Along with the movies that I've already mentioned, a taut little thriller is being added to Friday's openings:
"Beast of Burden": Daniel Radcliffe plays a guy, caught between the government and a drug cartel, who is playing one against the other as a means of saving his wife. Only he has to do it from the cockpit of his small plane. Yow.
As of Tuesday, the film had attracted only a single review, which you can access here.
As a teenager, I became obsessed with the plays of Tennessee Williams. I was, and still am, drawn more to the gentler, sadder studies of thwarted love such as "Summer and Smoke" and "The Glass Menagerie."
But I've also admired his rougher, more angst-filled plays such as "Night of the Iguana," "A Streetcar Named Desire" and especially "Cat on a Hot Tin Roof."
Of course, even though over the decades I have seen various staged productions of each, my obsession was fueled mostly by the versions that I saw on film — usually viewed late at night and rendered exclusively in black and white. "Cat on a Hot Tin Roof" in particular has enjoyed a number of adaptations — the most famous being the 1958 version directed by Richard Brooks and starring Elizabeth Taylor, Paul Newman and Burl Ives (as Big Daddy).
But there have been others. My favorite was the the 1984 "American Playhouse" version starring Jessica Lange, Tommy Lee Jones and Rip Torn. Why my favorite? Because the three principal actors, especially Torn, seemed earthier, and more believable as the characters they were portraying. And well … because they offered something different than the Brooks version.
Now we have a "Cat on a Hot Tin Roof" for a new generation. Fathom Events presents the National Theatre Live version of Williams' play for one night only, 7 p.m. on Thursday, at Regal's Northtown Mall 12.
The play is a filmed production that was staged in 2017 in London's West End. It stars Jack O'Connell, Sienna Miller and Colm Meaney. "(T)his Young Vic production brings combustible conviction to a smoldering classic that has only rarely ignited in performance in recent years," wrote New York Times reviewer Ben Brantley.
Now, if only they'll do a restaging of "Summer and Smoke."
If you didn't catch the Oscar-nominated Animated and Live-action Shorts that played briefly at AMC River Park Square, you might want to catch them beginning Friday when they open at the Magic Lantern.
My partners on "Movies 101," the weekly show that Mary Pat Treuthart and Nathen Weinbender do for Spokane Public Radio, discussed the two programs on a recent show. (The second half of the show we discussed Clint Eastwood's most recent feature "The 15:17 to Paris").
But if you don't want to take the time to listen to 11 minutes or so of our discussion, check out the following comments from other critics:
Robert Abele, Los Angeles Times: "The Oscar-nominated (animated) shorts may have smaller running times, but the themes tackled are often big." (Note: The Animated program includes three films that did not make the final list of nominees but were added to fill out the program to a fuller running time.)
Glenn Kenny, New York Times: "The mastery of computer animation here is staggering."
Ella Taylor, NPR: "This year's crop of Academy Award-nominated live-action shorts — several of them made as newbie filmmakers' calling cards — make up in earnest humanity for what they lack in technical sophistication."
As the heat caused by "Black Panther" subsides a bit, a new crop of movies is set for release. And according to the national release schedule, that crop should include:
"Annihilation": Writer-director Alex Garland follows his film "Ex Machina" with this sci-fi-themed story of a team of women that heads into a mysterious area where the laws of nature are all mixed up. You don't mess with Mother Nature.
"Game Night": A group of friends gradually discover that the fantasy evening they're engaging in is a real-life mystery. Yes, it's a comedy.
"Every Day": A woman falls in love with a man who becomes someone new every day. Match.com should offer this option.
And at the Magic Lantern: The Oscar-nominated Animated and Live-action short films.
As always, I'll update when the local theaters finalize their listings.
Grammarians don’t like it when people use the word “literally” incorrectly. As in, “I literally eat like a horse.”
Wrong, though maybe it is possible to eat LIKE a horse. But literally? Not unless you gobble oats straight out of a feedbag. Or graze on the grass growing in your front yard.
