Film Review: How to Train Your Dragon 2

A worthy return to Berk, where the kids are all grown up now.

'Night fury in the sky, I can fly twice as high' — ‘Night fury in the sky, I can fly twice as high’

In 2010, How to Train Your Dragon surprised audiences with its incredible cinematography and emotionally resonant central relationship between a young nerdy Viking, Hiccup, and Toothless, the elusive and dangerous Night Fury dragon. Nearly 4.5 years later we are treated to the follow-up, How to Train Your Dragon 2 (the second installment of an intended trilogy), which thankfully has Dean DeBlois (Lilo & Stitch, How to Train Your Dragon) returning as director. DeBlois successfully incorporates the same sense of discovery, wonder, and emotional gravitas into the sequel that were so prevalent in the first film. How to Train Your Dragon 2 gets just about everything right — it expands the story’s universe without overreaching, lets the characters mature without forcing the issue, and keeps the focus on the powerful central storyline in a way that remains fun and engaging.

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Film Review: Edge of Tomorrow

More like… ‘Edge of your seat’.

Saving Private Ryan meets Aliens — Groundhog D-Day

With films like The Bourne Identity and Mr. and Mrs. Smith under his belt (as well as Swingers and Go), director Doug Liman is no stranger to directing top notch action sequences that simultaneously contribute to clever storytelling. Edge of Tomorrow has some of the most gripping battle scenes in quite some time, but also clever humor, solid action, and a surprisingly engaging yet quasi-familiar plot. All the pieces work together. Tom Cruise, one of the last remaining movie stars (in the traditional sense of the term), is terrific as usual, but he doesn’t carry the film. Neither does a strong co-lead in Emily Blunt. Nor do the insanely gripping action sequences and phenomenal effects. No, Edge of Tomorrow is carried proudly on the shoulders of everyone involved. It’s a fast-paced A-grade blockbuster through and through, one that provides the intense action, clever plot twists, and smart sense of fun that most blockbusters fail to deliver.

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Show Review: ‘Fantasia’ Live with the San Francisco Symphony

'Fantasia' live with the SF Symphony — ‘Fantasia’ live with the SF Symphony

There are few films that have better captured the bond between film and music more than Fantasia (1940). This visionary masterpiece of animation had a profound effect on the evolution of music videos and has helped introduce classical music to generations of children. Fantasia 2000, though not as highly regarded as its predecessor, has also aided in these cultural purposes. Yesterday night and again tonight, the San Francisco Symphony welcomes in audiences to experience the magic of both these films, reminding us of the emotional storytelling power of classical music and the wide spectrum of beauty and characters that animation can provide.

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Film Review: The Grand Seduction

A small glass of Irish Canadian schmaltz, please. Thank you!

No matter how predictable, cliché, or improbable a story is, it’ll translate into a worthwhile movie-watching experience if it’s executed well (I’m ready to argue about this). This is definitely the case for Don McKellar’s The Grand Seduction, a remake of the 2003 French film, La Grande Séduction. The Grand Seduction is an incredibly charming film filled with great laughs, lovable characters, and a quaint story that befits the film’s soothingly calm pace.

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Film Review: Maleficent

I don’t know you, I may have walked with you once upon a dream…

Well. Well. What magnificent horns you have.

…but honestly, who are you?

This is not the Maleficent from Disney’s 1959 animated classic, Sleeping Beauty. There’s a physical resemblance, sure. For about 10-15 minutes, the story and tone seems to reflect the Disney version as well. But mostly this is a completely new retelling, including new environments, and newly structured characters and motives. Unfortunately, it’s the title character that suffers the most from the creative liberties taken. Yet, it’s still Angelina Jolie, playing the title character of Maleficent, who ends up stealing the show from start to finish with her powerful features, dark silhouette, and devotion to her character — no matter how weakened the character is now.

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Film Review: X-Men: Days of Future Past

Back to the future past!

So. Damn. Magnetizing. — He’s just so…magnetizing.

