Kiki’s Delivery Service (Hayao Miyazaki, 1989)

This review was originally published in 2014 on the author’s old blog.

kiki tombo flying

A young witch coming of age arrives in a seaside town to master her abilities. To do so she has left behind her family and her home, with nothing but a broom, a bag, and a cat by her side. The girl is a romantic and a bit of a klutz, longing for the ocean whilst crashing into trees. She is taken in by a kind woman on the verge of motherhood, who gives her a job and a home. An enthusiastic and indefatigable boy falls for her and pesters the young woman to be his friend. The witch makes pancakes. It is wonderful. Continue reading Kiki’s Delivery Service (Hayao Miyazaki, 1989)”

Friday March 11 – Thursday March 17

Featured Film:

Knight of Cups at the Seven Gables and the Lincoln Square

The seventh feature from Terrence Malick, one of cinema’s most revered filmmakers, arrives on Seattle (and Bellevue) screens this week. Malick continues his push to narrative abstraction as he reunites with star Christian Bale, who previously worked with the director on The New World, one of the best films of the young century. In Knight of Cups Bale plays a successful screenwriter that sleeps with a bunch of pretty women but feels really bad about it. The film is as much a portrait of the hedonistic City of Angels, as it is of its protagonist. Come for the overlapping internal monologues, stay for Antonio Banderas diving into a pool in a tuxedo. Our Review.

Playing This Week:

Central Cinema:

The Wedding Singer (Frank Coraci, 1998) Fri-Weds
Bridesmaids (Paul Feig, 2011) Fri-Weds

Century Federal Way:

The Mermaid (Stephen Chow) Fri-Thurs Our Review 
Love Punjab (Rajiv Dhingra) Fri-Thurs
The Good, the Bad & the Ugly (Sergio Leone, 1966) Sun & Weds Only

Grand Cinema:

Son of Saul (László Nemes) Fri-Thurs
A War (Tobias Lindholm) Fri-Thurs
Nosferatu: A Symphony of Horror (FW Murnau) Sun Only Live Score
Janis: Little Girl Blue (Amy Berg) Tues Only
Psycho Pass: The Movie (Zach Bolton) Tues & Weds Only
Singing’ in the Rain (Stanley Donen & Gene Kelly, 1952) Weds Only

Grand Illusion Cinema:

Requiem for the American Dream (Peter D. Hutchison, Kelly Nyks & Jared P. Scott ) Fri-Thurs Q & A Thurs Our Review
VHS Uber Alles presents Robo-C.H.I.C. (Ed Hansen & Jeffrey Mandel, 1990) Fri Only
The Sprocket Society presents Saturday Secret Matinees Sat Only
53rd Ann Arbor Film Festival Traveling Tour: Digital Program: Part A Sat & Tues Only Full Program 
The Blood of Jesus  with Hell-Bound Train (Spencer Williams, James and Eloyce Gist, 1941 & 1931) Sun Only

Landmark Guild 45th Theatre:

The Boy and the Beast (Mamoru Hosada) Fri-Thurs Dubbed and Subtitled, Check Showtimes
Psycho Pass: The Movie (Zach Bolton) Tues & Weds Only

Cinemark Lincoln Square:

Knight of Cups (Terrence Malick) Fri-Thurs Our Review
The Boy and the Beast (Mamoru Hosada) Fri-Thurs English Dubbed
Kalyana Vaibhogame (B. V. Nandini Reddy) Fri-Thurs
The Good, the Bad & the Ugly (Sergio Leone, 1966) Sun & Weds Only

Northwest Film Forum:

Echoes of Silence (Peter Emmanuel Goldman, 1967) Fri Only 16mm, Live Score
Seattle Web Fest 2016 Sat Only
The Story of the Last Chrysanthemum (Kenji Mizoguchi, 1939) Sun & Mon Only
Here Come the Videofreex (Jon Nealon & Jenny Raskin) Sun-Weds Only
Madam Phung’s Last Journey (Nguyễn Thị Thấm) Sun Only
Wings of Desire (Wim Wenders, 1987) Thurs Only

AMC Pacific Place:

The Mermaid (Stephen Chow) Fri-Thurs Our Review
Rise of the Legend (Roy Chow, 2014) Fri-Thurs Our Review

Regal Parkway Plaza:

Always Be My Maybe (Dan Villegas) Fri-Thurs
Ip Man 3 (Wilson Yip) Fri-Thurs Our Review
Ardaas (Gippy Grewal) Fri-Thurs

