Reviews of albums, films, concerts, and more from the Bay Area Music and Movie Nerds
The sixth installment of the Mission: Impossible franchise finds Ethan Hunt and team missioning for our greater good all over the world. After six films, the franchise has worn some pretty deep grooves on the floor of the house of action adventure. To offer some new perspective, this reviewer decided to bring in a fresh voice, that of his wife.
Over the years, the director Gus Van Sant has returned time and again to his favorite subject: our constant struggle with self-deception and our many, mostly failed attempts at self-discovery. Let’s start with some dreamy-eyed pharmacy thieves (Drugstore Cowboy), move to homeless hustlers (My Own Private Idaho), catch up to a hitchhiker with enormous thumbs (Even Cowgirls Get The Blues), watch an aspiring TV Newswoman (To Die For), and let’s not forget the genius mathematician janitor at M.I.T. with girl trouble and the world’s funniest psychologist (Good Will Hunting). Van Sant’s characters show what an illusion we can be to ourselves. Does he return to this ground in Don’t Worry, He Won’t Get Far On Foot? Absolutely. Is it worth it to follow him yet again on this journey? Mostly.
Continue reading “Film Review: Don’t Worry, He Won’t Get Far On Foot“
In the new Zellner brothers film Damsel, misguided characters stumble through lush settings, and try to sell us on the idea that there is something worthwhile in dressing a western with modern ideas about obsession, feminism, and family. The brothers deserve credit for the attempt, but they fail to find a focus on a clear message or point of view.
Continue reading “Film Review: Damsel“
Families gather at a funeral home to say goodbye. Warm, soft waves of organ music bathe the viewing of an open casket that rests near a portrait of a smiling elderly woman. The reviewing line snakes away from the casket. Reverence, sorrow, and the beginnings of grief swirl around the gathered. A granddaughter named Charlie (Milly Shapiro) approaches the casket. Doubt and curiosity play on her face. She touches her grandmother’s body ever so slightly. No jumping, twitching, or ghostly images… nothing. As she begins to move away, however, she notices someone’s fingertips lightly spreading something on the lips of the deceased. She wonders if this is normal. She looks up, and catches the face of a man sitting behind the casket. A man with a strangely out of place smile on his lips. Her gaze lingers a beat too long on the man, then she moves off toward the rest of the ceremony. Continue reading “Film Review: Hereditary“
Solo: A Star Wars Story, which opens today in just about every Bay Area theater, is a big-screen comic-book origin story, with an accomplished and sometimes first rate cast in front of the camera, and some seriously seasoned talent behind it. Unfortunately, in the year-and-a-half since principal shooting began, issues real and manufactured have given the internet too much time to speculate, postulate, pontificate, and generally expectorate on any number of meaningless side stories. Thankfully, at the center of this mostly worthless dead zone of internet fodder lies a straightforward, entertaining film that should service, if not delight, Star Wars fans and casual viewers. Continue reading “Film Review: Solo: A Star Wars Story“
“We have to be so very careful about what we believe,” a very reassuring and overly confident professor Philip Goodman reminds us at the outset of Ghost Stories. This premise, that we must question our beliefs and those in whom we place our trust, is the central theme that undergirds a film that is often tempted to slide into cliche, but which ultimately satisfies as a genre entertainment with a theatrical flourish
1.) Carcasse
(Iceland/France 2016, 61 min. Vanguard)
Faraway lands and anthropologic impulses lured filmmaker Gústav Geir Bollason to the subject of how we adapt the 21st century’s material bounty to the timeless problems of survival. Drawing heavily from Robert Flaherty and Basil Wright, Bollason is fascinated with the ways in which we repurpose the consumerist world to adapt quite nicely in the survivalist one. Aircraft fuselages become shelters for lamb flocks. Volkswagen bodies become boat bridges. Compact car bodies become horse drawn buggies. Flaherty showed how the Inuk bent nature to tame nature. Bollason shows both the pervasive nature of modern material culture, and our ingenuity at bending it our needs. Plays with the short The Art of Flying (Jan van Ijken, Netherlands 2015, 7 min).
Screenings (tickets available here):
— Saturday, April 14th, 3:15pm, YBCA Screening Room
— Sunday, April 15, 2018, 8:00pm, YBCA Screening Room
Continue reading “Film Feature: SFFILM 2018 Festival Spotlights #2”
Early in Isle of Dogs, Wes Anderson’s ninth feature film, the troubled but resolute stray dog Chief (Bryan Cranston) exhorts his pack to persevere despite extreme difficulties. “You’re Rex,” he says to Rex (Edward Norton). “You’re King,” he reminds King (Bob Balaban). “You’re Duke,” he cajoles Duke (Jeff Goldblum): “We’re a pack of scary, indestructible alpha dogs.” We the audience are now helplessly under their sway, and will follow them through this film anywhere.
Let me say right here, at the outset of this double review, that I had no intention of deliberately pairing Too Much Johnson and Oddsac together for any comedic purposes. Yes, it’s very easy to “put too much Johnson into the oddsac” or snickeringly flippant to say something like “too much Johnson, the story of oddsac’s life.” Nope, not having it. You can’t pin it on me. Sure, accuse me of being wildly naive, but when I looked through the film offerings when the Noisepop 2018 schedule was released, I picked these two purely for what I thought was their cinematic possibilities. Too bad the best things about these two offerings are the many jokes that can be made from their titles.
Continue reading “Noise Pop Review:Too Much Johnson and Oddsac“
“Going small” is not a goal often associated with the dreams of mainstream America, but what if going small meant maintaining a lavish, upper middle-class, suburban lifestyle with all the trimmings? This deceptively simple idea underlies Downsizing, Alexander Payne’s newest film, starring Matt Damon, Hong Chau, and Christoph Waltz. The film presents enough imagination and asks enough questions to launch a series, but it never figures out what it’s trying to say.