Ip Man 3 (Wilson Yip, 2015) and Monster Hunt (Raman Hui, 2015)

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The disaporic film program at the AMC Pacific Place this week features two of the hottest Chinese-language films of the past year: the latest in Donnie Yen’s series about Wing Chun Master Ip Man and the CGI monster-wuxia that took the Chinese box office by storm last summer, breaking records on its way to becoming the highest-grossing local film in the Mainland’s history. The two films represent state of the art variations on the two oldest forms of the Chinese martial arts film, kung fu and wuxia tricked out with digital manipulations and effects, packed with enough celebrity cameos and show-stopping stunts to make even the most generic or implausible story a lot of fun.

Continue reading Ip Man 3 (Wilson Yip, 2015) and Monster Hunt (Raman Hui, 2015)”

Friday January 15 – Thursday January 21

Featured Film:

Laurie Anderson at the Grand Illusion

Extended beyond a two week run that was already an extension of a run late last year at the Northwest Film Forum, Laurie Anderson’s sprawling, funny, devastating essay film Heart of a Dog is back for four more days this week at the Grand Illusion. Ostensibly a film about her beloved dog, Anderson muses on everything from 9/11 to her own childhood memories, processing tragedy and celebrating life. Over it all, but unnamed hangs the death of her husband, Lou Reed. In conjunction, for one night only, the Grand Illusion is also playing a 35mm print of Anderson’s 1986 concert film Home of the Brave, which features William S. Burroughs.

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Playing This Week:

Central Cinema:

Some Like It Hot (Billy Wilder, 1959) Fri-Sun
Saturday Night Fever (John Badham, 1977) Fri-Sun
Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004) Tues Only Brain Doctors in Attendance

Century Federal Way:

Nannaku Prematho (Sukumar) Fri & Sat
The Tiger (Park Hoonjung) Fri-Thurs
Butch Cassidy and the Sundance Kid (George Roy Hill, 1969) Sun & Weds Only

Grand Cinema:

Taxi (Jafar Panahi) Fri-Thurs
Labyrinth 
(Jim Henson, 1986) Fri, Sun, Mon & Weds Only
Black Panthers: Vanguard of the Revolution (Stanley Nelson) Tues Only
Breakfast at Tiffany’s (Blake Edwards, 1961) Weds Only

Grand Illusion Cinema:

Heart of a Dog (Laurie Anderson) Sun-Weds
The Man Who Saved the World (Turkish Star Wars) (Çetin İnanç, 1982) Thurs Only Our Review
The Sprocket Society presents Saturday Secret Matinees Sat Only
VHS Über Alles presents Ninja: Silent Assassin (Godfrey Ho, 1987) Sat Only VHS
Home of the Brave (Laurie Anderson, 1986) Fri Only 35mm
Dreams Rewired (Manu Luksch, Martin Reinhart & Thomas Tode) Fri-Thurs Our Review

Landmark Guild 45th Theatre:

Anomalisa (Charlie Kaufman & Duke Johnson) Fri-Thurs Our Review

Cinemark Lincoln Square:

Wazir (Bejoy Nambiar) Fri-Thurs
Nannaku Prematho (Sukumar) Fri-Thurs
Express Raja (Merlapaka Gandhi) Fri-Thurs
Soggade Chinni Nayana (Kalyan Krishna) Fri-Thurs
Butch Cassidy and the Sundance Kid (George Roy Hill, 1969) Sun & Weds Only

Northwest Film Forum:

Theeb (Jani Abu Nowar) Fri-Tues
Sundance Native Lab Shorts Fri Only
Children of the Civil Rights (Julia Clifford) Sat Only Q & A After
Sex & Broadcasting Sun Only

AMC Pacific Place:

Detective Chinatown (Chen Sicheng) Fri-Thurs
Mr. Six (Guan Hu) Fri-Thurs Our Review

Regal Parkway Plaza:

All You Need Is Pag-Ibig (Antoinette Jadaone) Fri-Thurs
Dictator (Sriwass) Fri-Thurs

Scarecrow Video Screening Room:

