Author: Mad About Movies (Page 4 of 6)

‘Your Sister’s Sister’ review: torn between two lovers, who are themselves torn

A trio of engaging actors in a sweet, sad, lowkey romcom rondelay.

Your Sisters Sister trio.jpgMark Duplass, Emily Blunt and Rosemarie DeWitt (l. to r.) in "Your Sister's Sister"
“Your Sister’s Sister” is a cockeyed semi-romcom that feels like it started with a ‘what-if’ concept and then, unusually, deepened and improved.  

As in her offbeat charmer “Humpday,” Seattle writer-director Lynn Shelton builds the film on the personalities of her lead actors, the charismatic and credible trio of Emily Blunt, Rosemarie DeWitt and Mark Duplass. There’s an improvised and offhanded feel to the film, but it’s carefully built -- almost like a stage play, really -- and it touches on humor and emotions in ways that are never showy or contrived.

Duplass is Jack, mired in sorrow after his brother’s death and lost in life and love.  His best friend, Iris (Blunt), offers him a chance to recharge himself at her father’s San Juan Islands cabin, not knowing that her half-sister, Hannah (DeWitt), is there recovering from a breakup with her longtime girlfriend.

There’s some comedy and drama in the storytelling, but the chief interest is in the flow of the characters, their emotions, their choices, their desires, and their abilities to accommodate one another.  In that, Shelton and her cast are note-perfect.  In the very best sense, “Your Sister’s Sister” almost feels like it’s being made up as it goes along:  organic, fluent and true.    

(90 min., R, Fox Tower) Grade: B-plus


Cyrano’s nose, McQueen’s speedy ‘Sunday,’ a twin ‘Frankenstein’ and more

New releases in Portland-area theaters not reviewed in this week's A&E

Cyrano de Bergerac.jpgJose Ferrer in "Cyrano de Bergerac" (1950)
“Being John Malkovich” The great, crazy Spike Jonze/Charlie Kaufman mind-meld movie.   (Academy Theater)  

“Can’t Stop the Serenity” Annual charity screening of Joss Whedon’s sci-fi classic “Serenity.”   (Bagdad Theater, Sunday only)  

“Chasing Sarasota”
Documentary about an elite Portland ultimate Frisbee team.  (Bagdad Theater, Thursday only)  

“Community Action Center” 
PICA presents a screening of a “sociosexual” film by artists A. L. Steiner and A. K. Burns. (Hollywood Theatre, Saturday only)  

“Cyrano de Bergerac”
Jose Ferrer at his most dashing in the 1950 version of the classic tale.  (Clinton Street Theater, Friday only)  

“Dancing on the Edge”
Locally-made drama about a suburban girl struggling with addiction.  (Northwest Film Center, Thursday only)  

“Don’t Go in the House” 1979 grindhouse horror film in which, we bet, somebody ignores the titular advice.  (Hollywood Theatre, Tuesday only)  

“Ekimmu: The Dead Lust”
Locally made horror film delayed for year’s by its writer-director’s life-threatening illness.  (The Old Church, 1422 SW 11th Ave, Saturday only)

“The Endless Summer”
Bruce Brown’s immortal 1966 surf documentary; the granddaddy of ‘em all.  (Laurelhurst Theater)  

“Frankenstein” Director Danny Boyle’s nifty stage version of the Mary Shelley story, with Benedict Cumberbatch and Jonny Lee Miller switching roles as the doctor and the monster in alternate performances; both will show, with separate admission.  (World Trade Center, Sunday June 24 and Sunday July 1 only)  

“The Godfather” You cannot refuse the chance to see Francis Ford Coppola’s masterpiece on the big screen.  (5th Avenue Cinema, Friday through Sunday only)  

“Maximum Tolerated Dose”
Documentary about drug testing on animals and humans.  (Hollywood Theatre, Monday only)  

“On Any Sunday” Documentary about a legendary Baja California motorcycle race; directed by Bruce Brown and featuring Steve McQueen.  (Hollywood Theatre, Thursday only)  

“Surviving Progress” Philosophical inquiry into where mankind is going/has been.   (Living Room Theaters)  

“Tergit” Rare screening of Mauritanian music-ethnography documentary from 1973.  (Hollywood Theatre, Monday only)  

“24 Hour Film Race”
Screening of the Portland winners of a recent insta-film contest.   (Hollywood Theatre, Wednesday only)  

“War of the Worlds: The True Story” Drama inspired by H. G. Wells alien-invasion tale.  (Cinema 21, Friday only; Hollywood Theatre, Saturday and Sunday only)

"Where the Yellowstone Goes"
Documentary about a journey down one of the great rivers of the West. (Bagdad Theater, Tuesday only)


‘Brave’ review: a princess from Pixar…and other disappointments

The tale of a plucky Scottish lass feels more like second-tier Disney than the top-shelf stuff its Pixar subsidiary usually turns out.

Brave.jpgMerida lets fly in "Brave"
In January, 2006, the great independent animation studio Pixar was acquired by the Walt Disney Pictures in a move that, it was assumed, would inject spirit, class and quality into the larger company’s fading animation division.  

Pixar had made a remarkable string of six critical and commercial hits in the previous decade (two “Toy Story” films, “A Bug’s Life,” “Monsters, Inc.,” “Finding Nemo,” and “The Incredibles”), while Disney, which had admirably revived feature animation as a genre in the late 1980s, foundered with such flops as “Atlantis: The Lost Empire,” “Treasure Planet,” “Brother Bear,” “Home on the Range” and “Chicken Little.”  

As an animation studio, in fact, Disney was still principally beholden to its two generations of princess movies, the classic trio of “Snow White and the Seven Dwarves,” “Cinderella” and “Sleeping Beauty,” and the contemporary masterworks “The Little Mermaid” and “Beauty and the Beast.”  Pixar, surely, would be able to retool the studio from an admittedly lucrative princess factory into something fresh and exciting.

But corporate cultures have a funny way of mutating everything that touches them, and here we are, six years later, with Pixar, following its first widely-acknowledged disappointment, 2011’s “Cars 2,” with “Brave,” its first...princess movie.  It’s like seeing your favorite punk band get hired to run a record label and then release an album of Barry Manilow covers.  No matter the execution, the very idea appalls.  And frankly, as it turns out, neither the story nor the execution of “Brave” quite approaches the potential genius of punk version of “I Write the Songs.”

“Brave” is the story of Merida, a plucky, spirited, flame-haired lassie in medieval Scotland who rejects the traditional tutelage administered by her prim mother in favor of archery, horseback riding, wilderness adventures, and other boyish pursuits.  When her parents effectively name her the prize in a contest between the bachelor sons of the local tribal lords, Merida rebels in ways that threaten the stability of her father’s kingdom and, even more gravely, her mother’s very life.

You don’t exactly require a Ph.D. in Comparative Literature to see the similarities between this story and those of “The Little Mermaid,” “Mulan” and “Pocahontas.” And while I don’t often stress originality of plot in evaluating a film, the spectacle of a Pixar film being squeezed into the mold of Disney production line product is deflating. (In comparison, the short which precedes the feature, the sweet little fable “La Luna,” is a pure, Pixarish pleasure.)

There’s a letdown, too, in the look and feel of the film, which is usually such a strong suit for Pixar.  Merida’s headful of ginger locks is more or less the star of the production, shimmering and bouncing in extraordinarily lifelike fashion.  Most of the 3-D animation, however, is very flat and dark, and the many action scenes are more cluttered than they are gripping.  Now and again, directors Mark Andrews and Brenda Chapman manage something rousing -- Merida’s triumph at an archery contest, the pranks of her triplet brothers, the comportment of a large mammal possessed of a human spirit -- but in all this is the least visually inventive and appealing film Pixar has ever made.

If it seems unfair to compare “Brave” to its Pixar siblings, then it should also be noted that it falls quite far from the heights of the great Disney features of 20 or so years ago.  It simply never engages you with its grandiose posturing and desperate jokes and trite moralizing.  And there’s a twist at the end that absolutely betrays the ostensible lessons of female empowerment; without spoiling the story, let’s just say that Merida’s scheme to save the day repudiates the very spirit that presumably makes her heroic to begin with.

There’s an element in “Brave” that’s worth noting, namely the depiction of a credible mother-daughter relationship in an animated feature, something that’s usually given scant -- if any -- attention.  But that effort hardly makes this tepid, boilerplate production worthy of its lineage or even its title.

(93 min., PG, multiple locations) Grade: C-plus


Documentary Portland: the Dill Pickle Club views the history of our city on film

Rare glimpses into the real life of Portland past.

Dill Pickle Club.jpg
For the fourth and final installment of its "A Place Called Home" series of lectures about film, the Dill Pickle Club will visit the subject of documentary films, home movies, found footage and other nonfictional ephemera.  The speakers include film historians Tom Chamberlain, Dennis Nyback and Tom Robinson, and the subjects will range from the history of filmmaking in Portland to such rare sights as film footage of the lost city of Vanport (including the famed Vanport flood) and Celilo Falls as it existed before the Columbia River was dammed.  The event is consponsored by the Northwest Film Center and will be held at the Whitsell Auditorium of the Portland Art Museum on Sunday, June 24 at 1 pm.

Andrew Sarris (1928 – 2012), one of the founders of modern film criticism

A towering figure in American film and journalism leaves a legacy on page and on screen.

Sarris.jpgAndrew Sarris
Andrew Sarris, the great American film critic died today at age 83.  If you love movies, this is a sad milestone, even if you've never heard of the fellow and don't care to read reviews and don't trust film critics.

Writing for the Village Voice from 1960 until moving to the New York Observer in the late 1980s, Sarris was the foremost American champion of the French theory known as auteurism, which states that the director is the principal artist in the creation of a film and that following the career of an individual director of talent will reveal habits of craft, story and worldview.  That seems obvious to modern filmgoers, but it was a revolutionary concept 50 years ago, and to espouse it in defense of such directors as Howard Hawks, Alfred Hitchcock and Samuel Fuller -- dismissed by many filmwatchers as genre-bound hacks -- was a double assault on then-common sense. 

Sarris was sufficiently devoted to his director-based understanding of the cinema to produce a book that was more or less a travel guide to the films, careers and talents of dozens of the the most noted directors in Hollywood.  "The American Cinema, Directors and Directions 1929 - 1968" could be biased, curt, idiosyncratic and even dead wrong (he was unduly hard on Billy Wilder and John Huston, in most people's eyes).  But it could not be dismissed.

Reading Sarris weekly in the Voice was de rigeur for New York film audiences (even more influential then, in the days before the multiplex, let alone direct-to-home premieres), and there are probably hundreds of film critics and filmmakers who were steered toward their profession by Sarris's combination of intelligence, advocacy and taste.  He could recommend with equal vigor a film by Max Ophuls and an action film like "The Road Warrior," he wasn't shy about discussing which actresses he found most attractive, and he wrote with clarity and authority and, as so few print critics can any more, at great length.  Even if you disagreed with him violently, you had to respect his insight and his self-assuredness.  And you could do worse than use his collected Top Ten Films of the Year lists as the basis of a homeschool film education.

For decades he waged a not-altogether-friendly war with Pauline Kael, who brought a different set of passions and tools to her reviews at The New Yorker.  Kael was more invested in the emotional experience of watching a film than Sarris, and she chided him for what she saw as the programmatic constriction of his aueteurist approach.  There were some unpleasant exchanges between them over the years, in print and in person, but you feel that they got the best out of each other, like rival tennis players fated to reach their peaks at more or less the same time.  They had some important predecessors in James Agee, Otis Ferguson and Manny Farber, but the film culture wasn't nearly as virbrant when those fellows were the top writiers.  And though there were several other important critics in the game in the '60s )Stanley Kaufmann (still writing!) and John Simon leap most immediately to mind) Sarris vs. Kael was almost always the featured bout on the card.

AS TAC.jpgView full size
Speaking personally, I found him an essential guide to my movie education.  Like my dad, who was my first film teacher, he was born to working-class parents in a tough borough of New York City in 1928.  They had a lot of tastes in common, though my dad came at his favorites through actors, stories and dialogue while Sarris favored seeing film as the work of a director.  To find in the print world a writer who underscored inclinations that I'd been raised to have and used literary, philosophical and historical references in bolstering them was a revelation and an inspiration. 

In the late 1980s, when I was working as an editor at "American Film" magazine (RIP), I was assigned to edit a piece that Sarris had submitted and which had sat on the shelf for a little while -- a story about the role played by radio in early talking pictures.  I chatted on the phone with him two or three times, and when I suggested certain changes or new avenues for the story, he blurted back responses that were almost exactly perfect for print -- and entirely factually accurate.  He was gracious, if not exactly warm, and he had an easily flowing prose style and an encyclopedaic knowledge of the field: in short, an editor's dream.  (In the late 2000s, my oldest son was working as an intern at the New York Observer and was assigned to fact-check a Sarris piece; the thing was spot-on, he told me.)  I'm very happy that when the editing process was over I took the initiative to tell him how much I'd always enjoyed his work and how he'd partly spurred in me the desire to become a film journalist.

The professorial Sarris influenced several decades of students with his teaching at Columbia University, as well as other schools, and enjoyed a long marriage to fellow critic Molly Haskell, who survives him.

Ode to Joy Theater: Tigard to get a brewpub-style movie house

A suburban theater takes on a keep-Portland-weird vibe.

Joy Theater.jpg
The Joy Theater in Tigard is one of those theaters you're surprised to still see functioning in the age of the multiplex.  A stand-alone, single-screen theater located on a busy stretch of SW Pacific Highway, it has functioned mainly as a second- or even third-run theater during the past few decades, and most recently it was the sole theater in the Portland metropolitan area fully dedicated to showing Bollywood films.  The out-of-town management which was running the theater under that policy recently shuttered it, and it's been dark for at least a few months.

