Reviews of albums, films, concerts, and more from the Bay Area Music and Movie Nerds
The San Francisco Jewish Film Festival concluded a few weeks ago, but lucky for you its Centerpiece Narrative film opens widely today. While Between the Temples is without a doubt thematically very Jewish, it’s also very universal. Audiences of all stripes will find moments of humor, grace, and wisdom in this charming film.
I’d like to kick off this review with a question: what makes a Wes Anderson film the “most” Wes Anderson? Perhaps, objectively speaking, any Wes Anderson film, upon its release, is the “most” Wes Anderson, since that’s the project he’s put his latest ideas, artistry, and effort into. The unfairly subjective angle of this ranking, however, would require prioritizing Wes Anderson’s trademarks: the color palette, the quirkiness, the unique characters, and the cast size. Asteroid City, Anderson’s eleventh feature film as director, is, without a doubt, the “most”…. nah, I’m just kidding. Asteroid City represents a maturation in many respects, utilizing a multi-layered framing device to tell an oddball story about artistry, but with an emotional underbelly.
Fox Searchlight has finally released Wes Anderson’s very long-awaited new film The French Dispatch, and this sentence pretty much sums it up: “Leutenant Nescaffier is emphatically celebrated among cooks, cops and capitaines, not to mention swindlers, stoolies and snitches, as the great exemplar of police cooking.”
If that sentence – with its very sneaky verb, its obviously overbalanced serial commas, its all too visible use of French terms, and finally, its curious “police cooking”- makes you smile, laugh, giggle, catch your breath, or even tingle, then this is your film. If not, then there’s nothing I, or this review, can do for you.
To a teenager, the world is a boundless sea of experiences and hopes and fears and people and possibilities. But when the confines of a public high school, with its endless days of tedium, unquestionable authority, and worst of all – other teenagers – impose arbitrary bounds, the dramatic possibilities are endless, and have tempted artists of just about every medium, style, and approach.
My Entire High School Sinking into the Sea, the first feature written and directed by graphic novelist and animator Dash Shaw, manages to jolt the venerable high school film genre with new life from some surprising places, and suggests that nothing short of disaster can save those between thirteen and eighteen years old.
Continue reading “Film Review: My Entire High School Sinking into the Sea“
Welcome film lovers and moviegoers to the Spinning Platters coverage of the 58th San Francisco International Film Festival (SFIFF). Bookmark this site because we’ll be bringing you tons of SFIFF coverage: previews, film spotlights, interviews, and special events coverage. Per usual, our spotlights will cover the films that you’re already excited to see, as well as many titles that you haven’t heard of. SFIFF program notes and tickets are available here.
We’ll be continuing our coverage this week and throughout the Festival. Without further ado, let’s take a look at some of the special events in store and then five of the festival films:
Braving the chill, the dry air, and the self-importance of the L.A. film industry folks who don’t turn off their cell phones during screenings, Senior Film Reviewer Carrie Kahn brings you these first spotlights (more to follow) from the Sundance Film Festival in Park City, UT, which closes this Sunday, February 1st.
From the good, the mediocre, to the downright horrific, some of these films may receive distribution deals and be widely released in the coming year. Lucky for you, we here at Spinning Platters are ready and willing to let you know which films to see and which to miss. We’ll start with five feature films, and our handy Viewing Priority Level (VPL) Guide will steer you in the right direction. Continue reading “Film Feature: Sundance Film Festival Spotlights #1”
Wes Anderson is one of those polarizing filmmakers whose films are either loved or hated. His legions of fans delight in his highly stylized artistry, whimsical storytelling, and quirky characters, while his detractors deride his pictures as pretentious at worst and lightweight at best. Anderson’s newest offering, The Grand Budapest Hotel, however, should satisfy his fans and critics alike, as it melds his trademark fairy tale sensibility with an undercurrent of melancholy and solemnity that keep the picture from being too cloying or precious. Continue reading “Film Review: The Grand Budapest Hotel”
I have to admit I was a bit skeptical going into Saving Mr. Banks, the new film from Disney Pictures and director John Lee Hancock, the writer and director of 2011’s feel-good The Blind Side. I was afraid this film might be too treacly and sentimental, and be nothing more than a glorification of Walt Disney and the Disney canon, in much the same way The Internship glorified Google. But my fears were allayed when I found myself utterly engrossed and thoroughly entertained by Hancock’s picture, which features a compelling narrative, complex characters, and excellent performances. Continue reading “Film Review: Saving Mr. Banks”
starring: Jared Gilman, Kara Hayward, Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton, Jason Schwartzman, Harvey Keitel, Bob Balaban
written by: Wes Anderson and Roman Coppola
directed by: Wes Anderson
MPAA: Rated PG-13 for sexual content and smoking