The Dallas Movie Screening Group

This is the homepage of the Dallas Movie Screening Group. To join our mailing list you must sign up at our group page on Yahoo. You will then be connected to receive notices on how to find passes to the local screenings in the DFW area. It's up to you to pickup or sign up for passes. You can also barter, trade or just giveaway passes you don't want, need or share with other members of the group. Please read the instructions on the Yahoo page very carefully before posting. This group is closely moderated so that your mail box is not full of spam or other unnecessary mail. We appreciate everyone's consideration and cooperation.

You can use this homepage for posting comments, reviews, and other things that cannot be posted to the group. Of course spam is not allowed. Thanks!

To join the Dallas Movie Screening Yahoo Group:
dallasmoviescreenings-subscribe@yahoogroups.com

Reesa's Reviews can also be found at:
http://www.moviegeekfeed.com

Logo art by Steve Cruz http://www.mfagallery.com

Website and Group Contact: dalscreenings@gmail.com

Sunday, November 18, 2018

Movies Scheduled for the Week of Nov 18 - Nov 24



Happy Thanksgiving Week Y'all!!!

Only one day of movies, the rest of the week you can play catch up with what you missed. But considering it's going to be a little chilly and busy cooking, cleaning, and Black Friday shopping, you may just want to Netflix it.

Everyone have a safe and thankful holiday week.

November 18 - November 24

Mon - Nov 19

Ralph Breaks the Internet - 7:00 pm - AMC Grapevine, AMC Northpark and the Angelika Dallas
Creed II - 7:30 pm - AMC Northpark
Green Book - 7:30 pm - Angelika Dallas




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Friday, November 16, 2018

Time Trap






The camera rests facing out of a dirty window. Approaching through the grime is a man and his dog. The man wipes the window with his hand and peers inside. It is revealed to be a van, flourished with psychedelic designs, in an overgrown clearing. He rummages around, picks up a few items, seems satisfied, and closes the door. They approach a cave entrance. Inside is a figure walking toward the interior, a gun holstered at the waist. The man has second thoughts about entering and leaves. A No Trespassing sign is visible as he drives off.

The man is Hopper (Andrew Wilson), an archeology professor from an unspecified Texas university searching for some hippies that went missing years before. As he drives back, he phones one of his teaching assistants (TA for short) for help. Arriving back at his home he finds the TA, Jackie (Brianne Howey), waiting outside with his other TA, Taylor (Reiley McClendon). Since his phone call he has decided that he no longer wants help and tells them to stay. He returns to the cave to find the figure still in the entryway. This time he decides to enter. As he walks further into the mouth, a liquidy force field becomes visible and the figure suddenly speeds up and disappears from view.

Cut to a few days later, the TAs have heard nothing from their professor and decide to go searching for him. Since neither has a car appropriate for the road conditions, they call fellow student Cara (Cassidy Gifford), much to Taylor’s discomfort, because she can borrow her father’s Jeep. Cara brings along her thirteen-year-old sister, Veeves (Olivia Draguicevich), who in turn insists on including her friend Furby (Max Wright). The five go off in search of Hopper. Did I mention that they told no one where they were going? Nothing could go wrong here, right? Of course, it does.

Once inside the cave, Taylor, Jackie, Cara, and Veeves (Furby is left above in case anything happens) find themselves stuck after the rope they use to climb down breaks (or was it cut?) leaving them stuck. To make matters worse, the four soon find out that time passes quite differently inside the cave.

Time Trap is a sci-fi movie with a few horror-like elements thrown in. There are others that the group encounters in the cave, the before mentioned man with the gun is only one of the many, who pose a possible threat. This is not an action heavy movie though, instead, it focuses on the dialogue among the leads and the group’s reaction to their predicament – as they first see it – and their plans for escape until they discover they are in over their heads more so than they previously thought.

Co-directors Ben Foster and Mark Dennis (Dennis also wrote the screenplay) keep things simple. The majority of the movie takes place in a few caverns within the cave and some exteriors outside of it with a couple additional locations making up the remainder of the sets. There are some effect heavy sequences, the ending uses quite a bit, but they are handled well and don’t detract from the narrative. Pacing is excellent, though there could have been some trimming during the final 10 or 15 minutes to keep the film’s momentum going. It really is remarkable how intriguing Foster and Dennis manage to make the movie with so little.

Dennis does write himself into a few plot holes. Furby is left above in case they run into trouble below but it’s never clear if he has the car keys or not. In one scene he says he left the radio on all night causing the car to die before saying that he’d been alone for a few days. If he had the keys shouldn’t he have tried to go get help instead of listening to the radio all night? The amount of time actually going by while they are in the cave doesn’t seem to match up with what happens outside (I won’t say more to avoid spoilers but the movie doesn’t seem to follow its own rules). Sound also doesn’t seem to play by the rules. They loudly speak to each other yet none of the other people in the cave come to inspect although they appear to be in chambers close by to where the group initially entered. One of the students is shown using her phone in the cave before finally getting a no signal message. Shouldn’t it have not worked at all? Then the cave is well lit as the actors walk through it. Where is all this light coming from? I guess it could be argued that this was done for cinematic purposes.

Despite its problems, Time Trap is a movie that works. It may not be the most original science fiction movie but it keeps the viewer engaged. At a scant 83 minutes, 87 minutes including credits, the movie is worth the time invested in viewing it.
(Review by Bret Oswald)




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Thursday, November 15, 2018

Widows








(Review by Chase Lee)






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The Ballad of Buster Scruggs




The Coen brothers are known for some quirky and iconic characters in their films. So it is with great anticipation that their newest feature that will be shown on Netflix after a limited theatrical run will offer the same. It premiered at the 75th Venice International Film Festival on August 31, 2018, where it won the Golden Osella Award for Best Screenplay. There are six chapters with different stories and cast. On the streaming service you can view each chapter which stands on their own. As one long feature, it's not quite as engaging and somewhat depressing.

The first chapter is The Ballad of Buster Scrugss with Tim Blake Nelson as the singing gunman. He's forever in a pleasant mood while shooting down folks who want to take him out. James Franco is the lead in the next story Near Algodones who gets accused of a crime and set to hang a couple of times. Liam Neeson and Henry Melling are in a traveling show in Meal Ticket where the limbless artist recites Shakespeare and Lincoln to local towns. All Gold Canyon has Tom Waits as a prospector who comes upon a peaceful valley looking for gold. The Girl That Got Rattled has Zoe Kazan as part of a wagon train who finds love and Indians. Tyne Daly stands out in Mortal Remains in what may be a stage coach to the dark side.

The performances and the stories are all unique in their own ways. Buster Scruggs is the standout of the chapters and despite the body count it's funny and what one would expect from a Coen brothers tale. Near Algodones is full of colorful denizens especially Stephen Root as the bank teller in the middle of nowhere. Meal Ticket gives you the feeling of never ending darkness that gets even darker. The appearance of a prospector in a beautiful valley has all the wild life leaving until their peace is restored. There seems to be a bigger story on the wagon train as the young woman left alone when her brother dies and finds companionship and maybe love with the wagon leader (Bill Heck). The last story has Brendan Gleeson, Jonjo O’Neill as bounty hunters, a Frenchman (Saul Rubinek), a trapper (Chelcie Ross) and Tyne Daly telling tales crammed together on a stage coach. Their final destination seems like a relief.

The landscape of the west is a great pallet for the Coen brothers story telling. Although these six stories are a bit of a downer, it would be interesting to see it expanded to additional chapters.
(Review by reesa)





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Widows





When anyone mentions a heist movie with women it brings up an image of the slick Oceans Eight. But now, the genre will bring Widows to top that field as a well tuned exciting ride directed by Steve McQueen (12 Years a Slave) written with Gillian Flynn (Gone Girl). Taken from an ITV series from 1983 and 1985 of the same name this film is set in 2008. McQueen juggles the excitement of a heist story with issues of raceism, sexism, police brutality, political shenanigans and interracial marriage with a tight ensemble of actors.

Viola Davis plays Veronica Rawlings who is married to Harry Rawlings (Liam Neeson). They seem to have a loving relationship but underneath they are grieving the death of their son who was shot by a cop. Veronica and Harry live a good upscale life so when he dies in a robbery gone wrong she is left adrift. Not really aware or maybe taking a blind eye to what Harry was involved with she finds herself being threatened by Jamal Manning (Bryan Tyree Henry) a politician running for alderman of a South Side precinct, against Jack Mulligan (Colin Farrell) the son of the incumbent Tome Mulligan (Robert Duvall). Jamal tells her that Harry owes him two million dollars that he stole from him. She has a few weeks to get it back to him.

