Tonight in Seattle:  

Film

SIFF Take: Time Lapse

Time travel movies, particularly lower budget ones, are starting to be so prolific at festivals that it’s easy to get jaded, or to at least to have lowered expectations. I still try to check almost every one of them out, only drawing the line at the new Ethan Hawke film at SXSW this year. Understandable really, as it’s a pretty terrific genre to work within, and many of us are constantly looking for the next Primer (or perhaps Timecrimes). Time Lapse may fall just shy of those, but it’s a heck of a good time and smart enough  to satisfy the secret inner nerd in me. OK, giant obvious nerd - but who’s counting. Run, don't walk to add Time Lapse to your SIFF to-do list this year.

The setup is straightforward as it is new (to me) - what if you had a camera that could take a picture of the future? More specifically, what would you do if you discovered giant, immobiile camera that took a picture of your front window once a day and the inventor of that machine was nowhere to be found. Now throw in three roommates with questionable life goals of their own (art, money, domestic bliss, and a bit of shopping) and you’ve got yourself a movie. A really darn entertaining one at that. 

It’s probably not going to be a surprise to anyone that confronted with a magical machine that seems like it could make all your dreams come true things will inevitably go very, very bad. Especially if that “making all your dreams come true” part involves a bit of ethical flexibility. Confronted with the paradoxes inherent in time travel, the easy life, and a dash of jealousy things get complicated quickly for roomies Finn, Jasper, and Callie. But it’s the sort of complicated that’s fun to watch and twist your brain about - even if you may want to hit one of them over the head at times. Things degenerate for our heroes at a rapid rate in the well-calibrated film, ratcheting up the intensity over what feels like a brisk 104 minutes.

Bottom line: Time Lapse is one of my favorite SIFF experiences so far. The sort of thing I turned on too late in the evening and couldn’t stop watching until it was over. Which frankly is my amongst the highest praise I’ll give a film most days.

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Maleficent

{Maleficent opens in Seattle on Friday, 5/30, and is screening at AMC Pacific Place, Pacific Science Center IMAX®, Ark Lodge Cinemas, the Varsity Theatre, and Majestic Bay}

My mom took me to see Disney’s Sleeping Beauty when I was a small child, and the character of Maleficent scared and thrilled me so much that she quickly became (and has remained) my favorite Disney villain, ever. I mean, how can you not love a glamorous dark fairy with a pet raven and a penchant for casting really twisted spells? In the 1959 adaptation of the fairy tale, in addition to cursing the innocent Princess Aurora, Maleficent also kidnaps Prince Phillip, aka: Aurora’s one true love, intending to keep him her dungeon for 100 years and THEN release him to go kiss the sleeping beauty and awaken her. Damn, girl. That’s just extra cruel.

The shiny new version of Maleficent does a fine job reimagining its main character as a fairy whose evilness stems from being betrayed by the one she loves, and Angelina Jolie does a fine job playing her. She injects her performance with traits from the classic animated character, including chilling evil laughter, haughty line delivery, an arched eyebrow, and some fiery glances

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Latest comment by: Cathy Simon: "Amie is right, I did like this movie very much. The only stupid parts were when the 3 fairies (who were given the task of raising Aurora) were on the screen. Thankfully they disappeared for most of the movie. I may be biased, but the rest of Amie' s review is ...

SIFF 2014: Week Three Highlights

Boyhood

SIFF 2014 is lurching along into its final week, and there's still time to catch up on your cinema (over)consumption if you've yet to partake. I can't protect you from the well-meaning but terrible pre-film bumpers imposed on audiences at each screening -- the membership and Egyptian ones are particularly egregious, more so when viewed more than one time -- but I can help steer you in good directions for feature presentation choices.

Here are some hits, misses, and in-betweens coming up in the fest's final ten days (May 30 - June 8).

DON'T MISS:

Boyhood
{screens May 31 at 5pm at the Egyptian, and June 1 at 8pm at the Harvard}
Boyhood is a quiet triumph, though you may not fully realize it for a while. In tracking the evolution of a young man named Mason and his family -- shot over 12 years, using the same cast throughout -- Richard Linklater has achieved something quite unlike anything I've ever seen in cinema. It consists of 164 minutes that don't necessarily fly by: like life, it's sometimes boring and imperfect, and change can reveal itself so gradually that you only notice it in aggregate.

Seeds of Time
{screens June 1 at noon and June 2 at 6pm at the Uptown}
It should come as no surprise that global food production in its current state is unsustainable, and that a decrease in crop diversity is a key factor. Seed banks around the world preserve long-uncultivated plant varieties in an effort to ensure food security for future generations; the Svalbard Global Seed Vault in Arctic Norway is the most unique and perhaps the most important. It's the brainchild of conservationist Cary Fowler, and both creator and creation are explored in this nicely-done doc, which is good for foodie types and enviro-types alike as it reveals some very inconvenient truths about the disintegration of the world's food supply.

