Everybody Wants Some!! (Richard Linklater, 2016)

getsomeblog-1457953225779_large

In what is essentially a sequel to his greatest film, 1993’s Dazed and Confused, director Richard Linklater again sketches an ethnography of baseball-playing Texans in the Carter years. With in-coming freshman Jake (Blake Jenner), tall, broad of shoulder and square of jaw, the most all-American Jake there ever was, as our guide to the world surrounding the off-campus housing of the Southeast Texas University baseball team, the film begins hitting every known beat of the college film, taking cues especially from the juvenile romps of the late 70s and early 80s. The first of five days in the film introduces the team and establishes their various personalities and approaches to life, the end goals of which are universally baseball, woman and beer, and not necessarily in that order. Jake affably meets smooth-talking Finnegan (Glen Powell), somewhat dim Plummer (Temple Baker), henpecked farm boy Beuter (Will Brittain) and apparently insane Niles (Juston Street) among a host of other tall, healthy, reasonably handsome, hyper-competetive men. They spend their first night together drinking and dancing at a local disco and hooking up with a steady supply of casually available women. It’s exactly the kind of obnoxious fantasy of college life you’d imagine 18 year old athletes dream about. But rather than spend a whole film indulging this fantasy, Linklater expands and deepens his film, creating a film that is as much a dumb frat comedy as Dazed and Confused is a stoner comedy, which is to say not at all.

Continue reading Everybody Wants Some!! (Richard Linklater, 2016)”

Everybody Wants Some (Richard Linklater, 2016)

everybody disco

Major League Baseball returns this week. There is nothing like the arrival of a new season, timed to coincide with the inviting sunshine of spring, to fill one’s heart with hope and excitement. The helmets are shiny, not a disgusting buildup of pine tar on a single one. Heroes are about to be made. Arriving on cinema screens at the same time is director Richard Linklater’s new comedy Everybody Wants Some, a raunchy reminiscence of life among college baseball players in pre-AIDS 1980. It’s here to remind us that baseball players are rarely heroes. They’re usually just unfunny jerks, entitled and annoying. Thanks a lot, Dick. Continue reading Everybody Wants Some (Richard Linklater, 2016)”

Chongqing Hot Pot (Yang Qing, 2016)

chongqinghotpot_

The latest Chinese import to grace Seattle Screens, now playing at the Regal Meridian, is an absurdist thriller about trio of friends who own a failing underground restaurant and who accidentally tunnel into a nearby bank vault. After a tense prologue that recalls any number of Hong Kong gangster thrillers, men in black wearing Journey to the West masks arrive at a bank during a torrential downpour. The getaway driver has a tense run-in with a traffic cop, leading to panic in the bank as the robbers are soon surrounded and desperate for a way out. The camera tracks into the vault and discovers a hole in the ground, leading us down through a cave and into the restaurant, and back in time to the events leading up to the standoff. We’re told that the city of Chongqing (alternately “Chungking”), in southwestern China, is famous for its hot pot restaurants, and that lately people have been adapting the city’s network of caves and bomb shelters into trendy eating locales. Three old school friends have done just that, but the business is failing and they’re rapidly trying to unload it. To jack up their asking price, they try to extend the tunnel themselves, and that’s how they get into the bank. The bulk of the film revolves around their schemes to fix the hole without anyone finding out what they’ve done, while avoiding the temptation to steal the money.

Continue reading Chongqing Hot Pot (Yang Qing, 2016)”

Episode 3: Prospero’s Books and The Princess of France

With the First Folio in town at the Seattle Public Library, we take a look at a couple of unusual Shakespeare adaptations. First is Peter Greenaway’s 1991 adaptation of The Tempest, Prospero’s Books, with John Gielgud and Mark Rylance. Then we discuss Matías Piñeiro’s 2014 riff on Love’s Labour’s Lost, The Princess of France. We also pick our Essential Shakespeare films, look around at what’s coming soon to Seattle Screens, and discuss the 1946 film Dirty Gertie from Harlem USA, directed by Spencer Williams and playing as part of the Pioneers of African-American Cinema here in town and touring around the country.

You can listen to the show by downloading it directly, or by subscribing on iTunes or the podcast player of your choice.