That will all change this Friday, when the Joy reopens as the Tigard Joy Cinema and Pub under the auspicies of longtime Portland music scene figure Jeff "Punk Rock" Martin.  Martin is transforming the Joy into something like the Laurelhurst or Hollywood theaters, programming a mix of recent Hollywood hits, afternoon family fare, and late-night cult oddities on the weekend.  He hasn't settled on the primary film for his upcoming schedule, but he'll celebrate the grand re-opening of the theater on Friday, June 22, with a 9:30 p.m. (late night for Tigard) screening of Russ Meyer's immortal 1965 sexploitation/action film "Faster, Pussycat! Kill! Kill!"

The theater will serve pizza, beer and wine, and all tickets to all shows will be $4.

Strong styles, divergent paths: Wes Anderson and Ridley Scott extended their careers in different ways

Considering the career paths of a director reaching maturity and another in the autumn of his professional days.

Wes Anderson portrait.jpgWes Anderson
In some sense, an artist can be said truly to have found a voice when one of his or her works is recognizable from a few characteristic touches.

In movies, we think of certain types of stories, certain cast members, certain preferences in musical accompaniment, cinematography, editing or décor as indicative of the tastes of particular directors: Alfred Hitchcock’s wrongly accused protagonists, Martin Scorsese’s Rolling Stones fetish, Orson Welles’ use of deep-focus, and so on. In fact, a director almost cannot be considered a major artist without demonstrating some tic or preference. Fair or not, as a species we tend to equate consistency with quality.

Two of the most notable releases now in theaters are from directors with highly recognizable styles: “Moonrise Kingdom” by Wes Anderson and “Prometheus” by Ridley Scott. But the two filmmakers have vastly different temperaments and aims, and they’re working at divergent stages in their careers. As a result, one seems to be sharpening his idiosyncrasies, the other leaving them behind.

“Moonrise Kingdom” arrives five years after Anderson’s last live-action film, “The Darjeeling Limited,” and three years after his charming stop-motion animated feature “The Fantastic Mr. Fox.”  The new film fits readily among Anderson’s stories of neurotic boy-men living in worlds filled with old-fashioned bric-a-brac, aloof women, negligent fathers, amateur theatricals, foreign-language pop tunes, pup tents, maps, and hangdog personages embodied by Bill Murray, Jason Schwartzman and various Wilson brothers.

Like David Lynch or Pedro Almodovar, Anderson can be so immersed in his own palette that he sometimes verges on self-parody (“I want to try not to repeat myself,” he has famously said, “but then I seem to do it continuously in my films”).  Indeed, a sense of overindulgence and diminishing returns haunted “Darjeeling” and its predecessor, “The Life Aquatic with Steve Zissou,” in which the stories and habits evinced in Anderson’s earlier works were enlarged in scale but not necessarily in depth or scope.

To wit: The quirkily compartmentalized mind of romantic polymath Max Fischer, the protagonist of Anderson’s second feature, “Rushmore,” was expanded into a broken-souled quartet of youthful protagonists in his third, “The Royal Tenenbaums.” The Tenenbaum house itself, a collection of quirky and highly compartmentalized private spaces, was, in turn, exploded into the Belafonte, the seagoing mansion in “Life Aquatic,” which carried within it a makeshift family even larger and less cohesive than the Tenenbaums.  In “Darjeeling,” a train ride taken by three brothers through exotic locales inflated these tropes yet again. The effect was like watching someone walk down the street pulling along a massive — albeit attractive — balloon from the Macy’s Thanksgiving Day Parade: You got a jolt from the audacity and panache, but there didn’t seem to be much point.

Wes Anderson directing.jpgWes Anderson (r.) directing "Moonrise Kingdom"
From the start, “Moonrise” evinces quite a bit of Andersonia, including a house that resembles the sets from “Tenenbaums” and “Life Aquatic,” but the film soon pares down. It’s is a sweet and simple film about two runaway lovers (12-year-olds, but still), set principally in the wilds of a fictional Northeastern island. The pair — played by newcomers Jared Gilman and Kara Hayward — are surrounded by many of the ingredients of a typical Anderson film, but rather than throw everything from the spice cabinet into his stew, Anderson metes out his flavors delicately, adding depth and nuance along the way.

You can’t call “Moonrise” a spare film, not in comparison to, say, a Gus Van Sant movie. But it reverses the complexity that characterized Anderson’s previous films and threatened to turn the experience of watching his work into a parlor game. Whether it’s due to the aftereffect of painstakingly animating “Mr. Fox,” to reaching his 40s, to breathing in the fresh air of the setting, or to a turn of taste remains to be seen, but with “Moonrise” Anderson has refreshed himself — and his audience — admirably.

Ridley Scott
redefined science fiction movies more than three decades ago with the stunning one-two punch of “Alien” (1979) and “Blade Runner” (1982), and in the process established a métier characterized by worlds in which something was always in motion: flames, smoke, rain, milkweed, shadows. He composed dense frames and orchestrated sequences with professorial musicality. Scott (Sir Ridley, to give him his full due) had come from the world of TV advertising, and his ability to seduce with the raw stuff of cinema — images, motion, edits and sounds — was unparalleled. Indeed, he was sometimes criticized for overemphasizing the visuals, as if that were possible in the cinema.  “People say I pay too much attention to the look of a movie,” he protested, “but for God's sake, I'm not producing a Radio 4 ‘Play for Today,’ I'm making a movie that people are going to look at.”

Ridley Scott portrait.jpgRidley Scott
But while Scott’s visual mastery was indisputable, it wasn’t evident from those two groundbreaking science fiction films (or from his debut, 1977’s “The Duelists") that his movies had thematic unity. In fact, at age 74 and with 20 feature films to his credit, Scott seems to have been drawn equally to a variety storylines which are implicit in, but do not dominate, that early pair of science fiction classics: tales of voyages (“1492: Conquest of Paradise,” “White Squall“), of powerful women fighting for their lives (“Thelma and Louise,” “G. I. Jane“), of men whose moral code runs counter to their duties (“Gladiator,” “American Gangster,” “Robin Hood“), of battles against insurmountable odds (“Legend,” “Black Hawk Down,” “Kingdom of Heaven“).

Scott’s oeuvre doesn’t cohere in the same way as those of Martin Scorsese, Steven Spielberg or, for that matter, Wes Anderson. He seems more akin to fellow Brits Stephen Frears, Mike Newell and Michael Apted, who also came to film after working in television and who hopscotch from subject to subject with only their individual sensibilities to differentiate their work. While this versatility speaks well of Scott’s range, it means that his style carries extra weight in identifying him as the maker. How, besides visually, can such films as “Matchstick Men,” “Body of Lies” and “A Good Year” be seen as kin to Scott’s other works?

That poses a conundrum when considering “Prometheus,” a prequel to “Alien.” It’s not as atmospherically creepy as “Alien,” and it’s not as dynamic as the typical Scott film. It’s a handsome movie and the digital effects are swell, but we’ve come to expect such stuff nowadays. What we crave from Ridley Scott is something we’ve never seen before. Unfortunately, little of “Prometheus” fits that category.

Ridley Scott directing.jpgRidley Scott directing Noomi Rapace in "Prometheus"
There are some Scott-ish touches in the film: a powerful heroine (Noomi Rapace), a man (or, in this case, android) at a moral crossroads (Michael Fassbender), an awful threat of evil. It moves well and has a sense of play which you don’t often find in Scott’s films. But “Prometheus” doesn’t really feel like a personal work by a director with a strong stamp.  And the famed Scott visual flourish -- all that gorgeous motion and haze -- is hardly present at all.

Of course, a film needn’t be a statement of personality to be great: Nobody thinks of “Casablanca,” for instance, as a prime example of the art of director Michael Curtiz. But one of the chief pleasures of the cinema comes from following the thread of a director’s work. Absent the imprint of a strong artist, “Prometheus” feels — as “Moonrise Kingdom” never does — like a film any director might have made.


Movies: Cruise is a ‘Rock’, Gyllenhaal’s in ‘Hysteria’ and more

Reviews of this week's new releases in Portland-area theaters.

Rock of Ages.jpgTom Cruise in "Rock of Ages"
Not very much new stuff in the hopper this weekend.  We have reviews of the '80s metal love story "Rock of Ages," the invention-of-the-vibrator comedy "Hysteria" and a program of New Czech Cinema at the Northwest Film Center.  Add to that the usual stuff -- "Also Opening," "Indie/Arthouse" and "Levy's High Five" -- and that's all she wrote.

Clint’s "High," Marilyn’s "Hot," Samberg is Sandler’s "Boy" and more

New releases in Portland-area theaters not reviewed in this week's A&E

Some Like It Hot.jpg"Some Like It Hot"
“The Bus” Documentary about that great icon of the American road, the Volkwagen Bus.  (Hollywood Theatre)  

“The Great Rock ‘n’ Roll Swindle” The famed cut-and-paste-style film about -- and starring -- The Sex Pistols.   (Hollywood Theatre, Friday only)  

“Hang ‘Em High” 1968 film starring Clint Eastwood in his first post-Sergio Leone western role.  (Laurelhurst Theater)  

“Machotaildrop” and “Harvey Spanos” A pair of skateboarding films.   (Hollywood Theatre, Thursday only)  

“Not Yet Begun to Fight” Documentary about a Vietnam War veteran in Montana who helps other vets heal through the therapy of fly fishing.   (Northwest Film Center, Thursday only)  

“Some Like It Hot”
The great 1959 Billy Wilder comedy starring Marilyn Monroe, Tony Curtis and Jack Lemmon.  (Hollywood Theatre, Saturday and Sunday only)  

“That’s My Boy”
This Adam Sander/Andy Samberg comedy wasn’t screened for the press.  Wonder why....  (multiple locations)  

“Tombstone”
The 1993 telling of the tale of the Shootout at the OK Corral. “I’m your huckleberry,” indeed!  (Academy Theater)  

“Ultrasonic” Drama about a man haunted by an ominous sound that nobody else can hear.  (Cinema 21)  

“When a City Falls: the People’s Story” Documentary about the impact of the 2010 earthquakes in Christchurch, New Zealand.  (Laurelhurst Theater, Saturday and Sunday only)  



Levy’s High Five, June 15 – 21

The five movies playing in Portland-area theaters that I'd soonest see again.

Bernie"Bernie"

1) “The Deep Blue Sea” Terence Davies is the finest director you’ve likely never heard of, probably because his best films -- the quiet, devastating semi-autobiographical “Distant Voices, Still Lives” and “The Long Day Closes” -- were made more than two decades ago and he’s only had one film (“The House of Mirth,” an anomaly, really) get even a modest release since.  Here, adapting Terence Rattigan’s 1952 play about a passionate woman (Rachel Weisz), her stodgy husband (Simon Russell Beale) and her unreliable lover (Tom Hiddleston), his immense, inimitable gifts for image-making and, especially, turning film into something like music are in full power.  The effect is sometimes funny, sometimes dramatic, sometimes absolutely ravishing.  Davies is a master, and this is his most accessible film.  See it.  Living Room Theaters

2) "Bernie” 
It’s a term of deep praise to note that writer-director Richard Linklater (deepbreath: “Slacker,” “Dazed and Confused,” “Before Sunrise,” “Before Sunset,” “Waking Life,” “School of Rock”) is capable more than any contemporary American filmmaker of making terrific movies about nearly nothing.  Here, working with a based-on-truth story, he gives us life in the small East Texas town of Carthage, where a beneficent  funeral director (Jack Black) and a mean, wealthy widow (Shirley MacLaine) become unlikely chums and companions...under she mysteriously goes missing.  Linklater weaves the dramatized version of the story with dry and deft interviews of actual Carthaginians (is that what they’re called?) and even several musical numbers in a perfect frappe of a black comedy. multiple locations

3) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. Fox Tower

4) “Jiro Dreams of Sushi”  Jiro Ono is the owner of a Tokyo sushi bar with 10 seats and 3 Michelin stars, and David Gelb’s gorgeous and intimate documentary about the man and his obsession gives you an idea of how that can not only be so but be fitting.  Jiro and his two sons (bound to the chef’s apron strings, almost literally) devote untold hours of work and thought to the perfection of sushi-making, turning a sometimes makework form of cookery into indisputably high art.  At 85, the old master still works virtually every day, and the fruit of his focus is in servings of raw fish and warm rice photographed so lusciously that you can almost taste them.  A mouthwatering film:  literally.  Lake, Laurelhurst, Living Room Theaters

5) "Monsieur Lazhar" This delicate, sweet and, surprisingly, harrowing little drama was nominated for an Oscar as best foreign language film, and it's a mark of its quality that it's a very good film despite that sometimes dubious distinction. Mohamed Fellag stars as the title character, a secretive and formal man who arrives at a Montreal school out of the blue and volunteers to take the place of a teacher who has left under horrid circumstances. Gradually his compassion and wisdom come to heal wounds, just as his own personal pains are revealed. Writer-director Philippe Falardeau dances around the clichés inherent in the scenario as if they didn't exist, eliciting wonderful performances from his cast (especially the kids) and real emotions from the audience. Cinema 21



New Czech Cinema: a look at what’s going on where the Iron Curtain used to be

A survey of recent films from the Czech Republic includes a movie directed by Vaclav Havel.

Walking Too Fast.jpgfrom "Walking Too Fast"
Nowadays, particularly in Portland, the Czech cinema is arguably best known as a font of wild animation.  But there’s a long and fecund history of live-action works from Czechoslovakia and the Czech Republic, from Jirí Menzel and Milos Forman through Jan Hřebejk and Jan Sverák, a tradition which is still alive today.

In the coming weeks, the Northwest Film Center will screen a half-dozen recent films from the Central European nation in a series entitled “New Czech Cinema,” a survey that includes comedies, dramas, and thrillers, urban and rural films, and even a movie written and directed by the late Czech president (and famed playwright) Václav Havel.

