Category: Site Index

Say Anything (Cameron Crowe, 1989) Fri-Tues
True Romance (Tony Scott, 1993) Fri-Tues

SIFF Egyptian:

Boy and the World (Alê Abreu, 2013) Fri-Weds Our Review

Pretty in Pink (John Hughes, 1986) Sun & Weds Only

45 Years (Andrew Haigh) Fri-Thurs Our Review
Oscar Nominated Animated Short Films Sat-Tues Our Review
A Fish Called Wanda (Charles Crichton, 1988) Sun Only
Psycho (Alfred Hitchcock, 1960) Weds Only

The Treasure (Corneliu Porumboiu) Fri-Thurs
VHS Über Alles presents The Demon Lover (Donald G. Jackson & Jerry Younkins, 1983 Fri Only VHS
The Sprocket Society presents Saturday Secret Matinees Sat Only
The Best of VHSEX (Various) Sat Only VHS

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

Fitoor (Abhishek Kapoor) Fri-Thurs
Krishna Gaadi Veera Prema Gaadha (Hanu Raghavapudi) Fri-Thurs
Pretty in Pink (John Hughes, 1986) Sun & Weds Only

Chocolat (Claire Denis, 1988) Fri-Sun 35mm
In the Shadow of Women (Philippe Garrel) Fri-Sun
Never Get Tired: The Bomb the Music Industry! Story (Sara Crow) Weds Only
Ruined Heart (Khavn De La Cruz) Weds-Weds
The Anthropologist (Daniel Miller) Thurs Only

AMC Loews Oak Tree:

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

Ip Man 3 (Wilson Yip) Fri-Thurs Our Review
The Monkey King 2 (Soi Cheang) Fri-Thurs
From Vegas to Macau III (Andrew Lau & Wong Jing) Fri-Thurs

The Paramount Theatre:

The Big Parade (King Vidor, 1925) Mon Only Our Podcast

Everything About Her (Bb. Joyce Bernal) Fri-Thurs
Fitoor (Abhishek Kapoor) Fri-Thurs
Ip Man 3 (Wilson Yip) Fri-Thurs Our Review

The Pink Angels (Larry G. Brown, 1972) Sat Only
It (Clarence G. Badger, 1927) Sun Only
Brother (Aleksey Balabanov, 1997) Sun Only
My Demon Lover (Charlie Loventhal, 1987) Mon Only
The Pursuit of Happyness (Gabriele Muccino, 2006) Tues Only
The Oscar (Russell Rouse, 1966) Weds Only
Romeo + Juliet (Baz Luhrmann, 1996) Thurs Only

Seattle Art Museum:

Sandra of a Thousand Delights (Luchino Visconti, 1966) Thurs Only 35mm

Landmark Seven Gables:

Son of Saul (László Nemes) Fri-Thurs

Rosemary’s Baby (Roman Polanski, 1968) Fri Only
The Craft (Andrew Fleming, 1996) Fri Only
Witchfinder General (Michael Reeves, 1968) Sat Only
The Devils (Ken Russell, 1971) Sat Only

45 Years (Andrew Haigh) Fri-Thurs Our Review
Ingrid Bergman: In Her Own Words (Stig Björkman) Fri-Thurs
Southbound (Various) Fri-Thurs

SIFF Cinema Uptown:

45 Years (Andrew Haigh) Fri-Thurs Our Review
Beauty and the Beast (Jean Cocteau, 1946) Fri-Sun
Harold & Maude (Hal Ashby, 1971) Fri-Sun
Office in 3D (Johnnie To) Mon Only Our Review Our Podcast
The Human Face of Big Data (Sandy Smolan) Weds Only

Varsity Theatre:

It’s Already Tomorrow in Hong Kong (Emily Ting) Fri-Sun, Tues-Thurs Our Review

In Wide Release:

Hail, Caesar! (Joel & Ethan Coen) Our Review
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

Boy and the World (Alê Abreu, 2013)

February 11, 2016March 17, 2016 ~ Michael Strenski

This is a revised and expanded review based on a post from the critic’s defunct blog.

