Film critics Carrie and Chris on who will – and who should – win the 92nd Academy Awards
The 92nd Academy Awards air tomorrow, Sunday, February 9th, on ABC at 5:00 pm PST. Once again, Spinning Platters film critics Carrie Kahn and Chris Piper share their predictions — and hopes — for the major categories. A lot of the winners feel like locks, based on earlier award season wins, but, honestly, we’d rather have some upsets to make for an interesting show then have all our predictions come true. Fingers crossed for some liveliness!
Cast is terrific, but this movie becoming a must-see is a long shot
Newly hired speechwriter Fred Flarsky (Seth Rogen, center) goes over his work with Secretary of State Charlotte Field (Charlize Theron, r.) and her aides Tom (Ravi Patel) and Maggie (June Diane Raphael).
Director Jonathan Levine tries his hand at comedy again for the first time since 2017’s tepid Amy Schumer/Goldie Hawn vehicle Snatched, and somewhat redeems himself. Long Shot is a bit smarter and a bit funnier than Levine’s previous picture, but, while entertaining enough, it isn’t destined to become a comedy classic. Continue reading “Film Review: Long Shot“
2018 San Francisco International Film Festival ends this week
If you haven’t made it out to the SF International Film Festival yet, don’t worry – you still have one more day to catch some great films. The Festival ends tomorrow, Tuesday, April 17th, and tickets to remaining screenings can be found here.
Spinning Platters continues its coverage by taking a look at four films that screened at the Fest that will be opening soon here in the Bay Area (we note each film’s opening date below), so if you had hoped to see some of these at the Fest and missed them, you’ve got a second chance. And even though the Fest ends soon, stay tuned to Spinning Platters; we’ll have some wrap up coverage after the Fest concludes.
1.) Kodachrome (Canada/USA 2017, 105 min. Marquee Presentations)
Matt (Jason Sudeikis, l.), Zoe, (Elizabeth Olsen), and Ben (Ed Harris) have some fun.
Upon hearing the title of director Mark Raso’s new film, you would be forgiven for thinking it might have something to do with Paul Simon’s 1973 single of the same name. That song is referenced in the film, but never played, which is for the best, since the last film to take its title from a Paul Simon song was a huge flop. Raso fares better here, working from a script by the author and screenwriter Jonathan Tropper (This is Where I Leave You). Based loosely on a 2010 article in the New York Times about the closing of the last photo lab in the country to develop Kodak’s famed color film, Kodachrome is a father-son redemption story that calls to mind Sam Shepard, and not just because Shepard stalwart Ed Harris plays Ben, the estranged, terminally ill famous photographer father to Jason Sudeikis’s wounded music producer son Matt. The actors are believable as a father and son with a complicated history, which helps detract from the cliché of their road trip from New York to Kansas to drop off old Kodachrome rolls of Ben’s before the lab closes. Accompanying the duo is Zoe (Elizabeth Olsen), Ben’s nurse and assistant and, of course, love interest for Matt. Olsen’s likable presence and her chemistry with Sudeikis also help keep the story from feeling too obvious, and you find yourself wanting to spend more time with them. The film does occasionally succumb to the hackneyed, though, as when Matt and Zoe finally look at Ben’s developed slides (you’ll have long since guessed what’s on them), in a somewhat cloying scene that may remind some viewers of the famous “The Wheel” episode of Mad Men. But with its nostalgic look at how our analog world has given way to digital, Raso and Tropper manage to pull off a charming narrative that would have felt derivative with a lesser cast at the helm.
Kodachromewill open in the Bay Area this Friday, April 20th.
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 LaFemmeNikita and Leon: The Professional, as well founding father Doug Limon’s TheBourneIdentity. Continue reading “Film Review: Atomic Blonde“
I’ve never seen stop-motion animation as inventively crafted or as embedded in the storytelling as I saw in Kubo and the Two Strings. Laika, the animation studio behind Coraline, ParaNorman, and The Boxtrolls, releases their most ambitious film yet with Kubo. Part parable and part fantasy epic, Kubo has a bit of everything, and though it gets a little over-indulgent in the final ten minutes, the film never feels overcrowded. Credit is due to first time director Travis Knight (son of Phil Knight, of Nike), who does a solid job of executing on an intelligent script by Marc Haimes and Chris Butler. The filmmakers infuse Kubo with unique action sequences, family-friendly humor, some nightmarish chills, and strong emotional themes. When these aspects are woven together with solid voice acting and stunning visuals, Kubo becomes a memorable cinematic tapestry.
It’s been 30 years since we last saw Max Rockatansky AKA Mad Max roam the dystopian post-apocalyptic landscape created by the great visionary filmmaker George Miller. During that time, Miller directed only a handful of films, primarily talking animal family films such as Babe 2: Pig in the City and the Oscar winning Happy Feet. Despite it being a work-in progress for many years, Mad Max: Fury Road seems to be Miller’s way of delivering a strict how-to lesson to all the action director wannabes who are flooding cineplexes these days with CG-filled shlock. Fury Road has its fair share of CG, but only when necessary…or when super cool. The practical effects (you know… actual people and actual cars and actual explosions) are unparalleled. Fury Road will set the precedent for what all forthcoming action films will be compared against, and not only for its action. Mad Max: Fury Road manages to showcase some of the greatest frenetic visuals in at least a decade while still delivering a worthy story and characters. It’s style AND substance — a rare treat. ‘What a lovely day!’ indeed.
Charlize Theron and Jason Reitman on the set of YOUNG ADULT
On Wednesday we chatted with Patton Oswalt about his scene-stealing turn in Young Adult, the unnerving black comedy opening in San Francisco today. And now we’ll check in with its director, Jason Reitman. In the six years since his beloved feature debut, Thank You For Smoking, Reitman has become one of the most celebrated and in-demand directors in the film industry. In addition to earning back-to-back Best Director Oscar nominations for his second and third features, Juno and Up in the Air, he has established himself as one of the few filmmakers who can create acclaimed character-based films that also resonate with mainstream audiences at the box office. But with Young Adult, his second collaboration with Oscar-winning screenwriter Diablo Cody, he is taking a bold and risky step away from the accessibly charming and likable protagonists of his earlier films.
It has been proven many times over the years that comedians can bring an unexpected and singular potency to their performances when given the opportunity to play a dramatic role. Actors from Tom Hanks to Robin Williams to Jim Carrey have graduated from broad comedy to dramatic leading-man status when finally given the chance to play the right character. And now Patton Oswalt, best-known for voicing the mouse protagonist in Ratatouille and his 122 episodes as Spence on The King of Queens (in addition to his decades of stand-up and countless cameo appearances), is poised to make a similar breakthrough with his poignant performance in the new Jason Reitman-Diablo Cody collaboration, Young Adult.