The series kicks off on Friday, with “Walking Too Fast,” a prize-winning drama set in the Cold War era and dealing with the machinations of a secret agent destroying the lives of opponents of the Communist regime.  Director Radim Špadček will be on hand to present the film, conduct a q-and-a and attend a post-screening reception.

Other titles in the series include the family drama “Four Suns” (7 p.m. Sunday; 7 p.m. Tuesday); the country comedy “Matchmaking Mayor” (9 p.m. Saturday; 5:30 p.m. Sunday);  “Long Live the Family,” dealing with a wealthy embezzler (7 p.m. Sunday; 7 p.m. Monday);  Havel’s satire “Leaving” (7 p.m. Friday, June 22; 5 p.m. Sunday, June 24); and the coming-of-life story “Identity Card” (7 p.m. Saturday, June 23).

All films screen at the Whitsell Auditorium of the Portland Art Museum. For full information, visit the Northwest Film Center's web site.


‘Are my methods…unsound?’ Nicolas Cage describes becoming ‘Ghost Rider’

The actor has his own way of finding a part: you gotta give him that.



Okay, maybe you don't think Nic Cage is a genuine crazy man.  Maybe you think it's all an act and that he's entirely in control of himself in such films as "Vampire's Kiss" and "Wild at Heart" and "Bad Lieutenant: Port of Call New Orleans."

Watch this video clip, though, and see if you're not at least a little convinced that his mind is a universe unto itself.  In it, Cage is answering some fellow's innocuous question about how he played the title character in the 2011 "Ghost Rider: Spirit of Vengence" (the rider, not the spirit).  Cage's answer = priceless.

(Hat-tip to The Believer and @culturepulp)

Coming soon: a ‘Frankenstein’ you need to see twice to see once

A hot director and two hot actors rip apart and reassemble a classic.

Frankenstein (BC and JLM).jpg"Frankenstein": Benedict Cumberbatch as the Monster, Jonny Lee Miller as the Doctor
One of the coolest theatrical events of 2011 was a London adaptation of Mary Shelley's "Frankenstein" in which director Danny Boyle ("Trainspotting," "Slumdog Millionaire," "127 Hours") had his two stars -- Benedict Cumberbatch and Jonny Lee Miller -- switch roles for alternating performances:  one night one of them would play Dr. Victor Frankenstein and the other would play the Monster, and the next night visa versa.

The production was met with rave reviews, but, given the schedules of all involved, it only ran for a limited time.  Fortunately, the nabobs at the National Theatre had the foresight to film one of each version of the production, and Portland audiences will soon get a chance to see them both.

FRankenstein (JLM and BC).jpg"Frankenstein": Jonny Lee Miller as the Monster, Benedict Cumberbatch as the Doctor
Portland's Third Rail Rep theater company is hosting a pair of double-header screenings of "Frankenstein," one with each casting permutation, once on June 23, once on July 1.  Tickets for the pair of films are $20 ($15 for students); screenings will be held at the World Trade Center Theater, 121 SW Salmon St.

Movies: a handsome ‘Prometheus,’ a lovable ‘Kingdom,’ a warm ‘Lazhar’ and more

Reviews of this week's new releases in Portland-area theaters

Prometheus Theron.jpgCharlize Theron in "Prometheus"
Two highly anticipated titles among this week's offerings:  Ridley Scott's "Alien" prequel, "Prometheus," and Wes Anderson's return to live-action filmmaking, "Moonrise Kingdom."  We've also got reviews of the Oscar-nominated schoolhouse drama "Monsieur Lazhar" and the time-travel-wannabe sort-of comedy "Safety Not Guaranteed."  And we've got the evergreens:  "Also Opening,"  "Indie/Arthouse" and "Levy's High Five."

A Portland ‘Rose,’ a ‘Shining’ portrait, McQueen’s ‘Affair’ and more

New releases in Portland-area theaters not reviewed in this week's A&E

The Thomas Crown Affair.jpgSteve McQueen in "The Thomas Crown Affair" (1968)
“Derrida” Documentary about Jacques Derrida, the French philosopher and founder, if that’s possible, of the post-structuralist concept of deconstruction.  (5th Avenue Cinema, Friday through Sunday only)  

“From One Rose” The history of the Rose Festival is celebrated in this imaginative fictionalized documentary.  (Hollywood Theatre, Saturday only)  

“The Love of Beer” Locally-made documentary about the role of women in the culture of beer.  (Northwest Film Center, Thursday only

“Mercenaries from Hong Kong” 1982 Shaw Brothers martial arts film with an unusual modern setting.  (Hollywood Theatre, Tuesday only)  

“Nightbumpers” Feature movie by Vancouver filmmaker Dennis Sparks deals with a comic book artist whose works come frighteningly to life.  (Kiggins Theatre, Saturday and Sunday only)  

“Shining Night: A Portrait of Composer Morten Lauridsen” Documentary about the contemporary composer, raised in Oregon, who nowadays writes music in a remote spot in the San Juan Islands.  (First Unitarian Church, 1011 SW 12th Ave., Thursday only)  

“The Thomas Crown Affair”
1968 romantic thriller with Steve McQueen and Faye Dunaway.  (Laurelhurst Theater)

A Portland roller derby star learns to roll film…around the world

The skater known as Juvie Hall plans to visit nine countries for a film about her sport.

Press Photo.JPGThe "Flat Track" crew: Cynthia Lopez (camera), Alison Grayson (microphone) and Diana Federoff (aka Juvie Hall)

Roller derby competitors can put on a lot of miles on their skates without ever actually going anywhere. But one of the big wheels on a Portland roller derby team is getting ready to let her sport take her around the world.

In the coming year, Portlander Diana Federoff, who skates under the nom de track Juvie Hall, will travel to Mexico and eight other countries to compete in roller derby matches and make a documentary about the culture of the sport and its role in empowering women everywhere.

"Flat Track Around the World," as the film is known, is the brainchild of Federoff and a pair of Portland moviemakers, Cynthia Lopez and Alison Grayson. The intent of the film, as Federoff puts it, is to "ask how roller derby changes with the cultural and economic conditions of various countries and what drives people to roller derby in these different places."

The "Flat Track" crew will start production in Mexico City, Guadalajara and Tijuana in late June, then embark on a global journey in 2013: Australia, Singapore, Israel, Russia, France, Norway, Brazil and Peru. "There are 40 countries around the world with leagues," Federoff explains, and these destinations were chosen "to show the spectrum of how derby exists around the world."

Federoff, a writer and attorney with degrees from three universities, reckons that her experience with roller derby is typical. "I went as a spectator," she recalls, "and I said to myself, 'I have to do this.' I hadn't skated in maybe 20 years, since I was a kid, and I really hadn't ever played a team sport."

For the past three years, under her alter-ego Juvie Hall, Federoff has been a regular among the raucous, rolling throngs of skaters in Rose City Rollers matches. This season, she captained her team, Guns n Rollers, to the league semi-finals ("My legal skills have come in handy in arguing with the refs," she admits).

Federoff says that the camaraderie that she has enjoyed in the Portland roller derby community has been echoed in her experience of contacting skaters around the world to find subjects and settings for "Flat Track."

"We didn't have to do a lot of reaching out," she says. "In fact, they've been reaching out to us. We've had offers of places to stay and guides to various sights. The community is tight-knit and strong and inclusive."

Like so many independent film projects these days, "Flat Track" raised its initial budget of $9400 on the crowdfunding website Kickstarter. That sum -- more than they had originally sought -- will allow the filmmakers to use their three-city visit to Mexico as a kind of proof-of-concept trip, helping them shape the themes of the larger film and giving them footage that they can share with donors, sponsors and investors from whom they'll seek money for the longer voyage and the feature-length film.

To find out more about the project or follow blog updates from Federoff and her crew as they travel to Mexico and beyond, visit its web site.


Levy’s High Five, June 8 – 14

The five films playing in Portland-area theaters that I'd soonest see again.

Moonrise Kingdom grownups.pngBill Murray, Frances McDormand, Edward Norton and Bruce Willis (from l.) in "Moonrise Kingdom"

1) “The Deep Blue Sea” Terence Davies is the finest director you’ve likely never heard of, probably because his best films -- the quiet, devastating semi-autobiographical “Distant Voices, Still Lives” and “The Long Day Closes” -- were made more than two decades ago and he’s only had one film (“The House of Mirth,” an anomaly, really) get even a modest release since.  Here, adapting Terence Rattigan’s 1952 play about a passionate woman (Rachel Weisz), her stodgy husband (Simon Russell Beale) and her unreliable lover (Tom Hiddleston), his immense, inimitable gifts for image-making and, especially, turning film into something like music are in full power.  The effect is sometimes funny, sometimes dramatic, sometimes absolutely ravishing.  Davies is a master, and this is his most accessible film.  See it.  Living Room Theaters

2) "Bernie” 
It’s a term of deep praise to note that writer-director Richard Linklater (deepbreath: “Slacker,” “Dazed and Confused,” “Before Sunrise,” “Before Sunset,” “Waking Life,” “School of Rock”) is capable more than any contemporary American filmmaker of making terrific movies about nearly nothing.  Here, working with a based-on-truth story, he gives us life in the small East Texas town of Carthage, where a beneficent  funeral director (Jack Black) and a mean, wealthy widow (Shirley MacLaine) become unlikely chums and companions...under she mysteriously goes missing.  Linklater weaves the dramatized version of the story with dry and deft interviews of actual Carthaginians (is that what they’re called?) and even several musical numbers in a perfect frappe of a black comedy. multiple locations

3) "The Triplets of Belleville" Before he made the utterly charming "The Illusionist," animator Sylvain Chomet made this utterly charming film about gangsters, music, bicycle racing, kidnapping, a sad-eyed boy, a fat dog, and a heroic grandmother. In some ways it's impossibly French, with the hot jazz and the Tour de France and the noirish touches. But the sheer imagination of the thing, the execution, the relentless eccentricity, and the infectious (and Oscar-nominated) music make it, I think, universally accessible. It was no surprise to see Chomet go on to adapt a Jacques Tati script in his subsequent film: this one, with all its quirks and its purely cinematic heart and soul, would have delighted the comic master. Northwest Film Center, Friday through Sunday only

4) "Moonrise Kingdom" Wes Anderson films are such a specific taste that I'm a bit hesitant to suggest that this might be his most approachable (but surely not crowd-pleasing) work. In the wake of the delightful "The Fantastic Mr. Fox," Anderson returns to live-action and his familiar tics and habits in a tale of young (as in 'pre-teen') lovers on the run. Newcomers Jared Gilman and Kara Hayward fill the lead roles delightfully, and Anderson's muses Bill Murray and Jason Schwartzman are joined ably by Edward Norton, Bruce Willis and Frances McDormand, among others. It's a light and breezy film with a very sweet heart and old-fashioned sturdiness. Even if you were left puzzled by the likes of "Rushmore" or "The Royal Tenenbaums" (still his best non-animated films, for me), this is likely to win you over. Fox Tower

5) “Jiro Dreams of Sushi”  Jiro Ono is the owner of a Tokyo sushi bar with 10 seats and 3 Michelin stars, and David Gelb’s gorgeous and intimate documentary about the man and his obsession gives you an idea of how that can not only be so but be fitting.  Jiro and his two sons (bound to the chef’s apron strings, almost literally) devote untold hours of work and thought to the perfection of sushi-making, turning a sometimes makework form of cookery into indisputably high art.  At 85, the old master still works virtually every day, and the fruit of his focus is in servings of raw fish and warm rice photographed so lusciously that you can almost taste them.  A mouthwatering film:  literally.  Lake, Laurelhurst, Living Room Theaters

‘Moonrise Kingdom’ review: Wes Anderson’s sweetly cracked vision of love at first flight

The tale of 12-year-old sweethearts on the run is delightfully light and filled with the director's iconoclasm and quirks.

Moonrise Kingdom kids.jpgKara Hayward and Jared Gilman (and Jason Schwartzman's head) in "Moonrise Kingdom"
“Moonrise Kingdom” is Wes Anderson’s seventh feature film, and in some ways it’s typical of all of them, with tropes and tics and themes and actors familiar from the likes of “Bottle Rocket,” “Rushmore,” and “The Royal Tenenbaums” and the rest.  (Indeed, so strong is Anderson’s artistic stamp that it even permeated 2009’s “The Fantastic Mr. Fox,” a stop-motion animated movie based on a Roald Dahl novel.)

And yet, there’s a freshness and vitality to “Moonrise” that was absent from Anderson’s two previous live-action films, “The Life Aquatic with Steve Zissou” and “The Darjeeling Limited,” in which the writer-director trod his wonted territory with heavy -- and heavily mannered -- feet.

Yes, “Moonrise” gives us the predictable feckless fathers and decent-hearted surrogate dads, the precocious kids spouting archaic lingo, the old-timey technology, French pop music, symmetrical visuals, young adult fantasy books, amateur theatricals, pup tents, suitcases, Bill Murray, Jason Schwartzman and an awkward, ardent romance:  the stock ingredients of the Andersonian stew.  And yet somehow there’s a zest and lightness that had been missing of late.  The film feels more spry and unencumbered and inspired than Anderson’s recent work (the delightful “Mr. Fox” excluded).  It’s not a perfect movie, but it’s charming.

Set in 1965 (with a few flashbacks to the previous year), “Moonrise” centers on the romance of two 12-year-olds, Sam Shakusky (debuting actor Jared Gilman) and Suzy Bishop (Kara Hayward, another newcomer).  Sam has fled his Khaki Scout summer camp and Suzy the stifling home of her lawyer parents (Frances McDormand and Murray) to live together in the wilds of (the fictional) New Penzance Island, sustaining themselves on his outdoorsmanship and her sense of culture.  

Naturally, the adults (including scoutmaster Edward Norton and local cop Bruce Willis) are in eager pursuit, as are the other Khaki Scouts, who pretty much loathe Sam, and a Social Services operative (Tilda Swinton) who means to send the orphaned Sam to an institution.  And with a famous (and also fictional) storm ominously en route, it all takes on an especially freighted air.