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SIFF Take: Born to Fly

Born to Fly at SIFF 2014

If Evel Knievel had been into dance, a bit LESS risk averse, and had a borderline cult-like following then Born to Fly would be about him. Instead, it's about Elizabeth Streb, the founder of "pop action" dance: a mash-up of stunt work, acrobatics, dance, and general disregard for the laws of physics and good sense. Oh, sometimes with giant mechanical apparatuses thrown in for good measure.

The dance is truly something to behold onscreen as company members throw themselves at walls, dodge rotating I-beams, and generally make dance look more suicidal (or at least more masochistic) than I'm used to seeing. The picture alternates between Streb's history, performances, and interviews with her dancers. It's hard not to note the bordering on deity worship that has the young men and women literally risking life and limb to aspire to Streb's punishing esthetic ideals while barely making ends meet. But then again, they seem to be having a hell of a lot of fun with their extreme take on motion arts. I just wouldn't want to foot the bill for their post career medical coverage.

It's hard to believe I'm enthusiastically recommending a dance documentary outside the Step-Up* series - yet here I am. This is an interesting documentary both somewhat about why people do irrational things and the wow of watching them. I hope people will notice it amongst the multitude of other options during the festival this year.

* No - I'm not interested in being told those aren't documentaries. They just seem so reasonable and realistic all the way through.

{Born to Fly screens at SIFF 5/26, 5:30pm and again 6/6, 1 pm at SIFF Cinema Uptown, and 5/28, 4:30pm at AMC Pacific Place}

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SIFF 2014: Week Two Highlights

Difret

Capitol Hill (both the 1960s and 2010s varieties), a freaky alt-reality Paris, and dear ol' Sesame Street are among the cinematic destinations awaiting you during SIFF 2014's second week (5/23-5/29).

DON'T MISS:

Difret
{screens May 24 at 3pm in Renton}
After being abducted and raped, a rural 14-year-old Ethopian girl (Tizita Hagere) shoots and kills her attacker in an act of self-defense, pitting herself and a tenacious human-rights attorney (dazzling Meron Getnet) against long-standing tribal traditions. Writer-director Zeresenay Berhane Mehari's debut feature is a compelling and devastating adaptation of an extraordinary true story. Wonderfully naturalistic performances (by mostly non-pro actors) lead viewers into the characters' worlds, and into the tense legal drama that grows from it.

Fasten Your Seatbelts
{screens 5/23 at 4pm at the Egyptian and 5/25 at 7pm at Lincoln Square}
Refreshing, frequently surprising Italian comedy-melodrama with touches of the exquisiteness of my favorite of director Ferzan Ozpetek's films, Facing Windows. This one follows another beautiful young woman who gets with another loutish (but hot) love interest and who ends up looking at her life from some existential outside place. The score is gorgeous (when it's not trying to be lite), the narrative surprising (even when the twists are Lifetimey). I really did laugh, and I really did cry.

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The German Doctor

{The German Doctor opens in Seattle on Friday, 5/23 and is screening at Sundance Cinemas Seattle & Lincoln Square Cinemas} 

Eeeesh. From the moment you see Àlex Brendemühl appear on film as German SS Officer Josef Mengele in The German Doctor, you get the wigs. While hiding in South America, Mengele meets a family traveling to re-open an inherited hotel + a doll factory (what), and takes a creep-tastic interest in their 12-year-old daughter Lilith. Although it’s not the type of creep you might expect; the doctor is actually interested in using Lilith to continue the human genetic experiments he was running at Auschwitz. Like I said, EEEESH.

Things get even worse when he finds out Lilith’s mom is pregnant with twins, and Mengele realizes he can experiment on them too, injecting the same “hormone growth serum” he’s been giving Lilith into one of the babies in utero, and doing god-knows-what-else to the other. DOUBLE EEESH. Weirdly, mom and daughter don’t seem to think there’s anything wrong with the doctor giving them both injections, or with him keeping a extremely detailed journal filled with sketches punctuated by “scientific notes.” 

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SIFF Review: Willow Creek

Willow Creek SIFF 2014

Holycrap, you guys. I was not expecting to get completely and totally sucked in by Willow Creek, especially because Director Bobcat Goldthwait has been calling it, “The Blair Squatch Project.” But 10 minutes in, I was ALL in, and even though the premise is ridiculously goofy, the film itself falls firmly in the horror genre.

The ridiculously goofy premise is this: Jim (Bryce Johnson) and his girlfriend Kelly (Alexie Gilmore) take a road trip to the site of the Patterson-Gimlin film footage in search of Bigfoot. It’s clear up front that Kelly isn’t a believer and that even though Jim might kinda-sorta want to believe, this is more about a fun birthday weekend for him that fulfills his childhood dream. Jim’s brought along a camera with plans to film the entire trip as a documentary of their findings, frequently turning it on himself and Kelly and interviewing local townspeople on the way to their end destination.