Veronica finds a notebook left by Harry that lists all his jobs with plans in detail of every operation. There is one still to do that promises a five million dollar payout. She looks up the widows of Harry's crew: Linda (Michelle Rodriguez) who ran a dress shop which she lost after her husband had given it in payment for his debts to gangsters and Alice (Elizabeth Debicki) who was abused by her husband and her mother Agnieska (Jacki Weaver). The third widow Amanda (Carrie Coons) does not come to their gathering as she has a new born child so she is not told of Veronica's plans. Since the women are at their financial ends, the promise of million dollars is an incentive. They later bring in Belle (Cynthia Erivo), Linda's babysitter and salon worker, as the driver when the Rawlings driver is killed by Mannings brother and enforcer Jatemme (Daniel Kaluuya).

There are so many layers to this story. Each reveal keeps one intrigued. The way the women are challenged from their norms to work together to finding strength in themselves. The women are very real and fierce in their own ways. All of the pieces seem to be out there on their own but it all comes together at the end for a satisfying conclusion. There are surprising twists and turns, gunplay, car chases, and righteous justice. This is one movie that is worth seeing again, even when you know how it ends. It's just THAT good.
(Review by reesa)





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Fantastic Beasts Crimes of Grindelwald






Director David Yates returns with another movie in J. K. Rowling's Wizarding World, Rowling also returns as the screenwriter for this movie. Yates has directed six of the ten movies released so far starting with 2007’s Order of the Phoenix. It should come as little surprise that, by this point, the director has slid into a groove with these movies. Or perhaps Warner Brothers is taking the Marvel approach and trying to make sure their universe works as a whole and doesn't feel like several completely different movies. Rowling has already stated that the Fantastic Beasts series will consist of five films. Grindelwald feels like part of a work that is still in the set up phases so it should be interesting to see where she takes the story, though viewers already have a general idea of the direction things will go since this is a prequel.

Following the events of the first Fantastic Beasts movie, the titular Grindelwald (Johnny Depp) has been locked in prison. While being moved, Grindelwald manages to escape and begins to look for followers and to search for Credence (Ezra Miller). Meanwhile, the Ministry of Magic attempts to convince Newt (Eddie Redmayne) to join his brother, Theseus (Callum Turner), as an Auror. Dumbledore (Jude Law) enlists Newt's help in finding Credence in Paris. Tina (Katerine Waterston), already in Paris in search of Credence, is joined by Yusuf (William Nadylam) who is also looking for Credence.

As with the first movie, the acting ensemble is excellent. While no performances here stand-out, there are none that stick out like someone is trying to steal the show though some of the characters are still more appealing and interesting than others. The relationship between Alison Sudol’s Queenie and Dan Fogler’s Jacob, whose unexpected visit to Newt leads to them being caught up in the events of this movie, still seems to resonant best amongst the cast. The two actors have good chemistry, giving their on-screen relationship an honest and realistic feel. Redmayne does well at portraying a man who is humble, a bit shy, and lovesick, still pining for Tina who thinks he is engaged to another woman - Leta Lestrange played by Zoe Kravitz.

The Crimes of Grindelwald, like most fantasy movies, heavily relies on CGI to tell its story and like most other fantasy movies some of these elements work and others do not. As in the first Fantastic Beasts movie and the Harry Potter series, there are multiple magical creatures that appear on the screen. Several of the creatures really do look fantastic in this movie - the best looking to me is a lion / Chinese dragon. Then there are those that have not been well integrated into their surroundings and call attention to the fact that the actors are not actually interacting with them - some cat like creatures that show up later in the movie.

By now movie goers know whether or not they are going to enjoy a movie in the Wizarding World and can probably gauge for themselves whether or not they want to spend the time and money watching one. While Fantastic Beasts: The Crimes of Grindelwald offers nothing new in this fantasy series, those wanting to find an escape for a few hours will find they will enjoy the return to this universe.
(Review by Bret Oswald)





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Bohemian Rhapsody





For the first time in a long while, I actually got Goosebumps. Not that mediocre Jack Black flick from a couple of years back, rather that feeling when something just goes through your body and one feels at tune for just being.

As I’ve said in the past I am not fond of too many musicals, so I was actually looking forward to see what director Bryan Singer would do with the Queen biopic, “Bohemian Rhapsody.”

Like my feeling with horror flicks and my love for anything related to John Carpenter, this one gets a pass in my book, since I’m a devotee of Queen and their amazing music.

For starters, lead Rami Malek emulates the real Freddie Mercury through and through. If you think you’ve seen Malek before, you’re probably right. He was on the Golden Globe winning “Mr. Robot” for the past couple of seasons. Supporter Christian Slater receiving an Emmy win for his role as friend and confidant, the “Mr. Robot” of the title.

I trust the director here in Bryan Singer, since he has not made too many bad movies. Early on in his career, he helmed one of the greatest pretzel-twisting mystery suspense with Christopher McQuarrie’s “The Usual Suspects,” which also saw the movie receiving a Best Supporting Oscar for co-star Kevin Spacey. That was early on in his career, 1995 to be exact.

With “Bohemian Rhapsody,” Singer delves head on into their creation, with Malek’s persona even changing his name legally to Freddie Mercury to get more noticed by the press and mass media. One also has to realize this was in the pre cell phone days, where even being on the newly created MTV was considered a really big deal.

The one thing I really noticed was the absence of going back to past soundtracks Queen contributed to. The first was 1980’s “Flash Gordon,” directed by British auteur Mike Hodges. The group also contributed to Sidney J. Furie’s “Iron Eagle” in 1985. The group would gain more notoriety the following year for doing the soundtrack to director Russell Mulcahy and the action fantasy hybrid “Highlander,” an that dealt with knights on the tagline “There can be only one.”

In “Bohemian Rhapsody,” there is a brief scene that uses a track from “Highlander,” the one that includes the song “Who wants to Live Forever?” from the movie.

Irony is thrown into the movie big time with the appearance of Mike Myers. In the early 1990's, he was in a movie titled “Wayne’s World” that dealt with his character of Wayne hosting a public access TV show titled “Wayne’s World.” His friend Garth (Dana Carvey) was his best friend and confidant and in the movie there is an entire sequence where the duo rock out to a track of “Bohemian Rhapsody.”

In “Bohemian Rhapsody,” Myers plays record producer Ray Foster, who scoffs at the idea of the even recording “Bohemian Rhapsody” as a stand alone track.

He would later regret it, because even with a song that runs over six minutes in length plays through to this day.

“Bohemian Rhapsody” delivers in every single department, even with a back story that does not take too much away.

Grade: A
(Review by Ricky Miller)




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Wednesday, November 14, 2018

Best of the Fests Film Festival






North Texas Film Festivals Announce
BEST OF FESTS
Film Festival Event
(January 10-13, 2019)

First of its kind event celebrates film
with special selections representing 21 film festivals
in Dallas, Fort Worth, and North Texas

Dallas, TX (November 14, 2018) – Film festivals based in Dallas, Forth Worth, and North Texas have joined forces for the first time to present a Best of Fests film festival on January 10-13, 2019. Twenty-one different film festivals will present films that either were popular with their audiences or represent their programming esthetic. The films will be screened at venues across Dallas that include Alamo Drafthouse Cinemas, Cinépolis Luxury Cinemas, Studio Movie Grill, and the Texas Theatre,

Participating film festivals include; 3 Stars Jewish Cinema, Asian Film Festival of Dallas, Czech That Film, Dallas International Film Festival (DIFF), Dallas Jewish Film Festival, Dallas Video Fest, Deep in the Heart Film Festival, Denton Black Film Festival, EarthxFilm, Festival de Cine Latino Americano, Flicks By Chicks, Forth Worth Independent Film Showcase, Frame4Frame, Lone Star Film Festival, Oak Cliff Film Festival, Pegasus Film Festival, Q Cinema, Sons of the Flag Film Festival, South Asian Film Festival, Thin Line Film Festival, and Women Texas Film Festival.

EarthxFilm Festival Producer Emily Hargrove (one of the organizers who made Best of Fests happen), said, “The film festival community in Dallas, Fort Worth and North Texas has long been an unsung hero for film lovers locally, bringing films to audiences that they likely would never have had an opportunity to see on a big screen or even be aware of, otherwise. These films come from different sources, different cultures, and countries, yet demonstrate the universal magic and power of storytelling though cinema. We wanted to do something that has never been done before: bring all of these unique film fests together and offer this sampling of these incredible festivals as a gift to film lovers across our region.”