The only actors seemingly capable of producing the same intense chemistry with onscreen conversations as Patrick Stewart and Sir Ian McKellan do…are Michael Fassbender and James McAvoy. Put them all in a movie together and it’s practically a how-to on acting. Throw in Hugh Jackman and Jennifer Lawrence and you now have one of the most talented ensembles ever. Oh, wait, Tyrion Lannister, err… Peter Dinklage, too?! With this billed cast, it could’ve been a biopic about the GEICO gecko and I’d get in line. Luckily for everyone, it’s actually X-Men: Days of Future Past, one of the best entries in the X-Men series (including all spinoffs, etc.) and an insanely fun film.

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Film Review: Godzilla

Roaring (and lumbering) back into action!

Godzilla's so vain, he probably thinks this movie's about him. — Godzilla’s so vain, he probably thinks this movie’s about him.

In comparison to 1998’s embarrassing excuse for a blockbuster, Godzilla (directed by Roland Emmerich), most popcorn flicks look Oscar worthy. What’s refreshing about 2014’s Godzilla, directed by Gareth Edwards (Monsters), is that it shows off some remarkably cool modern sequences while embracing the traditional look and feel of the classic Godzilla films and the summer movies of the late 70’s that established the blockbuster sub-genre. After the overload of monsters and CG destruction we see in movies these days, it’s a relief to know that there’s still room for a film to embrace the origins of both and still surprise us. Welcome back, Godzilla.

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Also in Theaters — 5/16/2014 — Chef / God’s Pocket / The Double

Film Review: Chef

Review by Gordon Elgart

This is one food truck you don't want to miss. — This is one food truck you don’t want to miss.

Jon Favreau writes, directs and stars in Chef, which is clearly a passion project about the passions of others. HIs main character, Chef Carl Casper, is a genius chef who’s been working for ten years in the restaurant of a man who does not appreciate genius chefs. One big night, a reviewer is coming to the restaurant to see what Chef Carl is making these days, and writes a scathing review which starts the events of the movie in motion. Chef Carl needs to put his life back together while balancing the relationship he has with his son, a child of his divorce.

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SFIFF Spotlights #8: The One I Love/Coast of Death/Night Moves

Spinning Platters brings you even more spotlights from the 57^th San Francisco International Film Festival (SFIFF), which ends today, May 8th. Program notes and tickets available here. There are only a few screenings left, so hurry to catch the last showings, and you can also see many of the films as they open widely throughout the year.

The One I Love
(USA, 2014, 91 min)

Elisabeth Moss and Mark Duplass stand agape in THE ONE I LOVE

Romantic comedy meets The Twilight Zone, Charlie McDowell’s obscure relationship dramedy is a wonderful piece of bizarre metaphorical fiction. The story focuses on an unhappy married couple, Elisabeth Moss and Mark Duplass, who go to a beautifully secluded rural home to rekindle their love. Immediately, anomalies involving the adjacent guest house occur, and the film starts toying with our minds, offering continuous scenarios that beg the question, ‘how would I handle this?’ A quirky tone keeps the film upbeat, but the twists lead the characters down varied emotional routes, resulting in a whole new meaning to “couples therapy.”

The One I Love SFIFF Page: http://www.sffs.org/festival-home/attend/film-guide/the-one-i-love

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Spinning Platters SFIFF Interview: David Zellner, writer/director — Kumiko, the Treasure Hunter

Kumiko, the Treasure Hunter has been spreading buzz around the festival circuit. The Zellner brothers’ new modern fable is a sight to see, a surreal experience to witness, and a cinematic treasure to behold. David Zellner, who co-wrote, directed, and plays a crucial supporting character in the film, sat down with me outside the theatre in which it was screening to discuss the film:

Can you give us a brief history of Kumiko, the Treasure Hunter?

Yeah, my brother and I heard about it [the urban legend] in 2001. The urban legend began circulating online and this was before Twitter and Facebook, so it was through message boards. It was very cryptic, basically saying ‘Japanese woman went from Tokyo to Minnesota for this mythical fortune’. It was so mysterious to us because of the limited information and because the idea of someone going on a treasure hunt in the modern day world was such an antiquated notion. It’s something from the age of exploration. Especially in a time now where there’s less mystery in the world. Information is more readily available. Everything is mapped out, no uncharted land. So we liked the idea of someone on this antiquated quest, but set in the year 2001.

Is that why ‘conquistadors’ are such a prevalent theme in your film?

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