boy and the world hanging

Brazilian director Alê Abreu’s charming feature Boy and the World finally gets a regular theatrical run after playing the festival circuit for the last couple of years. The film previously played in Seattle 20 months ago as part of the 2014 Seattle International Film Festival. Over those myriad screenings the film has garnered a windfall of goodwill, including winning numerous audience awards. In a sign of the diversity in this year’s Best Animated Feature field, it is conceivable that if Pixar’s Inside Out was not in the running, Boy and the World would have a legitimate chance at the Oscar. Continue reading “Boy and the World (Alê Abreu, 2013)” →

It’s Already Tomorrow in Hong Kong (Emily Ting, 2015)

February 11, 2016 ~ Sean Gilman ~ 2 Comments

Emily Ting’s romantic comedy opens this week at the Varsity Theatre, but we saw it last fall at the Vancouver International Film Festival (The title has inexplicably misplaced its “It’s” since then, which we are choosing to ignore). Here’s what we wrote about it back then:

Sean’s Review:

Emily Ting’s It’s Already Tomorrow in Hong Kong is a different kind of fantasy, one of ex-patriates in Hong Kong and, more distressingly, of indie filmmakers weaned on Before Sunrise. Jamie Chung plays an American from Los Angeles (her grandparents emigrated from Hong Kong) lost in the city who runs into a fellow American named Josh. He’s the Joshiest Josh in film history, working in finance but really, an aspiring novelist. Actor Bryan Greenberg looks like the child of Michael Rappaport and John Krasczinski, but with even worse hair than that implies. He shows her around, lets slip way too late in the evening that he has a girlfriend and the couple splits. . . only to reunite a year later for another walk (once again hitting places best seen in Wong Kar-wai and Johnnie To films) and faux-naturalistic conversation (and a trip to a bar to see a Hong Kong knock-off of Arcade Fire, which is exactly as appalling as that sounds). After a century of Parisian dominance, it’s clear to me that Hong Kong is the most cinematic city in the world, and it certainly doesn’t let Ting down. The film is gorgeous, the bright lights of Hong Kong providing enough inherent pleasure that one is able to overlook the constructed obviousness of the script and the bland nothingness that is Greenberg’s performance. Chung fares better, her lines are just as generic but she sells them with big eyes and a world-saving smile. Pretty as the city is, it’s a problem when during the romantic climax of your film, the most interesting thing on screen is the multi-layered play of lights on a taxi cab window. Not even a cameo from the great Richard Ng can bring it to life.

Mike’s Review:

White guy living in Hong Kong meets an American woman of Chinese descent. The two hit it off but complications ensue when it is discovered they have other attachments. As a travelogue for the gorgeous city of Hong Kong, this works well enough, with depictions of the majestic skyline and bustling streets. As a romance or a comedy or a showcase for the art of acting, it is a failure.

From Vegas to Macau III (Wong Jing, 2016)

February 7, 2016March 31, 2017 ~ Sean Gilman

Relentless director Wong Jing’s latest farce has less of a plot than either of the first two films in the series, and is even less tethered to reality, in action, story, setting or character. It’s a bunch of shiny effects thrown at aged stars of the 90s, old movie and TV references (Chow Yun-fat spends awhile thinking he’s in Heaven Sword and Dragon Sabre, a ping-pong match with Jacky Cheung calling back to Johnnie To’s The Eighth Happiness, a little joke about Nick Cheung’s award-winning performance in Unbeatable, a whole sequence set in a prison with leftover costumes from Prison on Fire, even the central romance is Jacky Cheung’s unrequited love for Carina Lau, ala Days of Being Wild, etc etc*).

Of course the whole thing is a riff on the God of Gamblers series, with Chow playing a dual role as the original character and this newer farcical incarnation, kind of as if his amnesia-induced split personalities in that first film had developed into two separate realities. Andy Lau unites them (as he did the original series and Steven Chow’s parody of it), reprising his role as the Knight of Gamblers, but his performance bears no relation to that original character: he’s merely a vehicle for dumb slapstick jokes (a literal pie in the face, peeing baby robots) and inside jokes about Lau’s own career. It’s a movie that breaks into a song or an extended effects-driven bit of action, or a series of dumb mostly unfunny jokes at any opportunity. But there’s something liberating about Wong’s indifference to normalcy.

*Movie loses a half a star because the two dying robots didn’t crawl past each other like at the end of The Killer.

