Suspense, some violence and even a bit of time travel (?) are on the movie docket this coming week. Friday's top mainstream movie opening, according to the national release schedule is:
"Don't Let Go": David Oyelowo plays a police detective who gets the opportunity to save his brother's family from being murdered — even though the killings have already happened. Time is relative, Einstein.
Hollywood Reporter critic John DeFore wrote, "Grounded in realism thanks to a lead performance by David Oyelowo, whose character (for once in this sort of adventure) never seems to fully accept the reality of what's happening to him, the pic should be welcomed by genre fans who aren't yet burned out on time-travel variants."
"The Nightingale": A woman (Aisling Franciosi) pursues a personal sense of justice in the Tasmanian outback in this Australian film set at the turn of the 19th century.
Entertainment Weekly critic Leah Greenblatt wrote, "(I)n its finest moments — particularly the raw, remarkable performances of Franciosi and (Baykali) Ganambarr — 'The Nightingale' sings." Insert here the obligatory joke about shrimps and barbies.
As usual, I'll update when area theaters finalize their bookings.
Judging art is an individual exercise. After all, our reactions to pretty much anything, from opera to football games to ice cream, depend primarily on the attitudes – tempered by ever-developing degrees of knowledge and overall life experience – that shape our personal tastes.
And, yes, crafting the best ice cream – specifically gelato – indeed is an art.
I’m not saying that universal standards don’t exist. Michelangelo’s David is so jaw-droppingly impressive that no reasonable person could deny its genius. On the other hand, debates over the quality of other artworks are ongoing: People have gotten into fistfights over disagreements about Jackson Pollock’s drip paintings.
And the same is even more pronounced with cinema, that great popular art form. Some of us consider “Citizen Kane” the greatest film ever made. Others would rather sit through an Adam Sandler marathon twice than be forced to endure the first five minutes of Welles’ masterpiece.
I say all that as a way of leading up to a discussion of “The Souvenir,” a film by British filmmaker Joanna Hogg that premiered in January at the Sundance Film Festival and is available on demand through your favorite streaming service (Amazon Prime, for example).
Let me add here, too, that “The Souvenir” is getting reviews that border on the absurd. It carries a 90 percent approval on Rotten Tomatoes, the aggregate site that, in this instance, compiled the opinions of 115 film critics from across the country.
So imagine my discomfort after I finished watching the film when I felt curiously perplexed. Instead of finding “The Souvenir” to be “rich and quiet and sneakily affecting” – as one critic put it – I thought the film superficial, banal and overtly pretentious.
What kind of Kool-Aid, I thought, is everyone drinking?
“The Souvenir” – which takes its title from a late 18th-century painting by the French artist Jean-Honoré Fragonard – tells the story of a young film student named Julie (played by Honor Swinton Byrne, daughter of actress Tilda Swinton).
Immersed in a student-film project, the fever-dream visions of which become a clumsily diverting device that Hogg returns to repeatedly, Julie falls into an at-first casual relationship with the older Anthony (played by Tom Burke). Pretty soon, Anthony – by dint of some quality of attraction that I failed to recognize – enchants Julie. And the two embark on a love affair that feels as unlikely as it is obligatorily doomed.
It’s not just that Anthony is already married, not just that he steals from Julie, not just that he lies to her and is always borrowing money. It’s that he’s overbearing and self-absorbed. And not particularly attractive. Oh, and he’s a heroin addict to boot.
In other words, Hogg’s whole movie is based on a weak premise. And instead of giving us any reason to accept that premise – say, a back story outlining why Julie is so acceptingly naïve – she merely indulges in a kind of artistic fancy that might make even Jackson Pollock smirk.
Of course, you may feel differently. Certainly the majority of critics do. No problem. Just don’t try to argue with me about ice cream.
Of all the Studio Ghibli films that have been produced over the years, some stand out. My favorite would have to be "Spirited Away,"Hayao Miyazaki's 2001 Oscar-winning film about a young girl saving her parents.