Best of Fests will open on Thursday, January 10, at the Texas Theatre with DIFF’s offering of David Blue Garcia’s thriller TEJANO, about a South Texas farmhand, who attempts to smuggle cocaine across the Mexican border in order to help his ailing Grandfather. The film will be preceded by one of the Flicks by Chick’s short film selections, Liz Cardenas’s IMAGO, about a 15-year-old gay teen’s decision to fully embrace his true identity.

Variety is the theme (as it naturally would be) throughout the festival, including; the Asian Film Festival of Dallas’s screening of Sung-hoon Kim’s RAMPANT, a fresh take on the zombie film sub-genre; Deep in the Heart Film Festival’s screening of Christopher J. Hansen’s BLUR CIRCLE, a drama about a woman still struggling to come to terms with her son’s death two years prior when she meets a mysterious stranger who may change everything; the Lone Star Film Festival’s offering of Rob Smat’s drama The Last WHISTLE, about a high school football coach facing protests from the town when he keeps pushing his team toward a championship despite one of his star players collapsing during a practice; and Q Cinema’s screening of Matthew Montgomery’s DEVIL’S PATH, which follows two gay men as they are attacked and then pursued by murderous thugs looking to finish the job.

Best of Fests will also offer some entertaining and compelling documentaries, including; 3 Stars Jewish Cinema’s screening of Ferne Pealstein’s THE LAST LAUGH, which looks at the use of the Holocaust as comedy and movie material; Dallas Video Fest’s offering of Mark Birnbaum’s THE BIG BUY: TOM DELAY’S STOLEN CONGRESS, about the infamous, criminally convicted former Texas Congressman’s dealings which led to him being put in jail; EarthxFilm’s screening of Matthew Testa’s THE HUMAN ELEMENT, which follows photographer James Balog (CHASING ICE) as he explores how environmental change is affecting the lives of everyday Americans; Festival de Cine Latino Americano’s screening of Jose Manuel Davila’s 1950: THE NATIONALIST UPRISING, about the experiences of Puerto Ricans who participated in the Nationalist Uprising of 1950 to free Puerto Rico from the United States of America; and Women Texas Film Festival’s presentation of Skye Borgman’s film festival hit, ABDUCTED IN PLAIN SIGHT, a true crime documentary about a naïve, church going Idaho family that were “groomed” by a sociopathic neighbor to hand over their 12-year-old daughter to him.

EarthxFilm is the 501c3 fiscal sponsor of Best of Fests. Sponsors and partners include EarthX, Prekindle, Selig Polyscope, Arts OnePass, Alamo Drafthouse, Texas Theatre, Studio Movie Grill, Cinépolis Luxury Cinemas, Kelly Kitchens PR and Wildworks PR.

Film festival passes and tickets are on-sale now. For more information, go to: www.bestoffests.org.




The Best of Fests Film Festival official selections:

3 STARS JEWISH CINEMA
THE LAST LAUGH

Director: Ferne Pearlstein
Country: USA, Running Time: 88 min
In this outrageously funny and thought-provoking film, director Ferne Pearlstein puts the question about comedy’s ultimate taboo (the Holocaust) to legends including Mel Brooks, Carl Reiner, Sarah Silverman, Gilbert Gottfried, Alan Zweibel, Harry Shearer, Jeff Ross, Judy Gold, Susie Essman, Larry Charles, Jake Ehrenreich, and many other critical thinkers, as well as Holocaust survivors themselves. These interviews are woven together with a vast array of material ranging from THE PRODUCERS and “Curb Your Enthusiasm,” to clips of comics such as Louis CK, Joan Rivers, and Chris Rock, to newly discovered footage of Jerry Lewis’ never-released film Holocaust comedy THE DAY THE CLOWN CRIED, to rare footage of cabarets inside the concentration camps themselves. In so doing, THE LAST LAUGH offers fresh insights into the Holocaust, our own psyches, and what else—9/11, AIDS, racism—is or isn’t off-limits in a society that prizes freedom of speech.

ASIAN FILM FESTIVAL OF DALLAS
RAMPANT

Director: Sung-hoon Kim
Country: USA, Running Time: 129 min
A darkness looms over ancient Korea: murderous creatures known as Night Demons have overrun the country. Returning from a long imprisonment abroad, Prince Ganglim discovers that it will take the strength of his entire kingdom to stop the bloody rampage spreading across the nation in this fresh new take on zombie horror from the studios that brought you TRAIN TO BUSAN.

CZECH THAT FILM
8 HEADS OF MADNESS

Director: Marta Nováková
Country: USA, Running Time: 105 min
Story of the talented Russian poet, Anna Barkova (1906-1976), who spent twenty-two years of her life in the Gulags. She survived with a help of her poems, owing it to hope for better days and to her passionate love for a woman named Valentina.

DALLAS INTERNATIONAL FILM FESTIVAL
TEJANO

Director: David Blue Garcia
Country: USA, Running Time: 88 min
Desperate for cash to save his sick Grandfather, a South Texas farmhand resorts to the extreme: he breaks his own arm to smuggle a cast made of cocaine across the Mexican border.

DALLAS JEWISH FILM FESTIVAL
THE BODY COLLECTOR

Director: Tim Oliehoek
Country: USA, Running Time: 143 min
An investigative journalist fights to unmask a prominent art collector as a murderous Nazi war criminal, in the gripping true-life drama THE BODY COLLECTOR. When multimillionaire Pieter Menten (Aus Greidanus) decides to auction off a portion of his prized art holdings, Dutch newspaper editor Hans Knoop (Guy Clemens) receives a tip from an Israeli colleague about Menten’s hidden wartime past. As the mild-mannered but steely and idealistic journalist sets out to uncover the elusive facts, he is warned off the story by fellow reporters, stonewalled by bureaucrats, and threatened by the untouchable Menten and his wife (Carine Crutzen).

DALLAS VIDEO FEST (PAWFEST/DOCUFEST/ALTFICTION)
THE BIG BUY: TOM DELAY’S STOLEN CONGRESS

Director: Mark Birnbaum
Country: USA, Running Time: 75 min
A look at the criminal investigation of Texas Congressman Tom DeLay on campaign fundraising charges and his efforts to redraw the state’s Congressional districts.

Preceded by
MOSCA
Director: Lizette Barrera
Country: USA, Running Time: 10 min
A wayward teen revisits her hometown to reconnect with her cousin, despite her aunt’s wishes.

DEEP IN THE HEART FILM FESTIVAL
BLUR CIRCLE

Director: Christopher J. Hansen
Country: USA, Running Time: 92 min
Jill Temple is a single mother still grieving the loss of her young son after he disappeared two years ago. Unable to face the possibility that she has lost him forever, she pursues every lead and meets Burton Rose, a man with a shrouded past. The details of that past - and how Burton has responded to it - force Jill to look at her life in a completely new way.

DENTON BLACK FILM FESTIVAL
9 STEPS

Directors: Jay Rodriguez, Rock Davis
Country: USA, Running Time: 110 min
9 STEPS is the dramatic story about the shortcomings of a man, Brian Coleman, whom after being robbed and shot fourteen years earlier, succumbs to a life of addiction and ultimately loses the love of his life and the gift of knowing his only child. It's a story of recovery, redemption, love, and forgiveness and the steps people must take in their lives to get to these places.

EARTHXFILM
THE HUMAN ELEMENT

Director: Matthew Testa
Country: USA, Running Time: 76 min
Renowned photographer James Balog (CHASING ICE) uses his camera to reveal how environmental change is affecting the lives of everyday Americans. Following the four classical elements— air, earth, fire and water— to frame his journey, Balog explores wildfires, hurricanes, sea level rise, coal mining, and the changes in the air we breathe. With compassion and heart, THE HUMAN ELEMENT tells an urgent story while giving inspiration for a more balanced relationship between humanity and nature.

FESTIVAL DE CINE LATINO AMERICANO
1950: THE NATIONALIST UPRISING
Director: Jose Manuel Davila
Country: USA, Running Time: 105 min
Five Puerto Ricans who participated in the Nationalist Uprising of 1950 to free Puerto Rico from the United States of America, speaks about the history of this forgotten struggle and the consequences in their lives.