Friday February 5th – Thursday February 11th

February 5, 2016February 12, 2016 ~ Sean Gilman

Featured Film:

Lunar New Year at the Pacific Place

Celebrate the Lunar New Year this week with three of the biggest Hong Kong films of the year at AMC’s flagship theatre. Donnie Yen continues his quest to transform a real-life kung fu master into a cinematic folk hero, with the help of the villainous real estate developer Mike Tyson in Ip Man 3. Soi Cheang follows up his smash hit 2014 special effects epic with The Monkey King 2, with Aaron Kwok taking the title role over from Donnie Yen in a story from Journey to the West where the godlike simian and his Buddhist monk master confront a viciously amorphous demon played by Gong Li. Finally, Chow Yun-fat is back in yet another gambling action-comedy from director Wong Jing (a genre the two pioneered 27 years ago with God of Gamblers) in From Vegas to Macau III. This one adds Andrew Lau (Infernal Affairs) as co-director along with an all-star cast of Golden Age stars such as Andy Lau, Jacky Cheung, Carina Lau and David Chiang paired with younger celebrities like Nick Cheung, Shawn Yue, and Li Yuchun. It promises questionable taste, even more questionable plotting and plenty of weird fun.

Playing This Week:

Charade (Stanley Donen, 1963) Fri-Sat, Mon-Tues Our Podcast
Humpday (Lynn Shelton, 2009) Fri-Tues

Ip Man 3 (Wilson Yip) Fri-Thurs Our Review
To Catch a Thief (Alfred Hitchcock, 1955) Sun & Weds Only

45 Years (Andrew Haigh) Fri-Thurs Our Review
Anomalisa (Charlie Kaufman & Duke Johnson) Fri-Thurs Our Review
Lazer Team (Matt Hullum) Fri Only
Oscar Nominated Documentary Short Films Tues Only

Hitchcock/Truffaut (Kent Jones) Sun, Tues-Thurs
Notorious (Alfred Hitchcock, 1946) Sat, Sun & Tues Only 35mm
Mississippi Mermaid (François Truffaut, 1969) Sat, Sun & Thurs Only 35mm
Lux Lives Movie Night Fri Only Video
The Sprocket Society presents Saturday Secret Matinees Sat Only
Pieces (Juan Piquer Simon, 1982) Sat & Weds Only 35mm

Anomalisa (Charlie Kaufman & Duke Johnson) Fri-Thurs Our Review
Oscar Nominated Live Action Short Films Fri-Thurs
Oscar Nominated Animated Short Films Fri-Thurs Our Review

Airlift (Raja Menon) Fri-Thurs
Bangalore Naatkal (Bhaskar) Fri-Thurs
Ghayal Once Again (Sunny Deol) Fri-Thurs
To Catch a Thief (Alfred Hitchcock, 1955) Sun & Weds Only

Regal Meridian:

Airlift (Raja Menon) Fri-Thurs

Iraqi Odyssey (Samir) Fri-Mon
The Automatic Hate (Justin Lerner) Fri-Sun Q & A with Producer
Live from UB (Lauren Knapp) Weds Only
I Am A Knife With Legs (Bennett Jones) Weds Only

AMC Loews Oak Tree:

Ip Man 3 (Wilson Yip) Fri-Thurs Our Review

Ip Man 3 (Wilson Yip) Fri-Thurs Our Review
The Monkey King 2 (Soi Cheang) Fri-Thurs
From Vegas to Macau III (Andrew Lau & Wong Jing) Fri-Thurs

The Paramount Theatre:

The Gold Rush (Charles Chaplin) Mon Only

Everything About Her (Bb. Joyce Bernal) Fri-Thurs
Ip Man 3 (Wilson Yip) Fri-Thurs Our Review

Ong-Bak (Prachya Pinkaew, 2003) Fri Only
The Parallax View (Alan J. Pakula, 1974) Sat Only
The Kid (Charles Chaplin, 1921) Sun Only
Working Girl (Mike Nichols, 1988) Sun Only
Bonnie & Clyde (Arthur Penn, 1967) Mon Only
Foreign Correspondent (Alfred Hitchcock, 1940) Tues Only
Gun Crazy (Tamra Davis, 1992) Weds Only
Framing Pictures: A Floating Conversation about Film Thurs Only

Landmark Seven Gables:

Son of Saul (László Nemes) Fri-Thurs

Regression (Alejandro Amenábar) Fri-Thurs

Continue reading “Hail, Caesar! (The Coen Brothers, 2016)” →

Oscar Nominated Documentary Short Films Fri-Thurs
Regression (Alejandro Amenábar) Fri-Thurs

