"Once in a Lifetime" (7 p.m. Thursday): A teacher at an inner-city French high school has trouble reaching her students until she assigns them to study the Holocaust. (In French with English subtitles)
"Transit" (7 p.m. Saturday): Filipino migrant workers in Israel struggle to live under the threat of deportation laws. (In Hebrew, Tagalog with English subtitles)
"The Kind Words" (2 p.m. Sunday): Following their mother's death, a trio of siblings discover who their parents really were. (In Hebrew, French with English subtitles.
The Hemmingson Center is located on the GU campus, 702 E. Desmet Ave. (a block and a half west of Hamilton). Tickets to the screenings are $10 and can be purchased at the door (a festival pass costs $28).
Friday's mainstream movie offerings are out, and it's a mixed bag. For starters, Martin Scorsese's "Silence" isn't among them. As for the others, they are:
"xXx: Return of Xander Cage": Vin Diesel returns as the title character, a long-thought-dead secret agent bent on capturing something called the Pandora's Box. Sequel city.
"20th Century Women": Annette Bening stars as a woman trying to raise her 14-year-old son as he and the women around him struggle to adjust to life in 1979 California. Not everybody, it appears, went surfing now.
"Split": James McAvoy stars as a mental case with 23-going-on-24 different personalities who kidnaps young women. For what reason, we can only imagine.
"The Founder": Michael Keaton stars as McDonald's franchise founder Ray Kroc. I'll have fries with that.
"The Resurrection of Gavin Stone": A man pretends to be a Christian but then finds that his role in a Passion Play is more profound than he imagined. Talk about method acting.
Let's begin with the Magic Lantern this week. There's a lot of variety with the mainstream openings, so I'll post them when they become finalized. Anyway, Friday's Lantern opening is as follows:
"Neruda": Chilean director Pablo Larraín ("Jackie") explores, in fantasy and fact, the attempt by the Chilean government to pursue and arrest the Communist sympathizer Pablo Neruda — one of the world's great poets. Starring Luis Gnecco and Gael García Bernal.
The Lantern also will pick up a run of "Jackie" beginning on Friday. So if you haven't yet seen it, here's your chance to experience a Larraín double feature.
What with all the snow and cold and construction going on, it's been a hard time on downtown Spokane business. And with Howard Street being closed, as indicated in the photo above, the pain is particularly acute for the businesses situated there.
So make sure to do what the posted sign advises: Though the street is closed, the sidewalk on the east side is open — as are the businesses. Support them. They include some of the city's finest establishments, such as:
The event was a public relations triumph, both for the three major networks that partnered to sponsor and broadcast the tour and for the Kennedys, especially the First Lady. Popularly known as Jackie, the woman who just 21 months later would become one of the world’s most famous icons of widowed grief had just overseen a $2 million renovation of the White House.
This, then, was her opportunity both to justify that expense – which was funded largely through volunteer labor and donations – and to give the first televised look inside one of the nation’s most historic buildings. It also gave the world an up-close-and-personal look at Kennedy herself.
It is the life that Kennedy experienced behind that public façade, though, that director Pablo Larraín (pronounced La-Rah-Een) explores in his film “Jackie.” Working from a screenplay by television executive Noah Oppenheim, Larraín focuses on the period on and around Nov. 22, 1963 – the day President Kennedy was assassinated in Dallas.
What we see is an assembage of scenes, set up in a distinctly non-chronological sequence, that captures the events of that tragic day and what occurred in the immediate aftermath. Central to everything is Jackie Kennedy herself – portrayed by Natalie Portman.
We see Kennedy, largely in snippets, caught in the horrific moments before and after her husband’s shooting. We see her attempting to handle her grief – no small miracle under the circumstances – while the ensuing national crisis swirls around her. As political power is fought over by the new president, Lyndon Johnson, and the still-reigning attorney general, Robert Kennedy – the dead president’s brother – Jackie must attend to more personal affairs. Such as breaking the news to their young children, arranging for the presidential funeral – battling the incoming administration over the details – all while attempting to both build and enhance the Kennedy legacy.