Scarecrow Video Screening Room:

Framing Pictures: A Floating Conversation about Film Fri Only
Troop Beverly Hills (Jeff Kanew, 1989) Sat Only
The Quiet Man (John Ford, 1952) Sun Only
The Ugly Swans (Konstantin Lopushansky, 2006) Sun Only
Humble Pie (Chris Bowman, 2007) Mon Only
Streetwise (Martin Bell, 1984) Tues Only
The Playhouse & Sherlock Jr (Buster Keaton, 1921 & 1924) Weds Only
Irma Vep (Olivier Assayas, 1996) Thurs Only

Seattle Art Museum:

Il Divo (Paolo Sorrentino, 2009) Thurs Only 35mm

Landmark Seven Gables:

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

SIFF Film Center:

Son of Saul (László Nemes) Fri-Sun
Anomalisa (Charlie Kaufman & Duke Johnson) Fri-Sun Our Review 
Wrong Move (Wim Wenders, 1975) Weds Only

SIFF Cinema Uptown:

Only Yesterday (Isao Takahata) Fri-Thurs Our Podcast Subtitled and Dubbed, Check Listings
Embrace of the Serpent
 
(Ciro Guerra) Fri-Thurs
Nosferatu: A Symphony of Horror (FW Murnau) Mon Only Live Score

Sundance Cinemas:

Son of Saul (László Nemes) Fri-Thurs
Colliding Dreams (Joseph Dorman & Oren Rudavsky) Fri-Thurs

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
Sisters 
(Jason Moore) Our Review
Brooklyn 
(John Crowley) Our Review
Spotlight 
(Tom McCarthy) Our Review
Bridge of Spies
 (Steven Spielberg) Our Review

Rise of the Legend (Roy Chow, 2014)

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Every generation gets the Wong Fei-hung they deserve. A fin-de-siècle doctor and martial arts instructor, the real life Wong has been inspiring cinematic incarnations for most of the history of Hong Kong’s film industry. The first was in a series of productions running form the late 1940s to the mid 1960s, where Wong was played by Kwan Tak-hing as the embodiment of Confucian masculine values. Dignified, somewhat aged, even-handed and scrupulous, Kwan played Wong in an astounding 77 films (at least), between 1949’s The True Story of Wong Fei-hung: Whiplash Snuffs the Candle Flame and 1981’s Dreadnaught, which is some kind of a record. A generation of actors and stuntmen, choreographers and directors (most notably Lau Kar-leung and Yuen Woo-ping) got their starts training on the Wong Fei-hung films, which served roughly the same role for Hong Kong action cinema that Roger Corman’s exploitation films did for the New Hollywood. Lau Kar-leung put his twist on the character with Gordon Liu starring as a young student Wong in Challenge of the Masters in 1976 and as a somewhat older man striving after nonviolent resolutions to the deadly rivalries of the kung fu world in 1981’s Martial Club. Yuen Woo-ping and his father Yuen Siu-tien, who also worked on the Kwan Tak-hing series, upended the Wong Fei-hung mythos in 1978 with Drunken Master, in which a young Jackie Chan plays Wong as an impetuous, vulgar, undisciplined youth who is beaten into shape by the eponymous instructor (the elder Yuen), kicking of an era of irreverent kung fu comedy hybrids and launching Chan as a superstar. Tsui Hark revising the legend again in 1991 with his Once Upon a Time in China series, in which Jet Li played the hero with a mix of Kwan’s grace and nobility,  Chan’s youthfulness and Li’s own awkward romanticism. Now, Roy Chow gives us Rise of the Legend, with Eddie Peng playing Wong as a brooding, blood-spattered young warrior, desperately fighting against the nihilistic hell that is Guangzhou’s Pearl River Delta in the late 19th Century.

Continue reading Rise of the Legend (Roy Chow, 2014)”

Requiem for the American Dream (Peter Hutchison, Kelly Nyks, Jared Scott, 2016)

RequiemfortheAmericanDream

Requiem for the American Dream should be required viewing on every college campus in the nation. This is not just because of the film’s concise and lucid overview of the thinking of its interview subject, American intellectual Noam Chomsky, on a critically important topic, the erosion of American democracy and the subsequent rise of income inequality and decline of individual and communal rights and freedoms. This overview is of enormous value, but the film’s other gift to its audience is a model of what political discourse can sound like. At the present moment of rage politics and deafeningly loud appeals to the lizard-brain of the American voter, Chomsky’s quiet, humane voice and deeply informed, thoughtful perspectives provide a badly needed antidote to the prevailing culture of dumbed-down, amped-up public speech. Continue reading Requiem for the American Dream (Peter Hutchison, Kelly Nyks, Jared Scott, 2016)”