SIFF Cinema Uptown:

45 Years (Andrew Haigh) Fri-Thurs Our Review
River of Fundament Acts 1-3 (Mathew Barney) Fri-Thurs In Three Parts

Varsity Theatre:

Misconduct (Shintaro Shimosawa) Fri-Thurs

In Wide Release:

Hail, Caesar! (Joel & Ethan Coen) Our Review
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

Hail, Caesar! (The Coen Brothers, 2016)

February 3, 2016 ~ Sean Gilman ~ 1 Comment

hail-caesar

The latest from multi-hyphenate siblings Joel & Ethan Coen is a kaleidoscopic extravaganza of half-formed thoughts and half-forgotten genres, a mishmash of Late Movie references and late night insights, a career-summarizing work that pairs the yearning search for metaphysical certainty in a violently random universe that has marked their 21st Century output with a ramblingly digressive celebration of the cinematic creativity that stands so boldly in denial of the dissolution of meaning that is the modern world. With a rollicking energy they haven’t employed since O Brother Where Art Thou, Hail, Caesar! shifts madly across the spectrum of studio-era Hollywood genres: musical numbers, screwball exchanges, singing cowboys, fedoras and shadows, drawing room dramas and celebrity gossip swirl around 28 hours in the life of Eddie Mannix, studio executive, as he navigates crises both large (the kidnapping of the star of his sword and sandal biblical epic by a ring of Communist screenwriters) and small (the unmarried pregnancy of an established star, the acting challenges and fledgling romance of a budding one), while weighing a job offer from outside the industry and trying to reconcile his devout Catholicism with the truth-stretching demands of his profession.

Friday January 29 – Thursday February 4

January 29, 2016February 5, 2016 ~ Sean Gilman

Featured Film:

45 Years at the SIFF Uptown

Andrew Haigh’s follow-up to his critically-acclaimed 2011 film Weekend, which was about the first stages of a budding romance, looks at love and relationships from the opposite end of their lifespan. Tom Courtenay and Charlotte Rampling star as a couple who’ve been married for the eponymous amount of time. When a revelation about an event long ago in her husband’s past begins to throw everything she thought she knew about him and their life together out of balance, Rampling finds she must investigate further, regardless of the radically reevaluative consequences. Sharply focused, attuned to the smallest details of behavior and performance, Haigh’s chamber melodrama is masterfully acted by the two British veterans. A simple look, a sound, a gesture is shattering. Our Review

Playing This Week:

Young Frankenstein (Mel Brooks, 1974) Fri-Mon
Groundhog Day (Harold Ramis, 1993) Fri-Tues
The Hunger (Tony Scott, 1983) Thurs Only

Ip Man 3 (Wilson Yip) Fri-Thurs Our Review
Blazing Saddles (Mel Brooks, 1974) Sun & Weds Only

The Assassin (Hou Hsiao-hsien) Fri & Sat Only Our Review Our Other Review
Anomalisa (Charlie Kaufman & Duke Johnson) Fri-Thurs Our Review
Hitchcock/Truffaut (Kent Jones) Tues Only
Eyes of the Totem (WS Van Dyke, 1927) Weds Only

Hitchcock/Truffaut (Kent Jones) Fri-Thurs
Stunt Rock (Brian Tenchard-Smith, 1980) Sat Only 35mm
The Sprocket Society presents Saturday Secret Matinees Sat Only

Anomalisa (Charlie Kaufman & Duke Johnson) Fri-Thurs Our Review
Oscar Nominated Live Action Short Films Fri-Thurs
Oscar Nominated Animated Short Films Fri-Thurs Our Review

Airlift (Raja Menon) Fri-Thurs
Mastizaade (Milap Zaveri) Fri-Thurs
Saala Khadoos (Sudha Kongara Prasad) Fri-Thurs
Blazing Saddles (Mel Brooks, 1974) Sun & Weds Only

Regal Meridian:

Airlift (Raja Menon) Fri-Thurs

The Man Who Fell to Earth (Nicolas Roeg, 1976) Weds Only
Note to Self: Psychosexual films of Nazli Dincel Thurs Only

Ip Man 3 (Wilson Yip) Fri-Thurs Our Review
Everybody’s Fine (Zhang Meng) Fri-Thurs

