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)”

Friday December 18 – Thursday December 24

Featured Film:

It’s a Wonderful Life at the Grand Illusion

This Christmas a venerable Seattle tradition continues as the Grand Illusion plays, on 35 millimeter film, Frank Capra’s greatest film, the grim, bleak, heart-warming holiday classic from 1946. James Stewart plays a suicidal banker reliving the agonies of his small town, small-time life of thwarted dreams with the help of a bumbling guardian angel. Donna Reed plays the gorgeous girl next door for whom he lassos not the moon but a mortgage and a passel of toothless moochers. As densely-packed with post-war anxiety and shadowy fears as any film noir, it’s desperately cheerful.

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Playing This Week:

Ark Lodge Cinemas:

Chi-Raq (Spike Lee) Fri-Thurs

Central Cinema:

Elf (Jon Favreau, 2003) Fri-Tues

SIFF Cinema Egyptian:

The Danish Girl (Tom Hooper) Fri-Thurs

Century Federal Way:

Miracle on 34th Street (George Seaton, 1947) Sun & Weds Only

Grand Cinema:

Macbeth (Justin Kurzel) Fri-Thurs Our Review
Rare Exports: A Christmas Tale (Jalmari Helander, 2010) Sat Only
White Christmas (Michael Curtiz, 1954) Tues Only Sing-along

Grand Illusion Cinema:

It’s a Wonderful Life (Frank Capra, 1946) Fri-Thurs 35mm
VHS Uber Alles presents Droid (Peter Williams, 1988) Fri Only VHS

Landmark Guild 45th Theatre:

Youth (Paolo Sorrentino) Fri-Thurs

Cinemark Lincoln Square:

Bajirao Mastani (Sanjay Leela Bhansali) Fri-Tues
Diwale (Rohit Shetty) Fri-Tues
The Danish Girl (Tom Hooper) Fri-Thurs

Regal Meridian:

Youth (Paolo Sorrentino) Fri-Thurs

Northwest Film Forum:

Joyeuses Fetes!: A Children’s Film Festival Seattle Preview Sat Only

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
He Never Died (Jason Krawczyk) Fri-Thurs
Anguish (Sonny Mallhi) Fri-Thurs
Miracle on 34th Street (George Seaton, 1947) Sun & Weds Only

Regal Parkway Plaza:

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

Scarecrow Video Screening Room:

Reindeer Games (John Frankenheimer, 2000) Fri Only
Silent Night, Deadly Night Part 2 (Lee Harry, 1987) Sat Only
The Stingiest Man in Town (Rankin-Bass, 1978) Sun Only
Santa Claus Conquers the Martians (Nicholas Webster, 1964) Mon Only
The Wrong Man (Alfred Hitchcock, 1956) Tues Only
Scrooged (Richard Donner, 1988) Weds Only

Landmark Seven Gables:

Macbeth (Justin Kurzel) 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

AMC Southcenter:

Bajirao Mastani (Sanjay Leela Bhansali) Fri-Thurs
Miracle on 34th Street (George Seaton, 1947) Sun & Weds Only

Sundance Cinemas Seattle:

Diwale (Rohit Shetty) Fri-Thurs

SIFF Cinema Uptown:

Macbeth (Justin Kurzel) Fri-Thurs Our Review
Janis: Little Girl Blue (Amy Berg) Fri-Tues
The Big Short (Adam McKay) Starts Tues

Varsity Theatre:

Miracle on 34th Street (George Seaton, 1947) Sun & Weds Only

In Wide Release:

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

Sisters (Jason Moore, 2015)

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Sneaking onto Seattle Screens at the end of the year in an act of counter-programming to both the aggro fantasies of Quentin Tarantino and Alejandro González Iñárritu, as well as tasteful award hopefuls good, bad and miscellaneous Carol, The Danish Girl and Joy (I’ll leave you to sort out which is which), and, of course the cultural Singularity of The Force Awakens, is this modest and hilarious union of former NBC talents big and small with the director of Pitch Perfect, one of 2010s Hollywood’s most delightfully shaggy entertainments. As that film reflected as much the voice of its writer Kay Cannon and producer Elizabeth Banks (who directed the sequel, which Cannon also wrote), Sisters is driven as much by its writer, Paula Pell, and the personae of its two stars, Tina Fey and Amy Poehler. All of these people, save Moore, worked with Fey on Saturday Night Live or 30 Rock or both, and the new film is as much an excuse for old co-workers to get together and act weird as it is a narrative feature film. On the tenuous thread of a story structure borrowed from 20 years of teen films (16 Candles through Can’t Hardly Wait and American Pie at least), Pell asks what happens when a pair of women in their mid-40s return to their childhood home and attempt to recreate one of the raging parties of their high school youth. Hilarity ensues, but also an uneasy desperation, the quiet sigh that comes with the recognition of our own inevitable disintegration.