FLICKS BY CHICKS
AFTER WORDS: THE OPPOSITE OF FOREPLAY

Director: Maria Bunai
Country: USA, Running Time: 11:45 min
Claire searches for love in a story told entirely by what happens after sex.

IMAGO
Director: Liz Cardenas
Country: USA, Running Time: 8 min
The courageous, life-altering decision to never let anyone bully him again – not even his own father – leads a 15-year-old gay teen to fully embrace his true identity. Based on a true story.

TIGHTLY WOUND

Director: Shelby Hadden
Country: USA, Running Time: 10 min
A woman recounts her experience living with chronic pelvic pain – how health professionals have failed her, men have rejected her, and shame, anger, and hatred have plagued her body.

FORT WORTH INDEPENDENT FILM SHOWCASE & FRAME4FRAME FILM FESTIVAL
APACHE WARRIOR

Director: David Salzberg
Country: USA, Running Time: 93 min
APACHE WARRIOR is a feature film made with 100% unprecedented real footage, actual attack pilot gun tapes, multiple cameras and interviews. The film takes the audience into the cockpit of a squadron of Apache Attack Helicopters during the opening salvo of what would be one of the largest invasions in US and World History.

LONE STAR FILM FESTIVAL
THE LAST WHISTLE

Director: Rob Smat
Country: USA, Running Time: 88 min
When the all-star player of the local high school football team collapses during practice, all eyes turn to the storied head coach. Instead of mollifying the situation, the coach tries to maintain the team's winning streak. The town turns against him, leading to a lawsuit from the player's mother.

OAK CLIFF FILM FESTIVAL
RELAXER

Director: Joel Potrykus
Country: USA, Running Time:
With the impending Y2K apocalypse fast approaching, Abbie is faced with the ultimate challenge -- the unbeatable level 256 on Pac-Man -- and he can't get off the couch until he conquers it.

Preceded by
END TIMES
Director: Bobby Miller
Country: USA, Running Time: 9:06 min
A man finds a dying squirrel in a park and has as existential crisis in this surreal, absurd, live-action short film about death.

PEGASUS FILM FESTIVAL
AMERICA

Director: Crislyn Fayson
Country: USA, Running Time: 3:36 min
A song written by Erica Burkett that touches on the realism of what America has become.

FIELD TRIP
Director: Bob Cummins
Country: USA, Running Time: 6:06 min

THE LAST SPRING
Director: Montana Brock
Country: US, Running Time: 4:42 min
A subtle perspective on nature and how distant it can feel due to the sometimes overwhelming industrial industry.

LOUISE
Director: Emily Miller
Country: USA, Running Time: 5:04 min
Louise, and the mysterious events leading up to her funeral.

NO NAME
Director: Alex Poscente
Country: USA, Running Time: 2:13 min
Based off of a poem by Alex Poscente about negative self-image. It is narrative in its story, but avant-garde in its visuals.

ONLY CHILD
Director: Arianna Cadeddu
Country: USA, Running Time: 4:45 min
A classic “monster under my bed” telltale forces a father to confront a traumatic memory.
Winner of the Best Narrative award at the 2016 Pegasus Film Festival.
2017 National Young Arts Foundation Merit winner in Cinematic Arts.

THE PEGASUS FILM FESTIVAL

Director: Niloo Jalilvand
Country: USA, Running Time: 2:46 min
Bursting with rising talent, Texas holds a wealth of inspiring and innovative films made by high school filmmakers. At the Pegasus Film Festival, we bring that talent to you.

PHONIES
Director: Alexa May
Country: USA, Running Time: 4:17 min
This film explores the effects and dangers of technology on the current society through the lens of a seventy-year-old grandmother. This film was written, directed, filmed, and edited by one woman wishing to make a difference and inspire other women to become filmmakers.

QUEEN KEVIN UIL
Director: Jessi Stegall
Country: USA, Running Time: 7:46 min

TRANSCENDING POLITICS
Director: Ellery Marshall
Country: USA, Running Time: 2:34 min
The “bathroom bill” is a policy debated in sixteen states that would require all people to use the Restrooms and other facilities of their assigned sex at birth. If it were to pass, how would this bill affect a transgender child in school?

Q CINEMA
DEVIL’S PATH

Director: Matthew Montgomery
Country: USA, Running Time: 87 min
While searching for his missing brother in a remote gay cruising park, Noah (Stephen Twardokus) sets his sights on a handsome stranger (JD Scalzo). When Noah is viciously attacked, he and his new companion escape through the woods with two menacing thugs in hot pursuit. Lost and frightened, they begin to turn on each other and slowly unravel the truth of what’s really going on around them.

SONS OF THE FLAG FILM FESTIVAL
ACT OF VALOR (2012)

Directors: Mike McCoy, Scott Waugh
Country: USA, Running Time: 110 min
Inspired by true events, ACT OF VALOR combines stunning combat sequences, up-to-the minute battlefield technology and heart-pumping emotion for the ultimate action adventure. When the rescue of a kidnapped CIA operative leads to the discovery of a deadly terrorist plot against the U.S., a team of SEALs is dispatched on a worldwide manhunt. As the valiant men of Bandito Platoon race to stop a coordinated attack that could kill and wound thousands of American civilians, they must balance their commitment to country, team and their families back home. Each time they accomplish their mission, a new piece of intelligence reveals another shocking twist to the deadly terror plot, which stretches from Chechnya to the Philippines and from Ukraine to Somalia.

SOUTH ASIAN FILM FESTIVAL
THE JOURNEY WITHIN

Director: Mian Adnan Ahmad
Country: USA, Running Time: 78 min
In a post 9/11 Pakistan faced with challenges of war and conflict, a quest for self-identity leads the inspirational journey of a music show to help reclaim the rich and vast musical heritage of this region. In doing so it has become one of the biggest music initiatives from this side of the world, bringing together unique cultural experiences and genres, including but not limited to folk, sufi, rock, pop and rap music. We experience this important period in music by discovering the show from its humble beginnings, living through its spirit to reach the heart of the experience, as artists unify eastern and western sounds to make music that will resonate across the globe; impacting all involved and planting the seeds for an ongoing inward reflection towards who we are as individuals and as a people.

THIN LINE FILM FESTIVAL
THE MODERN JUNGLE

Directors: Charles Fairbanks, Saul Kak
Country: USA, Running Time: 71 min
THE MODERN JUNGLE is a portrait of globalization filtered through the fever dream of a Mexican shaman, Don Juan, who falls under the spell of a pyramid-scheme-marketed nutritional supplement. Juan’s neighbor Carmen lives simply, in harmony with the land her martyred husband paid for with his life. The film documents their struggles and encounters with outside forces: from capitalism and commodity fetish, to the culture of cinema, and the directors of this film.

Preceded by
BIG PARADISE
Directors: JP Olsen, Kristen Nutile
Country: USA, Running Time: 10 min
Robert Kidney has been a musical force since the 1970s. His group, The Numbers Band, celebrating its 47th year, has been praised by Rolling Stone’s David Fricke and Greil Marcus and called “the greatest band I’ve ever seen” by Pere Ubu’s David Thomas. Despite years of praise by peers, the band remains obscure.

WOMEN TEXAS FILM FESTIVAL
ABDUCTED IN PLAIN SIGHT
Director: Skye Borgman
Country: USA, Running Time: 91 min
ABDUCTED IN PLAIN SIGHT is a true crime documentary that tells the twisting, turning story of the Broberg’s, a naïve, church going Idaho family that fall under the spell of a sociopathic neighbor who will stop at nothing to be with their 12-year-old daughter.




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Monday, November 12, 2018

Movies Scheduled for the Week of Nov 11 - Nov 17



Sorry for not posting this yesterday. Been struggling with my yearly cold. Should have gotten that flu shot. Anyways, the weather guys are teasing snow so please drive carefully and stay warm.

Didn't seem like there would be any movies because it usually dries up close to a holiday. But there are multiple screenings and locations. Hope everyone managed to get what they wanted. And you do know that you can help each other if you get a pass, change your mind and go with something else. You can either turn the pass back, or offer it to someone who may need it, or trade for another location. In any case please keep your transactions off the list. Post your query, then negotiate with each other not with the list.