Everything About Her (Bb. Joyce Bernal) Fri-Thurs

Terror Train (Roger Spottiswoode, 1980) Fri Only
The Great Silence (Sergio Corbucci, 1968) Sat Only
The Jackie Robinson Story (Alfred E. Green, 1950) Sun Only
Shower (Zhang Yang, 1999) Sun Only

Seattle Art Museum:

Fellini’s Roma (Federico Fellini, 1972) Thurs Only 35mm

Dangerous Men (John S. Rad, 2005) Fri-Sun Only Our Review
SOMM: Into the Bottle (Jason Wise) Fri-Sun Only

Oscar Nominated Documentary Short Films Fri-Thurs

SIFF Cinema Uptown:

45 Years (Andrew Haigh) Fri-Thurs Our Review
Jim: The James Foley Story (Brian Oakes) Tues Only

Varsity Theatre:

Anesthesia (Tim Blake Nelson) 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

2016 Oscar-Nominated Animated Short Films

January 23, 2016January 24, 2016 ~ Michael Strenski

world of tomorrow

We are living in a glorious age of animation. Some of the best programs on television are animated. From the great Gravity Falls to the always awesome Adventure Time and on to the fractured genius of Rick and Morty, animation has been fertile ground for visionary storytellers as of late. Cinema has not been ignored either. Heralded auteurs Wes Anderson and Charlie Kaufman have both made the move to stop-motion features. Kaufman’s Anomalisa is one of five films duking it out in this year’s Best Animated Feature race. For all of the flack the Academy has received for its homogenized choices this year, the Oscars should be commended for their Animated Feature field which sports five idiosyncratic films, only one with talking animals. Three of the five nominees come from foreign countries, two are stop motion and only one is completely computer generated. One! The days of dominance from the big studios like Dreamworks and Disney are over, at least temporarily.

bear story

Then why are most of this year’s five nominees for Best Animated Short so pedestrian? It’s odd that the features are more adventurous in their narratives and visual style than the shorts. There are certainly novel elements to the short films, whether it is the fluid “one-shot” look of the hand-drawn Prologue or the eye-popping color of Sanjay’s Super Team from Pixar. But some of these films feel like half an idea or their mission statement overwhelms the narrative itself. Both are the case with Bear Story from Chilean director Gabriel Osoro. The film is about a toy-making bear who builds a box that cranks out a mechanical version of his imprisonment in the circus and eventual escape back to his family. The animation is solid for the toy sequences but a little too flashy at other spots (Osoro really likes showing off the computer’s ability to generate dust floating in sunbeams) and the whole thing doesn’t quite gel.

prologue

While Osoro’s well-placed abhorrence of the circus can be seen as heavy-handed in Bear Story it’s got nothing on Prologue‘s clunky treatise on the inhumanity of war. Director Richard Williams tells a silent tale with just pencil and paper that begins with a leaf before flying across the page to a centuries-old battle with shields and swords. Naked men thrust at one another, slicing arteries and severing genitalia, all gruesome images seen by a young child who runs back to the safe confines of their mother’s dress. The end. There isn’t anything more to it than that. And while the hand-drawn style is sweeping in its motion, freezing any frame in the battle would just look like something out of that stoner kid in high school’s notebook.

We Can't Live Without Cosmos short film

More effective and affecting is the Russian curio We Can’t Live Without Cosmos from Konstantin Bronzit. The film is about two cosmonauts who are inseparable. They share a deep love of space and one another. The film begins with some goofy humor as the duo work their way through their rigorous training regimen before the film turns into an exploration of loss. There are some indelible images contained within, if not any impressive animation. The turn of events from the thrill of exploration to the dull of devastation is interesting but not necessarily better than the deadpan antics that came before it.

sanjay

Longtime Pixar animator Sanjay Patel gets his first directing credit on the personal Sanjay’s Super Team. The title character is a restless boy who daydreams that he teams up with Hindu gods to defeat a villain demolishing a temple. It’s no surprise coming from Pixar that the short looks fantastic. The sound design is equally stunning with a great blending of the musical score with the action onscreen. If anything Sanjay’s Super Team should have been longer than its seven minutes, as the film brings up some great possibilities that are left mostly unexplored. If you’re searching for an animated look at the complexity of Hindu culture, stick with Nina Paley’s Sita Sings the Blues.

world of tomorrow snow

Which leaves us with Don Hertzfeldt’s World of Tomorrow. Hertzfeldt’s film, about a young girl being visited by a clone of herself from the future, is the only nominee that can hold its own with the aforementioned animated features. In a mere 16 minutes World of Tomorrow manages to cram in meditations on love, identity, and loss across a distinctively designed digital landscape. There is enough narrative here for a feature. Hertzfeldt’s decision to keep it confined to a short means that it’s bursting at the seams with ideas. The film is heartrendingly sad yet it brims with a resounding sense of wonder. It’s a film of bleak humor that doesn’t much care if we laugh at it, at ourselves, or at the world. World of Tomorrow is not just the best animated short of the year, it’s one of the very best films–animated, short, or otherwise.

