This past Monday night, in support of his twelfth album, Are You Serious, Andrew Bird performed an hour-and-a-half set to a near-capacity crowd at San Francisco’s Masonic. Flanked by a rhythm section for the first time in a career where he’s held his own as a solo artist, the music swelled and climaxed at all the right intervals while the lighting in the ornate, historic theatre complemented the intricate, complex melodies beautifully. Continue reading “Photo Set: Andrew Bird at The Masonic, 4/16/2016”
Lee (George Clooney, l.) tries to reason with upset investor Kyle (Jack O’Connell).
With Money Monster, the actress Jodie Foster wears her feature film director’s cap for the first time since 2011’s Mel Gibson-helmed The Beaver (she’s done TV work in the interim, including Orange is the New Black and House of Cards), and the result, unfortunately, is nowhere near as good as an episode of either of those shows, and only slightly better than that odd Gibson picture. Here, Foster seems to want to make a cutting-edge indictment of a global financial system that is rampant with corruption and inequality, à la The Big Short, but what she ends up with falls, well, short. Big time. Continue reading “Film Review: Money Monster“
Not precisely the wolves that are on their way to Berkeley this week.This week in The Bay Area we have violence, arguments, wolves on an unlucky day, modern language usages, and raising money against cancer. Good. ‘Cause cancer sucks.
Spinning Platters wraps up its coverage of the 59th San Francisco International Film Festival, which ended last Thursday, May 5th, after showcasing nearly 200 films from over 40 countries. The Fest may be over, but many of its offerings will be released throughout the year, so be sure to use our eight spotlight posts as a guide for potential future viewing.
We conclude our coverage by looking at three final films and two special events.
The Bandit (USA, 2016, 82 min, Closing Night Film)
Burt Reynolds (l.) and Hal Needham during the filming of Smokey and the Bandit.
Local filmmaker Jesse Moss, who found success two years ago with his intense, stunning, but somber documentary The Overnighters, told us at the Q&A after the closing night screening of his new film that after that emotionally wrenching experience, he wanted to go in an opposite direction and make a “fun car comedy” like the films he loved while growing up – films like the ’70s Burt Reynolds-helmed, car chase classic Smokey and the Bandit. Still a documentarian, though, Moss has thus made what he terms the first “action-comedy” documentary. Indeed, as a look at ’70s heartthrob action and comedy star Burt Reynolds and his lifelong friendship with Hal Needham, the Hollywood stuntman turned writer/director who made the iconic Smokey, Moss’s new film succeeds brilliantly at echoing the good ol’ boy charm of the best of Needham and Reynolds’s pictures. Featuring historical interviews with Needham (who passed away in 2013), as well as interviews with former Smokey co-stars, country music stars, friends, colleagues, family, and Reynolds himself, The Bandit is chock full of juicy behind-the-scenes insider stories and enough old TV and movie clips to please the most ardent pop culture fans. As a portrait of both a bygone era of movie-making and, more importantly, of a singular friendship that could shift between respect and rivalry, Moss’s picture mirrors the good natured southern charm of the Reynolds-Needham collaborations, while also examining more serious issues of fame, competition, and deep, enduring friendship. The Bandit took home the Audience Award at SXSW this year, and deservedly so; a genuine crowd pleaser, the picture is a must-see for students of ’70s cinema, and anyone who values engrossing, well-made documentary stories.
Spinning Platters is slowly but surely completing its coverage of the 59th San Francisco International Film Festival. Alas, SFIFF59 ended two nights ago, but we’re here to keep providing you spotlights on little known films that may come to a theater near you in the foreseeable future — so here’s a quick glimpse at four more features!
The Lobster (USA, 2015, 119 min, Added Programs)
Colin Farrell, et al. in THE LOBSTER.