Friday April 1 – Thursday April 7

Featured Film:

Beauty and the Beast at the Grand Illusion

Hard to think of a better way to celebrate the 12th anniversary of the current iteration of the U-District’s venerable Grand Illusion Cinema than with a 35mm print of Jean Cocteau’s classic 1946 fairy tale. Decades ahead of its time in the integration of the surreal and avant-garde into popular filmmaking, Cocteau’s adaptation of the story by Jeanne-Marie Leprince de Beaumont remains, 70 years after its release, a landmark in special effects. Among the greatest works of magic in film history, only scattered moments in movies by the likes of Georges Méliès, Ray Harryhausen and Tsui Hark can even dare to be considered in the same breath.

Playing This Week:

Central Cinema:

Star Trek II: The Wrath of Khan (Nicholas Meyer, 1982) Fri-Weds
Galaxy Quest (Dean Parisot, 1999) Fri-Weds

SIFF Cinema Egyptian:

Midnight Special (Jeff Nichols) Fri-Thurs

Century Federal Way:

Ambarsariya (Mandeep Kumar) Fri-Thurs
A Clockwork Orange with 2001: A Space Odyssey (Stanley Kubrick, 1971 & 1968) Sun & Weds Only Double Feature

Grand Cinema:

Embrace of the Serpent (Ciro Guerra) Fri-Thurs
The Mermaid (Stephen Chow) Fri-Thurs Our Review
The Martian (Ridley Scott) Mon Only Our Review
Boy and the World (Alê Abreu, 2013) Tues & Thurs Only Our Review

Grand Illusion Cinema:

Beauty and the Beast (Jean Cocteau, 1946) Fri, Sat & Weds Only 35mm
Baskin (Can Evrenol) Fri-Thurs
Dirty Gertie from Harlem USA with Hot Biskits (Spencer Williams, 1946 & 1929) Sun Only
From Mayerling to Sarajevo (Max Ophuls, 1940) Sun & Mon Only 35mm
Corn’s-A-Poppin’ (Robert Woodburn, 1956) Tues Only 35mm

Cinemark Lincoln Square:

Oopiri (Vamsi Paidipally) Fri-Thurs In Telugu
Midnight Special (Jeff Nichols) Fri-Thurs
Ki and Ka (R. Balki) Fri-Thurs
Kapoor & Sons – Since 1921 (Shakun Batra) Fri-Thurs
A Clockwork Orange with 2001: A Space Odyssey (Stanley Kubrick, 1971 & 1968) Sun & Weds Only Double Feature

Regal Meridian:

Chongqing Hot Pot (Yang Qing) Fri-Thurs Our Review

Neptune Theatre:

Nanook of the North (Robert Flaherty, 1922) Weds Only Live Performance

Northwest Film Forum:

2016 Seattle Deaf Film Festival Fri-Sun Only Full Program
They Will Have to Kill Us First (Johanna Schwartz) Mon-Weds Only
Tanya Tagaq discussion with Tracy Rector Tues Only
The Seattle Process with Brett Hamil Thurs Only

Regal Parkway Plaza:

Kapoor & Sons – Since 1921 (Shakun Batra) Fri-Thurs
Ardaas (Gippy Grewal) Fri-Thurs
Love is Blind (Jason Paul Laxamana) Fri-Thurs

Scarecrow Video:

Silent Running (Douglas Trumbull, 1972) Fri Only
The Calamari Wrestler (Minoru Kawasaki, 2004) Sat Only Live Music
Richard III (Richard Loncraine, 1995) Sun Only
Obselidia (Diane Bell, 2010) Sun Only
Butterfly (Doug Wolens, 2000) Mon Only
It Follows (David Robert Mitchell, 2014) Tues Only
Letter from an Unknown Woman (Max Ophuls, 1948) Weds Only
Cat People (Jacques Tourneur, 1942) Thurs Only

Seattle Art Museum:

Richard Beymer’s Before the Big Bang Weds Only
A Pig Across Paris (Claude Autant-Lara, 1956) Thurs Only

Landmark Seven Gables:

City of Gold (Laura Gabbert) Fri-Thurs

SIFF Film Center:

Take Me to the River (Matt Sobel) Fri-Thurs

SIFF Cinema Uptown:

