Sunday, 25 June 2017

Capital Celluloid 2017 - Day 186: Fri Jul 7

Song to Song (Malick, 2017): Prince Charles Cinema, 6.15pm

A rare foray into new release territory for Terrence Malick's latest movie, which starts its run at the Prince Charles tonight and will get a limited run in theatres here in the UK. Don't miss. You can find full details here.

Little White Lies review:
There is nothing in cinema that currently compares to the radical five-film symphonic suite made by Terrence Malick between 2012’s The Tree of Life and 2017’s Song to Song. Not Marvel. Not Fast and the Furious. Not Saw. Not anything. Sure, these films aren’t for all tastes, and they’re not at all meant to be. And they do require the viewer to put conventional critical faculties on standby, like you would close your eyes and mouth and hold your nose as a giant wave crashed over your head. They are euphoric, active experiences that demand a small adjustment of perspective. But what is it that makes them so extraordinary? The French director Bruno Dumont once said that he values feelings that don’t correspond to obvious screen drama – tedium, listlessness, confusion, depression. In a similar way, Malick’s late work adopts this counterintuitive approach to almost every aspect of the filmmaking process. He foregrounds difficult emotions, and realises them in bold, unconventional ways. Song to Song exemplifies his unique and ultra-sensual mode of montage-based storytelling, where human characters are constantly submerged in an endless, glowing stream of consciousness. Here, the eyes are not the only the window to the soul – the twitch of the hand, a twist of the neck, the accelerated breathing pattern can also offer vital signs of life. The eyes are less important that what those eyes are looking at, and who’s looking back. The film is a deconstructed musical that’s loaded with all the rhapsodic highs and lows associated with the genre. The actors work hard to make their characters inscrutable but empathetic, especially the sad-eyed Rooney Mara and stone-faced Ryan Gosling. Malick is looking to answer the big questions by focusing on the smallest of nuances. He gets at things and makes breakthroughs without ever really pushing. It’s a majestic and profound film in which human beings waltz with one another and occasionally swap partners.
David Jenkins (full review here)

Here (and above) is the trailer.

Capital Celluloid 2017 - Day 185: Thu Jul 6

Boy (Waititi, 2010): Prince Charles Cinema, 8.45pm

Misc. Films is a London-based programming collective dedicated to showcasing unreleased, under-screened or under-appreciated films. This is their latest screening.

Chicago Reader review:
Eagle Vs Shark
(2007), the first feature by New Zealand comedian Taika Waititi, struck me as a fairly obvious knockoff of Napoleon Dynamite, the reigning cult comedy of the day. For this second feature, Waititi has reached into his past for a story that belongs to him alone. The protagonist is an 11-year-old Maori boy (James Rolleston) living in a small coastal village, and because the year is 1984, he’s obsessed with Michael Jackson’s Thriller. The boy’s mother died giving birth to his six-year-old brother, and their hapless father (Waititi) has been doing time in jail; suddenly he reappears in their lives, willing to play the attentive parent long enough to find some loot he buried in the backyard. Waittiti’s comic vocabulary hasn’t changed much—there’s a lot of voice-over narration illustrated with ludicrous, cartoonish tableaux—yet the kids’ genuine longing for their no-good dad elevates this above simple deadpan humor.
J R Jones 

Here (and above) is the trailer. 

Friday, 23 June 2017

Capital Celluloid 2017 - Day 184: Wed Jul 5

Paper Moon (Bogdanovich, 1973): Close-Up Cinema, 7.30pm

This 35mm presentation is part of the Close-Up Cinema 'On The Road' season. You can find the full details here. This film is also being screened on July 1st. Details here,

Chicago Reader review:Peter Bogdanovich seems to have chosen John Ford's underrated Will Rogers vehicles of the 30s (Judge Priest, Steamboat 'Round the Bend) as the models for this 1973 Depression comedy; the images (by Laszlo Kovacs) have a lovely dusty openness—a realistic view of the midwestern flatlands fading into a romantic memory. Ryan O'Neal is a con man and Tatum O'Neal is the foundling who may or may not be his daughter. Though their relationship is conventionally drawn, it has a heart that Bogdanovich hasn't been able to recapture.
Dave Kehr

Here (and above ) is the trailer.

