Category: Films

SFJFF37 Spotlights: The Boy Downstairs / Mr. Predictable / A Classy Broad / Bombshell

The 37th San Francisco Jewish Film Festival, showcasing over 60 films from more than a dozen countries, opened on July 20th, and runs until next Sunday, August 6th. This year, the Festival boasts over 15 West Coast premiers, and more than 40% of its films are directed by women, including both its opening and closing night films. 

With a full week left to go, there is still plenty of time to catch some great new films. Below we spotlight four Fest titles (two documentaries and two features) that you may want to check out. Complete schedule, tickets, and more information are available here. Continue reading “SFJFF37 Spotlights: The Boy Downstairs / Mr. Predictable / A Classy Broad / Bombshell“

Film Review: Atomic Blonde

Theron heats up a cold city

Lorraine Broughton (Charlize Theron) smokes, drinks, kicks, and kills with the best of them.

Take a world nearing collapse, a main character with oodles of bitchy beauty, add some cold-war cloak and dagger spycraft, throw in some “fluid sexuality,” lots of fight scenes, and just a pinch of back story. Good so far? Not so fast. Take away the script. Take away the music. Take away much of the acting. Not so great? Ok, so put one truly fantastic fight scene back in, and you’re served Atomic Blonde, the Charlize Theron vehicle opening wide today.

First time helmer David Leitch, a former stunt man with co-directing credits on John Wick has taken the graphic novel series The Coldest City and turned it into a mostly a muddled mish-mash that owes much of its existence to Luc Bresson’s La Femme Nikita and Leon: The Professional, as well founding father Doug Limon’s The Bourne Identity.
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Film Review: Detroit

Bigelow’s intense, harrowing film remains fiercely relevant

A city under siege: Detroit, July, 1967.

“It’s hard to believe this could happen in America,” a character says in Detroit, director Kathryn Bigelow’s grim but brilliantly effective new film about the 1967 Detroit riots and their aftermath. But for those of us watching exactly 50 years later, such believing is all too easy — and that’s perhaps the most disheartening take away from Bigelow’s gut-punch of a film.
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Film Review: Dunkirk

Dunkirk: powerful and memorable

Soldiers await rescue.

In Christopher Nolan’s astonishing new film Dunkirk, we follow a major battle early in World War II through the struggles of a number of soldiers, sailors, and airmen as they attempt a massive retreat from France across the English channel in the face of constant German attacks. Though the events of that tragic summer week in 1940 are well known, what’s not known, and what is the basis of the film’s significant triumph, are the fates of the individuals who are just trying to survive long enough to get home.
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Film Review: Lady Macbeth

What’s done cannot be undone: And that’s the way she wants it

Katherine (Florence Pugh) is restless and bored as the much younger wife of a middle-aged man who shows no interest in her. 

If Lady Macbeth is remembered for anything after its initial release today, it will be for introducing the mostly unknown British actress Florence Pugh to the world. Just 19 years old when she made the film, Pugh, in the picture’s title role, is reminiscent of a young Kate Winslet, and, based on her work here, is bound to go on to an equally impressive and acclaimed career.
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Film Review: A Ghost Story

Should the spirit move you to see this movie, ignore it 

Casey Affleck plays a bed sheet clad ghost in A Ghost Story.

Boo! Sorry if I startled you, but such an opening seems appropriate for a review of A Ghost Story, writer/director David Lowery’s new film about, yes, a ghost – replete in Casper-esque white sheet with eyeholes and all. But this ghost isn’t exactly friendly; in fact, he’s sad. Bereft, even. And lost. He needs closure. And you will be yearning for it, too, if you choose to sit through this pretentious slog masquerading as a profound meditation on grief.
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Film Review: Spider-Man: Homecoming

The ultimate movie-by-committee goes for spectacular, but is less than amazing

Tony Stark (Robert Downey, Jr.) gives fatherly advice to young Peter Parker (Tom Holland) in Spider-Man: Homecoming.

Sometimes a movie has a story to tell, and sometimes it doesn’t. This movie doesn’t. It has a purpose, for sure. It has a goal in mind and it competently makes every effort to get there, and objectively, it does. Unfortunately, the goal was not to make a meaningful movie; it was simply to check all the boxes on what makes an “entertaining” one. This is a bland, corporate product that goes down easy, but is forgettable from beginning to end.

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Film Review: The Beguiled

Coppola returns to form with seductive Southern gothic drama 

Union soldier John (Colin Farrell) and Edwina (Kirsten Dunst) find a moment alone. 

In its 70-year history, the Cannes Film Festival has only awarded its Best Director prize to a female director twice; the first was in 1961 (to Soviet filmmaker Yuliya Solntseva for Chronicle of Flaming Years, a tale of Nazi resistance in the Soviet Union), and the second was this May, to writer/director Sofia Coppola for The Beguiled. While the Festival sadly took some 50 years before bestowing this honor on another woman, this year’s award hopefully signals a real shift toward providing opportunities for, and recognizing the accomplishments of, women in film. That said, the concern of this review, of course, is the film itself: are Coppola and her new film worthy of the prize? The answer, thankfully, is a resounding yes.
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Film Review: Okja

Welcome to the animal funny farm

Okja (left) and Mija (An Seo Hyun) share a moment.

She has eyes the color of sunlit amber. She has a face that always reflects your best mood. Just being near her, feeling the warmth of her body as you wake up from an afternoon nap, sends waves of serenity through you. Sometimes, when you’re not sure where she is, and you call after her, the moments before her reply can seem like small eternities. Continue reading “Film Review: Okja“

Film Feature: A Few Minutes with Edgar Wright and Ansel Elgort from Baby Driver

           Edgar Wright on set directing Ansel Elgort in the marvelous new film Baby Driver.

Edgar Wright’s newest film, Baby Driver, is a labor of love, many years in the making. The film would be a typical action crime drama were it not made by Wright, who is anything but typical. Instead, we get a creatively inspired film that takes this oft repeated form and adds a magical twist, which is that nearly every scene, from a romantic conversation in a laundromat to a brisk foot chase with guns blazing, is not only accompanied by inspired musical choices, but is also choreographed to the songs. The result crackles with life and bristles with energy. We were overjoyed to be able to spend a few minutes discussing the music and choreography with director Edgar Wright and budding superstar Ansel Elgort.

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