Knight of Cups (Terrence Malick, 2015)

bale party knight

Terrence Malick is incapable of creating an ugly image. But with Knight of Cups he has assembled hundreds of vulgar ones. This is nothing like the brutal poetry found in The Thin Red Line which explored the horrors of combat. Knight of Cups is after an abstract debauchery. Its perverse vulgarity comes from beautiful people, all of them lithe (save Brian Dennehy), several of them nude (thankfully not Brian Dennehy) as they wander through the fucked up orbit of Christian Bale’s screenwriter Rick. These are models, actresses, and strippers frolicking through the sprawling decadence of Los Angeles, a city willed into existence by dreamers in the middle of the desert.  Continue reading Knight of Cups (Terrence Malick, 2015)”

Episode 1: The Big Sleep and Fire Walk with Me

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This is the debut episode of The Frances Farmer Show. Each episode we talk about an older movie and a newer movie and a bunch of other things besides, with a special, but by no means exclusive, look at cinematic goings-on in the Seattle area. This week, we discuss Howard Hawks’s 1946 Humphrey Bogart-Lauren Bacall film noir The Big Sleep and David Lynch’s prequel to his acclaimed early 90s television series Twin Peaks: Fire Walk with Me. We also take a look back at last week’s Oscars, a look ahead to what’s coming to Seattle Screens and a look all around the career of David Lynch.

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

Friday March 4 – Thursday March 10

Featured Film:

2015 Favorites Return

With awards season finally behind us (for a few weeks at least), some of the best films of the past year have been returning for short engagements at area theatres. Johnnie To’s Office played one night at the Uptown a couple of weeks ago and features this weekend at the Issaquah International Film Festival. Guy Maddin’s The Forbidden Room, one of our favorite films of the year, a nesting doll of lunacy that ranks as possibly Maddin’s funniest and weirdest film, is back on Monday at the SIFF Uptown. Laurie Anderson’s heartbreaking memory film on life, death and a beloved pet Heart of a Dog plays Tuesday only at the Grand Cinema in Tacoma. And on Wednesday, Scarecrow Video’s Screening Room presents Alex Garland’s Ex Machina, starring freshly minted Oscar winner Alicia Vikander as a scheming robot built by Oscar Isaac.

Playing This Week:

 

Central Cinema:

Back to the Future (Robert Zemeckis, 1985) Fri-Weds
Army of Darkness (Sam Raimi, 1993) Fri-Weds

Century Federal Way:

The Mermaid (Stephen Chow) Fri-Thurs Our Review 
To Kill a Mockingbird (Robert Mulligan, 1962) Sun & Weds Only

Grand Cinema:

Son of Saul (László Nemes) Fri-Thurs
Heart of a Dog (Laurie Anderson) Tues Only

Grand Illusion Cinema:

A Married Woman (Jean-Luc Godard, 1964) Fri-Thurs
The Sprocket Society presents Saturday Secret Matinees Sat Only
53rd Ann Arbor Film Festival Traveling Tour: Digital Program: Part A Tues Only Full Program

Landmark Guild 45th Theatre:

The Boy and the Beast (Mamoru Hosada) Fri-Thurs Dubbed and Subtitled, Check Showtimes

Cinemark Lincoln Square:

The Boy and the Beast (Mamoru Hosada) Fri-Thurs English Dubbed
Kalyana Vaibhogame (B. V. Nandini Reddy) Fri-Thurs
Neerja (Ram Madhvani) Fri-Thurs
Jai Gangaajal (Prakash Jha) Fri-Thurs
To Kill a Mockingbird (Robert Mulligan, 1962) Sun & Weds Only

Northwest Film Forum:

Men Go to Battle (Zachary Treitz) Fri-Thurs Director & Producer in Attendance
International Women’s Day 2016 Sat Only
Love Between the Covers (Laurie Kahn) Sun-Weds Only
Harold and Lillian: A Hollywood Love Story (Daniel Raim) Sun Only
The Goalie’s Anxiety at the Penalty Kick (Wim Wenders, 1971) Thurs Only
The State of Things (Wim Wenders, 1982) Thurs Only

AMC Pacific Place:

The Mermaid (Stephen Chow) Fri-Thurs Our Review

Regal Parkway Plaza:

