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“
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. Continue reading “Film Review: Lady Macbeth“
I used to go to a lot of shows. I spent most of my twenties in Chicago, which, oh man, the music scene. Ten bucks could get you a Huber Bock and what felt like constant access to [The] Gossip. Gingerman, Elbo Room, Delilah’s, the Metro, Empty Bottle, the Vic, and countless little dank bars.
I’m older and more tired now, but that isn’t why I almost never go to shows. On about a 1:1 ratio, for every show I attended in Chicago, there was one I called off at the last minute, one I spent huddled in a corner, one I missed most of because I “stepped out for air” and never went back in. A couple years ago, I stopped fighting the fact that I rarely, if ever, feel safe at shows. I had to start saying it in words when I started dating my husband, who goes to an average of two shows a week, and who can predict with almost 100% accuracy which bands I will like. I’d watch him bop easily around a room hugging friends, and realize we’d never have a relationship if I kept trying to go to shows and standing stiffly in the least crowded part of the space with my arms locked around my chest until enough time had passed that I felt justified shouting “I’M READY TO GO NOW” in his ear. Continue reading “Here Is A Safe Space: Burger Boogaloo 2017”
Swedish band Ghost has returned to the US and is currently on a 7 week tour as the sole support act for the mighty Iron Maiden! In addition to those 26 shows, Ghost booked 14 headliner theater shows, including The Warfield in San Francisco.
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. Continue reading “Film Review: A Ghost Story“
Some of the very best band photos of Superchunk are the ones where they are dressed up as The Misfits. That’s the birthday guy on the far right with the devilock.
Do you know what today is? You do. It’s July 12. That means that over in North Carolina, it’s Mac McCaughan’s birthday. Who? Yes. Mac McCaughan of the long-running pogo-producing indie-rocker band Superchunk, as well as his own semi-solo project Portastatic, as well as one of the founders of the stalwart Merge Records. Cheers to Mac.
Speaking of pogo-inducing rock and roll, let’s talk about this week’s concerts. Here’s what we’ve got coming up this week in the Bay Area: things with animals, things from the past, and things near to college.
So, let’s get this preview started. Previewing now. Pre. View. Preview is starting and let’s go preview now.
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.
Do you know what today is? You do. It’s July 5. That means that here in the Bay Area, it’s Huey Lewis’s birthday.
Speaking of the heart of rock and roll, let’s talk about this week’s concerts. Here’s what we’ve got coming up this week in the Bay Area: symphonies, troopers, and remembrances.
So, we’ll preview this now. Previewing now. Let’s preview and go ahead and preview. Preview go!
A big issue I’ve taken up many times with electronic music is the fact that many top-selling, well-known acts are able to craft their musical set — and perform it — with incredibly little effort, sometimes less than a single button press. Many circles of music fans mock massively popular DJs for this “just push play” approach to touring, and I’m among them; I appreciate a great live show as much as anyone, but there should be a balance of performance and spectacle. In addition, it’s easy to bury the lack-of-complexity in a lot of pop-centered dance sets under piles and piles of dazzling lights, psychedelic projections, and spiffy lasers. If any of these sound like your own pet peeves with music that has mostly been composed with the aid of a machine, then you’ll want to make a point to see Shobaleader One, the latest project helmed by IDM artist Tom Jenkinson, best known for his work as Squarepusher. Theirs is a live performance bereft of automated tracks, flashy lights, or colorful costumes; instead, it’s a tour-de-force of stunningly-complex grooves played at dizzying tempos — the sort of thing that would appeal to electronic, jazz, and progressive fans alike.
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. Continue reading “Film Review: The Beguiled“