Shampoo (Hal Ashby, 1975) Fri Only
Yeti: The Giant of the 20th Century (Gianfranco Parolini, 1977) Sat Only
Anything Goes (Lewis Milestone, 1936) Sun Only
Selma (Ava DuVernay, 2014) Mon Only
Death By Design (Peter Friedman & Jean-Francois Brunet, 1995) Tues Only
Shoot the Piano Player (François Truffaut, 1960) Weds Only

Seattle Art Museum:

I Fidanzati (Ermanno Olmi, 1963) Thurs Only 35mm

Landmark Seven Gables:

Mustang (Deniz Gamze Ergüven) Fri-Thurs Our Review

SIFF Film Center:

Nordic Lights Film Festival Fri-Sun Full Program

Varsity Theatre:

Butch Cassidy and the Sundance Kid (George Roy Hill, 1969) Weds Only
Band of Robbers (Adam & Aaron Nee) Fri-Thurs

In Wide Release:

13 Hours (Michael Bay) Our Review
The Revenant 
(Alejandro González Iñárritu) Our Review
The Hateful 8
 (Quentin Tarantino) Our Review
The Force Awakens (JJ Abrams) Our Podcast
Concussion 
(Peter Landesman) Our Review
Sisters 
(Jason Moore) Our Review
Brooklyn 
(John Crowley) Our Review
Spotlight 
(Tom McCarthy) Our Review
Creed 
(Ryan Coogler) Our Review
Bridge of Spies
 (Steven Spielberg) Our Review
The Martian (Ridley Scott) Our Review
Sicario (Denis Villeneuve) Our Review

Anomalisa (Charlie Kaufman & Duke Johnson, 2015)

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One of the last major 2015 releases to find its way to Seattle Screens opens this week at the Guild 45th (we still have 45 YearsArabian NightsIn the Shadow of Women and Knight of Cups to come over the next several weeks), with the release of the latest film from Hollywood’s favorite self-loathing narrative-tangler, Charlie Kaufman. Teamed with co-director Duke Johnson and producers Dino Stamatopolous and Dan Harmon (among others), Kaufman has adapted his own play into a stop-motion animated film about a man (voiced by David Thewlis) who travels to Cincinnati for a conference. Lonely and depressive, he first tries to reconnect with an old flame, then finds himself attracted to a woman in the hotel. She catches his ear (and eye, eventually) because, unlike everyone else (besides him) in his world, she doesn’t look like Michael Ian Black and she doesn’t talk like Tom Noonan: she’s the voice of Jennifer Jason Leigh. A touching night of human (well, puppet) connection is followed by some explicit puppet sex, followed by a nightmare and then a nightmarish world. Like all of Kaufman’s films (both as a director and a screenwriter) it’s an uneasy mix of weird humor and sadness, and like all of them Kaufman refuses to give us the happy ending.

Continue reading Anomalisa (Charlie Kaufman & Duke Johnson, 2015)”

13 Hours (Michael Bay, 2016)

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The prospect of a Michael Bay movie about Benghazi is contemporary American absurdity at its finest. The maker of hugely successful disasters, overblown, crude, racist, misogynistic, incomprehensible, telling the story of one of the most ridiculous issues of our time, a tragedy crudely trumped up into an inane scandal by the basest elements of our political culture. After the jingoistic marketing around Clint Eastwood’s hit American Sniper a year ago (which I believe completely misrepresented that film), how could 13 Hours, in the hands of a far less sophisticated and nuanced filmmaker, hope to be anything but a wildly offensive distortion of history at best, and a piece of vile propaganda at worst? Well, I’m somewhat happy to say that 13 Hours is not nearly as racist as you’d expect it to be. It is crude, it is overblown, it does completely lack subtlety, but Bay, true to his only real belief as a filmmaker (that his movies should amass a fortune), has attempted to make a film that will appeal to all audiences, it sidesteps the kind of cartoonish racism one would expect in a war film set in North Africa and instead appeals to much deeper, much broader base instincts in the American audience: our love of firepower, our distrust of government, our isolationism.