November 11 - November 17

Sun - Nov 11

Veterans Day - Thank you for your service

Mon - Nov 12

The Sun is Also a Star - 7:00 pm - AMC Northpark (note venue change)

Tue - Nov 13

Front Runner - 7:30 pm - Angelika Dallas
Instant Family - 7:30 pm - Cinemark 17

Wed - Nov 14

Fantastic Beasts Crimes of Grindelwald - 7:30 pm - AMC Northpark and Cinemark 17
Green Book - 7:30 pm - Regal MacArther and UA Fossil
Widows - 7:30 pm - AMC Northpark



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Sunday, November 11, 2018

The Nutcracker and the Four Realms







I am as cultured as the next guy standing in line at the bus stop, but despite my dislike and lack of interest towards movie musicals, I actually had some semblance of hope for “Nutcracker and the Four Realms,” another in the cookie cutter line of a Disney product containing high production values marketed for the masses.

“Inerstellar’s” McKenzie Foy’s family is invited by uncle Morgan Freeman for a holiday gathering on the mountainside where some misadventures unfold and where Foy’s Clara has to tell everyone she knows about her mom’s untimely departure from this earth. Freeman’s character, Drosselmeyer is a godfather to Clara and her family.

An almost unrecognizable Keira Knightley is Sugarplum, one of Clara’s mom’s creations. Further involvement includes protagonists Shiver (Richard E. Grant) and Hawtorne (Eugenio Derbez). They all come from the imagination of Clara’s deceased mother, who oversaw all of the realm.
Also involved is Helen Mirren’s Mother Ginger, an ominous and foreboding character who turns into an asset after a few predicaments. Like most of her roles as of late, she obviously wanted something that was challenging and a bit demanding since her character’s change in switching sides before film’s end.

“Nutcracker and the Four Realms” was co directed by both Lasse Hallström (“Chocolat,” “What’s Eating Gilbert Grape”) and Joe Johnston (“The Mask of Zorro,” “Captain America: The First Avenger”), who each bring their own oversized version of the original re-telling of “The Nutcracker Prince” to the silver screen.

It’s like the duo were not sure in which direction to take this movie, but for some unknown reason it just treaded in mediocrity. Sure, some of the set pieces were a touch overblown, but when it comes to the realm of fantasy, I’ll take it with a slight grain and pinch of salt.
Also woven into the storyline are a few key scenes with Misty Copeland credited as the ballerina princess. Her appearance, although brief propels the fantasy elements into the storyline.

As I’ve said in the past, I go into movies with a blank slate on my mind, but unfortunately the overblown antics that presided here were just run-of-the mill, lacking any of the verve or spunk that went into the productions for the enjoyable re-telling of C.S. Lewis’s “The Lion, the Witch and the Wardrobe,” (2005) directed by Andrew Adamson.

All of those particular tales, including “Voyage of the Dawn Treader” (2010) and “Prince Caspian” (2008” had something to admire or cherish. Neither one exploded onto the screen, but they were each nicely told stories that finished with a satisfactory palate by film’s end.

I also admired Kenneth Branagh’s direction of “Cinderella,” in 2015. There were no hokey song and dance numbers to be found. Branagh just took the tale and told the story simply and cleanly.

To be quite honest, I just wanted more from “Nutcracker and the Four Realms,” even though I can deal with the creepy clowns, the ridiculous McGuffins and the sincerity of this so-so family tale. So the readers know, the screening I attended was in 2-D, not that annoying and pretentious 3-D they charge for an upgrade.

Alas, my thoughts are at a standstill and at an end.

Grade: C
(Review by Ricky Miller)





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Thursday, November 8, 2018

The Girl in the Spiders Web







(Review by Chase Lee)





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Outlaw King








Robert the Bruce, more specifically Robert the Bruce VIII, was a distant relative to the royal family of Scotland. His grandfather, Robert the Bruce VI, claimed the Scottish throne in 1290 but English king Edward I claimed superiority and gave the crown to John de Balliol, also of relation to the Scottish royal family. When the relationship between John and Edward turned, the Bruces supported Edward I. In response to rebellion from Scottish forces led by John Comyn, Edward I invaded Scotland, still with the support of the Bruces. Eventually, the Bruces joined the Scottish rebellion led by William Wallace.

Following brief title cards outlining the tension between Scotland and England, Outlaw King opens with the Scottish lords surrendering to Edward I (Stephen Dillane) after his campaign in the year 1304. Robert the Bruce VIII (Chris Pine) returns to his family home where he marries Elizabeth (Florence Pugh). After seeing that Edward I’s forces have slain and dismembered William Wallace and hung his severed arm up for display, Robert decides to break his vow to Edward I (also convincing his brothers to break theirs) and start his own rebellion against him. When attempting to get John Comyn (Callan Mulvey) to join forces with him, Comyn, who has come to see rebellion as pointless, threatens to report Robert’s plans to Edward I, resulting in Robert killing Comyn. Robert then declares himself King of Scotland, leading to open war against Edward I.

The first feature made by director David Mackenzie following his Oscar nominated critical hit Hell or High Water, Outlaw King arrives with some high expectations. Unfortunately, the film is a disappointment. Outlaw King, written by Mackenzie along with Bathsheba Doran, James MacInnes, David Harrower, and Mark Bomback, does little to help insert the viewer into the situation or to keep them engaged. There is a lot of information to process in this movie, especially with the amount of characters who come in and out of the picture. A few times Robert or Elizabeth got upset over someone dying and I could not remember who the character was or why their death mattered. A pre-final battle speech is included for Pine which brought to mind Mel Gibson’s Braveheart, purposefully perhaps since that movie was about William Wallace, though don't expect anything too riveting from Outlaw King. The speech is brief and doesn't add much.

The film also isn't clear on the passage of time. Other than the year stated at the beginning, 1304, no other dates are given. The events depicted in the movie took place over many years yet Mackenzie's film makes it appear as if the events happened in quick succession, over a much shorter length of time.

There is some fine camera work here. The opening sequence is a long unbroken shot of the lords surrendering to Edward I, following them outside where Edward’s son, also named Edward (Billy Howle), challenges Robert to a sword fight, the camera then returns with the prince (referring to Edward I's son Edward to avoid confusion) back into the tent to be reprimanded by his father for starting the fight before ending by following the group out the back of the tent to watch Edward I launch a flaming rock to destroy a nearby castle. The movie is full of long unbroken takes like this, though none as long as this first scene.

Many of the effects give the feature a cheap appearance. Fire often looks like something from a video game instead of actual flames and the bloody battles are full of artificial blood splatter clearly added later. It was never convincing that these actors were actually in Medieval Scotland.

While performances are mostly fine, none are really worthy of discussion. Pine and Pugh both seem comfortable in their roles, though Pugh gives a more spirited and convincing performance than Pine. Aaron Taylor-Johnson, playing James Douglas (a lord whose land has also been taken by Edward I), teeters so close to over-the-top that his antics and facial expressions come across as comedic at times - which I’m sure was not the intention.

Of the few Netflix original movies that I’ve seen Outlaw King is by far the worst. It didn’t hold my interest and was confusing at times. History buffs who know something about the situation might get some enjoyment out of seeing the story of Robert the Bruce enacted but this is not a movie I’d recommend to most.
(Review by Bret Oswald)





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The Girl in the Spider's Web




Author Stieg Larsson wrote the trilogy The Girl With the Dragon's Tattoo which was made into a 2005 Swedish film series starring Michael Nyqvist and Noomi Rapace. The American version followed in 2011 with Daniel Craig and Rooney Mara directed by David Finchner. After Larsson's passing a new trilogy was written by David Lagercrantz with The Girl Who Takes an Eye for an Eye being up next. Directed by Fede Álvarez and written by Jay Basu, Fede Álvarez, and Steven Knight this film which follows the American series reboots the cast with Claire Foy as the tough hacker Lisbeth Salander. Mikael Blomkvist, the journalist for Millennium magazine is played by Sverrir Gudnason. Unlike the former films, Blomkvist plays a crucial part of the mysteries with the help of Salander's hacking skills. In this one, he becomes a more secondary character.

Lisbeth Salander has become a super avenger for women who suffer from sexual and physical abuse. The opening scenes she is handing out some merciless judgement on a rich husband and redistributed his bank account to his victims. The news outlet and police consider her among the top suspects. She gets a mysterious call asking for help. She is told a computer scientist Frans Balder (Stephen Merchant) developed a program called Firewall which accesses the world’s nuclear codes. With the help of her fellow hacker Plague (Cameron Britton) they bust into the NSA computers and steal the program. This alerts Special Agent Edwin Neeham (LaKeith Stanfield) who is not only a brilliant computer scientist, but he has scary martial arts skills too. He traces the source and is soon off to Sweden. There he is stopped by the deputy director of the Swedish Secret Service Gabriella Grane (Synnøve Macody Lund) who tells him to mind his own business.