Continue reading Sisters (Jason Moore, 2015)”

45 Years (Andrew Haigh, 2015)

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(This review is a revised version of an earlier review for Seattle Screen Scene.)

Like his 2011 feature, Weekend, Andrew Haigh, in his newest film, 45 Years, places us inside the circle of intimacy of one particular couple. Here, though, it examines a long-standing relationship, a marriage of 45 years, rather than a new one. This couple is established, rooted in an easy routine of closeness, rooted in a shared identity. That identity, however, as the film begins, is suddenly in question, and over the course of one week, Haigh examines the assumptions about identity and relationship through the lens of the small, private gestures of domesticity.  Continue reading 45 Years (Andrew Haigh, 2015)”

The 2015 Seattle Film Poll

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Seattle, weirdly enough, is one of the few major film cities in the country that doesn’t have an established, functioning critics group. This means that come awards season, we don’t have an organization to announce to the world our city’s pick for the best film of the year. So we here at Seattle Screen Scene asked a selection of local critics and programmers to send us their Top Ten lists for the year and, after adding them up, the result is that, well, we pretty much agree with every other city and critics group that George Miller’s Mad Max: Fury Road is hands-down the best film of 2015. Michael Mann’s Blackhat is the clear second-place finisher, with Hou Hsiao-hsien’s The Assassin rounding out the top three. In all, 65 films received votes, spanning the depth and variety and unique character of the Seattle film scene.

Here is our Top Ten:

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1. Mad Max: Fury Road (George Miller)

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2. Blackhat (Michael Mann)

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3. The Assassin (Hou Hsiao-hsien)

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4. Carol (Todd Haynes)

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5. The Forbidden Room (Guy Maddin)

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6. Taxi (Jafar Panahi)

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7. Phoenix (Christian Petzold)

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8. The Duke of Burgundy (Peter Strickland)

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8. Tangerine (Sean Baker)

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8. Sicario (Denis Villeneuve)

Full results are listed after the break, along with each voter’s ballot.

Continue reading “The 2015 Seattle Film Poll”

Friday December 11 – Thursday December 17

Featured Film:

Star Wars Marathon at the Cinemark Lincoln Square and the Century Federal Way

In preparation for next Thursday’s premiere of The Force Awakens, a couple of local screens are playing the first six Star Wars films beginning at 3 am Wednesday night (or Thursday morning). They appear to be starting with The Phantom Menace, which would totally be the wrong way to watch them (other than chronological release order, the best way to marathon the films is IV-V-I-II-III-VI), except of course for the fact that the shows begin at 3 am. No sober or sane person has watched The Phantom Menace at 3am in 16 1/2 years, so they might as well throw that one on first. Wise viewers will simply sleep in and show up around the two-thirds point of Attack of the Clones. Anyway, we talked a lot about Star Wars (both the series and George Lucas in general and the 1977 film in particular) on this week’s episode of The George Sanders Show. 

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Playing This Week:

Ark Lodge Cinemas:

Chi-Raq (Spike Lee) Fri-Thurs

Central Cinema:

Gremlins (Joe Dante, 1984) Fri-Mon
Edward Scissorhands (Tim Burton, 1990) Fri-Tues

SIFF Cinema Egyptian:

Chi-Raq (Spike Lee) Fri-Thurs

Century Federal Way:

It’s a Wonderful Life (Frank Capra, 1946) Sun & Weds Only
Boruto: Naruto the Movie (Hiroyuki Yamashita) Sun Only
Star Wars Marathon (Various) Weds Only Our Podcast

Grand Cinema:

Macbeth (Justin Kurzel) Fri-Thurs Our Review
White Christmas (Michael Curtiz, 1954) Weds Only Sing-along
Eyes of the Totem (WS Van Dyke, 1927) Thurs Only

Grand Illusion Cinema:

It’s a Wonderful Life (Frank Capra, 1946) Fri-Thurs 35mm
VHS Uber Alles presents Droid (Peter Williams, 1988) Fri Only VHS