Continue reading 13 Hours (Michael Bay, 2016)”

Friday January 8 – Thursday January 14

Featured Film:

Out 1 at the SIFF Film Center

Long a holy grail for cinephiles around the globe, Jaques Rivette’s 13 hour film serial from 1971 premieres in a new restoration at SIFF. A Balzacian tale of theatrical rehearsals and conspiracy theories, the film stars French New Wave icon Jean-Pierre Léaud, Michael Lonsdale and Rivette regulars Juliet Berto and Bulle Ogier. SIFF is presenting Out  1 in four parts, consisting of two episodes each. Part 1 & 2 play Friday night, 3 & 4 and 5 & 6 play Saturday, and 7 & 8 on Sunday, with the program starting over again Sunday night and continuing with two parts per night through Wednesday. There’ll be a marathon of the whole serial on Sunday, January 24th. So, if you’re able to spend three or four consecutive days at the Seattle Center, or can physically endure 13 hours in the Film Center, this is the program for you.

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Playing This Week:

Central Cinema:

Labyrinth (Terry Jones, 1986) Fri-Tues
Aliens (James Cameron, 1986) Fri-Tues

Century Federal Way:

The Himalayas (Lee Seokhoon) Fri-Thurs
The Tiger (Park Hoonjung) Fri-Thurs
Blade Runner (Ridley Scott, 1982) Sun & Weds Only

Grand Cinema:

Youth (Paolo Sorrentino) Fri-Thurs
Barista 
(Rock Baijnauth) Tues Only

Grand Illusion Cinema:

Heart of a Dog (Laurie Anderson) Fri-Thurs
The Man Who Saved the World (Turkish Star Wars) (Çetin İnanç, 1982) Fri & Sat Only Our Review
The Sprocket Society presents Saturday Secret Matinees Sat Only
Abstractions: The Films of Jon Behrens (Jon Behrens) Tues Only

Landmark Guild 45th Theatre:

Trumbo (Jay Roach) Fri-Thurs
Youth (Paolo Sorrentino) Fri-Weds

Cinemark Lincoln Square:

Wazir (Bejoy Nambiar) Fri-Thurs
Bajirao Mastani (Sanjay Leela Bhansali) Fri-Thurs
Blade Runner (Ridley Scott, 1982) Sun & Weds Only

Regal Meridian:

Devil and Angel (Yu Baimei & Deng Chao) Fri-Thurs

Northwest Film Forum:

Troublemakers: The Story of Land Art (James Crump) Fri-Thurs
Noma: My Perfect Storm (Pierre Deschamps) Fri-Thurs
Kevin T. Allen presents Ear as Other Sat Only
Beach Town (Erik Hammen) Sun Only
Rear Window (Alfred Hitchcock) Weds Only 35mm

AMC Pacific Place:

Mojin: The Lost Legend (Wu Ershan) Fri-Thurs Our Review
Mr. Six (Guan Hu) Fri-Thurs Our Review

Kirkland Parkplace Cinema:

The Last Picture Show (Peter Bogdanovich, 1971) Mon Only

Regal Parkway Plaza:

Bajirao Mastani (Sanjay Leela Bhansali) Fri-Thurs
Diwale (Rohit Shetty) Fri-Thurs

Scarecrow Video Screening Room:

Framing Pictures: A Floating Conversation about Film Led by Veteran Critics Fri Only
Blood Feast (Herschell Gordon Lewis, 1963) Sat Only
The Harder They Fall (Mark Robson, 1956) Sun Only
Taxi 3 (Gérard Krawczyk, 2003) Mon Only
Ghost Fever (Lee Madden, 1987) Tues Only
The White Bus (Lindsay Anderson, 1967) Weds Only
Family Plot (Alfred Hitchcock, 1976) Thurs Only

Seattle Art Museum:

L’Avventura (Michelangelo Antonioni, 1960) Thurs Only 35mm

Landmark Seven Gables:

Mustang (Deniz Gamze Ergüven) Fri-Thurs Our Review

SIFF Film Center:

Out 1: Noli me tangere (Jacques Rivette, 1971) Fri-Weds
The Fencer (Klaus Härö) Thurs Only

In Wide Release:

The Revenant (Alejandro González Iñárritu) Our Review
The Hateful 8
 (Quentin Tarantino) Our Review
The Force Awakens (JJ Abrams) Our Podcast
Concussion 
(Peter Landesman) Our Review
Sisters 
(Jason Moore) Our Review
Brooklyn 
(John Crowley) Our Review
Spotlight 
(Tom McCarthy) Our Review
Creed 
(Ryan Coogler) Our Review
Bridge of Spies
 (Steven Spielberg) Our Review
The Martian (Ridley Scott) Our Review
Sicario (Denis Villeneuve) Our Review

Mr. Six (Guan Hu, 2015)

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Playing this week at the Pacific Place is Mr. Six, a gangster drama which earned star Feng Xiaogang the Best Actor award at this past Golden Horse Awards (which are held annually in Taiwan and honor Chinese-langauge film). Feng plays Mr. Six, an aging Beijing street tough, now in his late 50s, who gets caught in a rivalry with a much younger gang. With the deliberate pace of Sixth Generation realism, director Guan Hu deemphasizes the more lurid elements of the Chinese gangster film, focusing instead on Mr. Six’s character and the ways in which he interacts with a Beijing vastly different than the one he dominated in the 1980s. As such, the film provides a wonderful showcase for Feng, a director of popular comedies and occasional actor, whose best known work in the US is probably his dark and very serious 2006 Hamlet variation The Banquet, which starred Zhang Ziyi, one of the overblown period films that followed the success of Crouching Tiger, Hidden Dragon and Hero early in this century. His Mr. Six is amiable and steely, a quiet authority barely concealing depths of anger and disappointment.

Continue reading Mr. Six (Guan Hu, 2015)”

Friday January 1 – Thursday January 7

Featured Film:

Carol at the Uptown, Lincoln Square, Meridian and Guild 45th.

The greatest Carol on Seattle Screens this Christmas is Cate Blanchett in Todd Haynes’s adaptation of Patricia Highsmith’s novel The Price of Salt. Blanchett plays an older woman who romances a young shopgirl, played by Rooney Mara, in 1950s New York (and beyond, during one gloriously melancholic road trip West). One of the best reviewed films of the year (it placed fourth in our our survey), Haynes excels in the smallest moments, the tactile particulars of period wardrobe, the longing in a look, the flashes of light across a window, charged details that accumulate an emotional power that pushes the film far beyond its sketchy social problem film plot toward a devastatingly romantic transcendence.

Sign up for our newsletter and get the best of Seattle arthouse and repertory programming in your Inbox every Friday morning.

Playing This Week:

Central Cinema:

Clue (Jonathan Lynn, 1985) Sat-Tues
Clueless (Amy Heckerling, 1995) Sat-Tues

Century Federal Way:

The Himalayas (Lee Seokhoon) Fri-Thurs

Grand Cinema:

Youth (Paolo Sorrentino) Fri-Thurs
The Messenger 
(Su Rynard) Tues Only
Killing Them Safely (Nick Berardini) Tues Only

Grand Illusion Cinema:

Heart of a Dog (Laurie Anderson) Fri-Thurs
Flowers (Jon Garaño and Jose Mari Goenaga) Fri-Thurs

Landmark Guild 45th Theatre:

Carol (Todd Haynes) Fri-Thurs
Youth (Paolo Sorrentino) Fri-Thurs

Cinemark Lincoln Square:

Carol (Todd Haynes) Fri-Thurs
Bajirao Mastani (Sanjay Leela Bhansali) Fri-Thurs

Regal Meridian:

Youth (Paolo Sorrentino) Fri-Thurs

AMC Pacific Place:

Mojin: The Lost Legend (Wu Ershan) Fri-Thurs Our Review
Mr. Six (Guan Hu) Fri-Thurs

Regal Parkway Plaza:

Carol (Todd Haynes) Fri-Thurs
Bajirao Mastani
 
(Sanjay Leela Bhansali) Fri-Thurs
Diwale (Rohit Shetty) Fri-Thurs
Beauty and the Bestie (Wenn V. Deramas) Fri-Thurs

Scarecrow Video Screening Room:

Irony of Fate (Eldar Ryazanov, 1975) Fri Only
New Year’s Evil (Emmett Alston, 1980) Sat Only
The Hobbit (Rankin-Bass, 1977) Sun Only
Cold Water (Olivier Assayas, 1994) Sun Only
Cría Cuervos (Carlos Saura, 1977) Mon Only
Hellraiser II: Hellbound (Tony Randel, 1988) Tues Only
Outcast of the Islands (Carol Reed, 1952) Weds Only
The Wicker Man (Neil LaBute, 2006) Tues Only

Seattle Art Museum:

Il Grido (Michelangelo Antonioni, 1957) Thurs Only 35mm

Landmark Seven Gables:

Mustang (Deniz Gamze Ergüven) Fri-Thurs Our Review

SIFF Film Center:

Willy Wonka & the Chocolate Factory (Mel Stuart, 1971) Fri-Sun Smell-o-Vision
The Princess Bride (Rob Reiner, 1987) Fri-Sun Quote-Along

SIFF Cinema Uptown:

Carol (Todd Haynes) Fri-Thurs

In Wide Release:

The Hateful 8 (Quentin Tarantino) Our Review
The Force Awakens (JJ Abrams) Our Podcast
Concussion 
(Peter Landesman) Our Review
Sisters 
(Jason Moore) Our Review
Brooklyn 
(John Crowley) Our Review
Spotlight 
(Tom McCarthy) Our Review
Creed 
(Ryan Coogler) Our Review
Bridge of Spies
 (Steven Spielberg) Our Review
The Martian (Ridley Scott) Our Review
Sicario (Denis Villeneuve) Our Review

Friday December 25 – Thursday December 31

Featured Film:

Carol at the Uptown, Lincoln Square and Guild 45th.

The greatest Carol on Seattle Screens this Christmas is Cate Blanchett in Todd Haynes’s adaptation of Patricia Highsmith’s novel The Price of Salt. Blanchett plays an older woman who romances a young shopgirl, played by Rooney Mara, in 1950s New York (and beyond, during one gloriously melancholic road trip West). One of the best reviewed films of the year (it placed fourth in our our survey), Haynes excels in the smallest moments, the tactile particulars of period wardrobe, the longing in a look, the flashes of light across a window, charged details that accumulate an emotional power that pushes the film far beyond its sketchy social problem film plot toward a devastatingly romantic transcendence.

Sign up for our newsletter and get the best of Seattle arthouse and repertory programming in your Inbox every Friday morning.

Playing This Week:

 

Central Cinema:

Raiders of the Lost Ark (Steven Spielberg, 1981) Fri-Weds
Blade Runner – The Final Cut (Ridley Scott, 1982) Fri-Tues

Grand Cinema:

Youth (Paolo Sorrentino) Fri-Thurs
Life of Brian 
(Terry Jones, 1979) Fri & Sat Only
Killing Them Safely (Nick Berardini) Tues Only

Grand Illusion Cinema:

It’s a Wonderful Life (Frank Capra, 1946) Fri-Thurs 35mm

Landmark Guild 45th Theatre:

Carol (Todd Haynes) Fri-Thurs
Youth (Paolo Sorrentino) Fri-Thurs

Cinemark Lincoln Square:

Carol (Todd Haynes) Fri-Thurs
Diwale (Rohit Shetty) Fri-Tues
Bajirao Mastani (Sanjay Leela Bhansali) Fri-Tues

Regal Meridian:

Youth (Paolo Sorrentino) Fri-Thurs

AMC Loews Oak Tree:

Bajirao Mastani (Sanjay Leela Bhansali) Fri-Thurs

AMC Pacific Place:

Mojin: The Lost Legend (Wu Ershan) Fri-Thurs Our Review
Surprise (Show Joy) Fri-Thurs
Mr. Six (Guan Hu) Fri-Thurs