So when I say that Clint Eastwood’s new film, “The 15:17 to Paris,” is a literal portrayal of real events, well … I can almost, if not literally, feel my grammarian friends wincing. But here’s my point: Eastwood’s film might be among the most realistic retellings of an actual story ever made.
And there’s one major reason for that. Beyond the fact that Eastwood shot in locations where the story took place, including on an actual train, Eastwood chose not to cast his film with professional actors.
Instead, he chose Spencer Stone, Alek Skarlatos and Anthony Sadler to play themselves – three average American guys who, when presented the opportunity, acted heroically.
Yes, the word hero may be one of today’s most overused term. But if any three people do deserve to be called heroes, Stone, Skarlatos and Sadler fit the bill. Because it was these friends from childhood who, on Aug. 21, 2015, charged a gunman on a train traveling from Amsterdam to Paris and, in the process, managed to stop what almost certainly would have been a massacre.
Based on the book-length memoir of the same title, written both with the help of journalist Jeffrey E. Stern, Eastwood’s film may not be the most artistic work he has ever done. Certainly, it’s no “Mystic River” or “Letters from Iwo Jima.” But at least in technical terms it does display the professional quality that marks Eastwood’s typical filmmaking style.
That includes the script that he works from, playing as it does with chronology, the intent clearly being to build drama. Which is good because so much of “The 15:17 to Paris” is spent documenting what propelled Stone, Skarlatos and Sadler to their moment in history that it resembles a Lifetime Channel travelogue, one featuring three young guys mostly either drinking beer or taking selfies in such scenic locales as Rome, Venice and Amsterdam.
While the opening scene follows the gunman – a 25-year-old Moroccan named Ayoub El Khazzani – boarding the train, his roller bag filled with semiautomatic weapons and some 300 rounds of ammunition, we’re then transported back a dozen or so years to when Stone, Skarlatos and Sadler were attending a Christian middle school in Sacramento, Calif.
And the film unfolds from there: The three bond while playing war and visiting the principal’s office. They split up (with Sadler leaving for public school and Skarlatos going to Oregon with his father), and – later – Stone struggles to find fulfillment after joining the Air Force and washing out of para-rescue school.
Everything builds toward the final, heart-pounding confrontation, presaged by a scene of Stone, looking over the grandeur that is Venice, wondering if his life is headed toward something meaningful.
He and his pals would find out soon enough. And I mean that literally.
Movie fans are well familiar with the name Katharine Hepburn. She's a Hollywood legend, having received a dozen Best Actress Oscar nominations, four of which she won: "Morning Glory" (1934), "Guess Who's Coming to Diner" (1968), "The Lion in Winter" (1969) and "On Golden Pond" (1982).
But you may not have known this: At one time, she was considered a failure, at least in box-office terms. Her films were flops.
All that changed, however, in 1940 when she starred in the stage-play adaptation, "The Philadelphia Story." Written By Donald Ogden Stewart (and Waldo Salt) and directed by George Cukor, the movie was taken from Philip Barry's Broadway play.
In the movie, Hepburn stars as a socialite who, on the eve of her second wedding, begins to question herself. Does she love her intended (John Howard), the reporter who has come to report on the event (James Stewart) or the man she divorced because he didn't meet her high standards (Cary Grant)?
"The Philadelphia Story" ended Hepburn's string of flops, becoming the fifth most popular U.S. film in 1941. It ended up being nominated for six Oscars, winning two: Donald Ogden Stewart for Best Writing (screenplay) and James Stewart for Best Supporting Actor.
The film also ranks high on several of the lists put out by the American Film Institute, which rates it as the No. 5 among its Top 10 romantic comedies.
And now Inland Northwest residents will have an opportunity to see why the film, and Hepburn, are held in such high esteem when the film plays at 2 and 7 p.m. on Sunday and Wednesday at two area Regal theaters: the Northtown Mall and Coeur d'Alene's Riverstone Stadium.
As John C. Mosher wrote in the New Yorker, "The film is a Hepburn triumph, and moviegoers who resent the theatre's habit of requisitioning their stars may feel that Miss Hepburn's time on the stage has not been spent in vain and that she simply prepared herself for this achievement."