Capital Celluloid 2017 - Day 183: Tue Jul 4

Cathy Come Home (Loach, 1965): Genesis Cinema, 6.30pm

Here is the Genesis Cinema introduction to this special free screening:
We'll be welcoming author and activist Glyn Robbins to Genesis on Independence Day to discuss his new book on the US and UK housing crisis 'There's No Place: The American Housing Crisis and What It Means to the UK' alongside a film screening of Ken Loach's classic 'Cathy Come Home'. Glyn will also be reading from his new book and signing and selling copies following the reading & screening.

Time Out review:
Ken Loach’s history-making 1966 television drama about homelessness. Shot in doc-style, ‘Cathy Come Home’ is the story of a family forced out of their flat when the husband loses his job as a driver after an accident. Suddenly their bright and hopeful future vanishes when they’re evicted. As drama, this was so powerful it led to discussions in Parliament and new legislation to tackle homelessness in Britain. It was also fundamental in the launch of the homeless charity Shelter.

Cath Clarke

Monday, 19 June 2017

Capital Celluloid 2017 - Day 182: Mon Jul 3

Double Indemnity (Wilder, 1944): Prince Charles Cinema, 6.20pm

This 35mm presentation is part of the Classic Film Season at the Prince Charles Cinema. You can find all the details here.

Chicago Reader review:
James M. Cain's pulp classic (1944), as adapted by Raymond Chandler and directed by Billy Wilder. Barbara Stanwyck is perfectly cast as a Los Angeles dragon lady burdened with too much time, too much money, and a dull husband. Fred MacMurray (less effectively) is the fly-by-night insurance salesman who hopes to relieve her of all three. Wilder trades Cain's sun-rot imagery for conventional film noir stylings, but the atmosphere of sexual entrapment survives.
Dave Kehr

Here (and above) is the trailer.

Capital Celluloid 2017 - Day 181: Sun Jul 2

Kramer vs Kramer (Benton, 1979): BFI Southbank, NFT, 5.50pm

This 35mm presentation screens in the Dustin Hoffman season at BFI Southbank and is also being shown on July 4th. Full details here.

Time Out review:
A high class modern weepie. While Dustin Hoffman and Meryl Streep come to terms with divorce and battle over who gets the brat, Robert Benton forsakes the eccentric and original delights of his earlier films (Bad Company, The Late Show) and turns in a very solid and professional domestic melodrama, helped no end by some very fine naturalistic performances. As sensitive and as unremarkable as your average Truffaut film, and as ambivalent in its sexual politics.
Geoff Andrew

Here (and above) is the trailer.

Sunday, 18 June 2017

Capital Celluloid 2017 - Day 180: Sat Jul 1

Foreign Correspondent (Hitchcock, 1940): BFI Southbank, NFT1, 3.20pm

This 35mm screening (also being shown on July 22nd) is part of the Christopher Nolan Presents ... season at BFI Southbank, dedicated to showing movies from prints. You can find all the details about the season here.

Time Out review:
Despite the now rather embarrassing propagandistic finale, with McCrea urging an increase in the war effort against the Nazis, Hitchcock's espionage thriller is a thoroughly enjoyable affair, complete with some of his most memorable set pieces. Joel McCrea and Laraine Day are the lovers searching out Nazi agents in London and Holland after the disappearance of a peace-seeking diplomat, while George Sanders, Edmund Gwenn and the normally wooden Herbert Marshall lend fine support. Something of a predecessor of the picaresque chase thrillers like Saboteur and North by Northwest, its main source of suspense comes from the fact that little is what it seems to be: a camera hides an assassin's gun, sails of a windmill conceal a sinister secret, and the sanctuary of Westminster Cathedral provides an opportunity for murder. Not one of the director's greatest - there's little of his characteristic cruelty or moral pessimism - but still eminently watchable.
Geoff Andrew

Here (and above) is the trailer.