Larraín and Oppenheim show all this through a mostly invented interview with a writer identified only as “The journalist” – based on the actual journalist Theodore H. White – who writes the magazine piece that, with Jackie’s help, ended up creating the Kennedy “Camelot” image – an image that Larraín perpetuates by using Richard Burton’s performance of that song as the film’s overarching musical score.
Larraín is an artist, and his skills show throughout, both in his ability to meld so many different sequences into a narrative whole and in how effectively he uses Portman to portray one of the world’s most memorable figures. While at first it is jarring to see the diminutive Portman dressed in the same kind of pink suit the real Jackie wore in Dallas, and to hear her talk in the trademark tones that seem strange coming from a grown woman’s mouth, by film’s end Portman has gradually transformed into the film’s title character.
Meanwhile, the film itself has given us new insight into the fortitude that character displayed in the face of more pain than anyone should ever have the misfortune to bear.
We're already 11 days into the new years and yet critics have been releasing their Best of 2016 lists for more than a month. I am doing so only today.
Not living in a metropolis, I don't usually get to see many of the films that make, say, the list of The New Yorker critic Richard Brody. Then again, many of the films that show up on Brody's list never get seen by 99 percent of the population anyway. So …
I do have a few films on my list that have yet to screen in Spokane. But one ("Jackie") will open Friday. And another ("Paterson") is bound to play here soon. So, without wasting any more time, following is my list of the films that I liked the best in 2016. Also, I add a few incidental comments at the bottom.
Best films 2016
1. "Moonlight": Barry Jenkins' little movie about coming of age and struggling with love in Miami is powerful, passionate and moving, and the way Jenkins tells his story — which comes in three chapters — is the essence of art.
2. "Manchester By the Sea": This tale of life after tragedy is a life study by Kenneth Longergan that is buoyed by periodic moments of humor and some examples of great acting.
3. "La La Land": A perfect blend of past and present, this Damien Chazelle musical is a bit of performance magic.
4. "Arrival": Rejecting the aliens-are-among-us cliche, director Denis Villeneuve chooses to craft a thoughtful film about the difficulty of communication and the mystery of temporal relativity. Amy Adams has never been better.
5. "Jackie": Keying on the first few days following President John Kennedy's assassination, director Pablo Larrain explores the struggle faced by his widow Jacqueline and her attempts to protect her late husband's legacy.
6. "Loving": Simply told, while avoiding any overwrought action sequences, Jeff Nichols relates the based-on-real-events story of two people attempting to exert their basic right to love and marry.
7. "Fences": Adapting the August Wilson play, director-star Denzel Washington portrays a tough man who gets caught up in his own myth-making. Viola Davis won a Golden Globe for playing his long-suffering wife.
8. "Paterson": So slight it barely makes a wave, this Jim Jarmusch film is a study of a bus driver who, instead of living the expected life of quiet desperation, sees beauty in all around him — and expresses it in poetry.
9. "Love & Friendship": Returning to the screen, Whit Stillman gives us a Jane Austen rendition of a most unforgettable figure, the supremely narcissistic figure of Lady Susan Vernon (superbly played by Kate Beckinsale).
10. Billy Lynn’s Long Halftime Walk: Despite his technical missteps, Ang Lee immerses his film in the story of veterans who are cast as heroes during a professional football halftime show, if only to make everyone else feel better for the sacrifices they don't have to make themselves.
Second 12 (no particular order)
"O.J.: Made in America" (ESPN produced documentary)
It's going to be a banner week for movie fans. On Friday, the movies I've already announced will open along with a couple that are making best-of lists around the country. The additions to Friday's openings are as follows:
"Elle": French actress Isabelle Huppert is receiving raves for her performance as a woman who tries to track down the man who raped her. In French with English subtitles.
"Jackie": Jacqueline Kennedy (Natalie Portman) tries to cope both with the death of her husband but also with the struggle to protect her late husband's legacy.