Cinemark Lincoln Square:

Tamasha (Imtiaz Ali) Fri-Weds
Bengal Tiger (Sampath Nandi) Fri-Weds
Boruto: Naruto the Movie (Hiroyuki Yamashita) Sun Only
Star Wars Marathon (Various) Weds Only Our Podcast

Regal Meridian:

Tamasha (Imtiaz Ali) Fri-Thurs
Fall in Love Like a Star (Tony Chan) Fri-Thurs

Northwest Film Forum:

Tyler Oakley’s Snervous Fri-Sun
Iraq in Fragments (James Longley, 2006) Sat Only 35mm
The Immaculate Conception of Little Dizzle (David Russo, 2009) Sat Only
Twisted Flicks featuring Prom Queen: Santa Claus Conquers the Martians (Nicholas Webster, 1964) Sat Only

AMC Pacific Place:

Our Times (Frankie Chen) Fri-Weds
She Remembers, He Forgets (Adam Wong) Fri-Weds

Regal Parkway Plaza:

Prem Ratan Dhan Payo (Sooraj Barjatya) Fri-Thurs
Tamasha 
(Imtiaz Ali) Fri-Thurs
A Second Chance (Cathy Garcia-Molina) Fri-Thurs

Scarecrow Video Screening Room:

Framing Pictures: A Floating Conversation About Film Fri Only
A Kid for Two Farthings (Carol Reed, 1955) Sun Only
Action Movie Night Sun Only
Santa Claus: The Movie (Jeannot Szwarf, 1985) Mon Only
Dead Bang (John Frankenheimer, 1989) Tues Only
The Shop Around the Corner (Ernest Lubitsch, 1940) Weds Only
Nutcracker: The Untold Story (Andrei Konchalovsky, 2009) Weds Only

Landmark Seven Gables:

Macbeth (Justin Kurzel) 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
Taming Wild (Elsa Sinclair) Tues Only

Sundance Cinemas Seattle:

James White (Josh Mond) Fri-Thurs Our Review
The Girl in the Book (Marya Cohn) Fri-Thurs

SIFF Cinema Uptown:

Macbeth (Justin Kurzel) Fri-Sun Our Review
Janis: Little Girl Blue (Amy Berg) Fri-Thurs
Billy Liar plus Advanced Screening of 45 Years (John Schlesinger, 1963/Andrew Haigh, 2015) Mon Only 35mm/DCP Our Review

In Wide Release:

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

Macbeth (Justin Kurzel, 2015)

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Opening this week at a few screens around town (the Uptown, the Seven Gables, along with the Grand in Tacoma) is the latest high-profile adaptation of a Shakespeare play, with Michael Fassbender as the Scottish usurper and Marion Cotillard as his ambitious wife. Directed by Justin Kurzel, this Macbeth proves a solid entry in what must be considered the Games of Thronesification of the historical film, with an outsized emphasis on the lurid details of medieval warfare. The brooding sense of doom, of course, comes right out of Shakespeare, but where previous adaptations by Orson Welles and Akira Kurosawa found shadows and fog in the text, Kurzel finds blood. Whether that is an improvement or not I think depends a great deal on how important you feel verisimilitude is to realism. At its best, the film has some of the hallucinatory power that gives the play an eternal aura of mystery, like Nicolas Winding Refn’s psychotic Viking epic Valhalla Rising, but with words. At its worst, it’s simply Fassbender looking confused and mumbling incoherently.

Continue reading “Macbeth (Justin Kurzel, 2015)”

Friday December 4 – Thursday December 10

Featured Film:

Zodiac on 35mm at the Seattle Art Museum

Bringing the Seattle Art Museum’s 38th Film Noir series to an end this week is David Fincher’s paranoid procedural Zodiac, from 2007. Like all the films in the series, this one is presented on 35mm film, an ever-increasing rarity on Seattle Screens, especially for so recent a film. Zodiac stars Robert Downey Jr, Jake Gyllenhaal, and Mark Ruffalo as reporters and investigators who become increasingly obsessed with a serial killer who sends cryptic clues and terrorizes the Bay Area in the late 1960s and early 1970s. Fincher and his collaborators make meticulous use of digital effects to recreate the environments of the era, but most palpable is the sense of dread, the fear that solving the crime will ultimately prove an impossibility. The darkest truth of any in film noir: that evil is truly incomprehensible.

