I don’t know about you, but I know what I want for Christmas (and Hanukkah and Kwanzaa, for that matter): Some decent movies. Hope springs eternal, especially at this time of year. It’s Hollywood custom now to reserve the majority of its prestige titles for an annual late onslaught, the idea being that award-bestowing organizations’ voters naturally gravitate toward whatever is freshest in their memories. In the indie sector, too, there are some goodies timed for holiday gifting.
So, here’s part II of our glancing, far-from-exhaustive preview of what we’ve got to look forward to between now and New Year’s Day. [Editor’s note: This was originally published in late November with the complete holiday preview.]
The Lovely Bones (12/11) A mix of real-world emotional pain and next-world fantasy could very well return Peter Jackson to the brilliant pre- Lord of the Rings terrain of Heavenly Creatures. For which we would readily forgive his massive fanboy self-indulgence on that endless King Kong.
Ladies of the ’80s (12/11 at the Castro) Midnight for Maniacs’ latest triple-bill assault on your nostalgic brain cells encompasses Jumpin’ Jack Flash, a 1986 first feature showcase for Whoopi Goldberg as star and Penny Marshall as director; the prior year’s Desperately Seeking Susan, which delightfully entangled Rosanna Arquette and Madonna (making her first/arguably last impact as a viable screen actress) in Susan Seidelman’s modern screwball comedy; and at midnight, Slava Tsuckerman’s druggy 1982 bisexual New Wave sci-fi midnight classic Liquid Sky, shown in its only surviving 35mm print. Some of the latter’s main collaborators will be present at this now-rare revival screening.
A Single Man (12/11) There have been a number of films made by people significantly involved in the fashion industry, and frankly most of them have been horrible in the most stereotypical way–flashy, shallow, slumming pseudo-"art” by/for the over-rich and privileged. But designer Tom Ford (credited with singlehandedly rescuing the Gucci brand) has won kudos for this debut feature, a Christopher Isherwood-adapted period piece with Colin Firth as a grieving gay man and Julianne Moore as his best friend.
Invictus (12/11) Clint Eastwood is 79, an age at which I hope to be…well, alive, but also doing little more than kicking back catching up on those (by then) classic HBO series and attempting Proust yet again. Clint has another movie (or two) arriving just in time to be Oscar bait. This latest stars Matt Damon as a real-life South African rugby star who helps Nelson Mandela (Morgan Freeman) finagle their country into the post-Apartheid era.
Me and Orson Welles (12/11) Though it’s taken its time finding distribution, this cheerful nostalgia piece is starting to build some awards buzz for an apparently awesome impersonation of Welles himself by Christian McKay. Besides, has Richard Linklater (Slacker, Dazed and Confused, Before Sunrise et al.) ever made a bad movie? (Well, we didn’t see that Bad News Bears remake.) Possible qualifier: High School Musical’s Zac Efron has the real lead, as a youth cast in Welles’ legendary 1937 stage production of Julius Ceasar.)
Uncertainty (12/11) After going more mainstream with Bee Season, the Bay Area-linked directorial team of Scott McGehee and David Siegel (The Deep End) are back in art-puzzle territory of their debut Suture. Lynn Collins and Joseph Gordon-Levitt play a young couple who decide to flip a coin over their future together–and the movie (making its local premiere at the Roxie) follows two very different trajectories imagining both outcomes.
Incredibly Strange Religion (12/12 at Artists’ Television Access) Because there would be no Christmas without Christ–it would still be pagan Winter Solstice–this Other Cinema Show offers Michael Gitlin’s new documentary The Earth Is Young, which gives voice to Young Earth Creationists who claim geological evidence confirming a six-day creation of Everything about 6,000 years ago. The bill will also include various “kooky cult” clips. Unarius, please!
Hitch for the Holidays (12/16-23 at the Castro) Was there ever a Christmas scene in a Hitchcock movie? If so, it was surely an ironic backdrop for mortal peril. Still, there’s always something oddly cheering about his mayhem. You’ll get an unlucky 13 examples of it in this mini-retrospective, which includes many of the usual suspects (Psycho, The Birds, Rear Window, Notorious, North by Northwest, etc.) as well as the less frequently revived likes of Marnie, The 39 Steps and The Man Who Knew Too Much (1956 edition, with Doris Day singing “Que Sera, Sera”).
In Search of Beethoven (12/18) Has he been lost? Well, no–but after the nearly two and one-half hours of Phil Grabsky’s documentary, you will surely know Ludwig better than before. Historical and biographical errata, performances and interviews mix in this acclaimed study, which opens a theatrical run at the Roxie.