Lisbeth soon realizes she is caught up in some heavy duty international intrigue when the bad guys break in her house and steal her computer wih the program in it. The bad guys are part of a Spider organization that happened to be run my her psychopathic sister who she abandoned when their father wanted to sexually abuse them. After they blow up her house, she knows that Balder and his autistic son August (Christopher Convery) are the next targets. The program can't be opened unless the cryptic password prompt is answered.

Apparently it snows all the time in Sweden because most of the action Lisbeth's escape from the police over a frozen river on a motorcycle would not have worked. It seems every step she takes the spiders are close behind. The action is pretty fast, lots of fighting, lots of dead bodies left behind. Blomkvist who was pretty integral to the original stories is regulated on the back burner in a more supporting role of researching the Spider Society. And Neeham who was determined to catch Lisbeth becomes a better partner than the magazine guy. By the time the sisters finally become face to face you are too exhausted to care. Claire Foy does capture that androgynous image from the books and gives Lisbeth some needed emotional turmoil. Hopefully the next movie will not be so confusing.
(Review by reesa)


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Burning






BURNING
**** (out of ****)

The mystery at the center of Burning develops gradually and deliberately, so that the outburst of violence at its end feels utterly inevitable. At just less than two-and-a-half hours, co-writer/director Lee Chang-dong’s film might seem an act of overkill with respect to its significant length, but it is instead a work of building tension so quietly that one might only realize his or her breath has been held until the moment of exhaling. That only comes at the end, when the journey has revealed itself to be as exhausting as it is hypnotic. It is important to begin with the deliberation with which Lee weaves this tale.

This is because the inciting incident of the plot comes well more than an hour into the film, an adaptation of Haruki Murakami’s short story "Barn Burning" by Lee and co-screenwriter Oh Jung-mi. It will take me some time to arrive there, as well, because even as Lee and Oh move deliberately toward this moment, they use the preceding time to burrow us deeply into the headspace of a truly original and unpredictable protagonist. By the time we get to that final scene, Lee Jong-su’s (Yoo Ah-in) myriad of vices and psychological issues will have revealed themselves. Until just before that point, though, the film entirely sympathizes us with him.

It is left up to the viewer to determine on his or her own time whether such sympathy for Jong-su is either warranted or earned, but to this point, Lee and Oh have seemingly worked backward. The film begins with its most intimate close-ups of Jong-su while he remains something of a cypher, and as we learn more about his troubled past and begin to see him as a figure of tremendous sadness, the film slowly pulls back from that intimate vantage point to keep itself and its audience at a careful distance. This would be a problem if Lee didn’t have such a firm handle on this character before that distancing act. This is a tragic story, and it isn’t only tragic for Jong-su.

For half the film, we get a delicate semi-romance between Jong-su and Shin Hae-mi (Jeon Jong-seo), an acquaintance from childhood whom he struggles to remember but who remembers him quite well (particularly for an act that, she says, saved her life). They meet when he wins a watch at a raffle in a shopping district, where Hae-mi works on call. The two share a simple but sweet coffee date, at the end of which she asks Jong-su to do her a favor: He will look after and feed her cat while she is in Africa, her first stop on an eventual series of trips around the world for which she has gradually saved some money. Jong-su agrees, and to complicate things for everyone, they sleep together on the eve of her trip.

Immediately, things seem to be off about Hae-mi, about her trip to Africa, and even about the existence of the cat Jong-su is supposed to be watching. When Hae-mi returns from her jaunt, she arrives with a mysterious fellow named Ben (Yeun Sang-yeop), whose presence makes Jong-su jealous and whose smile is just a little plastic and doesn’t quite seem to reach his eyes. After some time spent in each other’s company, Jong-su still never quite feels comfortable, and then Ben reveals his most curious hobby: He likes to burn greenhouses. He simply picks one, sets it ablaze, and gets away with a crime left alone by uninterested police.

This all only brings us to a certain point in this story, at which a character disappears, another investigates the disappearance, and the third has something to hide. The performances are exceptional at compartmentalizing: Yoo plays Jong-su as a man of few words or expressions in a performance that masterfully weighs paradigm shifts with stone-faced austerity. Jeon, in an auspicious debut, is a bright, natural talent in a complex, deceptively sad role, and Yeun is also quite good as a total mystery with a winning smile. Burning moves deliberately, yes, and by the end, the mystery proves unshakable.
(Review by Joel Copling)



OPENING ANGELIKA FILM CENTERS DALLAS + PLANO ON 11/9


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A Private War





Nowadays the world of journalism is under fire for being fake and the enemy of the people. And that reality is something this current administration is pressed to rewrite in their favor. Then you have brave and unyielding women and men in the middle of violence and unrest across the globe to bring the stories of the people affected by unjust governments and rebellion. Journalist Marie Colvin is one such hero. Based on the 2012 article "Marie Colvin’s Private War" in Vanity Fair by Marie Brenner, it was directed by Matthew Heineman and written by Arash Amel. Rosamund Pike gives the performance of a lifetime and deserves a nod during this awards season.

As an American reporter who works for the Sunday Times since 1985, Marie had build up a reputation as an award winning journalist covering the most intense and dangerous places in the world. The story begins with her death in 2012 in Homs, Syria then flashes back 11 years like a countdown to where she loses her eye covering the Tamil Tigers in Sri Lanka. Wearing a pirate like eye patch only adds to her mystique. Despite her injuries she delivers her story on time subsequently winning a Journalist of the Year award. In 2012, she meets Paul Conroy (Jamie Dorman) a freelance photographer and asks him to capture story behind enemy lines. She hired a backhoe to dig up a possible mass grave site of 600 people killed 12 years previously near the Iraqi border. We follow her as she covers conflicts in Iraq, Afghanistan, Libya, Syria. Which is in stark contrast to her upscale life in London, parties, drinking, chain smoking and multiple affairs.

The cost of her eyewitness reporting on quiet bravery of those trying to survive begins to take a toll. She is having nightmares that even heavy drinking doesn't seem to quell. Her best friend urges her that she may be suffering from PTSD. Marie goes to the hospital but she wants to get back in the field. The movies doesn't address what happened in the past that compelled her to become so dogged on the rush of adrenaline that comes from dodging gunfire and bombs. She is the first to want to go back and help those left behind when escape is open to her.

A Private War is a powerful story that reminds all of us of the people who are affected by the political conflicts that destroy nations. Marie reported the human lives traumatized by dictators killing their own population. Not the strategies and war plans of one side or the other. She told the story of women and children starving, homes being destroyed, bullets picking of kids. And Paul recorded the pictures to back it up.

Rosamund Pike is totally unrecognizable in this role from the usual sweet romantic parts she is usually cast. Tom Hollander as Sean Ryan her boss at the Times is constantly threatening to move her to the Home and Gardens section to keep her out of danger. Stanley Tucci appears as Tony Shaw a rich boy friend. If anything you will walk away with a better appreciation for those journalists that put their life on the line to bring you the truth of the world.
(Review by reesa)


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Sunday, November 4, 2018

Movies Scheduled for the Week of Nov 4 - Nov 10



Did y'all remember to turn your clocks back this weekend. It's weird getting dark early.

As usual we have lots of movies this week and they are competing for attention. Then the net two weeks, not much. Go figure.

Don't forget to check out our movie reviews below.


Nov 4 - Nov 10

Mon - Nov 5

Boy Erased - 7:00 pm - Angelika Dallas
The Girl in the Spiders Web - 7:30 pm - Alamo Lake Highlands
The Girl in the Spiders Web - 7:30 pm - Cinemark 17

Tue - Nov 6

The Grinch - 7:00 pm - AMC Northpark

Wed - Nov 7

A Private War - 7:00 pm - Angelika Dallas
Widows - 7:00 pm - Angelika Dallas
The Grinch 7:00 pm - AMC Northpark
Overlord - 7:30 pm - Cinemark 17

Thu - Nov 8

Instant Family - 7:00 pm - Harkins Southlake






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Friday, November 2, 2018

Bohemian Rhapsody








(Review by Chase Lee)




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Rampant








One of the best and truly terrifying zombie movies of the past few years is Train to Busan. Now the producers of that excellent film have created another undead thriller but this time set in the Joseon Dynasty, which is ancient Korea. Is it as good as Train to Busan? Well not really, but it is a fairly epic costume horror film with two of the top South Korean actors, Hyun Bin and Jang Dong-gun. It's got swords, long guns, bows and arrows, and mobs of mindless "demons" ready to feast on your blood. Directed by Kim Sung-hoon who also did Confidential Assignment and written by Hwang Jo-yoon presents a well paced adventure with some edge of your seat moments.