Close behind, though, would be "My Neighbor Totoro," Miyazaki's 1988 film that is as gentle and kid-friendly as anything I have ever seen. The Internet Movie Database sums up the film's simple plot this way: "When two girls move to the country to be near their ailing mother, they have adventures with the wondrous forest spirits who live nearby."
Written and directed by Miyazaki, "My Neighbor Totoro" was only his fourth feature film. His first was 1979's "The Castle of Cagliostro," followed by a short film and two television series. And it fit right in with his obsession for the aspects of life that lie beyond our normal senses, exploring that realm with a tone that speaks both to adults and children.
Celebrating its 30th anniversary, the film is part of the Studio Ghibli Fest 2019. "My Neighbor Totoro" will screen locally three times, beginning at 12:55 p.m. Sunday at three area theaters: AMC River Park Square, and Regal Cinemas location at Northtown Mall and Coeur d'Alene's Riverstone Stadium. Following screenings will be held at 7 p.m. at all three sites on Monday and Wednesday.
Sunday and Wednesday's screenings will be dubbed into English. Monday's screening will be in Japanese with English subtitles.
Critic Trevor Johnstone, writing in 2007 for Time Out, offered what may be the film's best description: "The lack of sentimentality will be utterly refreshing to those raised on a diet of Disney." But let's leave the last word to the late Roger Ebert: "Here is a children's film made for the world we should live in, rather than the one we occupy."
In past years, sometimes weeks have passed without anything truly interesting opening in mainstream theaters. But that seldom happens anymore in this part of the Inland Northwest.
For example, one of the movie scheduled to open on Friday stars Shia LaBeouf, which always seems to pose a challenge. The film is:
"The Peanut Butter Falcon": Reworking the basic plot line for "Huckleberry Finn," this film explores the story of a young guy with Down syndrome (Zack Gottsagen) who convinces a wanderer (LaBeouf) to help him fulfill his quest to become a professional wrestler. Also starring Dakota Johnson.
The film, which was co-written and directed by by Tyler Nilson and Michael Schwartz, is receiving a 94 percent approval (98 percent audience)rating on Rotten Tomatoes. Following are some critical comments:
Samantha Incorvaia, Arizona Republic: "The film is a sweet, funny and heartfelt look at friendship and strength."
Katie Walsh, Los Angeles Times: "LaBeouf brings the soul to 'The Peanut Butter Falcon,' while Gottsagen brings the spirit. He has an undeniably charming screen presence, and the actor takes to this starring role with gusto."
Peter Debruge, Variety: "A feel-good niche indie with its priorities in the right place."
As with all of life, DeBruge's final words are worth considering.
Fires have always posed a threat to those who live in the West. Especially during times of prolonged drought.
And in recent seasons, the threat has involved more than the flames and heat. The smoke from wildfires has permeated the air, darkening the skies and making the very act of breathing a dangerous exercise.
Fire and the problems it causes will be the focus of a film festival that will screen beginning at 3 p.m. Saturday at the Magic Lantern Theater. Sponsored by the nonprofit Community Building Foundation, the festival will feature three feature films:
"Prince Avalanche" (3 p.m.): Written and directed by David Gordon Green, this 2013 comedy stars Paul Rudd and Emile Hirsch as (according to Rotten Tomatoes) "two men painting traffic lines on a desolate country highway that's been ravaged by wildfire."
"Only the Brave" (4:45 p.m.): Josh Brolin, Miles Teller and Jeff Bridges star in this 2017 film focusing on the true story of the ill-fated firefighting crew Granite Mountain Hotshots.
And what about Spokane's vaunted arthouse movie theater, the Magic Lantern? What will open there on Friday?
Nothing new, as it turns out, though still a trio of interesting selections. The Lantern will bring in "Midsommar," the horror film from Ari Aster — the guy who gave us last year's creepy thriller "Hereditary." Aster's film, which is a revenge-flick, domestic-squabble study (one that the writer-director himself described as a "breakup movie") and which played earlier this summer at AMC River Park Square.