Always Be My Maybe (Dan Villegas) Fri-Thurs
Ip Man 3 (Wilson Yip) Fri-Thurs Our Review
Busco Novio Para Mi Mujer (Enrique Begne) Fri-Thurs

Scarecrow Video Screening Room:

9 to 5 (Colin Higgins, 1980) Fri Only
Trashgasm: Nude Nuns with Big Guns (Joseph Guzman, 2010) Sat Only Live Music
The Informer (John Ford, 1935) Sun Only
I’ve Heard the Mermaids Singing (Patricia Rozema, 1987) Sun Only
Telefon (Don Siegel, 1977) Mon Only
The Lady Vanishes (Alfred Hitchcock, 1938) Tues Only
Ex Machina (Alex Garland, 2015) Weds Only
Cleo from 5 to 7 (Agnès Varda, 1962) Thurs Only

Seattle Art Museum:

The Arabian Nights (Pier Paolo Pasolini, 1974) Thurs Only 35mm

Landmark Seven Gables:

Son of Saul (László Nemes) Fri-Thurs
A War (Tobias Lindholm) Fri-Thurs

SIFF Film Center:

The Forbidden Room (Guy Maddin) Mon Only Our Review
Alice in the Cities (Wim Wenders, 1974) Weds Only

SIFF Cinema Uptown:

Only Yesterday (Isao Takahata) Fri-Thurs Our Podcast Subtitled and Dubbed, Check Listings
The Club
 
(Pablo Larrain) Fri-Thurs
Issaquah International Film Festival 2016 Sat & Sun Only Full Program 
The Mask You Live In (Jennifer Siebel Newsom) Thurs Only Panel Discussion

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
Sisters 
(Jason Moore) Our Review
Brooklyn 
(John Crowley) Our Review
Spotlight 
(Tom McCarthy) Our Review
Bridge of Spies
 (Steven Spielberg) Our Review

Friday February 26 – Thursday March 3

Featured Film:

Only Yesterday at the SIFF Uptown

Isao Takahata’s 1991 masterpiece is finally being released in North America, having been one of the only films produced by Studio Ghibli that Disney did not bother to make available when they controlled the rights to their films, apparently because it’s simply too real. A quiet story of a woman in her late 20s who takes a vacation in the country which inspires a series of memories of her ten year old self, the film shifts fluidly between past and present, between childhood traumas and adults dreams so deftly that the film is more rightly compared to the greatest works by Japanese masters such as Mikio Naruse or Yasujiro Ozu than the products served up lately by Disney, Dreamworks or even Pixar and Hayao Miyazaki. It’s one of the three best films Ghibli ever made (along with Miyazaki’s Kiki’s Delivery Service and Yoshifumi Kondō’s Whisper of the Heart. It’s playing in both the original Japanese and English-dubbed versions. Despite Daisy Ridley’s voice, there’s really no reason to see the latter: the film is a bit too mature for illiterate children, and if you’re old enough to like this movie, you’re old enough to read subtitles. It’s a film of such locational and cultural specificity that watching it in English is an act of destruction. We talked all about the movie and a lot of other Ghibli films besides a couple of years ago on this episode of the They Shot Pictures podcast.

Playing This Week:

Ark Lodge Cinemas:

Oscar Nominated Animated Short Films Fri-Thurs Our Review

Central Cinema:

Grease (Randal Kleiser, 1978) Fri-Weds
Mulholland Dr. (David Lynch, 2001) Fri-Weds
Velvet Goldmine (Todd Haynes, 1998) Thurs Only

Century Federal Way:

Channo Kamli Yaar Di (Pankaj Batra) Fri-Thurs

Grand Cinema:

45 Years (Andrew Haigh) Fri-Thurs Our Review
Southbound (Various) Fri & Sat Only

Grand Illusion Cinema:

The Vanished Elephant (Javier Fuentes-León) Fri-Thurs
Kizumonogatari Part 1: Tekketsu (Akiyuki Shimbou) Sat-Mon Only
The Sprocket Society presents Saturday Secret Matinees Sat Only

Landmark Guild 45th Theatre:

A War (Tobias Lindholm) Fri-Thurs

Cinemark Lincoln Square:

Neerja (Ram Madhvani) Fri-Thurs
Tere Bin Laden Dead or Alive (Abhishek Sharma) Fri-Thurs
Oscar Nominated Live Action Short Films Fri-Thurs
Oscar Nominated Animated Short Films Fri-Thurs Our Review

Regal Meridian:

45 Years (Andrew Haigh) Fri-Thurs Our Review
Busco Novio Para Mi Mujer (Enrique Begne) Fri-Thurs

Northwest Film Forum:

New Voices of World Cinema (Various) Fri Only
Hadwin’s Judgment (Sasha Snow) Fri & Sat Only
Bob and the Trees (Diego Ongaro) Fri & Sat Only
Schellen-Ursli (The Little Mountain Boy) (Xavier Koller) Sat Only
K2 and the Invisible Footmen (Iara Lee) Sat Only
Bungalow Heaven Sun Only
Drawing the Tiger (Amy Benson) Mon Only
Paris, Texas (Wim Wenders, 1984) Thurs Only

AMC Loews Oak Tree:

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

AMC Pacific Place:

Anomalisa (Charlie Kaufman & Duke Johnson) Fri-Thurs Our Review
The Mermaid 
(Stephen Chow) Fri-Thurs Our Review
The Monkey King 2 (Soi Cheang) Fri-Thurs

The Paramount Theatre:

Ben-Hur: A Tale of the Christ (Fred Niblo & Charles Brabin, 1925) Mon Only

Regal Parkway Plaza:

Walang Forever (Dan Villegas) Fri-Thurs
Ip Man 3 (Wilson Yip) Fri-Thurs Our Review
Busco Novio Para Mi Mujer (Enrique Begne) Fri-Thurs

Scarecrow Video Screening Room:

Edge of Tomorrow (Doug Liman, 2014) Fri Only
Night Movies (Arthur Penn, 1975) Sat Only
King of Kings (Cecl B. DeMille, 1927) Sun Only
Comedy Section Spotlight Sun Only
Chris Marker Group Mon Only

Landmark Seven Gables:

Son of Saul (László Nemes) Fri-Thurs
Rams (Grímur Hákonarson) Fri-Thurs
Oscar Nominated Animated Short Films Fri-Thurs Our Review

SIFF Film Center:

The American Friend (Wim Wenders, 1977) Weds Only

AMC Southcenter:

45 Years (Andrew Haigh) Fri-Thurs Our Review

Sundance Cinemas:

45 Years (Andrew Haigh) Fri-Thurs Our Review
Last Man on the Moon (Mark Craig) Fri-Thurs

SIFF Cinema Uptown:

Only Yesterday (Isao Takahata) Fri-Thurs Our Podcast Subtitled and Dubbed, Check Listings
45 Years
 
(Andrew Haigh) Fri-Thurs Our Review 
Mustang (Deniz Gamze Ergüven) Fri-Thurs Our Review
Stephen Tobolowsky in person: The Primary Instinct and Groundhog Day Mon 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
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

Friday February 19th – Thursday February 25th

Featured Film:

The Arabian Nights at the SIFF Film Center

One of the very best films of 2015 finally appears this week on Seattle Screens, with the debut of director Miguel Gomes’s three-part, six hour panorama of contemporary Portugal. Taking the story of Scheherazade as a starting point, Gomes weaves together a series of tales of varying degrees of realism (neo-, magical, sur-) to tell the story of austerity-era Portugal. A world of priapic businessmen, wandering bandits, ghost dogs, pyromaniac lovers, psychic roosters, outrageous court proceedings, an unbelievable amount of chaffinches and much much more, with a perfect soundtrack (“Perfida”, “Calling Occupants of Interplanetary Craft”, “Say You, Say me”) and soulful performances, it’s the masterpiece of sad absurdity our world demands.

Playing This Week:

Central Cinema:

Who Framed Roger Rabbit (Robert Zemeckis, 1988) Fri-Tues
The Third Man (Carol Reed, 1949) Fri-Tues

Century Federal Way:

A Violent Prosecutor (Lee Il-hyung) Fri-Thurs
Channo Kamli Yaar Di (Pankaj Batra) Fri-Thurs
The Maltese Falcon (John Huston, 1941) Sun & Weds Only

Grand Cinema:

45 Years (Andrew Haigh) Fri-Thurs Our Review
Oscar Nominated Live Action Short Films Tues Only

Grand Illusion Cinema:

We Are Twisted F***ing Sister! (Andrew Horn) Fri-Thurs
The Sprocket Society presents Saturday Secret Matinees Sat Only
EXcinema Group Show Tues Only

Landmark Guild 45th Theatre:

Oscar Nominated Live Action Short Films Fri-Thurs
Oscar Nominated Animated Short Films Fri-Thurs Our Review

Cinemark Lincoln Square:

