Films – Spinning Platters

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.
Continue reading “Film Review: “Sacramento””

Film Review: “Warfare”

Warfare prioritizes a real-time sensory experience for maximum impact

Prepare for war. Warfare is a ninety-five minute adrenaline shot of real-time warfighting that asks the audience to experience an authentic depiction of grim combat and decide how to feel about it. Some viewers will chastise the filmmakers for not taking an explicit stance, the same complaint levied against 2024’s Civil War, yet that would be missing the point. Warfare isn’t interested in historical or political context, and unfolds almost entirely without a hint of moral grandstanding. Instead, Warfare is solely focused on the visceral hell unleashed when the bullets begin to fly. In a troubling hint at war’s futility, Warfare’s very existence seems to suggest that any shred of morality can only work backwards from the end, after it’s too late and the battle is over. Continue reading “Film Review: “Warfare””

Film Feature: 68th SFFILM Festival Preview #1

The 68th San Francisco International Film Festival (SFFILM) will take place April 17-April 27 with screenings at various theaters around San Francisco and the East Bay.

For a full view of special awards, spotlights, and centerpiece films, check out the complete festival guide. Tickets can be purchased here.

Below is a preview of the festival, featuring brief looks at six films:

1.) THE BOTANIST
(China, 2025. 96 min)

The soulful connection between humans and nature lies at the forefront of Jing Yi’s directorial debut, The Botanist, about a young boy, Arsin, in the remote northern province of Xinjiang during one summer. Arsin spends his time quietly in nature, pressing flowers, examining a faded family tree and contemplating the building blocks of life. The cast of non-actors are amazing, and the stunning real-world environment is beautifully captured in a manner that exhibits the environment as a critical character. When Arsin meets Meiyu, a young girl in the village, his perception of the relationship between nature and civilization becomes simultaneously complicated and ethereal, as the filmmakers employ subtle elements of magical realism to portray his evolving emotional and physical understanding of the world. Other world-building elements include a village radio continuously spouting news about oil taxes and burgeoning industry, Arsin’s aloof brother (“uncle”) calling his network of former lovers and friends in Shanghai, and high-angled shots of the village and surrounding landscape. All of these elements create a meditative and enchanting coming-of-age story about how a forgotten pastoral corner of the world still finds ways to embrace our kinship with the natural world.

Screenings (click here for tickets):
– Fri., April 18th, 6:00pm at the Presidio Theatre
– Sat., April 19th, 5:15pm at BAMPFA Continue reading “Film Feature: 68th SFFILM Festival Preview #1”

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.
Continue reading “Film Review: “Freaky Tales””

Film Review: “The Friend”

A somber dramedy for writers and dog lovers

Iris (Naomi Watts) and Apollo go for a stroll.

Aspiring novelists and dog lovers, I have the perfect film for you! The Friend is a dramedy adapted from Sigrid Nunez’s National Book Award-winning novel. Though the book takes a unique approach by not giving the characters names except for the dog, Apollo, the film utilizes a traditional style and narrative structure. Despite its handful of plot contrivances, The Friend is a somber yet inspiring reminder of the power of strong friendships, where deep conversations come easily and unique personal connections are irreplaceable.

Continue reading “Film Review: “The Friend””

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.
Continue reading “Film Review: “Bob Trevino Likes It””

Film Review: “Death of a Unicorn”

Death of a Unicorn gallops around without a point

Undoubtedly, a lot of time and effort went into making Death of a Unicorn. There’s also little doubt that the filmmakers knew that with their film’s plot, and especially its title, their futile goal was to launch their film into immediate “cult classic” status. Everyone knows that cult films earn their “cult” status naturally and gradually. And so, unfortunately, Death of a Unicorn takes a unique premise and surrounds it with an abundance of half-baked ideas and incomplete characters. Death of a Unicorn is neither demented enough for a niche horror audience, nor entertaining enough for a mainstream audience. Perhaps the filmmakers got lost in the sauce, for what could’ve been a simple creature feature is, instead, a sloppily assembled, undisguised commentary on wealth, with a heavy-handed father-daughter subplot sprinkled in, because, why not? Continue reading “Film Review: “Death of a Unicorn””

Film Review: “The Penguin Lessons”

A charming tale with a heartwarming duo at its center

Tom (Steve Coogan) and Juan (penguin) teach Masefield.

The Penguin Lessons has all the recognizable tropes of an inspirational true-story Disney adaptation of the early 2000s; the film effectively utilizes a serious real-world backdrop but doesn’t deeply explore it, the protagonist (a teacher) recites literary passages that closely (albeit metaphorically) parallel the plot, and there’s a really cute beacon of innocence at the heart of the story – typically an animal or child, and in this case, a penguin. Based on Tom Michell’s memoir, The Penguin Lessons has enough heart and humor to elevate it above its predictive outline, and the chemistry between Steve Coogan and his absolutely adorable penguin costar(s) is worth the watch. Continue reading “Film Review: “The Penguin Lessons””

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 Review: “Novocaine”

Novocaine delivers a funny dose of violent shenanigans

Nate (Jack Quaid) dangles unfeelingly in “Novocaine.”

Novocaine opens with a needle drop that signifies a level of spot-on self-awareness that perfectly sets up the tone of the film, as if the filmmakers are telling us, “Hey, our film is gonna be ridiculous, melodramatic, and won’t pull any punches, so just sit back and enjoy!” Using Jack Quaid’s everyman charm and a central conceit that allows for an abundance of inventive comedic violence, Novocaine fulfills its goal of delivering preposterous hard-hitting entertainment. Continue reading “Film Review: “Novocaine””