In reference to the Morrison movie, it's important to note that the Novel Prize-winning author died on Aug. 5 at the age of 88. As another great American writer, Kurt Vonnegut, would say, "So it goes."
The president is in trouble. In Hollywood, at least. There, though, Gerard Butler is around to play the rescuer — as he does in one of Friday's opening movies.
The week's list, as defined by the national-release schedule:
"Ready or Not": A new bride discovers that her husband's family has a curious way of initiating her into their company — a game of run, hide or die. Beats getting a new set of steak knives.
"Angel Has Fallen": In his third outing as Mike Banning, the all-everything government agent, Gerard Butler stars as the man who — accused of assassinating the president (Morgan Freeman) — must find a way to clear his name. His word is his pledge.
"Overcomer": A high school coach facing personal problems helps a young girl become a skilled cross-country runner. From the Bible quote "Who is he that overcometh the world, but he that believeth that Jesus is the Son of God?"
As usual, I'll update as area theaters finalize their bookings.
Lynn Shelton's film "Sword of Trust" opened a week ago at the Magic Lantern Theater. Following is a review of that film that I wrote for Spokane Public Radio:
Some movies depend on intricate plots. Other opt for imaginative plot concepts. Still others make plot fully secondary to action.
It’s clear what kind of filmmaker Lynn Shelton is. The Seattle-based writer-director of such films as “Humpday” and “Your Sister’s Sister” typically follows a simple outline: She comes up with a novel concept and then depends on dialogue delivered by talented actors to create a satisfying mood.
“Humpday,” which was released in 2009, is a case in point. Mark Duplass and Joshua Leonard play longtime buddies, straight guys who – on a mutual dare – decide to make a gay porn film … starring themselves.
Shelton’s new film "Sword of Trust," which is playing at the Magic Lantern Theater, is only mildly less offbeat: It involves a sword that, some people actually believe, proves that the South won the Civil War.
The sword in question belonged to the late 98-year-old grandfather of Cynthia (played by Jillian Bell) and is the only thing, upon his passing, that he left her to inherit. Along with her life partner Mary (played by Michaela Watkins), Cynthia discovers the sword’s alleged back story and attempts to find a way to profit from it.
Which is how she ends up in a pawn shop owned by Mel (played by Marc Maron), who lowballs Cynthia – as some pawn-shop owners are wont to do – until his slacker assistant Nathaniel (played by Jon Bass) convinces him to change his mind. Nathaniel, you see, likes exploring Internet conspiracy sites, and he knows that some people think such artifacts as Cynthia’s sword are genuine – and will pay a lot of money to purchase them.
Which is how the four become a reluctant team, agreeing to share a potential 40-thousand-dollar payday – and how, to collect, they end up riding for hours, in the back of a windowless truck driven by a suspicious character, to an unknown destination. You know, as ordinary people are wont to do.
Ridiculous, right? And in the wrong hands, such a concept would end up being merely a simple farce.
But Shelton, as all her work has shown, has a sensitive side. Her characters are both well and insightfully drawn, from the loving way that Cynthia and Mary communicate to Mel’s back story involving his long, drawn-out and frustrated love affair with a damaged woman named Deirdre (played by Shelton herself).
In fact, one of Shelton’s main strengths is her ability to find the right cast. Both Maron and Watkins boast stand-up-comedy chops, Maron being the host of the popular podcast “WTF with Marc Maron” and Watkins being a former “Saturday Night Live” cast member.
Maron, in particular, is so natural as Mel that it’s hard to believe he’s acting. In arguably the movie’s best scene, Maron delivers a long dialogue – addressing the other three in the back of the moving truck, no less – that explains how he ended up evolving from a would-be New York City musician to a Birmingham, Alabama, pawn broker.
The scene is an especially poignant moment in a typical Lynn Shelton film: one of small but mostly effective comic proportions.