The craft is at the high level we always get from Anderson, who is working with some of his usual creative team.  But you can’t help but feel that it’s the young actors -- the lumpy but sober Gilman, with his coonskin hat and pipe, the svelte and cool Hayward, with her eye shadow and Francoise Hardy records -- who have helped the director find his artistic fountain of youth.  As often, Anderson has trouble sticking the landing, but “Moonrise Kingdom” is in many ways the most satisfying flight he’s taken us on in years.    
    
(94 min., PG-13, Fox Tower) Grade: B-plus


‘Prometheus’ review: a sci-fi prequel sacrifices storytelling for beauty

The director of "Alien" prequelizes his brilliant 1979 invention with mixed -- but always handsome -- results.

Prometheus Fassbender.pngMichael Fassbender in "Prometheus"
When he gave the world “Alien” in 1979, Ridley Scott was a young Turk with a eye that had won him honors in the worlds of advertising and television and one gorgeous but under-noted film, “The Duellists,” to his name.  

Now, 33 years later, he is officially Sir Ridley, with more than 20 feature films on his resume, and “Alien” has become a franchise, with five sequels and a number of video games and whatnot in its cabinet.  And Scott, who has directed such films as “Thelma and Louise,” “Gladiator,” “Black Hawk Down” and “American Gangster” (without, to many minds, equaling the one-two punch of “Alien” and its follow-up, “Blade Runner”),  is revisiting the universe of his first great triumph.  Like George Lucas before him, Scott is engaged in a prequel to a hit science fiction series, spelling out the story that the first, classic film only implied.

“Prometheus,” as the prequel is known, is built on a completely different scale from “Alien” and has a completely distinct agenda.  Where the earlier film, based on a Dan O’Bannon script, was a claustrophobic horror movie which sadistically took its time to revealed the fiend at its core, “Prometheus” knows, along with its audience, what the creatures we all call Aliens look like, how they breed and fight, and that an evil corporation hopes to manipulate these horrible killing machines for material advantages.

Screenwriters Damon Lindelof and Jon Spaihts have sent us back to the end of the twenty-first century, approximately 30 years before the events of “Alien.”  The titular vessel Prometheus is carrying a team of scientists led by Elizabeth Shaw (Noomi Rapace of the Swedish “The Girl with the Dragon Tattoo”) and Charlie Holloway (Logan Marshall-Green), who have followed clues left by Earth’s ancient civilizations to a remote planet where they believe they will discover the race of giants whom they call “engineers,” the beings whom they believe created mankind in their own image untold millennia prior.  

The expedition is supervised by the chilly Meredith Vickers (Charlize Theron), an official of Weyland Industries, which funded the mission, and the vessel is captained by the crusty Janek (Idris Elba).  But the fellow who seems to be mostly in charge of things is an android, David 8 (Michael Fassbender), an uncamouflaged nod toward the original film.

Prometheus arrives on the uninviting planet early in the going and the scientists head right into a mysterious and apparently abandoned structure where, with David’s not entirely helpful prodding, they begin to get the idea that the “engineers” may have met a ghastly end.  Soon enough, on cue, the DNA of the Aliens is discovered and unleashed, the competing agendas of the scientists and the corporation surface and clash, and the violent and gory deaths start to pile up.

Little, then, occurs in the way of surprises or revelations.  Rather, themes familiar from the other “Alien” films -- strong heroines, horrific gestations, and cruelly placid androids -- emerge for, chronologically, the first time.  The film is lovely, as is much of Scott’s work, although the heavy use of computer imagery, the 3-D (unobtrusive and involving, as the best 3-D is now becoming), and the general sense that the directing world has, as a whole, caught up to his visual inventiveness, make it something less than special.

Still, “Prometheus” is breezy and comely and sufficiently clever to mitigate most qualms, and Fassbender, especially, is wonderful.  It’s not as good a movie as Scott’s “Alien” or James Cameron’s 1986 “Aliens.”  But it doesn’t perversely toy with the audience as did David Fincher’s 1992 “Alien 3” or Jean-Pierre Jeunet’s 1997 “Alien: Resurrection.”  If it’s not the most enlightening prequel, it’s nevertheless a sturdy one.  And if it leads viewers to appreciation of its superior kinsmen, well then that’s a bonus.
    
(120 min., R, multiple locations) Grade: B

‘Monsieur Lazhar’ review: a delicate situation, and the perfect man to handle it

An Oscar-nominated Canadian film is a small triumph of delicacy and restraint.

Monsieur Lazhar.jpgMohamed Fellag in "Monsieur Lazhar"
Discreet, delicate, and cautious, “Monsieur Lazhar” takes you by surprise -- and that goes for both the movie and the man.  

After a ghastly tragedy at a Montreal school, an elegant, soft-spoken and mysterious immigrant named Lazhar (Mohamed Fellag) shows up and offers himself as a replacement teacher.  Though he hasn’t followed the proper protocol, his manner is impeccable, and he’s hired.  In the coming months, he helps his middle-schoolers put the hurtful thing they’ve witnessed behind them.  But there is pain in his past, too, and it gradually emerges, bringing challenges of its own.

Writer-director Philippe Falardeau dances delicately along the razor’s edge of the familiar and the conventional.  But he does so with tact and taste and just the right blend of tension and relief.  He has a wonderfully poised performance from his star and a pair of strong turns from child actors Sophie Nélisse and Émilien Néron.

“Monsieur Lazhar,” which was nominated for an Oscar as best foreign language film, isn’t a world-beater, but it doesn’t need to be to move and impress you.  Sometimes it’s the quiet ones who move us the most with their simplicity and their sincerity -- in life and in art.
    
(94 min., PG-13, Cinema 21) Grade: B-plus

This week’s last-chance movies: ‘This Is Not a Film’ and ‘Polisse’

Catch 'em while you can!

This Is Not a Film.jpgView full sizeJafar Panahi and friend in "This Is Not a Film"
Two films leaving town this week desrving of attention, especially considering the fact that they only just got here:  "This Is Not a Film," a clever and painful documentary by Iranian director Jafar Panahi about life under house arrest and the threat of censorship; and "Polisse," a French drama about the professional and private lives of a squad of child protection officers in a rough part of Paris.  Both worth a look.

‘Zulu’ and the ghosts of actors past

The lives of actors are extended into a kind of immortality so long as their films still exist.

Zulu -- Baker and Caine.jpgView full sizeStanley Baker (l.) and Michael Caine in "Zulu" (1964)
I had occasion recently to watch, for maybe the fourth time in my life, Cy Endfield's "Zulu," a terrific 1964 epic about the Anglo-Zulu war of 1879, particuarly the famed Battle of Rorke's Drift, when a contingent of perhaps 150 English soldiers managed, for 30 hours or so, to hold off perhaps 4000 Zulu warriors who had the previous day wiped out an English column of more than 1200 souls.

The film is notable for a number of things:  a massive scale, with hundreds of extras waging hand-to-hand (or, more precisely, spear-to-bayonnet) combat; the gorgeous Natal setting; the 70mm photography; the bloody-minded storytelling, almost half of which is battle; the John Barry score; the authentic tribal rituals, music and military tactics on display.

But I was particularly taken by the acting.  The film famously provided Michael Caine with his star-making role, some 12 years and 30 parts into his career.  Ironically, the archetypical Cockney Caine was universally noted for the first time in his working life for playing an upperclassman, Lt. Gonville Bromhead, an actual historic personage who was raised in comfort and never saw battle before that fateful day.  To hear Caine speak in the soft, clipped, exact tones of a posh gent is almost comical -- and, indeed, generations of English comedians have joked about how it might have sounded had Caine played the role in his familiar voice:  "'Ere! Quit pointin' those bleedin' spears at me!"

Beside Caine, there are such faces as Stanley Baker (the headline star and producer), Jack Hawkins, Nigel Green, James Booth and, in the only female speaking role, Ulla Jacobsson.  And as I watched them, I realized that they were all -- save Caine -- dead.  I was moved to look up the status of everyone who had a role of any size in the film and found that virtually every single person whom you might be able to identify the film (which, to be fair, is nearly 50 years old) had passed away.  Caine was an exception, as were one or two relatively obscure minor players.  And, bizarrely, one of the few survivors turns out to be someone rather famous, albeit not for movie acting:  Chief Mangosuthu Buthelezi, the South African tribal leader and political figure who plays his own ancestor, the chieftain Cetewayo who waged battle against the English. 

It's a strange thing, if you think about it, to watch a film and feel so much vitality coming from people who are no longer alive.  Their speech and facial expressions and movements and human quirks -- sweating and coughing and such -- are captured forever and, at the same time, lost forever.  Even given the massive scale of "Zulu" and the fact that it was made during the lifetimes of many people who can remember seeing it on first release, the movie like a time capsule of a bygone era -- a living mausoleum.  Before long, more time will have passed since the release of the film than passed between the events it depicts and its making.  And by then surely no one who can be recognized in it will still be alive.

This is a relatively recent phenomenon in human culture:  the ability to capture lifelike representations of people and experience them anew after the subject's demise.  In the contact of a death-soaked movie like "Zulu" this may seem especially poignant, perhaps, but it applies to any old film or TV show or audio recording. Think of someone clearing his or her throat at a concert performance from the 1940s, still audible today decades after the throat-clearer has died.  The scores of extras in "Zulu" are no more identifiable than that anonymous soul.  And yet they, too, feel strangely immortal for having been captured in a motion picture. 

John Keats was onto a similar thought in "Ode on a Grecian Urn," describing figures who would never age or die or, indeed, change their postures.  But those were representations of people who may or may not have once lived, of course, not captured images of people who were demonstrably alive and no longer are. 

Artists live on through art, yes, but so, too, can the people who happen to be present when artists make their work.  It's a scary thought, but comforting, too, and it gives you an appreciation of the miracle of movies that may bring them more vitally alive to you than ever.

Oregon bank robber says an Oscar-winning movie drove him to crime

The documentary "Inside Job," about the causes of the global financial crisis, gives a man the idea to get some justice of his own.

raymondcarlson.jpgRaymond Knudson
Some people are inspired by works of art to change their lives.  You hear of people reading books or seeing movies or visiting great architectural wonders and resolving to be better humans or casting off their everyday lives for something nobler and more selfless.

Raymond Carl Knudson isn't, apparently, one of those types.  

On April 6 of this year, Knudson, having just watched the Oscar-winning 2010 documentary "Inside Job," which points a finger at banks and banking regulators as the culprits behind the 2008 economic crash, walked into a Gresham, Oregon, Bank of America and handed a clerk a note declaring "Give me all the money no marked bills no die pack" (sic).  He was handed $425, stuffed the loot into a paper bag from McDonald's, and left.

To his credit, Knudson, who pled not guilty last week to charges that could land him in prison for 20 years, drove immediately from the bank to the nearest police station and turned himself in -- not three minutes after the heist.  That's where he confessed to having been motivated by watching the movie -- and to his atrocious spelling.

So, in a twisted way, he was inspired to do good after all.  Although you do wonder just what type of movies they make available to prison inmates.....

A noisy ‘Snow White,’ a daring ‘Not a Film,’ a choppy ‘Polisse’ and more

This week's new releases in Portland-area theaters.

Snow White and the Huntsman 2.jpgCharlize Theron in "Snow White and the Huntsman"
The big multiplex opening this weekend is "Snow White and the Huntsman," but we've also got reviews of the daring Iranian documentary "This Is Not a Film," the French police story "Polisse," the French buddy tale "The Intouchables" and the low-fi American indie comedy "The Color Wheel."  And, yes, "Also Opening," "Indie/Arthouse" and "Levy's High Five."

A gorgeous ‘Stallion,’ a lovely ‘Otter,’ a stoned ‘School’ and more

New releases in Portland-area theaters not reviewed in this week's A&E.

The Sand Pebbles.jpg
“The Black Stallion” The gorgeous 1979 Carroll Ballard film about a boy and a horse.  (Hollywood Theatre, Saturday only)  

“Hard to Kill”
Hard not to make fun of Steven Seagal; B-Movie Bingo makes a community event of it.  (Hollywood Theatre, Tuesday only)  

“High School”
Stoner comedy that they forgot to screen in time for print deadlines.  (multiple locations)  

“My American Cousin”
Prize-winning 1985 film by Sandy Wilson about growing up in British Columbia  (Northwest Film Center, Monday only)  

“My Grandmother”
A Russian silent film from 1929 is accompanied by a live score.  (Alberta Rose Theatre, Sunday only)  

“Otter 501”
Documentary about the tumultuous young life of a sea otter pup.  (Fox Tower)  

“The Sand Pebbles”
From 1966, a slice of macho starring Steve McQueen.  (Laurelhurst Theater)  

"Total Recall" Those purveyors of late-night fun, Cort and Fatboy, kick off a Summer of Schwarzenegger with the 1990 sci-fi mind-bender.  (Bagdad Theater, Friday only)

“Valhalla Rising” Before “Drive,” director Nicolas Winding Refn made this nearly-silent sort-of action film about medieval barbarism.  (5th Avenue Cinema, Friday through Sunday only)  



Levy’s High Five, June 1 – 7

The five films playing in Portland-area theaters that I'd soonest see again.