"Patriots Day": An action-packed look at what occurred during the Boston Marathon bombing of 2013. Starring the new everyman, Mark Wahlberg.
1, The Magic Lantern had hoped to open "Jackie" also, but instead will pick up a second-run screening of "Lion";
2, "Manchester By the Sea," which just garnered a Golden Globe for best actor in a drama for Casey Affleck, is being dropped by AMC, so today, Wednesday and Thursday may be your last three chances to see Kenneth Lonergan's film on the big screen — at least for a while. I'd suggest taking advantage of the opportunity.
If this recent snowfall holds, many of us are going to be too busy shoveling free our driveways to spend much time in movie theaters. Which would be too bad, because so many of the holiday offerings are still playing locally. In addition, you can expect a few new films to open — some of which are among 2016's most critically acclaimed releases.
Anyway, here's an initial look at what Friday's openings could be (based on the national release schedule):
"Live By Night": Ben Affleck adapts (plus directs and stars in) Dennis Lehane's novel about a Boston mobster who, in the 1920s, tries to take over the rum-running business in Tampa, Florida. No Walt Disney, this guy.
"Monster Trucks": When a local kid builds his own monster truck, a strange presence imbues it with more power than he knows how to handle. Think "Transformers" meets "The Love Bug."
"The Bye Bye Man": College students movie into an old house, unleash an unholy presence and then struggle to survive. Never seen that storyline before, am I right?
"Sleepless": Jamie Foxx stars as a Las Vegas undercover cop who, caught up in a web of corruption, searches desperately for his kidnapped son. What happens in Vegas …
I'll update just as soon as the local theaters finalize their lineups.
One movie making some critics' Best of 2016 lists is "Fences," Denzel Washington's adaptation of the late August Wilson's play. Here is the review of the movie that I wrote for Spokane Public Radio:
The power implicit in live theater is obvious. But that power is never more present than when it involves exploring the lives of troubled characters who stalk the stage, often doing as much harm as good. Think of Oedipus. Think of Hedda Gabler. Think of Willy Loman.
Now think of Troy Maxson, the protagonist of the late August Wilson’s 1987 Pulitzer Prize-, and Tony Award-winning stage play “Fences.” Originated on Broadway by the great James Earl Jones, Troy is now the focus of a film directed, and acted in, by two-time Oscar winner Denzel Washington.
Washington’s Troy is a powerful man – relatively speaking. Troy is a black man living in Pittsburgh in the late 1950s, and he collects garbage for a living. So he isn’t exactly Gordon Gekko. In his own house, though, he is the undeniable master.
He’s personable enough, especially to his longtime friend, Bono (played by Stephen McKinley Henderson) and to his wife, Rose (played by Viola Davis). And he does love to bandy words – peppering the air with phrases that express a seemingly good-natured provocation, many of those phrases woven into a kind of self-protective fantasy, as if they alone could hold off anything that might threaten him.
Underneath all his talk, though, is a river of rage – much of it well earned, issued from a fear-filled past that includes abuse from his own father, criminal activity that earned him a 15-year prison term, dashed dreams of a baseball career and the kind of on-the-job racism that he fights despite the potential risk it poses to his continued employment.
It is when he deals with his two sons, though, that Troy’s rage overflows: Lyons (Russell Hornsby) is his musician son from a previous relationship, while Cory (Jovan Adepo) is his athletically talented son with Rose.
Troy castigates Lyons for wanting to borrow money to play music instead of working for it on his own, a sentiment that anyone can understand. His scorn for Cory, though, involves the boy’s talent for football, which threatens to exceed his own for baseball – and therefore could quash one of the fantasies that ultimately holds Troy together.
Not to worry, though. Troy has enough self-destructive tendencies that will allow him to wreck his happy life all by himself – hurting everyone around him in the process, especially Rose.
