Category: Films

Film Review: “Killers of the Flower Moon”

Best reasons to see Scorsese’s new picture? De Niro, DiCaprio, and Gladstone

Ernest (Leonardo DiCaprio) shares a moment with his wife Mollie (Lily Gladstone).

Much has been made of the length of director Martin Scorsese’s Killers of the Flower Moon, which clocks in at three hours and 26 minutes. But give the guy some credit: his previous film, 2019’s much lauded The Irishman, ran three hours and 29 minutes. So he’s heard you, and has let you out of your seat a full three minutes earlier this time. What a guy! But seriously–while a few scenes do feel like they could be trimmed, others you’ll wish you could dwell in longer. For the most part, then, the run time becomes a non-issue. The story is so well told that you’ll remain fully engaged throughout the majority of this sobering but absorbing picture.

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Film Review: “She Came to Me”

Dinklage, Tomei can’t save Miller’s embarrassing misstep

Depressed opera composer Steven (Peter Dinklage) and tugboat captain Katrina (Marisa Tomei) chat over an afternoon drink.

Twenty-one years ago, writer/director Rebecca Miller won the Grand Jury Prize at Sundance for her drama Personal Velocity. Other well-received films followed, including her last film, Arthur Miller: Writer, a 2017 HBO documentary about her famous father. She returns now with She Came to Me, her first narrative feature since 2015’s terrific Maggie’s Plan, and, given her past successes, the results are disappointing. 

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Film Feature: Preview #3 of the 46th Mill Valley Film Festival

The 46th Mill Valley Film Festival is now underway! For a full view of special awards, spotlights, and centerpiece films, check out the complete festival guide. Tickets can be purchased here. 

Below is our third preview of the Festival, featuring brief looks at four more films (If you missed our other preview posts, you can find them here and here):

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Film Feature: Preview #2 of the 46th Mill Valley Film Festival

Our coverage of the 46th Mill Valley Film Festival, which starts tomorrow, Thursday Oct. 5th, and runs through Sunday, Oct. 15th, continues below. We take a look at four titles worthy of your attention: two documentaries and two narrative features. You can browse the full program here, and read our first preview post here. Be sure to bookmark Spinning Platters to check back for more film snapshots during the Fest! And special note: although the Festival’s in person screenings end on the 15th, several films will be available for streaming after the Fest closes.

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Film Feature: Preview #1 of the 46th Mill Valley Film Festival

 

The 46th Mill Valley Film Festival will take place Oct 5 – Oct 15, 2023, with screenings at theaters all around the North and East Bay (and a few in SF).

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 four films:

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Film Review: “Invisible Beauty”

Hardison’s monumental life is on full display in Invisible Beauty

“I would always think of a Samurai when I would walk.” -Bethann Hardison

A pioneer who continuously pushed boundaries, Bethann Hardison is the subject of Invisible Beauty, an autobiographical (she is co-director) look at her trail-blazing life and her ongoing push for equal representation in the modeling and fashion industries. As one of the first high-profile Black models, Hardison gained widespread fame in the ‘70s and launched her own modeling agency in the mid ‘80s. Shortly after, she started the Black Girls Coalition (BGC) with fellow model and activist, Iman, to promote and support Black models. Invisible Beauty takes us behind-the-scenes of Hardison’s extraordinary journey, while appropriately following her in the present as she works on her memoir. The film features numerous interviews with a wide breadth of famous faces and impressive footage of turning-point moments that capture Hardison’s immense impact.

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Film Review: “A Million Miles Away”

Peña soars in against-all-odds astronaut story

José Hernández (Michael Peña) finally realizes a lifelong dream of becoming an astronaut.

Hollywood has long plumbed the depths of unlikely hero tales. No matter how many Rocky knock-offs the studios churn out, they never seem to tire of downtrodden and impoverished characters who must overcome great odds to lift themselves into a higher station in life. From Rocky to Rudy to Erin Brockovich, Hidden Figures and, most recently, Flamin’ Hot, these tales lift us up and inspire us even as they fight to be unique. So who can blame director Alejandra Márquez Abella for trying her hand at this well-worn but lucrative formula with her new biopic A Million Miles Away? Luckily for us, though, her effort proves to be an excellent addition to the familiar genre. 

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Film Review: “Sitting in Bars with Cake”

Sitting in Bars with Cake is a delectable slice of laughs and cries

There’s a seemingly endless amount of movies based on books, and a shorter but not insignificant number of movies based on real life cooks. What I can’t recall ever seeing is a movie that was based on a cookbook. Better late than never! Sitting in Bars with Cake, the new dramedy based on Audrey Shulman’s autobiographical book, is a well-produced tearjerker with standout performances, a film perfectly fitting of its streaming platform release.

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Film Review: “The Unknown Country”

Gladstone anchors lovely, meditative film

Tana (Lily Gladstone) pauses on her journey to her cousin’s wedding.

Lily Gladstone first garnered attention for her quietly affecting breakout role in Kelly Reichardt’s 2016 indie award winner Certain Women. She’s been back in the spotlight recently, thanks to Martin Scorsese, who cast her as Mollie, wife to Leonardo DiCaprio’s Ernest, in Scorsese’s highly anticipated upcoming adaptation of Killers of the Flower Moon. In between, Gladstone worked on several other projects (First Cow; Walking Out) and finally landed her first leading role in The Unknown Country, a beautiful, meditative film worthy of her talents.

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Film Review: “The Last Voyage of the Demeter”

The Demeter sinks slowly but surely

There are two pieces of classic literature to which I’m happily devoted in the case of any film adaptation, re-imagining, modern take, or spin-off: Charles Dickens’s A Christmas Carol and Bram Stoker’s Dracula. I’ll save any further reading into my personal attachment to these two stories for therapy, because right now the latter intellectual property has a new entry in a long lineage of film adaptations, The Last Voyage of the Demeter. Based on a short but haunting chapter from the original Dracula text, The Last Voyage of the Demeter continues director André Øvredal’s impressive filmmaking streak, but too many imbalanced components can’t keep this Demeter afloat. 

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