The Deep Blue Sea window.jpgRachel Weisz and Tom Hiddleston in "The Deep Blue Sea"
1) “The Deep Blue Sea” Terence Davies is the finest director you’ve likely never heard of, probably because his best films -- the quiet, devastating semi-autobiographical “Distant Voices, Still Lives” and “The Long Day Closes” -- were made more than two decades ago and he’s only had one film (“The House of Mirth,” an anomaly, really) get even a modest release since.  Here, adapting Terence Rattigan’s 1952 play about a passionate woman (Rachel Weisz), her stodgy husband (Simon Russell Beale) and her unreliable lover (Tom Hiddleston), his immense, inimitable gifts for image-making and, especially, turning film into something like music are in full power.  The effect is sometimes funny, sometimes dramatic, sometimes absolutely ravishing.  Davies is a master, and this is his most accessible film.  See it.  Living Room Theaters

2) "Bernie” 
It’s a term of deep praise to note that writer-director Richard Linklater (deepbreath: “Slacker,” “Dazed and Confused,” “Before Sunrise,” “Before Sunset,” “Waking Life,” “School of Rock”) is capable more than any contemporary American filmmaker of making terrific movies about nearly nothing.  Here, working with a based-on-truth story, he gives us life in the small East Texas town of Carthage, where a beneficent  funeral director (Jack Black) and a mean, wealthy widow (Shirley MacLaine) become unlikely chums and companions...under she mysteriously goes missing.  Linklater weaves the dramatized version of the story with dry and deft interviews of actual Carthaginians (is that what they’re called?) and even several musical numbers in a perfect frappe of a black comedy. multiple locations

3) "Sometimes a Great Notion"
Before the Oscar-winning classic "One Flew Over the Cuckoo's Nest," another film crew came to Oregon to adapt a Ken Kesey novel for the big screen. Paul Newman, Henry Fonda, Richard Jaeckel, Michael Sarrazin and Lee Remick were the stars, and Newman produced and, after a dust-up with the guy he first hired, also wound up directing. The result was something of a misfire, but a spirited one (with a singularly indelible death scene), but the stories about wild times during its making are legendary and a real hoot. Oregon author Matt Love has written a charming book about the shoot, "Sometimes a Great Movie: Paul Newman, Ken Kesey and the Filming of the Great Oregon Novel," and -- schedule permitting -- he'll share some of the amazing tales he's uncovered after each screening. Hollywood Theatre, Friday through Monday only

4) "This Is Not a Film" While under house arrest and facing an insanely harsh sentence for his moviemaking, the Iranian director Jafar Panahi filmed an ordinary day in his life: watching TV, making phone calls, drinking tea, feeding his son's iguana, staring out the window, taking out the trash. He edited the footage and smuggled it out of Iran inside a cake, premiering it at Cannes and reminding the film world of the plight of creative artists under the Islamic regime in his country. It's a movie in which the most ordinary details -- that lizard, the trash run, the celebratory fireworks in the street -- serve as subtle metaphors for Pahani's situation. It all seems offhanded, but it's ingenious and, taken in context, devastating. Hollywood Theatre Theatre

5) “Jiro Dreams of Sushi”  Jiro Ono is the owner of a Tokyo sushi bar with 10 seats and 3 Michelin stars, and David Gelb’s gorgeous and intimate documentary about the man and his obsession gives you an idea of how that can not only be so but be fitting.  Jiro and his two sons (bound to the chef’s apron strings, almost literally) devote untold hours of work and thought to the perfection of sushi-making, turning a sometimes makework form of cookery into indisputably high art.  At 85, the old master still works virtually every day, and the fruit of his focus is in servings of raw fish and warm rice photographed so lusciously that you can almost taste them.  A mouthwatering film:  literally.  Lake, Laurelhurst, Living Room Theaters

‘This Is Not a Film’ review: a sly and daring expose of life under house arrest

An Iranian director subtly -- and bravely -- reveals his fate.

This Is Not a Film.jpgView full sizeJafar Panahi and friend in "This Is Not a Film"
In December 2010, the Iranian director Jafar Panahi (“The White Balloon,” “Offside”) was charged with committing acts of propaganda against his country its security and sentenced to a six-year jail sentence and a 20-year ban from making movies.  

The following spring, while awaiting appeal of his sentence, Panahi spent an ordinary day drinking tea, taking phone calls, watching TV, listening to noises from the street, imagining a new film project, and, subversively, filming it all with the help of documentarian Mojtaba Mirtahmasb. The pair edited the footage, saved it to a flash drive and smuggled it out of Iran inside a cake.  The result, entitled “This Is Not a Film,” premiered at the Cannes Film Festival in May, 2011, and has helped direct the attention of the movie and political worlds to the plight of Iranian filmmakers and to Panahi’s situation in particular.

Predictably, not much happens in “This Is Not a Film”; dude is under house arrest, after all.  But it’s absorbing and clever.  Panahi’s activities -- acting out a potential future film project, letting his son’s pet iguana climb over him, reacting in fear to the noise of fireworks in the streets marking the Persian new year, collecting garbage from the other apartments in the building with the janitor -- all have a metaphorical resonance.  At one point, he replaces the high-quality camera which he and Mirtahmasb have been using with his iPhone, demonstrating how easy it would be for someone with his determination to make a movie and share it with the world, governments, censors and even prisons be damned.

“This Is Not a Film” has no special effects, no soundtrack, no plot to speak of, and yet it is, in many ways, one of the most tense films you can imagine:  the real stakes of real life don’t often have the shape of narrative cinema, after all, and we almost never get to see them played out in real time like this.    

(77 min., unrated, probably PG, Hollywood Theatre) Grade: B-plus


‘Snow White and the Huntsman’ review: a classic tale raucously retold

A truly evil queen and some delightful dwarves balance out a bland heroine.

Snow White and the Huntsman.jpgChris Hemsworth and Kristen Stewart in "Snow White and the Huntsman"
Sometimes wondrous, sometimes overwrought, “Snow White and the Hunstman” is a big, noisy rendering of the fairy tale has been movie fodder since the silent era and particularly since Walt Disney’s 1937 animated masterpiece.  There have been dozens of versions of the story; two already this year, in fact:  the big screen comedy “Mirror, Mirror” and, with liberties, TV’s “Once Upon a Time.”  But this is, in many ways, the largest in scale.

In the hands of first-time director Rupert Sanders and a small clutch of screenwriters, this “Snow White” adheres more or less to the version collected by the Brothers Grimm, with a vain and evil queen, a beautiful and doomed princess, a sympathetic assassin, friendly dwarves, a poisoned apple, a handsome prince and so on.  

In some cases, the film augments the tale’s supernatural elements:  the queen has an array of horrific powers, a dark forest is terrifyingly alive, and a fairyland is similarly bewitched but in a far happier way.  In other ways, it puts a rather more human face on things than we’re used to:  the dwarves (there are eight) are played, deliciously, by such actors as Bob Hoskins, Ian McShane, Nick Frost, Ray Winstone, Toby Jones and Eddie Marsan, none of whom feels especially cartoonish.

The core of the story, as in virtually all versions, lies in the jealousy of the vain queen (Charlize Theron, absolutely chewing up the scenery) toward the youth and beauty of the princess (Kristen Stewart, looking, as ever, more stricken than inspired).  In this go-round, the queen has a brother (Sam Spruell) who does her awful bidding and Snow White has two champions:  a huntsman who refuses to kill her (Chris Hemsworth. in a nicely roguish turn) and a prince (Sam Claflin) who has loved her since their youth.  A bit of “Robin Hood” has been added, with the queen depicted as a  usurper whose cruel dominion over the realm is contested by rebels who require the sort of inspiration that Snow White can provide.  But otherwise, it’s the tale you know.

What’s not familiar is the scale and the texture and all the special effects.  Sanders combines whimsy and horror in ways that might very well spook the younger members of the audience.  Some of it is quite fetching:  the moss-covered beasties who live among the fairies, the queen’s habit of morphing into birds, the soldiers built of shards of black glass.  But some, too, is heavy-handed, particularly when shot through with the bombastic score by James Newton Howard.  And the film feels long, partly because the story is a bit overstuffed, partly because the pace of the telling can get gummy and loose.

Still, if you’ve a mind to see a classic fairy tale rendered as an action movie, and if you want to see a sizeable handful of fine English actors have grand fun playing grizzled dwarves, there are worse ways to spend two hours than in the company of “Snow White and the Huntsman.”    

(125 min., PG-13, multiple locations) Grade: B-minus


‘Polisse’ review: a multi-threaded tale of French police and their woes

The personal and professional lives of a child protection squad make for a volatile, uneven drama.

Polisse.jpgMaiwenn, Jeremie Elkai and Joey Starr (l. to r.) in "Polisse"
“Polisse” is a sprawling, pied, uneven policier about the professional and private lives of the men and women on the Child Protection Unit of the Paris police.  Faced with a daily diet of ghastly crimes, struggling to keep the horrors and stresses of their work out of their homes, they’re constantly on edge, as likely to lose control of themselves with suspects as with each other and with their families and partners.  

Directed and co-written by the actress Maïwenn, the film covers a period of several months during which a photojournalist (Maïwenn herself) is embedded with the squad.  She gets close enough to her subjects to begin an affair with one of them (Joey Starr), a turn of events which is known to all and yet never mentioned as a possible problem with her work.  That’s but one of perhaps two dozen stories the film encompasses, the lot of them knit together very loosely in the manner of an episodic TV series.

Some of the drama, comedy, sexuality, and human tension in “Polisse” (the title is meant to evoke a childlike spelling of the word ‘police’) is genuinely engaging.   And a few of the actors (especially Starr and Karin Viard as a divorcing policewoman) are quite strong. But the shagginess of the thing, the lack of a throughline, and the fleeting nature of the incidents make the whole thing feel arbitrary.  When the chunks are strong, you can imagine whole films being built around them; when they’re not, you wish someone had found the resolve to cut them out.  “Polisse” won a jury prize at the 2011 Cannes Film Festival, but it’s only a patchwork success.
    
(127 min., unrated, surely R, Living Room Theaters) Grade: B

‘The Color Wheel’ review: mumblecore becomes fumblecore in comic road movie

An indie comedy about bickering siblings lack the polish of its low-budget peers.

The Color Wheel.jpgAlex Ross Perry and Carlen Altman in "The Color Wheel"
If you think that the tiny indie movies known as ‘mumblecore’ -- movies like “The Puffy Chair” and “Quiet City” -- are easy to make, watch one that systematically botches the staging and framing and pacing and all the other little aspects of film craft that those movies get right.  Watch “The Color Wheel.”

The fitfully funny comedy follows a quarrelsome brother (director and co-writer Alex Ross Perry) and sister (co-writer Carlen Altman) on a road trip to fetch her belongings from an ex-beau’s apartment.  Along the way, they abuse each other, and everyone they encounter -- stranger or acquaintance -- piles on and adds to the woe.  

They’re an appalling pair, deliberately, but the unsteadiness of the moviemaking means that the line between laughing with the filmmaker/stars and laughing at them is blurred in ways that Perry can’t control.  Maybe the characters will grate on you, maybe you’ll find them quirky fun, but the sheer clumsiness of the enterprise is patent and undeniable.  The best mumblecore movies -- the best low-budget films of any stripe -- make virtues of their restrictions of scale and means.  “The Color Wheel” succumbs to them without the least hint of a fight.  There’s handmade and then there’s amateurish.  This, alas, is the latter.
    
(83 min., unrated, probably R, Northwest Film Center, Friday through Sunday only) Grade: C


Movies: a breezy ‘Men,’ a hard ‘Hit’ and more

This week's new releases in Portland-area theaters.

Men in Black 3 2.jpgJosh Brolin (left) and Will Smith in "Men in Black 3"
Not a heck of a lot new at the multiplex this weekend, but the big picture, "Men in Black 3," a sequel that nobody eagerly awaited, is a nice surprise. We've got only one other in-house review:  "Hit So Hard," a documentary about grunge drummer and addiction survivor Patty Schemel.

Other than that, the old standbys:  "Also Opening," "Indie/Arthouse" and "Levy's High Five."

‘Angry Men,’ ‘Girl Power,’ Jon Jost and more

New releases in Portland-area theaters not reviewed in this week's A&E.

12 Angry Men.jpg
“12 Angry Men” Sidney Lumet’s classic 1957 courtroom (well, jury room) drama, with Henry Fonda, Lee J. Cobb and 10 other fired up actors.  (Laurelhurst)  

“Ambrosia” Free premiere of a 39 minute sci-fi action film made in Oregon.  (Living Room Theaters Thursday only)  

“Chinese Take-Away”
Story of an unlikely friendship between a Chinese emigrant and a Buenos Aires shopkeeper.   (Living Room Theaters)  

“Drone: Minimalism and Meditation”
A selection of avant garde and experimental short films.  (Hollywood Theatre, Monday only)  

“Girl Power”
A compilation of vintage Saturday morning cartoons originally geared toward young girls.  (Hollywood Theatre, Wednesday only)  

"Jon Jost at the Northwest Film Center”
The great independent filmmaker (and sometime resident of Oregon) presents two films -- the 1977 classic “Last Chants for a Slow Dance (Dead End)” and the 2008 “Parable” -- as the kickoff to several days of screenings and workshops.  (Northwest Film Center, Thursday)  

“Michael Crichton Double Feature”
Portland State professor Dustin Morrow presents and discusses “Looker” (1981) and “Runaway” (1984), both of which the famed sci-fi author wrote and directed.  (Hollywood Theatre, Thursday only)  

“Mighty Fine” Chazz Palminteri and Andie MacDowell in the story of a family that moves from New York to New Orleans.  (Fox Tower)  

“Point Break” The great surfing bank robbers film (shot partly in Oregon) presented in Hecklevision, which allows you to text your jokes and jabs to the screen.  (Hollywood Theatre, Friday only)  

“Saving Private Ryan” Steven Spielberg’s monumental 1998 World War II film.  (Hollywood Theatre, Saturday and Sunday only)  

“Squirm” Killer worms!  1976 cult fare.  (Hollywood Theatre, Tuesday only)  

“Ten” Abbas Kiarostami’s 2002 meditation on womanhood in modern Iran, built around ten conversations between female passengers in a moving car.  (5th Avenue Cinema, Friday through Sunday only)  

“Trannysnatchers!” Avant-garde horror with demon worship, gender-play and whatnot, all of it made in Portland.  (Clinton Street Theater, Friday only)  



Levy’s High Five, May 25 – 31

The five films playing in Portland-area theaters that I'd soonest see again.

