during all parts of his life (even while showering). What is amazing is that although the mask has just one expression – a crudely drawn, unsmiling, wide-eyed stare, its features seem to change simply by virtue of Fassbender’s tone of voice and body language; his performance is truly remarkable. Why Frank chooses to cover himself this way is one of the film’s central questions; themes of identity, artistic integrity, and creativity are explored with nuanced humor and depth. Does creativity have to stem from inner darkness, the film asks, or can normalcy and happiness drive the creative process just as forcefully? If artistic creations become widely popular, is their worth somehow lessened? With hauntingly beautiful cinematography (many scenes were filmed around Austin) and a weird and wonderful soundtrack, Frank delves into these issues with style, charm, and black humor. Plusses: Unique, intelligent story; brilliant performances by Fassbender and relative newcomer Gleeson. Minuses: Maggie Gyllenhall is slightly grating as fellow band-mate Clara; her range here seems to hover only between fiercely angry and completely insane. Final Analysis: A smart, compelling picture about the inner lives of artists that, frankly (yes, pun intended) may well be one of the best films of the year.
Frank opens today at the Landmark Embarcadero theater in San Francisco and the Landmark Shattuck theater in Berkeley.
Chadwick Boseman channels James Brown in Get on Up.
Director Tate Taylor, who most recently brought Kathryn Stockett’s best selling novel The Help to the big screen, tries his hand at true life material in Get on Up, a biopic of the Godfather of Soul himself, the legendary James Brown. The results are mixed; tonally, the picture is a bit uneven, but some fine performances elevate the proceedings, and the soundtrack alone is almost worth the price of admission. Continue reading “Film Review: Get on Up”