The Young Victoria (12/18) In the wake of The Tudors, no zaftig English history figurehead remains immune from being sexed-up (and slimmed down) for entertainment’s sake. Emily Blunt plays the long-reigning monarch at an early, marriageable point in this favorably reviewed costume piece by Canadian director Jean-Marc Vallee (CRAZY) and Gosford Park scenarist Julian Fellowes.
Avatar (12/18) Stop! Please stop the noises inside my head! Oh wait: It’s just the incessant mounting drum-beat of hype behind James Cameron’s first feature since grotesquely over-everything (commercially successful, poorly written, hokey, et al.) triumph Titantic 12 years ago. He’s so perfectionist he required technology this long to catch up to his imagination? Oh please. His narrative ideas never outstripped technology before. Will this 3-D, partly motion-capture feature prove otherwise?
35 Shots of Rum (12/18) This latest from the ever-unpredictable Claire Denis superficially sounds, well, unusually usual (for her): It’s a Parisian ensemble piece about a problematic yet somehow functional family and their closely entangled friends. But Juliette Binoche and Catherine Deneuve are nowhere to be found in a slowly paced, warmly felt story that emphasizes the City of Light’s increasingly multicultural character.
Broken Embraces (12/25) Ah, remember the days when each new movie by Fellini, Bergman or Antonioni was an international event? Oh course you don’t! Those days are long gone. But thankfully there is one European auteur who still creates major anticipation everytime he drops a new ‘un. Pedro Almodovar’s latest stars current muse Penelope Cruz in a noirish tale of dangerous passions and eye-popping art direction.
It’s Complicated (12/25) Yes it is complicated: We automatically lean forward at the thought of a comedy starring Alec Baldwin and Meryl Streep, two great actors recently treasured anew for their hitherto underappreciated comic chops. (Even in Doubt, Streep was often hilarious.) Steve Martin is the other third of the triangle, and that’s OK.
The Missing Person (12/25) Michael Shannon had been making an impression here and there for years in generally underseen films (like Let’s Go to Prison and Shotgun Stories). But his startling turn as a mentally unstable man who nonetheless sees right through the central shaky marriage in last year’s Revolutionary Road*–a movie full of fine performances–really made critics and viewers alike say “Who is this guy?” Well, now that guy has graduated to leading roles, the first out being this modern noir costarring the equally, unconventionally almost-a-star Amy Ryan (*Gone Baby Gone). It got a mixed reception at Sundance, but those two performers alone are enough to get us lining up.
Crazy Heart (12/25) A first feature by writer-director Scott Cooper, who adapted Thomas Cobb’s novel, this drama stars Jeff Bridges as a craggy, boozy, fading country music star who gets one last shot at redemption. That wouldn’t sound incredibly promising–but for the rumor that Bridges might at last have a role winning him the Oscar he earned long ago. (He’s only been nominated as Best Actor once–for 1985’s Starman!)
Nine (12/25) The original Broadway musical wasn’t very good (despite its near-irresistible basis in Fellini’s 8 1/2) but succeeded due to sheer star power. One might well predict the same results from this belated film translation by Rob Marshall (who made Chicago a popular success via wrongheaded casting and sentimentalization of cynical source material). Daniel Day-Lewis, an inspired choice, could well be genius as the womanizing director-antihero. But will fellow famous (but not for their singing) costars including Nicole Kidman, Penelope Cruz, Judi Dench, Kate Hudson, Sophia Loren and Marion Cotillard fare as well? Your guess is as good as mine.
The Bicycle Thief (12/25 at the Roxie) Experiencing holiday depression? Well why not roll with it by revisiting Vittorio De Sica’s 1948 ultra-downer about a poor Roman father and son for whom things get even worse when the bike dad depends on for his job (plastering glamourous film posters) is stolen. This neo-realist classic, shown in a newly struck 35mm print, is sure to make your own troubles seem less wrist-slitting.
With riveting characters, cascading revelations and momentous breakthroughs, Epstein and Friedman’s work paved the way for contemporary documentary practice.
Susan Gerhard talks copy, critics and the 'there' we have here.
Universally warm sentiment is attached to the Bay Area's hardest working indie/art film publicist.
Filmmaker and programmer Moore talks process, offers perspective on his debut feature and Cinema by the Bay opener, ‘I Think It’s Raining.’
For 50 years, Canyon Cinema has provided crucial support for a fertile avant-garde film scene.
Director Mina T. Son talks about the creation of ‘Making Noise in Silence,’ screening the United Nations Association Film Festival this week.
Accompanied by a program of solar system shorts, Travis Wilkerson’s 2003 look at ruthless union-busting and the rise and fall of Butte, Montana, offers eerie resonance.
Without marketing tie-ins, plastic toys or corn-syrup confections, a children’s film festival brings energy to the screen.