Sometimes a Great Notion poster.jpgView full size
1) “The Deep Blue Sea” Terence Davies is the finest director you’ve likely never heard of, probably because his best films -- the quiet, devastating semi-autobiographical “Distant Voices, Still Lives” and “The Long Day Closes” -- were made more than two decades ago and he’s only had one film (“The House of Mirth,” an anomaly, really) get even a modest release since.  Here, adapting Terence Rattigan’s 1952 play about a passionate woman (Rachel Weisz), her stodgy husband (Simon Russell Beale) and her unreliable lover (Tom Hiddleston), his immense, inimitable gifts for image-making and, especially, turning film into something like music are in full power.  The effect is sometimes funny, sometimes dramatic, sometimes absolutely ravishing.  Davies is a master, and this is his most accessible film.  See it.  Living Room Theaters

2) "Bernie” 
It’s a term of deep praise to note that writer-director Richard Linklater (deepbreath: “Slacker,” “Dazed and Confused,” “Before Sunrise,” “Before Sunset,” “Waking Life,” “School of Rock”) is capable more than any contemporary American filmmaker of making terrific movies about nearly nothing.  Here, working with a based-on-truth story, he gives us life in the small East Texas town of Carthage, where a beneficent  funeral director (Jack Black) and a mean, wealthy widow (Shirley MacLaine) become unlikely chums and companions...under she mysteriously goes missing.  Linklater weaves the dramatized version of the story with dry and deft interviews of actual Carthaginians (is that what they’re called?) and even several musical numbers in a perfect frappe of a black comedy. Fox Tower

3) "Sometimes a Great Notion"
Before the Oscar-winning classic "One Flew Over the Cuckoo's Nest," another film crew came to Oregon to adapt a Ken Kesey novel for the big screen. Paul Newman, Henry Fonda, Richard Jaeckel, Michael Sarrazin and Lee Remick were the stars, and Newman produced and, after a dust-up with the guy he first hired, also wound up directing. The result was something of a misfire, but a spirited one (with a singularly indelible death scene), but the stories about wild times during its making are legendary and a real hoot. Oregon author Matt Love has written a charming book about the shoot, "Sometimes a Great Movie: Paul Newman, Ken Kesey and the Filming of the Great Oregon Novel," and he'll be sharing some of the amazing tales he's uncovered after a screening of the film at the Hollywood Theatre on Saturday night at 7 p.m.

4) “Jiro Dreams of Sushi”  Jiro Ono is the owner of a Tokyo sushi bar with 10 seats and 3 Michelin stars, and David Gelb’s gorgeous and intimate documentary about the man and his obsession gives you an idea of how that can not only be so but be fitting.  Jiro and his two sons (bound to the chef’s apron strings, almost literally) devote untold hours of work and thought to the perfection of sushi-making, turning a sometimes makework form of cookery into indisputably high art.  At 85, the old master still works virtually every day, and the fruit of his focus is in servings of raw fish and warm rice photographed so lusciously that you can almost taste them.  A mouthwatering film:  literally.  Lake, Laurelhurst, Living Room Theaters

5) "The Cabin in the Woods" A slasher movie inside a horror movie of another sort inside yet another narrative, one which looks out and the audience and asks why they (that is, we) keep lining up to watch other people get slaughtered.  A group of college students head to the titular location for a weekend’s bacchanal, only to be preyed upon and killed in grisly fashion, as per the familiar genre rules.  At the same time, a group of bureaucrats/scientists in a control room manipulate the victims and their killers in the service of...something.  Director Drew Goddard and his co-writer Joss Whedon have fun in the vein of “Scream” and in the vein of “The Truman Show” -- and they come up with an intriguing theory to explain the allure of horror films as well as a (literal) hell of a climax. Bloody, funny, clever. multiple locations

‘Men in Black 3’ review: an unsought sequel affords surprising delights

Josh Brolin adds a dash of droll magic to a time travel subplot and lifts a film above its expected quality.
Men in Black 3.jpgJosh Brolin (l.) and Will Smith in "Men in Black 3"
It’s rarely worth assessing a movie by considering what it might have been, but in the case of the third film in a series that has been dormant for a decade after a brilliant launch and a catastrophic follow-up, it’s almost unavoidable. “Men in Black 3” reunites stars Tommy Lee Jones and Will Smith with director Barry Sonnenfeld in a sequel that almost nobody but corporate moneymen was itching for.  The Lowell Cunningham comic book series that inspired the previous two films about secret government agents keeping a lid on the activities of alien creatures who live on Earth hasn’t been active for almost 20 years, there haven’t been new episodes of the animated version of the material since 2001, and the 2002 “Men in Black II” seemed to have effectively killed off the franchise, possessing none of the verve or charm of its 1997 predecessor. Factor in Sonenfeld’s absence from the big screen since the horrific 'comedy' “RV” (2006) and Smith’s steadily diminishing boxoffice stature, and it’s no wonder that expectations for a new “MIB” should be at rock bottom, a premonition only bolstered by word that the new film would have a plot involving time travel -- frequently a mark of creative desperation in these sorts of things. How pleasant, then, to find that “Men in Black 3” is a fairly brisk, sometimes funny, periodically inspired film.  Yes, it’s a special-effects sequel, with all the noise and excess that implies.  But there’s more freshness to it than you would expect, and there’s a performance in the center that honestly makes it all worthwhile. That would be the work of Josh Brolin, who is simply astounding as the 1969 version of Agent K (Jones in the present tense), whom Agent J (Smith) must go back in time to rescue from  a time-traveling bad guy (the blustery Jemaine Clement) who seeks to kill the young K both for personal reasons and to facilitate an invasion of the Earth by his species. Brolin does an uncanny Jones -- the still, probing eyes; the stiff, hunched shoulders; the brow and mouth pursed in doubt; the deadpan voice that somehow mixes a drawl with staccato.  It’s an impression, yes, but also an interpretation:  Brolin’s K hasn’t hardened into the Jones incarnation yet; his youthful verve and openness continually surprise J.  And the wit comes as much from Brolin’s timing and control as from the sheer fun he obviously has playing the part.  It’s not the sort of thing that will be remembered come awards time, but it’s one of the most enjoyable performances you’ll see in a movie this year. Actually, “MIB 3” has a couple other terrific acting turns --  Michael Stuhlbarg (“A Serious Man,” “Hugo”) plays a sweetly prescient alien and Bill Hader, joins the ranks of, among others, David Bowie, Crispin Glover and Jared Harris in creating a droll and sharp Andy Warhol for the screen. The latter appears as part of the time-travel story (turns out, per the script, that Andy was an MIB agent and his scenesters were mostly aliens), as are the 1969 Mets and the Apollo 11 space mission.  These are all woven cleverly into a script credited to Etan Cohen (with, it seems, a small team providing assists) that manages to accrue depth and layers as it moves forward toward an action finale (something which “The Avengers,” which is a better movie in many ways, did not).  And Sonnenfeld, who has sometimes been guilty of gratuitous garishness, keeps the gimmickry minimal, employing flourishes only occasionally and using 3-D almost naturalistically -- or as naturalistically as can be hoped for in a movie in which the villain has a deadly dart-spewing spider-thingy living inside of his palm. So did the world need another “Men in Black”?  No, not at all.  But if there had to be one, then it’s certainly a relief that it should be one as agreeable as this. (105 min., PG-13, multiple locations) Grade: B

‘Hit So Hard’ review: a grunge musician’s real-life survival story

She drummed for Hole and babysat for Kurt and Courtney -- and lived through hell and tells the tale.

Hit So Hard.jpgDrummer Patty Schemel, star and subject of "Hit So Hard"
In many ways, “Hit So Hard,” the story of Patty Schemel is familiar to the point of being clichéd:  a ‘90s Seattle rocker spirals into alcoholism and drug abuse until she winds up homeless, then slowly achieves sobriety and a new life.

But Schemel ran in heady circles:  she was chummy with Kurt Cobain and his missus, Courtney Love, and she played drums in Love’s band Hole at that group’s height. So her tale of downfall and survival has absorbing echoes and connections.  What’s more, Schemel was an ardent videographer who, somehow, held onto her tapes, which means that her personal archives provide a truly rare view into the musical world known as grunge at something like its media-hyped height.

Director P. David Ebersole combines frank interviews with Schemel, her family and friends, and her bandmates to assemble this portrait of a talented woman dealing with the weighty pressures of the rock world, the drug world, and her own sexuality.  But it’s a long film for such a familiar story.  And, despite Schemel’s appealing candor, the highlight of the film is, by far, those precious images of Cobain horsing around with his baby daughter, helping Love write songs, and behaving like an ordinary fellow:  peace, love and normalcy in the midst of madness and pain.
    
(103 min., unrated, probably R, Hollywood Theatre) Grade: B-minus

This week’s last-chance movies: ‘We Have a Pope,’ ‘Mansome,’ ‘Sound of My Voice’ and more

Catch 'em while you can!

We Have A Pope.jpgMichel Piccoli in "We Have a Pope"
The busy spring cleaning of local moviehouses continues this week, with a number of notable titles on their way out of Portland-area theaters after Thursday's final shows.  These include the Italian papal comedy "We Have a Pope"; Morgan Spurlock's male grooming documentary "Mansome"; the tale of a creepy religious cult "Sound of My Voice"; and two maligned film: the raunch-comedy sequel "American Reunion" and the shaggy dog (literally, in this case) marital comedy/drama "Darling Companion."

Washington moviegoer charged with slapping someone who wouldn’t stop talking

We've all wanted to do it. One dude did, and now probably wishes he hadn't.

theater talker.jpg
We've all wanted to do it, and now we know why we shouldn't.  A Seattle-area man has been charged with felony assault for slapping the face of a fellow moviegoer who wouldn't stop talking or throwing popcorn at others during an April film screening. As irresistable as it may seem to champion the slapper at the expense of the boor, it turns out that the person who was ruining the movie for others was a 10 year-old boy who lost a tooth in the incident and his assailant was a 21 year old man. Which kind of puts a different spin on things. 

I have no doubt the little so-and-so needed to be tossed from the theater.  But as a parent (whose kids were taught IMPECCABLE theater manners), I can't condone this particular outcome.  I can get behind the corporal punishment of in-theater talkers, texters and food-throwers, no question.  But when minor children are involved, I think that the parents should be summoned and that the offended party should be allowed one free shot at each of 'em, with the tacit understanding that mom and dad will determine appropriate justice for their little darlings when they get 'em home.

Thanks to Movieline for posting the story, which leaves out one vital detail:  what film were they watching?  Given the date of the incident -- April 11 -- and the fact that 3-D glasses and a 10-year-old were involved, I'm guessing "The Hunger Games".....which is, of course, about violence among children. 

You. Cannot. Make. This. Stuff. Up.

Woman making a film in Oregon or SW Washington? You’ve got a Faerie Godmother with funding money!

Applications for a $3000 grant are now open.

Faerie Godmother2.jpg
Filmmaking is an expensive enterprise, which makes it hard. And indepedent filmmaking in a town like Portland is even harder. And it almost goes without saying, sadly, that it can be harder still for women filmmakers in Portland or hereabouts to raise money for their projects than it is for their male peers.

Heartening to learn, then, of a potentially game-changing grant being offered by Women in Film, Portland Oregon, an organization dedicated to supporting and promoting the work of women filmmakers in Oregon and Clark County, Washington.

In conjunction with the Faerie Godmother Fund of the Oregon Community Foundation, WIF-PDX is accepting applications for its 2012 Faerie Godmother grant, a package of services, goodies and support topped by a $3000 cash grant.  The completed application, which is available online, is due on July 31.  Bon chance!


Movies: a noisy ‘Battleship,’ a sweetly dark ‘Bernie,’ a dim ‘Dictator’ and more

This week's new releases in Portland-area theaters.

BAttleship.jpg"Battleship"
Lots -- and I mean lots -- of films and film events for this springlike weekend.  At the multiplexes, we've got the boats-vs-aliens film "Battleship," the Sacha Baron Cohen comedy "The Dictator,"  and the star-packed mom-and-dad-com "What to Expect When You're Expecting."  In the arthouses we have the dark marital comedy "Darling Companion," the dark true crime comedy "Bernie," the spree-killer satire "God Bless America," and the documentary "Mansome" about male grooming.  We've also got a roundup of three local film events well worth catching:  the annual Portland Queer Documentary Festival, the Great Northwest Film Tour of the documentary "Adventures in Plymptoons" about cartoonist Bill Plympton, and the brand new Experimental Film Festival Portland.  Add a jam-packed "Also Opening" and "Indie/Arthouse" and "Levy's High Five" and your cinematic cups run way the heck over.

Tugg combines crowdfunding and video-on-demand to let moviegoers program the theater

A new online system allows film lovers and local communities to bring special film events to theaters near them.

One Day on Earth.jpgfrom "One Day on Earth"
Wouldn’t it be nice if you could reconfigure the moviegoing experience, if you go out to see a film and feel relatively confident that the people you’d be seeing it with would be were sufficiently invested in the show that they’d treat it -- and you -- with the appropriate attention, decorum and courtesy?

Heaven knows the modern multiplex experience -- a torture of in-theater advertising, unrepentant texting and telephoning, noisy snacking, and various other indicators of impending cultural collapse -- isn’t like that any more.  And that’s without even factoring in the quality and monotony of the films that you can choose from, which, as we all know, are rarely as good as the best of what’s on TV on a given night.

But now there may be another way to go to the movies, to see films with a like-spirited community, to select what you’d like to see and when you’d like to see it, and to be joined in the screening by others, known to you or not, who share a similar passion for the same sort of thing, no matter how unusual or specialized it may be.