Regal Parkway Plaza:

Bajirao Mastani (Sanjay Leela Bhansali) Fri-Thurs
Diwale (Rohit Shetty) Fri-Thurs
Beauty and the Bestie (Wenn V. Deramas) Fri-Thurs

Scarecrow Video Screening Room:

Get Crazy (Allan Arkush, 1983) Sat Only
Millions (Danny Boyle, 2005) Sun Only
Rare Exports: A Christmas Tale (Jalmari Helander, 2010) Sun Only
Chris Marker Group Mon Only
The Dead (John Huston, 1987) Tues Only
Three Godfathers (John Ford, 1948) Weds Only

Landmark Seven Gables:

Mustang (Deniz Gamze Ergüven) Fri-Thurs Our Review

SIFF Film Center:

Willy Wonka & the Chocolate Factory (Mel Stuart, 1971) Fri-Thurs Smell-o-Vision
The Princess Bride (Rob Reiner, 1987) Fri-Thurs Quote-Along

SIFF Cinema Uptown:

Carol (Todd Haynes) Fri-Thurs
Fiddler on the Roof (Norman Jewish, 1971) Fri Only Sing-along
Moulin Rouge! (Bad Luhrmann, 2001) Thurs Only Sing-along

In Wide Release:

The Force Awakens (JJ Abrams) Our Podcast
Concussion
(Peter Landesman) Our Review
Sisters 
(Jason Moore) Our Review
Brooklyn 
(John Crowley) Our Review
Spotlight 
(Tom McCarthy) Our Review
Creed 
(Ryan Coogler) Our Review
Bridge of Spies
 (Steven Spielberg) Our Review
The Martian (Ridley Scott) Our Review
Sicario (Denis Villeneuve) Our Review
Steve Jobs (Danny Boyle) Our Review

Concussion (Peter Landesman, 2015)

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I was a most unlikely football player. As a 5’10”, 110 lb, 14 year old high school freshman, I literally knocked myself out for a few seconds attempting a tackle. The coaches didn’t let me play the rest of the game, or much of any other game, after that. I was mad at the time, all I wanted to do was play, but in retrospect, they probably saved my brain a lot of damage. The thing is, if I was 50 pounds or so bigger, they probably would have sent me right back on to the field.

Anyway, Concussion, opening this week just in time for the final two weeks of football season, is kind of terrible. It stars Will Smith in an Oscar-grubbing performance as Dr. Bennet Omalu, a Nigerian immigrant pathologist who first discovered evidence of brain damage in former NFL players (he did the autopsies for former Pittsburgh Steelers Mike Webster and Terry Long). Not content to be a scientific procedural, a social problem film along the lines of Spotlight, the film grafts an inspirational biopic onto the story. As with The Theory of Everything, Hollywood can’t seem to tell the story of a man of science without framing him as an instrument of specifically Christian theology (Omalu is apparently a practicing Catholic). In fact, more than anything the film is a Christian parable about a man who is tested by God: shown a glimpse of a Truth, he is tested in his resolve to defend and promulgate (evangelize) that Truth. That this serves to make the scientific findings of a Nigerian doctor more palatable for Red State apple pie God and Football moms in the Real America is surely not lost on the filmmakers. It just makes the whole thing very creepy.

Continue reading Concussion (Peter Landesman, 2015)”

Mojin: The Lost Legend (Wu Ershan, 2015)

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International treasure Shu Qi stars in this blockbuster effects-action film out of China, opening this week at the Pacific Place. One of a trio of grave robbers, Shu and her compatriots Chen Kun and Huang Bo find themselves roped into a scheme to dig up a MacGuffin from an ancient tomb by a creepy cult leader and her armed gang of nobodies. Deadly traps, zombies, colored lights and CGI adventure follow, with all the weightless, personality-free sheen of 21st century Chinese digital cinema. Directed by Wu Ershan, the man behind 2012’s Painted Skin: The ResurrectionMojin has some potentially intriguing ideas at its core, but one has to dig deep to find them.

Continue reading Mojin: The Lost Legend (Wu Ershan, 2015)”