You’re set up right from the start to watch this as a comedy, because there’s no way freaking Bigfoot could be scary, right?

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SIFF Take: 1,000 Times Good Night

1,000 Times Good Night might be described as “the SIFF’iest movie ever.” Juliette Binoche plays Rebecca, a photojournalist who specializes in shining the light on the world’s conflict zones, and who can’t seem to reconcile her home life and her job life—even after a life-threatening accident that occurs by putting herself in the line of fire.

In the achingly beautiful and horrific opening sequence, Rebecca is photographing a female suicide bomber when it’s detonated earlier than expected and ends up fracturing her rib. Even terrified and in pain, she picks herself up and clicks the shutter, capturing the aftermath before passing out and waking up in the hospital. Shell-shocked, Rebecca returns home to two daughters she barely knows because of all the time she spends away and a husband (Nikolaj Coster-Waldau) weary of waiting for news of her death.

Director Erik Poppe fills the screen with haunting imagery and relies more on Binoche’s incredible ability to emote than dialog, which fits the mood of the film perfectly. And although at times the story seemed unsurprising, the end really packs a punch. There are lots of layers to unfold here, both personal and political.

{1,000 Times Good Night screens at SIFF on 5/23, 7pm at The Harvard Exit, and again 5/25, 4:15pm at AMC Pacific Place}

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SIFF Take: Lucky Them

The complete opposite of the devastating Eden (SIFF, 2012), Lucky Them is a part comedy, part “eesh, I can identify with that” romance, but not exactly in the traditional sense of the word. Toni Collette completely kills it (like she does every. single. time. Yes, even in Hostages) as Ellie Klug, a Seattle music journalist employed at fictional magazine STAX, whose editor demands she find out what happened to her missing rock-God ex-boyfriend as the anniversary of his influential album approaches. As a reluctant Ellie starts her assignment, she runs into two men that complicate the task: Lucas Stone (Ryan Eggold): a talented, and uh, very good looking, young musician, and Charlie (Thomas Hayden-Church), a rich acquaintance who offers to finance her search in exchange for filming it.

Side note: how much would I love it if Oliver Platt actually ran a music magazine in this city? The answer is SO MUCH. So, so, so much.

While I admit imaginary embracey’s comments about some of the details of her job being fantasy-based are correct, it didn’t bug me much because of my instant connection to the character. Don’t misunderstand me; I’m not trying to claim that I have anywhere near the level of journalistic fame or skill that Ellie does in the film, I’m just saying: a female writer who hooks up with all the wrong people and pines after a long-lost love to the point where it sabotages her current relationships? That hits close (probably a little too close) to home. Also adding to the authenticity: I feel like I’ve met every single character in this movie multiple times. The first thing that occurred to me when Charlie appears on screen was, “Oh man. I meet that guy at every SIFF Opening Night party, every single year.”

Short story: I love this one as much as I love The Off Hours and Eden. It’s a completely different kind of love, but it’s still love. My heart is yours once again, Ms. Griffiths.

{Lucky Them screens at SIFF on 5/22, 7pm at the Renton IKEA Performing Arts Center for Renton Opening Night, and again on 5/23, 9:15pm at The Egyptian. Director Megan Griffiths & Writer Emily Wachtel are scheduled to attend both screenings} 

SIFF double take: Muse of Fire and The Search for General Tso

Examine, if you will, two documentaries very similar in tone and structure: upbeat, pleasant, and curious. One asks a very large question: How do you make Shakespeare relevant to contemporary audiences? The other asks a small one: Where did General Tso’s chicken come from? One is populated with some of the most talented actors of our time. The other, with restaurant owners, fortune cookie manufacturers, and one dedicated menu collector. Both had impressive animated interstitials and charming interviewees. The crowd loved, loved both of them. But only one was an effective documentary. The Search for General Tso, directed by Ian Cheney (King Corn), was unwaveringly fascinating and unexpectedly suspenseful from titles to curtain. What a great question: who did create this bizarrely ubiquitous dish? The surprisingly satisfying answer is unveiled after first exploring things like who the historical General Tso was and what he was famous for, the history of the American immigration policy towards China, regional variations between American Chinese menus, and what it looks like to manufacture take-out boxes.

There was no suspense and far less revelation in Muse of Fire, directed by and starring struggling actors Dan Poole and Giles Terera. Poole and Terera are funny and winning, but the film is at least as much about how hard it was to make the film as it is about Shakespeare, relevant or otherwise. 

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Latest comment by: imaginary rich: "Yep - Search for General Tso was really satisfying. Frankly I was sort of shocked by how interesting I found it - hope lots of folks take your advice and discover it during the fest or later. "