That’s part of the idea behind TUGG,  a new service that combines crowd-funding, like Kickstarter, with the build-your-own-entertainment model of video-on-demand -- but in a movie theater. With relationships with movie theaters all across the country and a library of more than 400 feature-length films, including new independent films, classic Hollywood and foreign movies, dramas, documentaries, and genre pictures, Tugg allows film lovers or people with a common interest in a particular subject matter to create a screening at a local theater at a time and date of their choosing.  

The system was developed over the past two years in Austin, Texas, and it has been out in the world in beta format since the South by Southwest festival in March.

In mere months, Tugg has been used across the US to spread new independent films outside of the traditional channels of distribution, to showcase small films that can’t necessarily sustain an weeklong run at a theater in certain communities, and to combine social issue campaigns with nights out at the movies.  In April, an Earth Day screening of the documentary "One Day on Earth" resulted in 1800 tickets being sold through TUGG to screenings in 11 different cities; one Los Angeles theater alone had 400 attendees.

It’s a truly simple system:  You create an account on Tugg and connect it to your social networks (Facebook, Google+, or Twitter), select a movie from Tugg’s library, choose a date and time, and select from among the theaters in your area that work with Tugg (the list includes many Regal and Cinemark theaters as well as local houses such as Portland’s Living Room Theaters).  An invitation goes out to the people on your network, who can then reserve a seat for the event with a credit card.  When a minimum percentage of the seats has been reserved, the screening is guaranteed as a go and credit cards are charged for the tickets.  And then you and your friends (and friends of your friends) attend just as you would any ordinary movie screening -- with the novelty that everyone in the theater is connected by the fibers of social networks as well as by the desire to see this film at this particular time with this particular group.

ReGeneration.pngfrom "#ReGeneration"
Portland has already seen one successful Tugg event -- a screening of “#ReGENERATION,” a documentary about the contemporary wave of social activism among young people, held at the Living Room Theaters earlier this month.  Chris Baker, a Lake Oswego native who co-produced the film, says that he and his colleagues immediately recognized that Tugg was particularly well suited to a film like theirs about new ways of imagining society.

“We heard about Tugg through our distributors,” Baker explains, “and we decided it was a great way to promote our project.”  In Portland, Baker and company had a triple-threat of promotional tools:  a strong interest in the subject matter of the film, a community which is already very supportive of independent movies, and Baker’s own web of personal connections.  “Being born and raised in Portland,” he says, “I reached out to several people within the community to help spread the word.  And of course I had some family and friends take part in the screening.”

“#ReGENRATION” is coming back for another bite of the apple in Portland, on June 6 (details). But another screening, of the documentary “El Bulli,” about the famed chef Ferran Adrià, was due to be held at the Living Room but failed to garner enough ticket reservations in time for the film to be shown.

Tugg co-founder Nicolas Gonda explains that, so far, the system works just as well for classic or narrative films as for new and issue-driven movies.  “The films we’ve shown have really run the gamut, from classics like ‘Dr. Strangelove’ and ‘The Good, The Bad & The Ugly,’ to recent releases like ‘The Tree of Life’ and cult films like ‘The FP.’”

According to Gonda, “It may not make sense for a theater to program a weeklong run of a small independent film with no marketing budget attached.  But in almost every community there is potential for like-minded individuals or organizations to facilitate a one-off screening through Tugg.”

The films are principally shown in the digital DCP format, but Tugg can also work with 35mm film prints and other formats.  Currently, Tugg is in negotiations with major distributors to get even more films -- both back-catalogue and current releases -- into its system, and is seeking more theatrical venues in more communities as potential host sites.

“People nationwide are using Tugg to bring their communities together,” says Gonda. “We’ve received feedback from Tugg users who say it’s particularly rewarding to share a film with a theater packed full of your friends, family and fellow film fans.”


The dazzling ‘Cunningham,’ the lost ‘Jobs,’ Chilean zombies and more

New releases in Portland-area theaters not reviewed in this week's A&E.

Bill Cunningham New York.jpg"Bill Cunningham: New York"
“Bill Cunningham: New York” Dazzling and delightful Oscar-nominated documentary about a New York Times photojournalist and unlikely pillar of the fashion world and high society.  (5th Avenue Cinema, Friday through Sunday only)  

“Daughters of the Dust”
Director Julie Dash will be present for a screening of her 1992 feature about life in the Gullah regions of Georgia and South Carolina.  (Northwest Film Center, Monday only)  

“H. P. Lovecraft double feature” The silent short feature “The Call of Cthulhu” and the full-length “The Whisperer in Darkness” help keep Portland’s love of the cult writer alive.  (Clinton Street Theater, Friday to Sunday only)  

“The Killing” Stanley Kubrick’s great, tense, doomy 1956 heist movie. A perfect film noir.  (Laurelhurst Theater)  

“NW Animation Festival” A selection of short films from around the world.  (Hollywood Theatre, Friday to Sunday only)  

“Payback” Documentary, based on a Margaret Atwood book, about the culture of debt and bankruptcy.  (Living Room Theaters)  

“The Perfect Family”
Kathleen Turner in a dark comedy about a mom trying to reshape her family into an ideal.  (Living Room Theaters)  

“Steve Jobs: The Lost Interview” Feature-length chat with the computer guru from the days when he was running the doomed company NeXT.  (Hollywood Theatre)  

“Willy Wonka and the Chocolate Factory” Before the internet meme featuring a sarcastic Gene Wilder, before Johnny Depp and Tim Burton, um, revisited it, the original 1971 adaptation of Roald Dahl’s book became a classic for good reason.  Presented in a sing-along version. (Hollywood Theatre, Saturday only)  

“Zombie Dawn”
Low-budget zombie movie from Chile. And if that isn’t intriguing enough, you get a free comic book with your ticket.  (Kiggins Theatre)


Levy’s High Five, May 18 – 24

The five films playing in Portland-area theaters that I'd soonest see again.

Jiro Dreams of Sushi.jpg"Jiro Dreams of Sushi"
1) “The Deep Blue Sea” Terence Davies is the finest director you’ve likely never heard of, probably because his best films -- the quiet, devastating semi-autobiographical “Distant Voices, Still Lives” and “The Long Day Closes” -- were made more than two decades ago and he’s only had one film (“The House of Mirth,” an anomaly, really) get even a modest release since.  Here, adapting Terence Rattigan’s 1952 play about a passionate woman (Rachel Weisz), her stodgy husband (Simon Russell Beale) and her unreliable lover (Tom Hiddleston), his immense, inimitable gifts for image-making and, especially, turning film into something like music are in full power.  The effect is sometimes funny, sometimes dramatic, sometimes absolutely ravishing.  Davies is a master, and this is his most accessible film.  See it.  Living Room Theaters

2) “The Raid: Redemption” An ultra-violent, wildly kinetic martial arts film that virtually strips itself of the narrative conventions of plot, theme and characterization to create a white-knuckle thrill ride.  Writer-director Gareth Evans, a Welshman living in Indonesia, takes the simplest story -- a squad of cops attacks a Jakarta apartment house where a crime lord is ensconced -- and uses it to string together wild action sequences that leave the viewer as exhausted as if he or she had fought them.  His stars -- Iko Uwais as a baby-faced cop and Yayan Ruhian (who also choreographed) as a stringy-haired bad guy -- are dazzling.  The whole thing is pure cinema: the human body rendered as a machine capable of mayhem, daring, and, yes, grace. Academy, Laurelhurst

3) “The Portland Queer Documentary Festival” Now marking its sixth year, QDocs, as it’s known, continues on as the only festival in the hemisphere dedicated to non-fictional films dealing with LGBT issues (there’s also one in Australia, which is rather a schlep...).  This year’s crop is predictably diverse, with several films on contemporary political issues such as marriage rights (“Question One”) and gay clergy (“Love Free or Die”) and a number of portraits of artists who have carved out space in fields not immediately associated with gay and lesbian performers such as country music (“Chely Wright: Wish Me Away”) and comic books (“King of Comics”). A particular highlight is “Vito,” a compelling, smart and moving portrait of the late film historian and activist Vito Russo. Many of the films will be presented by their directors or subjects; all screenings will be held at McMenamins Kennedy School. Full ticket and schedule information

4) “Bernie”  It’s a term of deep praise to note that writer-director Richard Linklater (deepbreath: “Slacker,” “Dazed and Confused,” “Before Sunrise,” “Before Sunset,” “Waking Life,” “School of Rock”) is capable more than any contemporary American filmmaker of making terrific movies about nearly nothing.  Here, working with a based-on-truth story, he gives us life in the small East Texas town of Carthage, where a beneficent  funeral director (Jack Black) and a mean, wealthy widow (Shirley MacLaine) become unlikely chums and companions...under she mysteriously goes missing.  Linklater weaves the dramatized version of the story with dry and deft interviews of actual Carthaginians (is that what they’re called?) and even several musical numbers in a perfect frappe of a black comedy. Fox Tower

5) “Jiro Dreams of Sushi”  Jiro Ono is the owner of a Tokyo sushi bar with 10 seats and 3 Michelin stars, and David Gelb’s gorgeous and intimate documentary about the man and his obsession gives you an idea of how that can not only be so but be fitting.  Jiro and his two sons (bound to the chef’s apron strings, almost literally) devote untold hours of work and thought to the perfection of sushi-making, turning a sometimes makework form of cookery into indisputably high art.  At 85, the old master still works virtually every day, and the fruit of his focus is in servings of raw fish and warm rice photographed so lusciously that you can almost taste them.  A mouthwatering film:  literally.  Laurelhurst, Living Room Theaters




‘Bernie’ review: Richard Linklater’s light and lighthearted Texas true-crime story

The unlikely comic trio of Shirley MacLaine, Jack Black and Matthew McConaughey brings a sordid little tale to sparkling life.

Bernie.jpgShirley MacLaine and Jack Black in "Bernie"
Based on a true story, filled with real people, and deftly mixing comedy, pathos and the macabre, “Bernie” is a delightful and compact confection from director Richard Linklater (“Dazed and Confused,” “Waking Life,” “Before Sunrise,” “Before Sunset”), who’s just as good with a pair of unlikely costars as he is with the ordinary Texas townsfolk who populate the film.

The film tells the story of Bernie Tiede, an East Texas mortician beloved in his community for his charitable works, his cheerful spirit and his attentiveness to widows.  After the death of one of the town’s richest men, Bernie befriended the fellow’s irascible -- nay, mean -- wife, Marjorie, and became her unlikely best friend, to the point that the suspicious and sharp old gal gave him control of her fortune.  It was eyebrow-raising stuff, and then Marjorie stopped being seen around town and some folks got more suspicious than ever.

Working from a script he co-wrote with Skip Hollandsworth, who chronicled the story in a magazine article, Linklater intermixes the recollections of actual denizens of Carthage, Texas, where it all took place, with the dramatic telling of the story as acted by Jack Black as Bernie, Shirley MacLaine as Marjorie and Matthew McConaughey as a district attorney.

The three are marvelous.  Black espouses a mincy fussiness, uses his powerful singing voice beautifully, and stretches more than he ever has, even in Linklater’s “School of Rock.”  MacLaine, 57 years into a movie career that began when she was 21, plays her wicked role with just the right blend of comedy and villainy.  And McConaughey (whom Linklater discovered, recall) manages subtly to expose the dumb core of his prima donna prosecutor.

“Bernie” is slight but terrific.  The intertwining of the sharply tuned actors and the guileless (and often hilarious) townspeople is seamless, the tale is sometimes despairing but never heavy, and the blend of drama, comedy and music is brisk and fresh.  Linklater has many estimable qualities, but with this film he reminds us that he can craft a cinematic soufflé better than just about any director in America.
    
(104 min., PG-13, Fox Tower) Grade: A-minus


QDocs, "Plymptoons" and EFF Portland make for a busy week of film festivals

A diversity of film events turn up at once, making for a rich and hectic week.

Vito.jpgVito Russo from "Vito" at QDocs
The weather may be hollering, ‘get outside,’ but Portland filmlovers have ample reason to head for the great indoors in the coming week.

Two festivals of note and a barnstorming film tour highlight a truly eclectic crop of movie choices, and we’ve got the skinny on all three.