In 1636 after the Manchu War, Prince Ganglim (Hyun Bin) returns to his country after being held as a hostage tribute to the Qing Dynasty in China. All those years away has made him an excellent warrior, but also a womanizer, gambler and with no desire to be in the royal line after his crown prince brother. The port town is deserted and looks destroyed. There are piles of bodies that have been burned. The Prince and his servant, Huk-su (Jeong Man-sik) believe it's a plague, until the sun goes down and they are attacked. The survivors of the town help them escape. They beg him as a prince of the country to send the army to help wipe out the demons.

Back at the palace, the Minister of War, Kim Ja-joon (Jang Dong-gun) has been manipulating the weak king by targeting the peasants as rebels. Kim knows about the demon outbreak and thinks that he can weaponize them to help take over throne and create a whole new kingdom with the help of his crooked fellow ministers. The crown prince admits he's the head of the rebels in trying to change his father's mind about what's happening in their country. He takes his own life to pay for his traitorous actions. He had sent a letter to his brother Prince Ganglim to help his wife and unborn child escape to Qing and out of the clutches of Minister Kim. This is typical historical K-drama stuff with royals and minister jockeying for power. But now we got zombies into the mix.

Minister Kim makes various attempts to kill the Prince, but he keeps surviving with the rebels. Meanwhile the country is being over run with the bitten who are fast moving. In a large crowd they can knock down walls and crawl over rooftops. Even when you think you killed one, they straighten out their broken bodies, the pop back up. It takes awhile for the bitten to fully turn. They can walk and talk, until their eyeballs white out, veins pop out their neck and try to bite someone. There's a bit of Game of Thrones elements in this, where you can't get too attached to a character because they will most likely succumb by sword or bite.

The last act of the movie is some good heroics and the fight between Minister Kim and Prince Ganglim is worth the popcorn. It's great seeing these actors star together especially since they are good friends in real life. It's about time.
(Review by reesa)





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Suspiria





Director Luca Guadagnino who brought us Call Me By Your Name last year goes in opposition to the warm Italian summer to the cold wintry streets of 1977 Berlin. The screenplay by David Kajganich is not so much of a remake of the 1977 film directed by Dario Argento as it is a reimaging of the elements. While Argento's very stylized world was flush with color, Guadagnino's is stark and grey. It's an interesting visually compelling film with very creepy moments. The dance sequences choreographed by Damien Jalet and the haunting musical score by Radiohead's Tom Yorke gives the overall feeling of melancholy to the cinematography by Sayombhu Mukdeeprom who also did Call Me By Your Name.

The film opened with a runaway student Patricia (Chloë Grace Moretz) forcing her way into the office of psychotherapist Jozef Klemperer (Tilda Swinton but billed as Lutz Ebersdorf). She is paranoid and babbling about the teachers at the academy are a coven of witches. After she runs out leaving her bags behind, Klemperer finds her journal which details The Three Mothers, a trio of witches who predate Christianity: Mater Suspiriorum, Mater Tenebrarum, and Mater Lachrymarum. The doctor dismisses her claims but becomes suspicious when Patricia disappears.

Dakota Johnson plays Susie Bannion, who came to Germany from a small Mennonite farm in Ohio. She had secretly attending the dance troops performances in the big city and insisted for an audition to their school with no training. The dance school is run by Madame Blanc (Tilda Swinton) who creates the choreography and inspires the young women. Susie's feral first performance causes the matrons to suspect that she is the pure vessel that they needed. During one rehearsal the lead dancer Olga freaks out and calls the teachers witches before storming off. Susie asks to step in her place and her improvisational movements causes Olga who is a room of mirrors to be physically contorted into a writhing mess. The academy matrons cart her mangled body away using sinister curved hooks.

Susie quickly becomes a protégée of Blanc who appoints her to be the lead protagonist in their new dance, Volk. Susie befriends Sara (Mia Goth) who goes to see Kemperer to find out what happened to Patricia. Kemperer unsuccessfully goes to the police to report the missing girl, but their investigation is misdirected by the matrons. Night of the big performance opened to the public, Sara believes that Susie is colluding with the matrons and discovers the hidden catacombs behind the mirrored studio. She finds what happened to Patricia and Olga.

There is a lot going on in the movie. The battle of power between the unseen head of the academy Mother Markos and Madame Blanc is set against the political upheaval in post-Nazi Berlin and the attacks from the leftist Baader-Meinhof Group. It's a bit confusing as it doesn't seem to fit inside the dance academy which has it's own set of problems. Kemplerer is distracted by the memories of his wife from whom he was separated during the war. He sees a vision of his wife who he follows to the school. He was being lured there to be a witness to the ceremony in the basement.

Overall it keeps perpetrating the myth that all witches are evil and fodder for horror movies. It also sets up the coven of female empowerment and the men in the movie are pretty inept. Mater Suspiriorum, the Mother of Sighs is considered to be the most powerful of the three witches. It is she that governs the direction of the coven which hides in guise of a dance academy. The final climatic scene is so weird and powerful that it will leave one wondering what the heck is going on. It's one of the kinds of movies that will impress you with it's technical brilliance and you will need to go have a glass of wine and discuss with friends.
(Review by reesa)





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Trouble






TROUBLE
**½ (out of ****)

Taken separately, the two modes of Trouble are pleasant enough. For the first half of her screenplay, writer/director Theresa Rebeck’s film is distinctively and decidedly a comedy about the wacky misadventures of a brother and sister who are squabbling over the logging rights and land, handed down either to both of them or to one of them, left behind by their father’s passing. The second half is a sincere drama in which the siblings reconcile. In theory, this should be an easy win for all involved. Rebeck gets part of the way there, too, by casting actors of proven talent and tenure in the roles of those siblings.

Anjelica Huston plays Maggie, who has technically taken up residence on the land that once belonged to her father. Bill Pullman plays Ben, who wants to build a house on that land, believing it has been left to both of them. To that end, Ben has recruited his son Curt (Jim Parrack), whom Maggie does not know is her nephew, to confiscate surreptitiously the government paperwork that clarifies ownership. Curt does this with the help of his girlfriend Rachel (Julia Stiles), who coincidentally works at the office that handles such paperwork. At the same time, Maggie intends to press charges against Ben.

This is a fine comic set-up, and the performances, particularly from Huston (amusingly stubborn as Maggie) and Stiles (whose feeble attempt to conceal from the local sheriff, played by Brian d’Arcy James, that the paperwork is no longer in her possession provides a great comic moment for the actress, who delivers on the perfectly timed hesitation and stuttering), are solid. Then Maggie shoots Ben in the shoulder for trespassing on the property one day, and the film’s tone shifts almost immediately. What the audience guesses might happen doesn’t (This truly isn’t a dire affair, after all), but it does reframe a comic story into a dramatic one built on a bizarre contrivance.

Suddenly, the film’s priorities shift, as well, and there isn’t much to the film’s plot beyond the gun-related incident: Ben’s condition worsens, certain revelations come to light involving the whereabouts of the paperwork, Curt’s place in his father’s life comes into question, and the siblings’ friend Gerry (David Morse), who harbors deeper feelings for the sister, attempts to mediate by keeping the peace. Rebeck’s vision for these characters is greatly narrowed by the decision to move away from that comic set-up, doubly undermining it and providing a series of further contrivances to arrive at a happy-go-lucky ending. Trouble features good actors stuck in a rut of circular and trite storytelling.
(Review by Joel Copling)


OPENING STONEBRIAR MALL ON 11/2




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Bohemian Rhapsody






The bigger than life Freddie Mercury of Queen is the subject of the much anticipated feature film directed by Bryan Singer and written by Anthony McCarten. It's a semi-biographical Hollywood version of Mercury and the creation of the legendary rock group which he fronted as the lead singer and inspiration. Whether or not the story is based on true is not really an issue. It's a story that fans can accept and walk away with Queen's music ringing in their heads. Rami Malik who plays Mercury is remarkable and embodies not only the physicality of the performances, but nails the sensitivity and flamboyancy of the artist. Even Mercury's overbite and his four extra incisors are almost a character in themselves.