The Magic Lantern's Meaningful Movies Project will continue on Sunday with a 6 p.m. screening of "Ancestral Waters," a documentary exploring the three-year fight of the Puyallup Tribe to stop construction of a natural gas plant on ancestral land.
The film was directed by Darren Moore and was co-written by Moore and his wife, Benita Moore, who is a member of the Standing Rock Sioux Tribe.
Writing in Indian Country Today, reviewer Frank Hopper wrote that the "moving emotional center to the film" involves the moment "the fight becomes personal for one young tribal member … a young Puyallup warrior named Dakota Case."
The screening will be followed by a discussion led by three activists: community organizer Jacob Johns, photographer Jeff Ferguson and retired minister George Taylor.
Meaningful Movies is cosponsored by the Magic Lantern and the Social Justice Coordinating Council of the UU Church of Spokane. The series screens on the third Sunday of every month beginning at 6 p.m. Admission is free, though donations are enouraged.
It's a cliche to start a story detailing someone's having a dream. Yet sometimes that's the only way to begin, as is the case with the movie that will open at the Magic Lantern on Friday. It's titled:
"Maiden": Tracy Edwards is the focus of this documentary film about the first all-woman crew to compete in the daunting Whitbread Round the World yacht race. At the tender age of 24, Edwards, who had crewed but not captained on previous races, had to find a suitable boat, raise both the renovations funds and the million British pounds entry fee, and find a serviceable crew. Director Alex Holmes tells Edwards' story — and details her dream.
Some critical comments:
Katie Walsh, Tribune News Service: "With stunning archival footage and interviews with the amazing Maiden crew, Holmes captures that high in this stirring documentary that recounts not just the feminist achievement, but triumph of the human spirit."
Manohla Dargis, New York Times: "Using archival and newly shot material, Holmes tells the story of this unruly daughter who left home when she was young, fell in love with sailing and — on deciding that she wanted to navigate the world — found her cause and herself, a discovery that made her a feminist exemplar."
Rafer Guzman, Newsday: " 'Maiden' concludes so movingly, with such perfect symbolism, that it rivals any scripted sports drama."
More changes may be coming. I'll update as needed.
For the second week in a row, it looks like we can expect a full schedule of movies to open. Among them:
"The Angry Birds Movie 2": Featuring the vocal talents of such actors as Bill Hader, Awkwafina, Jason Sudeikis and Nicki Minaj, the ongoing struggle between the green pigs and the title characters takes a new turn. Oink, tweet!
"47 Meters Down: Uncaged": Four young women take the dive of their lives … and wouldn't you know they encounter a school of hungry sharks? Chomp.
"Blinded by the Light": A Pakistani-English boy finds his life transformed when he discovers the music of Bruce Springsteen. The Boss rules.
"Good Boys": Three sixth-grade boys fall into adult territory involving drugs, older girls and a must-attend party. Oh, yeah, it's a superbad comedy.
"Where'd You Go, Bernadette"?: Cate Blanchett plays the title character, a woman who embarks on a quest to reinvent her life. Based on the novel by Maria Semple.
As usual, I'll update when the area theaters finalize their bookings.
When we first meet Billi – the character played by the rapper/actress Awkwafina in writer-director Lulu Wang’s film “The Farewell” – she’s struggling. Trying to make it as a freelance writer, she’s behind in her rent and – if that weren’t bad enough – she’s just been turned down for a fellowship she had been counting on.
Then comes even worse news: She discovers that her beloved grandmother, known affectionately as Nai Nai, is dying.
Which is further complicated by the fact that, for reasons that Wang spends the rest of her movie exploring, others in Billi’s family – both her relatives in China and her New York-resident parents – decide to keep the truth of that diagnosis from their doyenne. Why cause her unnecessary worry? they argue.
Billi, who came to the U.S. with her parents at a young age and is thoroughly indoctrinated in all matters Western, doesn’t understand. Shouldn’t Nai Nai be told, she asks, so that she’ll have a chance to say goodbye?