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Playing This Week:

Central Cinema:

From Here to Eternity (Fred Zinnemann, 1953) Fri-Tues
Die Hard (John McTiernan, 1988) Fri-Tues

SIFF Cinema Egyptian:

Chi-Raq (Spike Lee) Fri-Thurs
Teton Gravity Research: The Sammy C Project Weds Only

Century Federal Way:

Mukhtiar Chadha (Gifty) Fri-Thurs
Judge Singh LLB
(Atharv Baluja) Fri-Thurs
National Lampoon’s Christmas Vacation (Jeremiah S. Check, 1989) Sun & Weds Only

Grand Cinema:

Bikes vs. Cars (Fredrik Gertten) Tues Only
Calling My Children (David Binder) Thurs Only

Grand Illusion Cinema:

Taxi (Jafar Panahi) Fri, Sat, Mon, Weds, Thurs
Bikes vs. Cars (Fredrik Gertten) Fri-Thurs
EXcinema presents The Spaces Between Cities (Various) Tues Only

Cinemark Lincoln Square:

Tamasha (Imtiaz Ali) Fri-Tues
Shankarabaranum (Kona Venkat) Fri-Thurs

Regal Meridian:

Tamasha (Imtiaz Ali) Fri-Thurs
Fall in Love Like a Star (Tony Chan) Fri-Thurs

Northwest Film Forum:

Paul Taylor: Creative Domain (Kate Geiss) Fri-Sun
Xenia (Panos H. Koutras) Fri-Sun
God Bless the Child (Robert Machoian and Rodrigo Ojeda-Beck) Fri Only
Next Dance Cinema (Various) Mon Only
Phoebe’s Father (John Helde) Tues Only
Tyler Oakley’s Snervous Thurs-Sun

AMC Pacific Place:

Our Times (Frankie Chen) Fri-Thurs
She Remembers, He Forgets (Adam Wong) Fri-Thurs
Home Alone (Chris Columbus, 1990) Weds Only

Regal Parkway Plaza:

Prem Ratan Dhan Payo (Sooraj Barjatya) Fri-Thurs
Tamasha 
(Imtiaz Ali) Fri-Thurs

Scarecrow Video Screening Room:

WNUF Halloween Special (Chris LaMartina, Shawn Jones, James Branscome, 2013) Fri Only
The House of Yes (Mark Waters, 1997) Sat Only
A Year without Santa Claus (Rankin/Bass, 1974) Sun Only
The Long Kiss Goodnight (Renny Harlin, 1996) Sun Only
Carol for Another Christmas (Joseph L. Mankiewicz, 1964) Mon Only
I Confess (Alfred Hitchcock, 1953) Tues Only
The Apartment (Billy Wilder, 1960) Weds Only
Kiss Kiss Bang Bang (Shane Black, 2005) Thurs Only

Seattle Art Museum:

Zodiac (David Fincher, 2007) Thurs Only 35mm

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

AMC Southcenter:

Chi-Raq (Spike Lee) Fri-Thurs
Home Alone (Chris Columbus, 1990) Weds Only

Sundance Cinemas Seattle:

Life (Anton Corbijn) Fri-Thurs

SIFF Cinema Uptown:

Heart of a Dog (Laurie Anderson) Fri-Sun
Janis: Little Girl Blue (Amy Berg) Fri-Thurs

Varsity Theatre:

East Side Sushi (Anthony Lucero) Fri-Thurs

In Wide Release:

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
Crimson Peak (Guillermo del Toro) Our Review
Sicario (Denis Villeneuve) Our Review
Steve Jobs (Danny Boyle) Our Review

This Week at the Multiplex

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The second phase of Awards Season is upon us, with early Oscar contenders spreading like a winter cold across Seattle Screens. Late November is the final stretch before the Christmas glut, when studios dump all their high profile releases at the same time, a phenomenon which never ceased to amaze me in my former life in the theater business: the early weeks of December are always a wasteland, while a dozen quality films come out at the same time at the end of the month, stretching into January, when certain releases will finally make it out of the New York-LA bubble to grace us in the hinterlands with their Oscar lunges. Most November releases will be forgotten by that time, the awards bloggers twiddling with their own self-created narratives, while the actual business of handing out awards is mostly accomplished. I caught up with a few of the films with strong cases for end-of-the-year recognition last weekend at the local mall, Brooklyn, Spotlight and Creed, all of which are very fine films you can catch all over town, at least for a couple more weeks.

Continue reading “This Week at the Multiplex”