Ran (Akira Kurosawa, 1985) Fri-Sun Our Podcast
Embrace of the Serpent (Ciro Guerra) Fri-Thurs
The Last Dragon (Michael Schultz, 1985) Fri Only With Taimak in Person
Rescue Dogs (MJ Anderson & Haik Katsikian) Sat & Sun Only
Seattle Jewish Film Festival Mon-Thurs Only Full Program

Sundance Cinemas:

Remember (Atom Egoyan) Fri-Thurs

Varsity Theatre:

Ip Man 3 (Wilson Yip) Fri-Thurs Our Review
Kill Your Friends (Owen Harris) Fri-Thurs
Fastball (Jonathan Hock) Fri-Thurs

In Wide Release:

The Witch (Robert Eggers) Our Review
Hail, Caesar!
 (Joel & Ethan Coen) Our Review
The Revenant 
(Alejandro González Iñárritu) Our Review
The Force Awakens (JJ Abrams) Our Podcast
Spotlight 
(Tom McCarthy) Our Review

Friday March 25 – Thursday March 31

Featured Film:

Ran at the SIFF Uptown

Shakespeare is in the air this spring on Seattle Screens. With the First Folio’s arrival at the Seattle Public Library and the upcoming episode of The Frances Farmer Show on Peter Greenaway’s Prospero’s Books and Matías Piñeiro’s The Princess of France, SIFF this week is presenting the latest restoration of Akira Kurosawa’s final masterpiece, his 1985 King Lear adaptation Ran. Tatsuya Nakadai stars as the aged king who unwisely splits his realm among his sons, disinheriting the truly loyal one. A bleak vision of a chaotic universe, colored by brilliant production design, a mournful score by Toru Takemitsu and as much influence from classical Noh drama as Elizabethan theatre, it remains one of the most powerful and original of all Shakespeare films. We discussed it in the second part of our They Shot Pictures podcast series on Akira Kurosawa back in 2013. In conjunction, the SIFF Film Center is playing the great film essayist Chris Marker’s documentary about the making of Ran and Kurosawa himself, A. K. Japanese film scholar Donald Richie wrote that all his life, whenever Kurosawa was asked to pick his favorite from among his own films, he’d always say “the next one.” After 1985, he’d answer, “Ran“.

Playing This Week:

Central Cinema:

The Wizard of Oz (Victor Fleming, 1939) Fri-Tues
Silence of the Lambs (Jonathan Demme, 1991) Fri-Tues

Century Federal Way:

Ambarsariya (Mandeep Kumar) Fri-Thurs
Spirits Homecoming (Cho Jung-rae) Fri-Thurs
Love Punjab (Rajiv Dhingra) Fri-Thurs
Raiders of the Lost Ark (Stephen Spielberg, 1981) Sun & Weds Only

Grand Cinema:

Embrace of the Serpent (Ciro Guerra) Fri-Thurs
The Mermaid (Stephen Chow) Fri-Thurs Our Review
Trapped (Dawn Porter) Fri-Thurs
Emelie (Michael Thelin) Fri & Sat Only
Theeb (Naji Abu Nowar) Tues Only
Smoke Signals (Chris Eyre) Weds Only Free Screening

Grand Illusion Cinema:

Requiem for the American Dream (Peter D. Hutchison, Kelly Nyks & Jared P. Scott ) Fri, Mon-Thurs Only Our Review
City of Women (Federico Fellini, 1981) Fri-Thurs
The Sprocket Society presents Saturday Secret Matinees Sat Only
Birthright with Darktown Revue (Oscar Micheaux, 1939 & 1931) Sun Only
UFO Night with Intergalactic Space Busk & Teenagers from Outer Space (Ian Volpi, Tom Graeff, 2016 & 1959) Mon Only Video

Landmark Guild 45th Theatre:

Hello My Name is Doris (Michael Showalter) Fri-Thurs

Cinemark Lincoln Square:

Oopiri (Vamsi Paidipally) Fri-Thurs In Telugu
Thozha (Vamsi Paidipally) Fri-Thurs In Tamil
Kapoor & Sons – Since 1921 (Shakun Batra) Fri-Thurs
Hello My Name is Doris (Michael Showalter) Fri-Thurs
Raiders of the Lost Ark (Stephen Spielberg, 1981) Sun & Weds Only

Regal Meridian:

Hello My Name is Doris (Michael Showalter) Fri-Thurs

Northwest Film Forum:

Songs My Brother Taught Me (Chloe Zhao) Fri-Sun Only
I Knew Her Well (Antonio Pietrangeli, 1965) Fri-Mon Only
Trapped (Dawn Porter) Fri-Thurs
The Lost Arcade (Kurt Vincent) Sun Only
Sex & Broadcasting (Tim K Smith, 2014) Weds Only
Festival of (In)Appropriation (Jaimie Baron, Lauren Berliner & Greg Cohen) Weds Only
Until the End of the World (Wim Wenders, 1991) Thurs Only Director’s Cut

AMC Pacific Place:

The Mermaid (Stephen Chow) Fri-Thurs Our Review

Regal Parkway Plaza:

Kapoor & Sons – Since 1921 (Shakun Batra) Fri-Thurs
Ardaas (Gippy Grewal) Fri-Thurs
Hello My Name is Doris (Michael Showalter) Fri-Thurs
Love is Blind (Jason Paul Laxamana) Fri-Thurs

Scarecrow Video Screening Room:

Sci-Fi Commons Secret Movie Fri Only
Invasion of the Body Snatchers (Philip Kaufman, 1978) Sat Only
Young Cassidy (Jack Cardiff & John Ford, 1965) Sun Only
The Future (Miranda July, 2011) Sun Only
2 or 3 Things I Know About Her (Jean-Luc Godard, 1967) Mon Only
In Cold Blood (Richard Brooks, 1967) Tues Only
Lust for Life (Vincente Minnelli, 1956) Weds Only
3 Women (Robert Altman, 1977) Thurs Only

Seattle Art Museum:

Antoine and Antoinette (Jacques Becker, 1947) Thurs Only

Landmark Seven Gables:

City of Gold (Laura Gabbert) Fri-Thurs

SIFF Film Center:

A.K. (Chris Marker, 1985) Fri-Sun
Aferim! (Radu Jude) Fri-Sun, Tues-Thurs
Cemetery of Splendour (Apichatpong Weerasethakul) Mon Only
Buena Vista Social Club (Wim Wenders, 1999) Weds Only

SIFF Cinema Uptown:

Ran (Akira Kurosawa, 1985) Fri-Thurs Our Podcast
Embrace of the Serpent (Ciro Guerra) Fri-Thurs
Pina (In 3D) (Wim Wenders, 2011) Weds Only

Sundance Cinemas:

Krisha (Trey Edward Shults) Fri-Thurs

Varsity Theatre:

Get a Job (Dylan Kidd) Fri-Thurs
The Confirmation (Bob Nelson) Fri-Thurs
Fastball (Jonathan Hock) Fri-Thurs

In Wide Release:

The Witch (Robert Eggers) Our Review
Hail, Caesar!
 (Joel & Ethan Coen) Our Review
The Revenant 
(Alejandro González Iñárritu) Our Review
The Force Awakens (JJ Abrams) Our Podcast
Brooklyn 
(John Crowley) Our Review
Spotlight 
(Tom McCarthy) Our Review

Episode 2: Mysterious Object at Noon and Gates of the Night

tumblr_mthifxUn0i1qaqhbwo1_500
With Thai director Apichatpong Weerasethakul’s latest film Cemetery of Splendour making its debut on Seattle Screens this week, we take a look at his debut feature, from 2000, the experimental documentary-fiction hybrid Mysterious Object at Noon. The narrative of that film being based on the surrealist parlor game “the exquisite corpse”, we also discuss a 1946 film that was written by one of the original participants in the exquisite corpse game, Gates of the Night, written by Jacques Prévert and directed by Marcel Carné. We also take a look ahead at what’s coming soon to Seattle Screens, a look back at Terrence Malick’s Knight of Cups, and a look all around the career of Apichatpong Weerasethakul, the greatest director who made their feature debut in the 21st Century.

You can listen to the show by downloading it directly, or by subscribing on iTunes or the podcast player of your choice.

