Reviews of albums, films, concerts, and more from the Bay Area Music and Movie Nerds
The 67th SFFilm Festival opens tomorrow, Wednesday, April 24th, and will run through Sunday, April 28th. The Festival is presenting over 45 programs featuring films from 40 countries in venues in San Francisco and Berkeley. We’ve already previewed five of the Fest’s films (two documentaries and three narratives), and below we take a look at five more narrative features:
Continue reading “Film Feature: 67th SFFILM Festival Preview #2”
“Boy, the holidays are rough. Every year I just try to get from the day before Thanksgiving to the day after New Year’s,” the late great screenwriter Nora Ephron has Harry (Billy Crystal) comment to Sally (Meg Ryan) in the 1989 classic When Harry Met Sally. “A lot of suicides,” Sally dryly replies. Some 30 years later, Pennsylvania-born playwright and first-time filmmaker Stephen Karam has given us The Humans, a Thanksgiving-set film that illustrates Harry’s point. In keeping with the spirit of the holiday, though, thankfully, the picture lacks Sally’s cynicism.
Spinning Platters film critics Carrie Kahn and Chad Liffmann present their Top 10 Films of 2013. Here’s Carrie’s list, presented in alphabetical order.
That a film with just a single actor and virtually no dialog can be absolutely riveting is a testament both to Robert Redford’s brilliant acting and to writer/director J.C. Chandor’s exceptional skill at his craft. Redford says more with his rugged face and worried eyes than most actors do with a wordy, five-star script. Not since Jaws and The Perfect Storm has a film so totally absorbed us in a man-against-sea survival story. And Chandor’s ambiguous ending lends itself to hours of debate and discussion; everyone who has seen this film has a strong opinion, and that a near-silent film can generate such passion makes it special and noteworthy. Continue reading “Film Feature: Carrie’s Top 10 Films of 2013”
We are heading into the time of the year when studios typically release what they hope are their best films, the ones they want to be fresh in the minds of Academy members for Oscar Best Picture voting. Director Alexander Payne (Sideways, The Descendants) gets into this game with Nebraska, sure to be a contender in many categories come Oscar time. Beautifully shot in black and white and filled with nuanced and sensitive performances, the picture brilliantly melds Payne’s signature quirkiness with charm, emotional honesty, and wry humor. Continue reading “Film Review: Nebraska”