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.

Film Review: “Relay”

Ahmed best reason to see predictable corporate thriller

Ash (Riz Ahmed) watches his back.

In a brief scene in the new film Relay, its star, Riz Ahmed, gets a chance to use the sign language skills he picked up in his 2020 Oscar-nominated performance in Sound of Metal. That’s a cool throwback for Ahmed fans, and, given his exceptional talent (see also Encounter,  Nightcrawler, and HBO’s series The Night Of), he no doubt has many. But his fans may be disappointed in Relay, a serviceable corporate espionage thriller in which Ahmed’s performance is the only bright spot. Continue reading “Film Review: “Relay””

Film Review: “Weapons”

It’s 2:17 am. Do you know where your children are? 

Nothing to see here… just young children running into the night at 2:17 am….

Zach Cregger triumphs with Weapons, proving the success of his 2022 critically acclaimed horror movie Barbarian was no fluke. Indeed, the writer/director’s sophomore effort is the better picture. Clever, downright scary, and at times laugh-out-loud funny. Cregger’s new film brings freshness to a glutted genre in need of something new. Continue reading “Film Review: “Weapons””

Film Review: “Bad Shabbos”

Bad Shabbos makes for good viewing

A  meeting of soon-to-be in-laws goes horribly awry at a most unfortunate Shabbos dinner.

Fans of the Netflix series Nobody Wants This will love Bad Shabbos, a new film that similarly deals with an interfaith relationship, this time between the Jewish David (John Bass) and the Catholic-raised Meg (Meghan Leathers). Director Daniel Robbins’s film is more farcical than the Adam Brody/Kristen Bell series, but shares some of its sweetness, as well as some of its more cliched stereotypes. That the movie won the Audience Award for Best Narrative Feature at last year’s Tribeca Film Festival is no surprise. Lightweight but amusing, the picture is a definite crowd pleaser.
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Film Feature: 68th SFFilm Festival Preview #2

The 68th San Francisco International Film Festival opens today, Thursday, April 17th, and will run through Sunday, April 27th with screenings at San Francisco’s Marina and Premiere (Presidio) theaters and at Berkeley’s BAMPFA. You can browse the complete Festival program here, and below we highlight four films worth seeing: two documentaries and two features. And check out our previous preview post here for more tips on best bets. See you at the Fest! Continue reading “Film Feature: 68th SFFilm Festival Preview #2”

Film Review: “Sacramento”

 New road trip movie goes nowhere

Glenn (Michael Cera, l.) and Rickey (Michael Angarano) take an impromptu road trip from Los Angeles to Sacramento.

Bay Area viewers may wince when they hear a character refer to San Francisco as “San Fran” in the new movie Sacramento, but that head-shaking tidbit is the least of this odd indie film’s problems. The second feature film from writer, director, and actor Michael Angarano (Minx; This is Us), Sacramento is an uninspired and mostly forgettable picture, saved only by an excellent, layered performance from the always reliable Michael Cera.
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Film Review: “Freaky Tales”

Oakland and Berkeley real stars of fantastical  ’80s period piece

A crowd of punk music fans prepares to defend Berkeley’s 924 Gilman.

I’m not sure how well Freaky Tales will play in middle America, but for those of us who live or grew up in the Oakland area–especially in the late 1980s–the movie is like our own personal valentine. Weird, wild, and more than a little crazy, the Oakland and Berkeley-set film is a rousing ode to Mayor Lionel Wilson’s Oakland, with its attendant complex mix of charm, edge, creativity, and simmering racism and misogyny. 
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Film Review: “Bob Trevino Likes It”

Bob Trevino Likes It, and so will you 

Bob Trevino (John Leguizamo) and Lily Trevino (Barbie Ferreira) get to know each other after meeting on Facebook.

Bob Trevino Likes It is the first movie I’ve seen this year to make my 2025 Top 10 Films contender list, and no matter what else comes out this year, I’m going to reserve a spot for this exceptional picture. After garnering a slew of film festival nominations and awards, including winning both the Grand Jury prize and the Audience Award for Best Narrative Feature at last year’s SXSW Festival, Bob Trevino Likes It is now showing in theaters. You shouldn’t miss it. 
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Film Review: “Black Bag”

Some fun to be had in intricate spy thriller 

George (Michael Fassbender) and Kathryn (Cate Blanchett) are a married couple with secrets.

If you decide to go see Black Bag, here’s a word of advice: see a matinee after a good night’s sleep and a large cup of coffee. You’ll need to be fully alert and engaged to follow this twisty, talky spy thriller. Whether or not you take that as a recommendation depends on your tolerance for convoluted but highly stylized, aesthetically pleasing espionage tales. Continue reading “Film Review: “Black Bag””

Film Feature: Carrie and Chad Pick the 2025 Oscars

Film critics Carrie and Chad on who will – and who should – win the 97th Academy Awards

The 97th Academy Awards air tomorrow, Sunday, March 2nd, on ABC and Hulu at 4:00 pm PST. As always, your faithful Spinning Platters film critics Carrie Kahn and Chad Liffmann share their predictions and hopes for the major categories. You can follow along and print your own ballot here. Good luck to nominees and Oscar pool participants alike!

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Film Review: “Last Breath”

Diving tale drowns in mediocrity

Chris (Finn Cole, l), Duncan (Woody Harrelson, center), and Dave (Simu Liu) prepare for a dangerous underwater assignment.

That a studio exec thought Last Breath might bring in box office dollars is curious. A documentary about the same story, with the same name, by the same filmmaker, came out in 2019. But now, some six years later, in his first feature film, writer/director Alex Parkinson presents a fictionalized version. My guess is that Parkinson wanted to try his hand at feature films, and probably felt that using a story with which he was already familiar would be an easy route into the genre. Unfortunately for us, Parkinson’s maiden attempt at dramatizing previously covered real-life material falls flat.
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