
Look after the jump for reviews of five new films playing in the Bay Area this weekend.
Reviews of albums, films, concerts, and more from the Bay Area Music and Movie Nerds
Look after the jump for reviews of five new films playing in the Bay Area this weekend.
The Times of Harvey Milk. Common Threads: Stories From The Quilt. The Celluloid Closet. Paragraph 175. Over the course of 25 years, two Best Documentary Oscars, and a smattering of Emmys and Peabodys, San Francisco-based filmmakers Rob Epstein and Jeffrey Friedman have forever changed the face of documentary film-making and revolutionized the portrayal of gay and lesbian subjects in American culture. Now, they’ve made Howl (opening in Bay Area on September 24), their first scripted film, in which James Franco brilliantly embodies Allen Ginsberg. They recently sat down with Spinning Platters to discuss their latest effort.
Continue reading “Spinning Platters Interview: Rob Epstein and Jeffrey Friedman on “Howl””
How do you solve a problem like Phil Spector? In The Agony and the Ecstasy of Phil Spector (opening today at the Roxie Theater), filmmaker Vikram Jayanti — who co-produced the Oscar-winning documentary When We Were Kings — creates a compelling but fundamentally flawed portrait of this culture-shaking musical genius and convicted murderer.
Continue reading “Film Review: “The Agony and the Ecstasy of Phil Spector””
The 34th annual Frameline LGBT Film Festival, which remains the largest of its kind in the world, will take place in San Francisco from June 17-27. Packed into those eleven days will be hundreds of narrative films, documentaries, and shorts covering nearly every conceivable angle of the LGBT experience from just about every corner of the globe. After the jump, Spinning Platters helps you narrow it all down by picking three films from each of four main categories.
Although I knew nothing about the silent film 20,000 Leagues Under the Sea, I had high expectations for this evening, all of which were piled on Stephin Merritt’s shoulders. His amazing ability to craft the perfect quirky pop song seemed well suited to the project: creating a live score to a silent film. This is a mainstay of the San Francisco International Film Festival, after last year’s The Lost World with Dengue Fever, and I’m very happy it is. It is a great opportunity for a songwriter/composer to showcase his song-craft and experiment, but composing almost 2 hours of music that will enhance someone else’s work? It’s a tall order for even the most talented and interesting songwriter. Continue reading “SFIFF Film Review: 20,000 Leagues Under the Sea with Stephin Merritt at Castro Theater, 5/4/10”
Of all the movies playing at the San Francisco International Film Festival Jalsaghar (The Music Room) was what I wanted to see most.
An Indian film from 1958 that has been recently restored is not your usual popcorn popping movie. It’s more of a privilege to see and everything about my experience was just that. Continue reading “The Music Room SF International Film Festival”
The 53rd annual San Francisco International Film Festival concluded last night, thus ending this year’s edition of one of our fair cities’ most enduring and enriching cinematic traditions. After the jump, I’ll recap some of the festival’s highlights, ranging from Serge Gainsbourg lookalikes and Tilda Swinton speaking Italian, to James Schamus dismissing Brokeback Mountain enthusiasts and Jason Reitman teaching Terry Zwigoff how to be a douchebag.
Continue reading “SFIFF in Review: Roger Ebert, James Schamus, and Other Highlights”
“Coco Chanel and Igor Stravinsky” twists the worlds of fashion, art, music and society together. It screams about the new-ness inherent in the early 20th century: in music, in fashion, and in people’s relationships. The film depicts the couple’s passionate affair along with what is billed (by the film) as each of their greatest works: Stravinsky’s ballet “The Rite of Sping” or “Le Sacre du Printemps” and Coco Chanel’s iconic fragrance Chanel No. 5. In this day and age where music and fashion are so intertwined the film successfully takes you into the world of 1920’s Paris where this was far from the truth. Coco Chanel is the unlikely patron here, bringing Igor Stravinsky into her world with money, and with that relationship forged, the pair change each other’s art and direction. Continue reading “SFIFF Film Review: “Coco Chanel and Igor Stravinsky””
Rejoice and Shout, the latest music documentary from director Don McGlynn (The Howlin’ Wolf Story, Somewhere Over The Rainbow: Harold Arlen, and many more) is the most thoroughly researched and exhaustive film about African-American gospel music ever committed to film. In telling the story of gospel in America, it simultaneously mirrors the entire narrative of the African-American experience, beginning with slavery and ending with the election of the nation’s first black president. It is an ambitious undertaking, and for the most part, it is successful.
“This isn’t about women’s lib,” crows Kim Fowley (Michael Shannon) in The Runaways, the feature-length debut from renowned music video director Floria Sigismondi. “This is about women’s libidos.” See what he did there? But this quote gets to the paradoxical high-wire act at the heart of this film: lib or libido? Empowerment or exploitation? A film that opens with a close-up of Dakota Fanning’s first drops of menstrual blood hitting the L.A. pavement could go either way.