Dark and satirical, romantic and visceral, The Lobster is a bizarre piece of thought-provoking cinema from Dogtooth director Yorgos Lanthimos. Colin Farrell plays a recently single man who checks into a “center” of sorts that focuses on matching romantic couples together — and the ones that don’t succeed in finding love get turned into animals. This peculiar premise and all of its intricacies are treated with extreme informality. The most brilliant aspect of The Lobster is that at the heart of all the odd characters (including top notch performances from John C Reilly, Rachel Weisz, and Ben Whishaw) and morbidly humorous absurdities is a uniquely human story that connects to our innermost societal fears, anxieties, and emotions.
The Lobster will be in Bay Area theaters May 20th.
Oakland’s hometown heroes, indie rockers Rogue Wave released their new album, Delusions of Grand Fur, last week, and to celebrate, they’re playing a weekend of Bay Area shows. Tonight was their first one, at the relatively new venue, The Starline Social Club. It was the band’s first show in three years, and they’re first in Oakland for as long as they can remember.
You want the most action-packed, entertaining, thought-provoking Marvel movie to date? Aye aye, Captain!!
See Cap Run. Run, Cap, Run.
Remember Batman v. Superman? If you don’t, then congrats. If you do, rest assured that Captain America: Civil War will wash the bad taste from your mouth. The new movie has a remarkably similar plot to BvS but every bit is a million times superior. In fact, it’s so much better that you won’t even recognize the similarities upon first viewing. The benefits of watching Captain America: Civil War don’t end there — the third Captain America film is probably the best Marvel movie yet! A bold statement, you may think. Well, there is nary a moment in CA:CW that isn’t entertaining or driving the story forward. It explores thought-provoking themes of social class, abuse of power, government regulations, and sacrifice, all while delivering high levels of fun. What’s most impressive about Captain America: Civil War is its ability to utilize what we already know about each character to fuel the story we’re seeing, meanwhile teasing us with stories to come. It’s like the Empire Strikes Back of the Marvel Cinematic Universe, and that’s just about the highest compliment I can give it.
Last night at Gray Area, the newly remodeled Grand theater, the Golden Gate Award winners of the 59th San Francisco International Film Festival were announced. With tacos and chardonnay in our stomachs, and smiles being exchanged between filmmakers, Film Society members, SFIFF59 staff members, and press members alike, we took time to honor all the films at this year’s festival.
Here are the winning films in the 12 categories announced at the GGA celebration (~$40,000 in prize money):
Golden Gate New Directors (Narrative Feature) Prize:
Winner: The Demons, Philippe Lesage (Canada) Jury note: “The Demons is an extraordinarily perceptive and structurally daring exploration of childhood in all its terrors and anxieties, both real and imagined.”
Special Jury Prize: Mountain, Yaelle Kayam (Israel/Denmark) Jury note: “The film provides a rigorous and multifaceted character study that becomes a bold statement about the role of women in physical and psychological confinement.”
Spinning Platters continues its coverage of the 59th San Francisco International Film Festival, which continues through this Thursday, May 5th. You still have plenty of time to get in a few screenings! More information and tickets are available here.
Here we spotlight another three features and the Golden Gate Persistence of Vision award!
Mountain (Israel/Denmark, 2015, 83 min, GGA: New Directors)
A scene from Yaelle Kayam’s MOUNTAIN will play at the 59th San Francisco International Film Festival, on April 21 – May 5,2016.
Mountain is a touching yet ultimately unsettling character study of an Orthodox Jewish woman living with her husband and four children on the Mount of Olives, an ancient Jewish cemetery and religious locale for Judeo-Christian faiths. Shani Klein gives a powerfully restrained performance as Zvia, a woman caught between family, tradition, and desire and the ramifications of choosing one over the others. The Mt. of Olives plays a crucial role as well, steeped in Jewish tradition and history, yet it serves as a constant reminder of loss and becomes a discrete location for nighttime prostitution. Director Yaelle Kayam patiently studies the effects of this symbolic location on its inhabitants, and utilizing a focus on Zvia manages to convey the deepest internal struggles of Orthodoxy in an ever-changing world.
Most likely not the Spurs that will be appearing with Daniel Martin Moore this Wednesday at the Hemlock.
This week in The Bay Area we have music from across the Pacific Ocean, from across the Atlantic Ocean, and more. International travel is neat these days.
