Friday February 2 – Thursday February 8

Featured Film:

A Brighter Summer Day at the Pickford Film Center

The SIFF Film Center’s Thursday night documentary triple feature of Los Sures, Stations fo the Elevated and Dark Days certainly looks cool, and the Canyon Cinema series being presented by the Grand Illusion and Northwest Film Forum looks to be one of the more exciting experimental film events of the year, but it’s been awhile since we looked at our neighbor to the far north, Bellingham, and their outstanding independent theatre, the Pickford Film Center. And this weekend they’re playing Edward Yang’s monumental A Brighter Summer Day, which we talked about way back on Episode Five of The Frances Farmer Show and which I reviewed at the sadly now-defunct Movie Mezzanine (you can read the review now at The Chinese Cinema. It’s a great movie, of course, and one of the neat things about it is that its running time is longer than the time it probably takes you to drive from Seattle to Bellingham and back again. The Pickford also has Nanook of the North on Sunday, and Yang’s Taipei Story next weekend.

Playing This Week:

AMC Alderwood:

Padmaavat (Sanjay Leela Bhansali) Fri-Thurs

Ark Lodge Cinemas:

The Florida Project (Sean Baker) Fri-Weds Our Review Our Other Review
North by Northwest (Alfred Hitchcock, 1959) Fri-Thurs
To Catch a Thief (Alfred Hitchcock, 1955) Fri-Thurs
The Violent Years (William Morgan, 1956) Thurs Only

Central Cinema:

Groundhog Day (Harold Ramis, 1993) Fri, Sat & Mon
The Grand Budapest Hotel (Wes Anderson, 2014) Fri-Tues Our Review

Grand Cinema:

Groundhog Day (Harold Ramis, 1993) Sat Only
Django (Etienne Comar) Tues Only
Santa & Andres (Carlos Lechuga) Thurs Only

Grand Illusion Cinema:

Vazante (Daniela Thomas) Fri-Thurs
Canyon Cinema 50: Associations (Various) Sat Only 16mm
Saturday Secret Matinee: Very Bad Deals Sat Only 16mm

Cinemark Lincoln Square:

Chalo (Venky Kudumula) Fri-Thurs
Humble Politician Nograj (Saad Khan) Fri-Thurs
Oru Nalla Naal Paathu Solren (Arumuga Kumar) Fri-Thurs
Touch Chesi Chudu (Vikram Sirikonda) Fri-Thurs
Bhaagamathie (G. Ashok) Fri-Thurs
Padmaavat (Sanjay Leela Bhansali) Fri-Thurs

Regal Meridian:

Til the End of the World (Wu Youyin) Fri-Thurs
Mary and the Witch’s Flower (Hiromasa Yonebayashi) Fri-Thurs Our Review
Padmaavat (Sanjay Leela Bhansali) Fri-Thurs

Northwest Film Forum:

The Road Movie (Dmitrii Kalashnikov) Fri & Sun Only
Children’s Film Festival Seattle 2018 Fri-Sun
Infinity Baby (Bob Byington) Starts Weds Editor in Attendance
Canyon Cinema 50: Studies in Natural Magic (Various) Thurs Only 16mm
The Cage Fighter (Jeff Unay) Starts Thurs Director Q&A Thurs-Sat

Regal Parkway Plaza:

Padmaavat (Sanjay Leela Bhansali) Fri-Thurs
Ang Dalawang Mrs. Reyes (Jun Lana) Fri-Thurs
Bilal: A New Breed of Hero (Ayman Jamal & Khurram Alavi) Fri-Thurs

Pickford Film Center:

A Brighter Summer Day (Edward Yang, 1991) Sat Only Our Podcast Our Review
Nanook of the North with In the Land of the War Canoes (Robert Flaherty, 1922 and Edward Curtis, 1913) Sun Only

AMC Seattle:

In the Fade (Fatih Akin) Fri-Thurs

Seattle Art Museum:

The Magician (Ingmar Bergman, 1958) Thurs Only

SIFF Film Center:

A Ciambra (Jonas Carpignano) Fri-Thurs
Song of the Sea (Tomm Moore) Sat Only
Los Sures, Stations of the Elevated and Dark Days (Diego Echeverria, 1984; Manfred Kirchheimer, 1981; and Marc Singer, 2000) Thurs Only Triple Feature

In Wide Release:

Phantom Thread (Paul Thomas Anderson) Our Review
Hostiles (Scott Cooper) Our Review
The Commuter (Jaume Collet-Serra) Our Review
The Post (Steven Spielberg) Our Review
The Last Jedi (Rian Johnson) Our Review Our Podcast
The Shape of Water (Guillermo del Toro) Our Review
Pitch Perfect 3 (Trish Sie) Our Review
Lady Bird (Greta Gerwig) Our Review
Three Billboards Outside Ebbing, Missouri (Martin McDonagh) Our Review


The Grand Budapest Hotel (Wes Anderson, 2014)


The Andersonian hero makes his own world. Not exactly a fantasist, he (and it’s almost always a he) is a man out of time. An aspiring thief (Bottle Rocket), a master thief (Fantastic Mr. Fox), wildly impractical teenagers (Rushmore, Moonrise Kingdom), a discoverer of hidden worlds (Life Aquatic), families of prodigies (Royal Tenenbaums, Darjeeling Limited). Their opponents are the depressing realities of everyday life, the warn-down depressions of middle-age (Moonrise Kingdom, Rushmore), the accumulated disappointments of unrealized dreams (Life Aquatic, Darjeeling Limited, Royal Tenenbaums), or simply friends and family who lack their creative ambition and would rather settle down for a quiet life (Fantastic Mr. Fox, Bottle Rocket, Life Aquatic).

Ralph Fiennes’s M. Gustave is The Grand Budapest Hotel‘s explicitly designated man out of time. A lone patch of civilization in the barbarous world of a fictionalized inter-war Central Europe. Dandyish and perfumed, prissy and effete, he swears like a drunken Marine and is very committed to his duties as concierge, going so far to please his guests as to sleep with all the rich, elderly ladies who come to stay at the palatial hotel (for he is their holding action against the inevitable declines of age). Against him stands not merely a personification of the real world or a more practical counterpart, but rather the systemic decline of civilization itself, murderous greed and the rise of fascism. Set against not merely the greedy inheritors of one of Gustave’s lover’s fortunes, but the increasingly menacing martial forces of a Nazi-like state, Grand Budapest Hotel is, I think, the first Anderson film to acknowledge an outside political reality whatsoever (rather than simply politics as family and personal relationships). That it deals with a phony version of an 80+ year old movement should come as no surprise.

Continue reading The Grand Budapest Hotel (Wes Anderson, 2014)”