(The 2016 Oscar-Nominated Animated Short Films play exclusively at Landmark’s Guild 45th for two weeks beginning January 29. Note that the program includes an additional four shorts non-nominated that were not available for review.)

Friday January 22 – Thursday January 28

January 22, 2016January 29, 2016 ~ Sean Gilman

Featured Film:

Two Chinese Films at the Pacific Place

A pair of big Chinese releases open this week at the AMC Pacific Place. First is Ip Man 3 (which also plays this week at the Century in Federal Way), the latest in the series of films about the kung fu master starring Donnie Yen and directed by Wilson Yip (and not to be mixed up with the other three Ip Man films, two of which were directed by Herman Yau and one by Wong Kar-wai). In this installment, Donnie’s Master Ip defends his son’s school from an army of toughs led by none other than former Heavyweight Champion Mike Tyson. Also opening is Monster Hunt, the effects-driven extravaganza that last summer became the highest grossing local film in China’s history. It’s directed by Raman Hui, a veteran of Hollywood’s Shrek series and stars Bai Baihe along with a plethora of veteran Hong Kong and Mainland stars, in a story mixing wuxia comedy and adorably goofy CGI creatures. Our Reviews

Playing This Week:

Dr. Strangelove (Stanley Kubrick, 1964) Fri-Tues
Grey Gardens (Albert & David Maysles, Ellen Hovde & Muffie Meyer, 1975) Fri-Tues
Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004) Tues Only Brain Doctors in Attendance

Ip Man 3 (Wilson Yip) Fri-Thurs Our Review
The Treasure of the Sierra Madre (John Huston, 1948) Sun & Weds Only

Anomalisa (Charlie Kaufman & Duke Johnson) Fri-Thurs Our Review
How to Change the World (Jerry Rothwell) Tues Only
Eyes of the Totem (WS Van Dyke, 1927) Weds Only

World of Kanako (Tetsuya Nakashima) Fri-Thurs
Anthem of the Heart (Tatsuyuki Nagai) Fri-Sun
Heart of a Dog (Laurie Anderson) Sun-Weds
The Sprocket Society presents Saturday Secret Matinees Sat Only
Stunt Rock (Brian Tenchard-Smith, 1980) Thurs & Next Sat Only 35mm

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

Airlift (Raja Menon) Fri-Thurs
Nannaku Prematho (Sukumar) Fri-Thurs
Express Raja (Merlapaka Gandhi) Fri-Thurs
Soggade Chinni Nayana (Kalyan Krishna) Fri-Thurs
The Treasure of the Sierra Madre (John Huston, 1948) Sun & Weds Only

Regal Meridian:

Airlift (Raja Menon) Fri-Thurs

Children’s Film Festival Seattle 2016 Jan 21-31 Full Program

Ip Man 3 (Wilson Yip) Fri-Thurs Our Review
Monster Hunt (Raman Hui) Fri-Thurs Our Review
Detective Chinatown (Chen Sicheng) Fri-Thurs

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

Meet John Doe (Frank Capra, 1941) Fri Only
Pandemonium (Alfred Sole, 1982) Sat Only
Vera Cruz (Robert Aldrich, 1954) Sun Only
Chris Marker Group Mon Only
Frenzy (Alfred Hitchcock, 1972) Tues Only
Alice (Jan Švankmajer, 1988) Weds Only
The January Man (Pat O’Connor, 1989) Weds Only

Seattle Art Museum:

The Witches (Pasolini, Visconti, Rossi, De Sica & Bolognini, 1967) Thurs Only 35mm

Landmark Seven Gables:

Mustang (Deniz Gamze Ergüven) Fri-Thurs Our Review

Out 1: Noli me tangere (Jacques Rivette, 1971) Sun Only