So, the 2018 Spokane International Film Festival — the 20th version of that annual event — has passed. And yet it's still in the news.
As in how the documentary "Dirtbag: The Legend of Fred Beckey" took just about every SpIff award it was eligible for. In the category of Juried Awards, "Dirtbag" took Best Feature and Best Documentary.
As for the audience awards, the Finnish/German/Estonian film "The Fencer" was named Best Feature, but "Dirtbag" won both Best Documentary and Best Northwest Feature.
Among the other Juried winners, the documentary "Expedition Alaska" won Best Northwest Feature and took second to "Dirtbag" as Best Documentary. The Best of the Northwest Short was Will Magness's "The Manual," with Magness taking the title of Most Promising Filmmaker.
Seems there's a single addition to Friday's list of movie openings. And it is based on a the real story of a Hollywood legend:
"Film Stars Don't Die in Liverpool": Annette Bening stars as Gloria Grahame, the one-time Hollywood flame who — in the last years of her life — had a fling with a much younger British actor, Peter Turner (Jamie Bell). The Liverpool of the film's title is where Turner's family lived when Graham, facing the cancer that would eventually kill her, asked to come stay with them.
"There is a tremendous warmth and tenderness to this sweet, sad love story," wrote reviewer Peter Bradshaw for The Guardian.
To see some highlights of Grahame's career, click here.
So, finally we're heading into 2018 all by itself. No leftover 2017 films (except for those playing at the Magic Lantern), just films from the new year. And the openings on Friday's national schedule are:
"Black Panther": Chadwick Boseman stars as the title character, the superhero alter ego of an African king who is forced to fight against enemies who would threaten his homeland. Not the story of Huey Newton.
"Early Man": "Wallace & Gromit" creator Nick Park brings his claymation technique to this story of early humankind, when a guy named Dug is forced to fight against a dastardly lord who is threatening his tribe. Also, no Huey Newton.
"Samson": Hunky Taylor James stars as the biblical character who ends up duped by Delilah and, ultimately, is forced to fight against enemies who threaten his homeland. Have I taken the joke far enough?
I'll update as the local theaters, including the Magic Lantern, update their listings.
The party will begin following the screening (about 9:30 p.m.) Here's my review of tonight's documentary, which I wrote for Spokane Public Radio:
Fred Beckey wasn’t the kind of guy you necessarily would want to have had standing on your doorstep, asking for a favor – a place to crash, say, even if only in your backyard.
But if you were stuck on the side of a mountain, he was someone you’d probably want tethered to the other end of your line.
Why? Because he knew better than most how to get to the summit. Jim Donini, former president of the American Alpine Club, said that Beckey knew “more about the mountains of North American than anyone who has ever lived.”
Donini is one of several people that documentary filmmaker Dave O’Leske interviewed for his film “Dirtbag: The Legend of Fred Beckey,” which plays tonight at 7:30 at the Bing Crosby Theater and which closes out the 2018 Spokane International Film Festival.
What O’Leske’s film makes clear is that Beckey, who died in October at the age of 94, never passed up an opportunity to live his life exactly as he wanted.
And the life Beckey wanted was one that allowed him to climb every mountain he could find. Just for the record, he climbed a lot over his seven-decade career, managing to achieve more first ascents than any other American mountaineer.
He also lived an existence that was uncompromising, one that earned him a number of descriptors, from “maverick” to the “dirtbag” of the film’s title, the definition of which is “a person who dedicates her or his entire existence to the pursuit of climbing, making ends meet using creative means. Often found living near major climbing destinations, the dirtbag is a rebel with a cause who finds happiness in nature."
How creative was Beckey at making ends meet? He lived a largely itinerant life, living out of his car for extended periods, scrabbling for what he needed, whether that be food, gas or lodging. In one shot, O’Leske pictures Beckey holding a sign that says, “Will belay for food,” followed by three exclamation points!
Beckey also depended on the support given to him by friends, some of whom he would cut ties with when they would – or could – no longer accompany him. Throughout the film, O’Leske interviews person after person who shares tales of how Beckey – a lively, addictive and magnetic personality – would sacrifice everything, including enduring relationships, in his quest to conquer yet another peak.
