Reviews of albums, films, concerts, and more from the Bay Area Music and Movie Nerds
The word “serviceable’ gets bandied about quite a bit in director Marc Webb’s new film about a young writer, which is ironic, since The Only Living Boy in New York is anything but. In fact, serviceable is actually far too kind a word for this hackneyed, derivative embarrassment.
Continue reading “Film Review: The Only Living Boy in New York“
If you watch Saturday Night Live regularly, you know that cast member Kyle Mooney seems like the kind of smart-but-nerdy guy who probably spent his middle school years making goofy action-figure based short films with his friends. Fast forward some 20 years later, and not much has changed, though the results are no doubt exceedingly more polished than his junior high efforts. Mooney, along with his 7th grade buddies Dave McCary and Kevin Costello, has made his first feature film, and, fittingly, Brigsby Bear is a charmer that celebrates the healing power of both art and family.
Continue reading “Film Review: Brigsby Bear“
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“
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.
Continue reading “Film Review: Atomic Blonde“
“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.
Continue reading “Film Review: Detroit“
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.
Continue reading “Film Review: Dunkirk“
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.
Continue reading “Film Review: Lady Macbeth“
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.
Continue reading “Film Review: A Ghost Story“
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.
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.
Continue reading “Film Review: The Beguiled“