Reviews of albums, films, concerts, and more from the Bay Area Music and Movie Nerds
With the success of Knives Out and its upcoming sequel The Glass Onion (which will open the Mill Valley Film Festival on Oct. 6th), murder mysteries are back in vogue, and you can’t blame filmmakers for wanting to capitalize on the trend. But just because you can make a murder mystery doesn’t mean you should, and the new British whodunit See How They Run is a case in point.
You have to hand it to Diane Keaton. At 76, she’s not afraid to embrace screwball comedy, pratfalls and all. What’s a shame, though, is that she doesn’t have a better vehicle for her comedic talents than the embarrassingly bad new picture Mack & Rita.
Last year, for the first time ever, I selected a documentary as my number one film of the year. That doc, The Rescue, plays out like a thrilling Hollywood screenplay as it recounts the inspiring true tale of the rescue of 12 members of a boys’ soccer team and their coach after 18 days trapped in a flooded cave in Thailand. Now art imitates life as that story that so captivated the world back in 2018 gets the high-powered Hollywood treatment. Directed by Oscar winner Ron Howard, Thirteen Lives proves itself an equally thrilling and moving dramatization.
Fading assassins looking to complete the latest job. Low-level criminals looking for a clean exit from the life. Under-loved princesses looking to deal with daddy once and for all. Others looking for nothing more than cold, hard revenge. And in the middle of it all is bucket-hat Brad Pitt. In his latest, Bullet Train (or: Bucket-Hat Brad with a Bullet), Pitt romps, skips, hops, twirls, guffaws, and even sings his way through an overly-complicated, needlessly-sprawling, yet more than semi-entertaining roller coaster. Continue reading “Film Review: “Bullet Train””
Perhaps best known as Ryan from The Office, B.J. Novak has long been a writer as well as an actor, and now, with his new film Vengeance, he can add feature film director to his resume. With this picture, he pulls off the cinematic trifecta of acting/writing/directing, and, for a first effort, the results aren’t bad. While not stellar by any means, the picture definitely has its moments, and signifies Novak as a filmmaker to watch.
Readers of the massive (over 12 million copies sold!) 2018 bestseller Where the Crawdads Sing have likely been eagerly anticipating the Reese Witherspoon produced adaptation of her book club phenom. To prep for the movie, I read the Delia Owens novel, and can tell you up front that the movie does indeed capture the gist of the book. Some small plot details have been eliminated or changed slightly, and longer sections have been compressed, but the book’s themes and emotional underpinnings remain intact. The novel’s readers will have an inherent interest in the film, just for the curiosity of seeing how the story and characters translate to the big screen.
Nominated for the Grand Jury prize at Sundance this year, Emergency took home the Festival’s Waldo Salt Screenwriting Award. After seeing the film, you’ll understand why. Adapting her 2018 Sundance short of the same name into a full length feature, screenwriter K.D. Dávila has done something sly here. She starts the picture as if we’re in for a spring break high jinks, wild college party comedy à la Animal House. But then she turns the tables in such a dramatic, urgent, and tense fashion that you’ll leave the picture reeling. And that’s a good thing.
If you live in California, Nicolas Cage is a Prius. If you live in Alabama, Nicolas Cage is an F-150. If you live in Colorado, Nicolas Cage is a Subaru. Ubiquitous, omnipresent, universal don’t begin to describe his career. Simple descriptors, most adjectives, even words themselves, fail to cover the sheer, gargantuan, remark-ability of the man’s effect on our collective souls. Continue reading “Film Review: “The Unbearable Weight of Massive Talent””
In the new Robert Eggers film The Northman, a young prince in proto-Europe’s far north swears vengeance for his father’s murder, is driven mad by revenge, and faces his rival in a climactic battle. Sound familiar? Continue reading “Film Review: “The Northman””
The 65th SFFilm Festival will take place April 21 – May 1, 2022, with screenings at various venues around the Bay Area. This year, the festival program features over 130 film from 56 countries, so there are plenty of options for everyone.
Here’s a look at five more features — get your tickets before they sell out!
1.) WE FEED PEOPLE
(USA, 2022. 90 min)
From director Ron Howard, We Feed People takes a close look at the World Central Kitchen (WCK) and the man who launched and manages it with every fiber of his being, world-renowned chef Jose Andres. The majority of the film is boots-on-the-ground footage of the WCK in action, with only snippets here and there taken from news reports. In this way, we get a devastating look at the aftermath of various disasters as WCK staff work fast among the wreckage and speak to the impacted residents. Most importantly, We Feed People contains a sense of urgency, that food shortages should be a thing of the past — it’s an inspirational gut punch. WCK is at the forefront of the fight: at the time of this writing, multiple WCK staff members in Ukraine have been injured in a recent Russian bombing.
Screenings (click here for tickets):
– Sat., April 23rd, 5:30pm at the Vogue Theatre Continue reading “Film Feature: 65th SFFILM Festival Preview Spotlight #2”