Krishnashtami (Vasu Varma) Fri-Thurs
Neerja (Ram Madhvani) Fri-Thurs
Krishna Gaadi Veera Prema Gaadha (Hanu Raghavapudi) Fri-Thurs
The Maltese Falcon (John Huston, 1941) Sun & Weds Only
Oscar Nominated Live Action Short Films Fri-Thurs
Oscar Nominated Animated Short Films Fri-Thurs Our Review
Busco Novio Para Mi Mujer (Enrique Begne) Fri-Thurs

Regal Meridian:

Oscar Nominated Live Action Short Films Fri-Thurs
Oscar Nominated Animated Short Films Fri-Thurs Our Review
Busco Novio Para Mi Mujer (Enrique Begne) Fri-Thurs

Northwest Film Forum:

Ruined Heart (Khavn De La Cruz) Fri-Weds
In Football We Trust (Tony Vainuku) Sat Only
Seattle Asian-American Film Festival Fri-Sun Full Program
Morphine: Journey of Dreams (Mark Shuman) Weds Only

AMC Loews Oak Tree:

45 Years (Andrew Haigh) Fri-Thurs Our Review 
Anomalisa (Charlie Kaufman & Duke Johnson) Fri-Thurs Our Review

AMC Pacific Place:

The Mermaid (Stephen Chow) Fri-Thurs
The Monkey King 2 (Soi Cheang) Fri-Thurs

The Paramount Theatre:

Lime Kiln Club Field Day (T. Hayes Hunter, Edwin Middleton, & Sam Corker Jr., 1913) Mon Only

Regal Parkway Plaza:

Walang Forever (Dan Villegas) Fri-Thurs
Ip Man 3 (Wilson Yip) Fri-Thurs Our Review
Oscar Nominated Live Action Short Films Fri-Thurs
Oscar Nominated Animated Short Films Fri-Thurs Our Review
Busco Novio Para Mi Mujer (Enrique Begne) Fri-Thurs

Scarecrow Video Screening Room:

Psychos in Love (Gorman Bechard, 1987) Fri Only
Chinatown (Roman Polanski, 1974) Sat Only
Hallelujah (King Vidor, 1929) Sun Only
Venus Beauty Institute (Tonie Marshall, 2000) Sun Only
Pretty Poison (Noel Black, 1968) Mon Only
Saboteur (Alfred Hitchcock, 1942) Tues Only
Grindhouse Nostalgia Weds Only
Ma vie en rose (Alain Berliner, 1997) Thurs Only

Seattle Art Museum:

For a Few Dollars More (Sergio Leone, 1965) Thurs Only 35mm

Landmark Seven Gables:

Son of Saul (László Nemes) Fri-Thurs
Rams (Grímur Hákonarson) Fri-Thurs

SIFF Film Center:

Arabian Nights Vol. 1-3 (Miguel Gomes) Fri-Thurs

Sundance Cinemas:

45 Years (Andrew Haigh) Fri-Thurs Our Review
Rolling Papers (Mitch Dickman) Fri-Thurs

SIFF Cinema Uptown:

45 Years (Andrew Haigh) Fri-Thurs Our Review 
Boy and the World (Alê Abreu, 2013) Fri-Weds Our Review
Eisenstein in Guanajuato (Peter Greenaway) Fri-Thurs
Theeb (Naji Abu Nowar) Mon Only
The Human Face of Big Data (Sandy Smolan) Weds Only

Varsity Theatre:

It’s Already Tomorrow in Hong Kong (Emily Ting) Fri-Thurs Our Review 
The Maltese Falcon (John Huston, 1941) 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
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

The Witch (Robert Eggers, 2015)

large_the-witch

A more harrowing or dread-inducing film you’re not more likely to find this year on Seattle Screens than Robert Eggers’s colonial fantasy The Witch. Set in 1630 and with dialogue partially based on diaries from the time, Eggers tells of a Puritan family living alone in a deep dark wood, and the evil that preys upon them there. Long a metaphorical vehicle for all manner of issues (the hunting of witches being analogized most famously as anti-Communism in The Crucible, while more recently witches themselves have become celebrated as free-thinking proto-feminists) or moral lessons, Eggers strips away the subtext of his folktale in favor of an experiential trip inside the mind of Puritan true believers. It is established right from the opening scenes that there are witches and that they are of the purest evil. It remains for us to suffer along with a people whose darkest imaginings are made manifest.
Continue reading The Witch (Robert Eggers, 2015)”