Washington and most of his movie’s cast appeared in a 2010 Broadway revival of “Fences,” and they reprise their roles here. Only Adepo as Cory is new. The script they work from was Wilson’s own adaptation, and the movie’s many long speeches betray the movie’s stage-play source.
But Washington knew was he was doing by hiring actors who had starred with him on Broadway. As with many such family dramas, Davis’ Rose is the foundation – and the scene in which she expresses betrayal may well be the movie’s best. The rest of the cast, including Washington himself, is very nearly her equal.
Together, they make Troy’s tale one of the true sad stories of theater. And now film.
Above: Kokarri's zucchini cakes may be small, but they sure are tasty.
It may be Arctic conditions in Spokane, but San Francisco on this early-January day felt more like Seattle, the Bay Area winter rain and chill permeating my jacket like an hungry relative looking for a loan.
And the weather wasn't our only problem. Our short stay in the City by the Bay started rough: a six-hour flight delay in SeaTac causing us to delay our hotel bedtime until nearly 4 a.m.
Ah, but once we awoke, San Francisco — even despite the rain and mid-50s weather — proved to be a delight, both gastronomic and cinematic. Which is the point of this blog post: If you're in the mood for a mid-winter break, San Francisco is a worthy choice.
Our first stop was at Kokorri, a Greek restaurant, where we had lunch. We shared appetizers — spanakotiropita (spinach tarts), zucchini cakes (see the photo above), grilled octopus and grilled lamb riblets — and a chopped salad (romaine lettuce, roasted pine nuts, Kalamata olives, fresh dill all mixed with a perfectly sparse amount of creamy feta dressing).
The online reviews of Kokorri make the place sound like a bit of Greek heaven. And our experience, from decor to service to the food itself, proved the point.
Then because we are, more than anything else, movie fans, we hit the Embarcadero Center Cinema, where we did a two-fer: "Jackie," a study of the late Jacqueline Kennedy (before she became Onassis), and "Lion," the based-on-real-events story of a lost Indian boy who ends up searching for his birth family. We'll address both on the show we do for Spokane Public Radio.
On our way back to our hotel, we stopped by Aquitaine, a French bistro and wine bar. We shared the house special, pork shanks, and a couple of glasses of red wine. I can't remember the last time I felt so welcomed in a restaurant, and the warm little corner we sat in was the perfect place to share what was a delicious meal.
For a nightcap, we dropped by the Clock Bar at the Westin for a couple of post-meal cocktails. Sitting off to ourselves, we clinked glasses in a toast to a good food, good movies and good times.
Yeah, it rained all day in San Francisco. Does that a lot in January. But the weather did not spoil our day in the slightest.
Here are some advance critical comments on the film:
Peter Travers, Rolling Stone: "This untold story of African-American females who helped NASA conquer the cosmos features three incredible performances. Corny at times, sure, but you'll still want to stand up and cheer."
Ann Hornaday, Washington Post: "This movie adroitly portrays the sheer waste and inefficiency of racism and misogyny. Just think how much has been lost, the movie suggests, over centuries of depriving ourselves of the brains, talents and leadership of more than half our population?"
A.O. Scott, New York Times: "There is something to be said for a well-told tale with a clear moral and a satisfying emotional payoff."
Unless some last-minute changes are thrown at us — something that seems to happen with surprising regularity — the movie offerings on Friday will be sparse. The national schedule looks like this:
"A Monster Calls": Dealing with the death of his mother, an adolescent boy calls on an imaginary monster to give him strength. Based on the novel by Patrick Ness. And, yes, that's Liam Neeson doing the voiceover.
"Underworld: Blood Wars": Kate Beckinsale stars in what's being called the last in the "Underworld" series, with her character Selene working hard to end the war between Lycans and Vampires. A little chomp will do ya.
I'll update as the schedule is confirmed. So many good 2016 films yet to see.
This is the time of year that everybody reflects on the past 365 days, for good and bad. And in terms of movies, it's always interesting to see what shows up on the various best-films-of-the-year lists.