Before Freddie became Mercury he was Farrokh Bulsara, an immigrant from Zanzibar, living with his family and working as a baggage handler at the airport. One night the band playing at a local club lost their lead singer and Freddie impressed them by singing some of their songs. Before long he's touring around with them, sharing with the them his own music. A year later his ambition gets them to sell their van and put the money towards studio time to make a record. And as fate would have it, an AR guy had stopped by the studio and they get the call to sign with a label. Their record does well, but Freddie wants to next album to explore new ground. The record exec is not that enthused with the concept, especially when their song is over 6 minutes long. But history shows Bohemian Rhapsody blows the group into the stratosphere.

Freddie's life with the band is sometimes contentious as with most closely working groups. Freddie marries his best friend Mary (Lucy Boynton) even though she figures out that he's gay. But he needs her as his center and relies on her as a constant in his lonely life. The fame, the touring, the parties, drugs and manipulative personal manager all take a toll. Freddie ill advisedly caves to the big money of doing solo albums, but realizes that he misses his group...his family as they had become. The inevitable diagnosis of AIDS is heartbreaking. The climatic LIVE AID performance is so accurately portrayed that one would think it was the actual event.

Gwilym Lee as Brian May, Queen lead guitarist, Ben Hardy as Roger Taylor, Queen drummer, Joseph Mazzello as John Deacon, Queen bass guitarist stay basically in the background supporting the legend that became Freddie Mercury. The musical performances highlights guitarist virtuoso of Brian May. Mercury may have been narcissistic, arrogant, extravagant and often times a jerk, but under all that bravado Malik conveys Farrokh's father ethical teachings of having good thoughts, good words and good deeds to heart. You don't have to be a hard core Queen fan to enjoy this film. The music is a blast from the past that remains in our collective memory forever.
(Review by reesa)






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Wednesday, October 31, 2018

Hunter Killer




I have said in the past, water movies do not make for good bedfellows when shooting for the silver screen. There was one exception a couple of years back with “American Assassin,” an action-drama that put Michael Keaton as one of the leads in a tale directed by Michael Cuesta in 2017.

Cuseta did a credible job with the little seen “Kill the Messenger” in 2014. He followed newsman Jeremy Renner and his expos of behind the scenes drug trafficking and the involvement with people in the United States.

But that is irrelevant, since “Hunter Killer” succeeds where other water-related tales have failed. The trouble is with most H20 set tales, there is no immediate threat that pulls viewers into the story.

Gerard Butler has become the action hero of late that studios go to for any variety of reasons, namely his looks, his ability to play the everyman and his uncanny knack to just tote a gun around and look natural doing it. A portion of the intrigue rests in the fact his Captain Joe Glass persona needs to retrieve Russian commander Captain Andropov (Michael Nyvquist), who was taken as a bargaining chip by some corrupt Soviets trying to stage a coup in their own Russian government.

His Andropov helps Glass and his team navigate the trenches below, and avoid any of the bombs that are below the ocean floor floating away undetected. The trouble is, however, that despite all of the antics and explosions on the screen, this movie has a kind of low budget feel and look to the entire production.

Gary Oldman plays a major supporting role in “Hunter Killer” as a high-ranking American diplomat. I think Oldman filmed this prior to his turn in last year’s Oscar-winning “Darkest Hour.”

It might have been beneath his wheelhouse, since this role was almost too close to the role he played as the main baddie nemesis in Wolfgang Petersen’s Oscar-nominated “Air Force One” in 1997.

Big time irony also rests in the leads here, because each actor played some form of Count Dracula in the past twenty-plus years.

Butler played the fang toothed incarnation in “Dracula 2000,” a mid-budgeted release from 2000. Oldman played the character in Francis Ford Coppola’s “Bram Stoker’s Dracula” in 1992. Each actor gave their own interpretation of the legend that face an untimely demise in the story.

Going back to “Hunter Killer,” this movie contains some genuine moments of suspense despite the doldrums that occasionally occur. This is a movie worthy of the big screen treatment, since director Donovan Marsh frames this tale for the big screen.

The actor Michael Nyvqist died from a battle with lung cancer sometime last year. He was a great Swedish actor who most recently supported in “I.T.” with actor Pierce Brosnan in 2016.

Despite all the drawbacks that occur, “Hunter Killer” deserves a look for the adventure that ensues in this worthwhile time waster that is worth the investment.

Grade: B-
(Review by Ricky Miller)





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Sunday, October 28, 2018

Movies Scheduled for the Week of Oct 28 - Nov 3



Wow, this month went by quickly. Love this time of year because all the best movies come out in preparation for the awards season. Of course, they always have to run several movies on the same night so making decisions are problematic. Especially since my car is funky and I can only do one or two movies a week.

Anyways, if I missed a listing, you'll be sure to let us know.

I hope y'all got the notice that A Private War that was screening on Tues, Oct 30 was changed to Nov 7.


Oct 28 - Nov 3

Mon - Oct 29

Can You Ever Forgive Me - 7:00 pm - Angelika Dallas
Second Act - 7:00 pm - Angelika Dallas

Tue - Oct 30

The Nutcracker and the Four Realms - 7:00 pm - AMC Grapevine and Angelika Dallas
The Nutcracker and the Four Realms - 7:30 pm - Studio Movie Grill Northwest Highway
Bohemian Rhapsody - 7:30 pm - AMC Northpark
Green Book - 7:30 pm - Studio Movie Grill Spring Valley

Wed - Oct 31

Happy Halloween!

Thu - Nov 1

Nobody's Fool - 7:00 - AMC Northpark and Cinemark 17

Sat - Nov 3 - Fantastic Beasts: The Crimes of Grindelwald Fan Event - AMC Northpark





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Thursday, October 25, 2018

A Star is Born





This one has been done before, but there is always a new filmmaker who wants to bring their own interpretation to the screen.

A colleague of mine pointed out this has been done more than the four times, since 1932’s “What Price Hollywood” shares a similar sounding storyline.

This time out it is actor “The Hangover’s” Bradley Cooper who wants to bring his distinct vision to the screen. As a filmmaker, he does a competent job of filming two mismatched souls (Lady Gaga and Bradley Cooper) whose lives intertwine via songs and the written word.

Lady Gaga gives an emotional and believable turn as Ally, a woman who does not even like her own nose. She made her big screen debut in Robert Rodriguez’s 2013’s “Machete Kills’ as a character simply known as La Camaleón. It was not anything special, just a way of introducing her to the world of Hollywood.

In “A Star is Born,” her character flourishes and gains notoriety and popularity, as well as a billboard in Hollywood, something that even shows off her nose.

Meanwhile her better half, Cooper’s Jack, does his best to stay afloat and keep his head above water. His popularity has wavered in recent months, but her following has done nothing but increase in popularity.

This one also gets major points since it made me cry. Not anything major, but it strikes the right emotional chord with my being. It was not just the presentation, but the way Cooper told the story.

Cooper, along with Oscar-winning writer Eric Roth 1994’s “Forrest Gump” pen a tale that just mesmerizes from the word go. Their chemistry works since the duo share a natural attraction and connection.

Cooper knows when to flow in the nuances and emotion in telling this dramatic story that might have taken the hokum train if he wasn’t sure of where he wanted to steer the story.

Going back to all of the incarnations and telling of this story, Cooper’s “A Star is Born” marks the fourth time this tale has been told. Besides the aforementioned “What Price Hollywood,” this story was also told in 1937’s “A Star is Born” with Janet Gaynor and Fredric March. The 1954 George Cukor version starred Judy Garland and James Mason. The 1976 version was an Oscar winner for best song. That version starred Barbra Streisand and Kris Kristofferson.

I know this one has reached the over praised meter, but I just thought this one was a solid and well told tale. Sam Elliott shares some great screen time as Cooper’s brother, Bobby. The duo lost both of their parents earlier in their lives, so their kinship is important to the storyline.

Also cool was seeing the usually obnoxious Andrew “Dice” Clay as Lorenzo, father to Ally. Both Elliott and Clay fill out the parameters for their roles in adding to the dynamics of the story.

Also subtle in his small part is comedian Dave Chappelle. He was great in Nora Ephron’s “You’ve Got Mail” and the juvenile “Screwed” with Norm McDonald. Chappelle befriends Jack when he finds him passed out on his front lawn in Los Angeles.

I am decent when it comes to my predictions, so I expect Lady Gaga’s name to be in the forefront of this year’s Oscar race. She really is that amazing, and gives a performance that is Oscar worthy.

Grade: B
(Review by Ricky Miller)



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