QDoc
(by Grant Butler)

Portland’s Queer Documentary Film Festival, kicked off at McMenamins Kennedy School on Thursday night with “Wish Me Away,” about country singer Chely Wright, followed by a big party at downtown’s new restaurant Corazon. But the festival kicks into high gear today, with screenings of 11 additional films being held Friday through Sunday. Here are five of the standouts:

“King of Comics”
  German cartoonist Ralf König has been shocking and entertaining readers since the 1980s with his graphic and often hilarious comic books “Gay Comix.” His drawing style is reminiscent of R. Crumb, with a touch of delicious crude humor. This portrait of the artist shows him giving a hilarious reading of some of his best stories, intermixed with a melancholy look at his life, which has involved broken relationships and loneliness, showing there can be tears behind the laughter. This is a 21-and-over screening. (9 p.m. Friday; 80 minutes; Germany) B+

“Question One” 
President Obama’s endorsement of same-sex marriage earlier this month is just the latest chapter in the ongoing debate over marriage equality, and this documentary offers an even-handed look at the emotions on both sides of the issue. In 2009, Maine’s state legislature approved same-sex marriage, prompting a constitutional ballot battle that ended with voters overturning the right to marry by a significant margin. Filmmakers Joe Fox and James Nubile follow both gay activists fighting the ballot measure, as well as Christian supporters and ministers who believe that marriage can only be defined as between a man and a woman. The film captures the complex thoughts and concerns of people on both sides of the referendum — no easy task. The filmmakers and one of their subjects, Darlene Huntress, will be in attendance. (6 p.m. Saturday; 113 minutes; United States) A

“This Is What Love In Action Looks Like” Gay-conversion therapy is one of the most-controversial practices by some churches today. It prompted a national firestorm in 2005 when a Tennessee program called Love In Action became the focal-point of protests after a 16-year-old gay boy was forced into the program by his parents against his wishes. Memphis bloggers and activists began protesting outside the treatment facility, eventually getting the attention of national TV news, leading to the eventual dissolution of the program. This film asks questions about the intersection of Christian faith and free will, and whether any gay-conversion programs have any merit — not just those directed at teens. Director Morgan Jon Fox will be in attendance. (11:30 a.m. Sunday; 70 minutes; United States) B+

“Love Free or Die” 
Gene Robinson made international news when he was made a bishop of the Episcopal Church in New Hampshire in 2003, prompting the Anglican Church to ban him from its 10-year conference of bishops five years later. But Robinson went to England anyway, shadowing the conference with speeches at a handful of churches that dared to invite him to preach. The portrait shows how Robinson’s efforts to get the Episcopal Church to recognize same-sex marriage and the role that gays and lesbians have in the clergy is fleshed out with snapshots of his homelife, including his own marriage to his longtime partner when it became legal in New Hampshire. Director Macky Alston will be in attendance. (4 p.m. Sunday; 82 minutes; United States) A-

“Vito”  Gay film historian Vito Russo helped show the dismal way that Hollywood has treated gays and lesbians on film with his landmark book “The Celluloid Closet” and his live presentations in the 1980s that showed hundreds of examples of homophobia on film. But Russo was more than a scholar, becoming an outspoken activist in the early years of the AIDS crisis, before the disease cut his own life short. Interviews with family, friends, and archival interviews with Russo create a full portrait of someone who loved cinema, and wanted to see gays and lesbians depicted fairly in the medium. Director Jeffrey Schwarz will be in attendance. (7 p.m. Sunday; 93 minutes; United States) A

Full ticket and program information


Adventures in Plymptoons.jpgView full size
The Great Northwest Film Tour
(by Shawn Levy)

The Oscar-nominated cartoonist Bill Plympton is, of course, a native son of Oregon, so it’s only right and proper that he bring a film about his life and art to his home state.  And by that you can take it to mean the whole state -- or as much of it as hosts a McMenamins brewpub movie theater.

“Adventures in Plymptoons,”
directed by Alexia Anastasio and featuring interviews with a great many of Plympton’s peers and chums, both local and national, will play at no fewer eight of the McMenamin brothers’ theaters in a span of nine days.  And Plympton and Anastasio will be on hand throughout the event to discuss their project.  

The tour, which has been mounted by the Oregon Media Production Association trade group, begins on Saturday at the Mission Theater in Portland, followed by screenings at the Old St. Francis School in Bend (Sunday), the Kennedy School in Portland (Tuesday), the Grand Lodge in Forest Grove (Wednesday), the Olympic Club in Centralia, Washington (Thursday), the Edgefield Powerstation in Troutdale (Friday, May 25), the Bagdad Theater in Portland (Saturday, May 26) and the St. Johns Theater in Portland (Sunday, May 27).

Saturday’s event is being billed as an “Industry Premiere,” with many of Portland’s famed animators and filmmakers expected to attend.  And the next-to-last show, on May 26, is a gala fundraiser for the OMPA, with musical performer Weird Al Yankovic  adding to the festivities.

Full ticket and schedule information


EFF Portland.jpgView full size
Experimental Film Festival Portland
(by Shawn Levy)

It’s been a few years since Peripheral Produce has held one of its seminal PDX Film Fests, and that hasn’t been because there’s been a lack of new experimental film projects created in this most creative of towns.  Rather, PDX Fest honcho Matt McCormick has been working busily films of his own and simply hasn’t been up to the heavy task.

With the thought that it would take a whole collective of people to replace McCormick and his team, the filmmakers in the group called Grand Detour have combined their talents to mount a new festival dedicated to film on the margins.  Experimental Film Festival Portland (or, cheekily, EFF Portland) will run from Tuesday, May 22 through Sunday, May 27, with premieres of new works from, among many others, Portlanders Vanessa Renwick, Pam Minty, and Karl Lind.

The several programs, comprising dozens of films in all, bear names like “Eruption,” “Mycology” and “Magma Flow” and screen at various locations around town.  It all climaxes on May 27 with the Dill Pickle Club history group hosting a symposium on experimental film at the Clinton Street Theater,featuring new work from McCormick, Brooke Jacobson and Jim Blashfield, and, later in the day, the premiere of Renwick’s new film, “Charismatic Megafauna,” presented at the Hollywood Theatre with live musical score.

Full ticket and schedule information


‘Mansome’ review: a lighthearted look at the culture of male grooming

The director of "Super Size Me" takes a look at men (like himself) who take care with their appearance.

Mansome.jpgJason Bateman (l.) and Morgan Spurlock in "Mansome"
In “Mansome,” the intrepid, self-revealing documentarian Morgan Spurlock turns his whimsical eye toward contemporary male attitudes about personal grooming.  With the aide of celebrity talking heads (including Will Arnett and Jason Bateman, who co-produced and carry on a film-long conversation during a visit to a day spa), and specialists in such fields as beard-growing, hairpiece manufacture, and body-shaving, it’s a breezy, fleeting film that offers more ‘who knew’ moments than epiphanies.

Spurlock, who risked his health with a fast-food diet in “Super Size Me” and sports a signature handlebar moustache, reveals the stories of a champion beardsman whose life is built around healthy beard growth, a New York businessman who obsessively tweaks his appearance with cosmetic treatments, a professional wrestler who shaves his impressively hairy body every working day, and the manufacturer of a deodorant designed for men to wear in, um, their pants.  These are peppered with cameos by a clutch of famous faces, ranging from Paul Rudd and John Waters, who raise sharp points, to Zach Galifianakis, who adds randomness, to Adam Carolla, whose patter any 12-year-old could predict and write without seeing the film at all.

As I say, there’s not a lot of meat on the bones of “Mansome” -- certainly not compared to, say, the steroid expose “Bigger, Stronger, Faster*.”  Nor is there the sort of zest that infused Spurlock’s last film, “Comic-con Episode IV: A Fan’s Hope”  (which appeared in April, bless his busy heart).  But there are a few chuckles, a few head-scratches and, thankfully, very few missteps. It charms.

(82 min., PG-13, Fox Tower) Grade: B


‘Mansome’ review: a lighthearted look at the culture of male grooming

The director of "Super Size Me" takes a look at men (like himself) who take care with their appearance.

Mansome.jpgJason Bateman (l.) and Morgan Spurlock in "Mansome"
In “Mansome,” the intrepid, self-revealing documentarian Morgan Spurlock turns his whimsical eye toward contemporary male attitudes about personal grooming.  With the aide of celebrity talking heads (including Will Arnett and Jason Bateman, who co-produced and carry on a film-long conversation during a visit to a day spa), and specialists in such fields as beard-growing, hairpiece manufacture, and body-shaving, it’s a breezy, fleeting film that offers more ‘who knew’ moments than epiphanies.

Spurlock, who risked his health with a fast-food diet in “Super Size Me” and sports a signature handlebar moustache, reveals the stories of a champion beardsman whose life is built around healthy beard growth, a New York businessman who obsessively tweaks his appearance with cosmetic treatments, a professional wrestler who shaves his impressively hairy body every working day, and the manufacturer of a deodorant designed for men to wear in, um, their pants.  These are peppered with cameos by a clutch of famous faces, ranging from Paul Rudd and John Waters, who raise sharp points, to Zach Galifianakis, who adds randomness, to Adam Carolla, whose patter any 12-year-old could predict and write without seeing the film at all.

As I say, there’s not a lot of meat on the bones of “Mansome” -- certainly not compared to, say, the steroid expose “Bigger, Stronger, Faster*.”  Nor is there the sort of zest that infused Spurlock’s last film, “Comic-con Episode IV: A Fan’s Hope”  (which appeared in April, bless his busy heart).  But there are a few chuckles, a few head-scratches and, thankfully, very few missteps. It charms.

(82 min., PG-13, Fox Tower) Grade: B


‘God Bless America’ review: killing off pop culture, one reality star at a time

A screed against the worst aspects of the culture goes off the rails, but not without raising some real issues.

God Bless America.jpgJoel Murry and Tara Lynne Barr in "God Bless America"
Genetically akin to “Falling Down” and “Natural Born Killers,” with a twist out of “The Professional,” “God Bless America” is what’s known in Yiddish as a geschrei or in French a (ital) cri de couer: (ital) an impassioned outburst, a shout to the heavens, a cry from the heart.

Writer-director Bobcat Goldthwait (the squealing, gnarly-haired comedian and, by now, auteur of a handful of cult films) vents his frustration with contemporary American culture, values and mores in the story of Frank, a middle-aged schlub who, divorced, friendless, jobless and diagnosed with cancer, goes on a spree to kill reality TV stars, parking space hoggers, movie theater talkers, and others who violate his code of simple human decency.  In the process, Frank accrues a co-conspirator, Roxy, a high school girl with just as many peeves and maybe even more anger at the world.

The pair are played by Joel Murray (Freddy Rumson from TV’s “Mad Men”) and relative newcomer Tara Lynne Barr. Murray isn’t exactly a deep performer, but he fits the role well, and Barr is quite game.  As the film progresses, though, their characters come to seem less like people than like mere vehicles for Goldthwait’s personal outrage.  And in that context, their anger (not to mention the murders they commit) seems disproportionate and contrived.  “God Bless America” offers a few laughs and a moment or two of drama, but it’s finally more of a conceit -- and a familiar one -- than a film.
    
(100 min., R, Hollywood Theatre) Grade: B-minus


This week’s last-chance movies: ‘Bully,’ ‘Damsels in Distress,’ ‘Marley,’ and more

Catch 'em while you can!

Bully.jpgfrom "Bully"
For some reason, we've got one of the busiest movie weeks of the year about to hit Portland:  almost 20 feature films and 8 new or continuing festivals or special events.  So it's no wonder that the local movie screens need to get out the broom and sweep clean.  Thing is, they're sweeping out some very good films in the process.  Wednesday and Thursday mark your last chances to see the well-worthwhile "Bully," "Damsels in Distress," "The Kid with a Bike," "Marley" and "The Salt of Life," as well as the locally-made indie "Blue Like Jazz" and the action film "Safe House."  Choose accordingly and get watching!

‘The Dictator’ review: in a tired fiction, Sacha Baron Cohen loses his comic bite

He's still crude and sometimes quite funny, but there's little electricity in the make-believe compared to his real-world exploits, and the result is Sandler-esque.

The Dictator.jpgSacha Baron Cohen in "The Dictator"
Sacha Baron Cohen occupies a unique space in the comedy world.  In three personae invented on TV and enlarged for movie screens -- Ali G, Borat and Bruno -- he ambushed celebrities, public figures and ordinary Britons and Americans, reveling in crude humor, trafficking in vile stereotypes, and, alarmingly often, getting his subject/victims to reveal their own prejudices and dark sides.

It was frequently sophomoric and often quite hilarious, but it was also a finite enterprise:  as the career of Michael Moore demonstrates, a fellow can only catch other folks by surprise for so long before the echo of his own fame precedes him and his access to unguarded sources dries up.

And so Cohen and his team -- director Larry Charles and a cohort of writers who worked on “Seinfeld” and “Curb Your Enthusiasm” -- have invented a new character who shares some attributes with the comedian’s other false faces but who lives inside a fictional world, which rather blunts the satire.  “The Dictator,” the lumpy comedy in which this new fellow appears, feels not so much like a sibling of Cohen’s brilliant TV work or the stupefying “Borat” and “Bruno” movies as it does a cousin with only some of the genetic gifts its relatives enjoys.

Cohen plays Supreme Leader Aladeen, president-for-life of the fictional North African nation of Wadiya, which he rules with callous brutality.  When Aladeen addresses the United Nations on the subject of Wadiya’s nuclear weapons program, he is kidnapped and stripped of power by a scheming underling (Ben Kingsley) who plans to democratize the nation in order to exploit its oil reserves.  Aladeen survives the coup but is left to the mercies of modern New York, which is filled with the sorts of people whom he has mercilessly despised and belittled throughout his life.  

He’s taken in by Zoe (Anna Faris), the over-eager operator of a politically correct grocery, and has a chance encounter with Nuclear Nadal (Jason Mantzoukas), a Wadiyan scientist whom Aladeen had ordered to be executed years earlier (all of his victims, learns, actually had their lives spared by an executioner disloyal to the regime).  Together, the two exiles plan to scuttle the plans for regime change in Wadiya, restore Aladeen’s despotic monarchy, and get back to building nukes.

All of this is an excuse for one outrageous, grotesque, gratuitous joke after another.  Like Cohen’s other personae, Aladeen is a seething mass of biases and bigotries, and he continually hates on and debases women, minorities, celebrities, children, old folks, ordinary Americans, and, really, anyone who wanders through into his gaze.  Some of it is funny, and much of it is shocking, but little of it has the satiric impact or sense of danger that accompanied the antics of Cohen’s previous characters, who risked the chance of having political or cultural figures explode at them or ordinary folks -- often mobs of them -- beat them up.  Here, in a purely fictional context, it’s all make-believe, and the sparks that occasionally result from the cheek and the crudeness aren’t nearly so bright.  (And Charles, needless to remind anyone, is no one’s idea of a master comic filmmaker.)

For all its boundary-pushing, “The Dictator” only once makes you feel truly uncomfortable, very near the end, when Aladeen lists the qualities that make a nation a dictatorship and virtually anatomizes the contemporary American political, economic, journalistic and cultural milieu.  But that moment, a weird inversion of Charlie Chaplin’s famous paean to human rights at the end of “The Great Dictator,” doesn’t resonate amid the caustic frivolity of the rest.  “The Dictator” has a few laughs along its bumpy path, but not enough of them to indicate that Cohen has found a means to escape the shadows of his early career and forge a second act for himself.

(82 min., R, multiple locations) Grade: C-plus


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