Christopher Lloyd – Spinning Platters

Film Review: “Nobody 2”

The first Nobody does it better

Hutch (Bob Odenkirk) lets his dark side emerge in ‘Nobody 2.’

Hutch Mansell, the deceptively mild-mannered, disgruntled everyman (and former elite assassin), is back. Hutch pleased audiences with a barrage of brutal bad guy beat downs in 2021’s Nobody, directed by Ilya Naishuller (Heads of State), a self-aware, more grounded version of a John Wick-esque action flick. Nobody was a surprise hit, considering its non-action star, Bob Odenkirk (Better Call Saul; Mr. Show), and because its release coincided with the controversial return to theaters from Covid-19 lockdowns. And yet its success greenlit a sequel, and Nobody 2, from director Timo Tjahjanto (The Shadow Strays), mostly delivers the same ruthless fun as the original, but with more than a few questionable choices. Continue reading “Film Review: “Nobody 2””

Film Feature: Chris Piper’s Top 10 Films of 2021

Films make a big comeback in 2021

2021 in American cinema was remarkable in how it seemed so… normal. Whatever the numbers say, my feeling was that the year started a little slowly, then found its footing around March, then kicked into something like a normal gear over the summer. As fall approached, and it seemed to me more theaters reopened, a slate of films pretty much like those in 2019 awaited. Winter seemed to bring somewhat larger than normal crop of smaller-budget films, and here we are, at the end of the year with a number of solid films released, awards season in full swing, and waiting for Oscar noms in just over a month.

So here are my top 10 films of 2021. See these 10 films in any order you want, preferably in the theater, but on your couch if you must. Here’s hoping for more of more of the same in 2022. Continue reading “Film Feature: Chris Piper’s Top 10 Films of 2021”

Film Review: “The Tender Bar”

An elegy for a Tender Bar: Affleck bright spot in familiar memoir-based story

Young J.R. (Daniel Ranieri, l.) listens intently to life lessons dispensed by his Uncle Charlie (Ben Affleck).

George Clooney wears his director hat for The Tender Bar, and with a script by William Monahan (The Departed) and Ben Affleck in the lead, the film, on paper, seems full of promising cred. So imagine my disappointment, then, as I watched the movie and the whole thing felt… familiar. Unoriginal. Cliche. The picture has a few decent performances, but sadly is ultimately forgettable.

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Film Review: Nobody

Nobody isn’t perfect, but it’s the somebody we need for our return to theaters

Hutch Mansell (Bob Odenkirk) confronts trouble on a late night bus ride.

Fans of Breaking Bad and Better Call Saul know that Bob Odenkirk has a terrific wry, deadpan presence. If you’ve ever wondered what Breaking Bad might have been like had Odenkirk been cast as Walter White instead of Saul Goodman, you may want to check out the new action thriller Nobody.

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Film Feature: SFFILM 2018 Festival Spotlights #1

61st annual San Francisco International Film Festival opens this Wednesday, April 4th

The 61st annual San Francisco International Film Festival begins this Wednesday, April 4th, and will run almost two weeks, until Thursday, April 17th. This year’s Festival features 186 films from over 40 countries, and will include eight world premieres, five North American premieres, and six U.S. premieres. Of special note is that over a third of this year’s selected films are directed by women. Tickets and more information about films and programs can be found here.

To help you plan your Fest schedule, we’ll start you off here with five Festival film spotlights (three narrative features and two documentaries). And be sure to bookmark Spinning Platters and check back frequently, as we’ll have more coverage throughout the Festival.

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Film Review: Sin City: A Dame to Kill For

Stark, Bloody, and two smoking Marvs

Josh Brolin and Eva Green gets black and white and red all over.

It’s a little bizarre that Sin City: A Dame to Kill For took this long to get made. Creative differences, production and casting issues, and the usual onslaught of headlines and rumors supposedly got in the way of this film getting off the ground. But nearly ten years later, we have A Dame to Kill For, and there are many disappointing elements that the filmmakers, with ten years to play with, should have gotten right. The Sin City film franchise nevertheless continues to showcase some of the most impressive visuals in movies — but has the novelty worn off? The black and white psychedelic neo-noir tone is fun, yet a lacking depth of emotion and a shortage of character variety (compared to 2005’s Sin City) spoils the return to Frank Miller’s dark seedy world.

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