I've been concocting such a list since, well, I was old enough to contemplate such a thing. But I've been doing it professionally in Spokane since 1984, the year I began reviewing films for The Spokesman-Review. That job now falls to Nathan Weinbender, since I left the print edition of the newspaper in 2009 (on, fittingly, April Fools Day).
But I partner with Nathan, and Mary Pat Treuthart, to produce a weekly movie-review show on Spokane Public Radio. And one of our annual features is to come up with our individual best-of lists. Nathan publishes his in the print edition, but Mary Pat and I wait until our show airs to make public our own choices.
And that show will air on Friday, Jan. 13 (6:30 p.m. on KPBX FM 91.1; 1 p.m. on KSFC 91.9 on Saturday, Jan. 14).
The reason we hold off until nearly two full weeks into the new year is because so many of the year's best, or at least those that boast Oscar hopes, don't open wide here. Example: We just managed to see "Fences," Denzel Washington's adaptation of the August Wilson play, on Sunday. And we managed to see "American Honey" at home, courtesy of Amazon Prime.
As I've noted below, so many other top-rated movies haven't yet played here, which means our own lists of personal bests will hardly be complete. So, I've included links to some of the other lists that are already out there — some of which offer up some intriguing opinions.
Even if you aren't a fan of movie musicals, you might find yourself charmed by "La La Land," Damien Chazelle's tribute to classic Hollywood. Following is the review that I wrote for Spokane Public Radio:
The movie “La La Land” opens with a scene familiar to anyone who has ever driven in Los Angeles: a freeway traffic jam. Writer-director Damien Chazelle’s camera swoops down, flying over, around and between the cars, giving us and up-close-and-personal look at the drivers and passengers, occupied in various ways as they deal with being in what is now a virtual parking lot.
Then the unusual happens: One of them begins singing. But not just to herself. She begins singing out loud. And soon she emerges from her car and starts dancing. Then everyone around her follows suit, turning into an impromptu flash mob that performs what evolves into an extended dance routine involving dozens of people, all captured in what looks like a single take and that is as carefully choreographed as anything Busby Berkeley ever imagined producing.
And my immediate thought was, “Oh, no! A musical? Seriously?”
Well, yes, seriously. In so many ways, “La La Land” is a throwback to all those classic musicals of the late 1930s, ’40s and ’50s, though it clearly shows the influence of such later productions as Jacques Demy’s “The Umbrellas of Cherbourg” and Bob Fosse’s “Cabaret.”
It tells the story of two young Angelinos, caught up in L.A.’s eternal lure: the prospect of success in the entertainment industry. Mia (Emma Stone) wants to be an actress, though the closest she has come to snaring a role is working at a coffee shop on the Universal lot while enduring the never-ending, and often demeaning, audition process.
Sebastian (Ryan Gosling), meanwhile, is a jazz musician who wants to open his own club, though the closest he has come is working as a piano player in a restaurant lounge where his boss requires him to play Christmas carols.
Told in seasonal chapters, beginning in winter – which explains the carols – “La La Land” is, above everything else, a romance. Mia and Sebastian encounter each other by chance, first in the opening-sequence traffic jam, then at the lounge where Sebastian is playing, then at an outdoor party where Sebastian is working with an ’80s-era cover band.
And the attraction isn’t immediate, though we know it will take. This is, after all, Gosling and Stone, two of today’s more charismatic movie stars. So even as they play coy – walking to their cars, singing and dancing to a song called “A Lovely Night,” a tune by the movie’s composer Justin Hurwitz – the ironic twist they give the song’s words are underscored by a clear attraction. Their story is just beginning.
Which the superbly talented writer-director Chazelle – who gave us last year’s intense study “Whiplash” – uses as a format to blend the traditions of the past with the sensibilities of now. In so many ways, “La La Land” is pure fantasy, not just with dancers flying through the air but with alternate realities playing out so as to give us at once a feel both for real life and a satisfying emotional catharsis.
In the end, “La La Land” is one of those rare achievements: a movie dream within a dream.