Friday March 18 – Thursday March 24

Featured Film:

Cemetery of Splendour at the Northwest Film Forum

Acclaimed Thai director Apichatpong Weerasethakul returns to Seattle Screens for the first time since his Palme D’Or winning Uncle Boonmee Who Can Recall His Past Lives played half a decade ago. His latest follows his longtime collaborator Jenjira Pongpas, giving one of the year’s finest performances, as a woman who volunteers at a makeshift military hospital housing a handful of narcoleptic soldiers. With long takes and a gentle rhythm, Weerasethakul obliterates the boundaries between past and present, myth, dream and reality. More than merely a defiant stand against his nation’s military dictatorship (though it is certainly that), it’s a deeply humane and mysterious film, as funny, sad and perplexing as it is beautiful. We’ll be discussing Weerasethakul and his debut film The Mysterious Object at Noon this week on The Frances Farmer Show, and along with Cemetery of Splendour, the Film Forum is presenting two shows of his very fine 2012 short feature Mekong Hotel.

Playing This Week:

Central Cinema:

Kiki’s Delivery Service (Hayao Miyazaki, 1989) Sat-Tues Our Review Original Language on Tues
Better Off Dead (Savage Steve Holland, 1985) Sat-Tues
The Fifth Element (Luc Besson, 1997) Weds & Thurs Only Our Review

Century Federal Way:

Love Punjab (Rajiv Dhingra) Fri-Thurs
The Ten Commandments (Cecil B. DeMille, 1956) Sun & Weds Only

Grand Cinema:

Embrace of the Serpent (Ciro Guerra) Fri-Thurs
The Last Man on the Moon (Mark Craig) Fri-Thurs
In the Shadow of Women (Philippe Garrel) Tues Only

Grand Illusion Cinema:

Requiem for the American Dream (Peter D. Hutchison, Kelly Nyks & Jared P. Scott ) Sun, Tues & Weds Only Our Review
The Beaver Trilogy Part IV (Brad Besser) Fri-Thurs
The American Genre Film Archive presents: Apocaclips
 Fri Only Intro by Laird Jimenez
The Sprocket Society presents Saturday Secret Matinees Sat Only
The Beaver Trilogy (Trent Harris, 2000) Sat & Thurs
Within Our Gates with Two Knights of Vaudeville (Oscar Micheaux, 1919 & 1916) Sun Only
UFO Night with Intergalactic Space Busk & Teenagers from Outer Space (Ian Volpi, Tom Graeff, 2016 & 1959) Mon Only Video

Landmark Guild 45th Theatre:

Hello My Name is Doris (Michael Showalter) Fri-Thurs

Cinemark Lincoln Square:

Kapoor & Sons – Since 1921 (Shakun Batra) Fri-Thurs
Hello My Name is Doris (Michael Showalter) Fri-Thurs
The Ten Commandments (Cecil B. DeMille, 1956) Sun & Weds Only

Regal Meridian:

Hello My Name is Doris (Michael Showalter) Fri-Thurs

Northwest Film Forum:

Cemetery of Splendour (Apichatpong Weerasethakul) Fri-Thurs
Mekong Hotel (Apichatpong Weerasethakul, 2012) Fri & Thurs Only Our Review
Trapped (Dawn Porter) Fri-Thurs
The Dark Crystal (Jim Henson & Franz Oz, 1982) Sat Only Live Score
The Dying of the Light (Peter Flynn) Sun Only
Dance Film Salon: Another Telepathic Thing (Jonathan Demme) Sun Only
Missing People (David Shapiro) Sun Only
Sister Spit Tues Only
Notebook on Cities and Clothes (Wim Wenders, 1989) Thurs Only

AMC Pacific Place:

The Mermaid (Stephen Chow) Fri-Thurs Our Review
Papa (Zheng Xiao) Fri-Thurs

Regal Parkway Plaza:

Kapoor & Sons – Since 1921 (Shakun Batra) Fri-Thurs
Ardaas (Gippy Grewal) Fri-Thurs

Scarecrow Video Screening Room:

Cherry Blossoms (Doris Dörrie, 2008) Fri Only
The Final Terror (Andrew Davis, 1983) Sat Only Book Signing with Ronnie Angel
The Rising of the Moon (John Ford, 1957) Sun Only
Hot Stuff (Dom DeLuise, 1979) Sun Only
Escape from Alcatraz (Don Siegel, 1979) Mon Only
The Trouble with Harry (Alfred Hitchcock, 1955) Tues Only
Born in Flames (Lizzie Borden, 1983) Weds Only Our Review
Persona (Ingmar Bergman, 1966) Thurs Only