It’s that culture clash between Western and traditional Eastern attitudes that rests at the heart of “The Farewell,” a movie that is loosely based on Wang’s real-life experiences – and begins with an announcement that what follows “is based on an actual lie.”
The challenge facing Wang is immense: Domestic comedies come in various forms, but blending comedy with drama isn’t easy when cancer enters the mix. Further complicating matters, Wang is attempting to capture the rhythms of Chinese culture and tradition, contrasting them at the same time to Billi’s more contemporary, U.S.-oriented attitudes, all while doing so in a way that appeals to a foreign audience.
That Wang succeeds is a measure of several things: One involves her skill at creating credible characters, from Awakafina’s Billi to Nai Nai (played by veteran Chinese actress Zhao Shuzhen) to Billi’s parents (played by Tzi Ma and Diana Lin).
Another is her ability to adapt her own memories and find the right plot for her characters to navigate: Unwilling to tell Nai Nai about her fatal diagnosis, the family arranges a hasty wedding between one of Billi’s cousins and his Japanese girlfriend (mutely but expertly played by the actress Aoi Mizuhara).
This impromptu event gives everyone a chance to meet up in Nai Nai’s presence one last time. Much of the comedy involves the family’s efforts to shield Nai Nai, while the drama comes from each character’s personal revelations, many of which are reactions to Billi’s disapproval.
And then there’s Wang’s talent for finding the right cast: Awkwafina, who was a high point of last year’s hit comedy “Crazy Rich Asians,” is equally effective in a polar-opposite role here. Seventy-five-year-old Shuzhen brings the right mix of no-nonsense tough love to Nai Nai, the woman whom, despite her sometimes intimidating presence, everyone loves.
Finally, Wang is able to make her own personal culture clash, complex as it is, relatable to American moviegoers – especially to those who still believe in the notion of America being a multicultural melting pot.
That final factor may be, in the end, the most important: It provides “The Farewell” with its most incisive poignancy.
Above: Barbra Streisand and Walter Matthau star in "Hello, Dolly!"
In her first starring role in a movie, 1968's "Funny Girl," Barbra Streisand won an Academy Award.
Or, more correctly, she co-won the Oscar. In only the second time in an acting category (and only the sixth time overall), Streisand shared the Best Actress award with Katharine Hepburn (for "The Lion in Winter"). Both actresses, incredibly, received 3,030 votes.
Streisand didn't fare as well in her second screen appearance, which came just a year later. She starred in "Hello, Dolly!" the screen adaptation of the Broadway musical that had made Carol Channing a star.
The film "relies almost exclusively on the celebrated eyes, ears, nose and throat of Streisand," wrote a critic for Time magazine. "Her musicianship remains irreproachable. But her mannerisms are so arch and calculated that one half expects to find a key implanted in her back."
Still, the film — which was directed by the great Gene Kelly — does star Streisand, one of the premier musical performers of her era. And if that interests you, a 50th-anniversary screening of "Hello, Dolly!" is scheduled to screen twice in the coming week at two area Regal Cinemas theaters.
Screen times are 1 p.m. Sunday and 7 p.m. Wednesday at both Northtown Mall and Coeur d'Alene's Riverstone Stadium.
If you go, remember to say … well, "Hello, Dolly!"
Fans of Korean pop music should appreciate a movie that's being added to Friday's already crowded list of openings.
"Bring the Soul: The Movie" (at select theaters): Not the first, nor even the second, but this is the third film documentary film focusing on the Korean boy band BTS, this one focusing on the group's "Love Yourself World Tour." Wonder if Kim Jong-un knows about these guys?
And at 7 p.m. on Monday, a "special fan event":
"Blinded by the Light" (at select theaters): A preview screening of director Gurinder Chadha's film set in 1987 about a British-Pakistani teen and how his love for the music of Bruce Springsteen puts him at odds with his Muslim family. Revved up like a deuce, another runner in the night.