Eric Bjornstad, one of Beckey’s many climbing partners, summed the man up this way: “Just a one-track mind, most of the time. If it wasn’t on women, it was on climbing.”
And though largely unknown by the public at large, Beckey – to the end of his life – remained one of those climbers whose legendary status persists among his peers, many of whom have gone on to fame and fortune.
In chronicling Beckey’s life, which took O’Leske a decade to do, he depends on the interviews, archival film footage, the occasional animated sequence and one-on-one sessions with the famously reclusive climber himself.
The result is fascinating study both of a man and the mountain-climbing mania that drove him.
"Tehran Taboo" (6:30 in the 100-seat house): The sex lives of a prostitute, a musician and two young women intersect in this harsh, animated look at modern Iranian life. "All told, it’s an audacious debut" (Hollywood Reporter).
U.S. and Canada Shorts (6:45 p.m. in the 33-seat house): "The Ragman — a Hobo's Story Untold" (:16, U.S.), "The Devil Needs a Fix" (:10, U.S.), "Game" (:14, Canada), "Swim" (:12, U.S.), "It's Just a Gun" (:14, U.S.), "The Curtain" (:17, Canada), "This Place Called Nuka — Courting Adventure in Wild Alaska" (:22, U.S.).
"The Endless" (6:30 p.m. in the 100-seat house): Two brothers, having escaped a UFO cult a decade before, are tempted to return — only to face a mystery they have to solve before it's too late. "[A] rich banquet of mind-bending weirdness" (Variety).
Animation Showcase (6:45 p.m. in the 33-seat house): "Hedgehog's Home" (:10, Croatia/Canada), "Catherine" (:12, Belgium), "The Talk: True Stories About the Birds & the Bees" (:9, Canada), "Threads" (:9, Norway/Canada), "Darrel" (:3, Spain), "CORP" (:9, Argentina), "Bei Mir Bist Du Schön" (:12, Netherlands), "I Like Girls" (:8, Canada), "Min Börda" (:15, Sweden).
"The Fencer" (6:30 p.m. in the 100-seat house): An Estonian in trouble with the Russian secret police fencer returns home and must face the music. "This sweetly told, ’50s-set Estonian drama is essentially ‘School of Rock’ with swords instead of guitars" (The Guardian).
"Expedition Alaska" (6:45 p.m. in the 33-seat house): Teams race through 350 miles of Alaska's roughest terrain. "As much of a challenge as the race was for the competitors, it was equally daunting for the filmmakers behind the documentary" (REI at the Movies).
Oscar-nominated animation shorts: "Dear Basketball," "Garden Party," "Lou," "Negative Space," "Revolting Rhymes" (plus three other films to round out to an estimated 83-minute-long program).
Oscar-nominated live-action shorts: ""DeKalb Elementary," "The Eleven O'Clock," "My Nephew Emmett," "The Silent Child," "Watu Wote/All of Us" (estimated 93-minute-long program).
Also, for those who missed out seeing all the Oscar-nominated feature-film performances, the Magic Lantern on Friday will open second-run screenings of "Call My by Your Name" and "I, Tonya." The Lantern continues "Lady Bird," "The Shape of Water" and "Three Billboard Outside Ebbing, Missouri."
Note: The trailer embedded below includes the Oscar-nominated documentary shorts, which will NOT be opening.
Heroism and lustfulness — which aren't always mutually exclusive themes — will be on tap when Friday's movies debut. The national release schedule for Friday is as follows:
"The 15:17 to Paris": Clint Eastwood re-creates the events that occurred on a French train when a number of passengers, including three American off-duty soldiers, tackled a man intent on killing as many passengers as possible. Eastwood's conceit: He cast his film with the real participants (though not the gumnan, obviously).
"Fifty Shades Freed": The final (one hopes) entry in the film series based on the books by British author E.L James. Bring a cold towel.
"Peter Rabbit": An animated adaptation of Beatrix Potter's tale of a rascally rabbit. Elmer Fudd need not apply.