Landmark Seven Gables:

Knight of Cups (Terrence Malick) Fri-Thurs Our Review

SIFF Film Center:

Only Yesterday (Isao Takahata) Fri-Sun Our Podcast Subtitled and Dubbed, Check Listings
Theory of Obscurity: A Film About The Residents (Don Hardy, 2014) Fri-Tues, Thurs
SFFSFF: The Best in Sci-Fi and Fantasy Shorts Sat Only
Kings of the Road (Wim Wenders, 1975) Weds Only

SIFF Cinema Uptown:

Embrace of the Serpent (Ciro Guerra) Fri-Thurs
SFFSFF: The Best in Sci-Fi and Fantasy Shorts Sun Only

Sundance Cinemas:

Son of Saul (László Nemes) Fri-Thurs
Creative Control (Benjamin Dickinson) Fri-Thurs

Varsity Theatre:

The Confirmation (Bob Nelson) Fri-Thurs Director Q & A Sun afternoon
The Ten Commandments (Cecil B. DeMille, 1956) Weds Only

In Wide Release:

The Witch (Robert Eggers) Our Review
Hail, Caesar!
 (Joel & Ethan Coen) Our Review
13 Hours 
(Michael Bay) Our Review
The Revenant 
(Alejandro González Iñárritu) Our Review
The Force Awakens (JJ Abrams) Our Podcast
Brooklyn 
(John Crowley) Our Review
Spotlight 
(Tom McCarthy) Our Review

Born in Flames (Lizzie Borden, 1983)

tumblr_ml8zghrlik1qc2cbbo1_500

Everything you’ve heard is true. Lizzie Borden’s Born in Flames is, in many ways, a really terrible movie. Performances by the mostly amateur cast are stiff and awkward, the editing is clumsy, the script consists entirely of polemic and exposition, and the soundtrack ranges from being simply unlistenable to becoming a source of torment of the kind expressly prohibited by the Geneva Convention. Some of the film’s flaws can be excused as being the result of its ultra-low budget, but others are inherent in its project, which is almost entirely political and only incidentally artistic. Continue reading Born in Flames (Lizzie Borden, 1983)”

Mekong Hotel (Apichatpong Weerasethakul, 2012)

OLYMPUS DIGITAL CAMERA

Cemetery of Splendour, the latest feature from acclaimed Thai director Apichatpong Weerasethakul, debuts this week exclusively at the Northwest Film Forum. We’ll be talking about his work this weekend on The Frances Farmer Show, and if I can find the time I may actually review the new movie (short version: it’s pretty great, don’t miss it). But as a neat little bonus, the Film Forum is paring Cemetery of Splendour with Weerasethakul’s 2012 short feature Mekong Hotel, one of those movies that, at about 60 minutes in running time, was too long to be considered a short and too short to get a proper theatrical or home video release (see also Hong Sang-soo’s Hill of Freedom, which might have been his most popular film in North America if only it was 20 minutes longer). Mekong Hotel plays only twice, at 6:45 on Friday the 18th and again at 6:45 on Thursday the 24th. I caught it at the Vancouver International Film Festival back in 2012, and here is the brief review I wrote then:

Mekong Hotel was one of my most anticipated films coming into the festival, the first feature by Apichatpong Weerasethakul (Joe) since his Cannes-winner Uncle Boonmee Who Can Recall His Past Lives (which I saw here at VIFF 2010). It’s partly bits of a story Weerasethakul had written years ago about a young couple who are haunted by a pob ghost throughout their lives (pob ghosts are spirits that eat the entrails of animals and humans, like a Thai chupacabra I guess), but most of the film is simply Joe and his actors and composer hanging out at the titular hotel overlooking the Mekong River, the border between Thailand and Laos, chatting about politics and how high the water will rise in this year’s floods. The composer, Chai Dhatana, noodles his score on a guitar throughout the movie, an ambling, aimless tune with hints of Southern blues that evokes not only the endless flow of the Mekong, but the Mississippi as well, both rivers oft-flooded borderlands conducive to lazy afternoon conversations and where the line between myth and reality is a little more porous than it probably should be. I have written down in my notes the line “device to allow your spirit to wander”. I don’t remember the context, who said it or what the device is, but it seems to me that that describes Joe’s movies pretty perfectly.