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Sean Axmaker

Blu-ray: Jordan Peele’s ‘Get Out’

The Stepford Wives meets Guess Who’s Coming to Dinner in Get Out (2017), the directorial debut of writer / comedian Jordan Peele, a tricky and successful mix of social satire, modern horror, and savvy commentary on race as experienced by a person of color in a largely white society.

Universal Home Video

Daniel Kaluuya stars as Chris Washington, a photographer with a promising career and a gorgeous, supportive girlfriend, Rose (Allison Williams), and after months of dating, he’s finally meeting the parents for a weekend stay. Her parents are white, liberal, and affluent, and on the drive over he finds out that she hasn’t told them that he’s black, which makes him a little uneasy. No worries, they are warm and welcoming, perhaps a little too overeager to make him welcome. Dad (Bradley Whitford) is a chatty hugger who launches into his spiel of how he would have eagerly voted Obama in for a third term. Mom (Catherine Keener) is a therapist who seems to be sizing up all those suppressed feelings, a suburban Earth Mother who seems just a little too eager to hypnotize him. They make a point of just how much they don’t see color, which of course only accentuates how much he stands out in this upstate social pocket where the only other black faces are groundskeeper Walter (Marcus Henderson) and housekeeper Georgina (Betty Gabriel). They have been with the family so long they have become part of the family, explains Mom. Just maybe not quite in the way you assume.

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Blu-ray/DVD: ‘Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles’

“A singular work in film history,” begins the description on back of the case of Criterion’s release of Chantal Akerman’s astounding Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (France, 1975).

The Criterion Collection

That is no hyperbole. Jeanne Dielman is a painstaking, excruciatingly exacting portrait of the life of a perfectly organized homemaker, an epic portrait of a quotidian life where every gesture through the 200-minute study becomes important and the slips in routine reverberate like aftershocks of an earthquake. It’s astounding to realize that Akerman was only 25 when she put this uncompromising vision on the screen. It’s almost as astounding that this landmark work took so long for finally arrive on home video in U.S. Almost impossible to see for decades (it wasn’t even released in the U.S. until 1983 and was rarely revived in the years since), this singular work made its DVD debut in 2009, presented by Criterion in a magnificent two-disc special edition. Criterion has now remastered the film for its Blu-ray debut.

Middle-aged widow and single mother Jeanne Dielman (Delphine Seyrig) lives a carefully structured life with a clockwork routine. She wakes up before dawn, sees her son Sylvain (Jan Decorte) off to school, cleans every last dish in her tiny and spotless kitchen, then continues on with the errands and duties of her day. One of those duties just happens to be servicing an afternoon client as a part-time prostitute. Jeanne is all business when the bell rings and she puts the pot on low simmer to welcome her client for the day. It’s creepily expressive the way Akerman frames her head out of the shot when she answers the door, matching Seyrig’s inexpressive formality with each man.

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Blu-ray: Josef von Sternberg ‘s ‘Anatahan’ restored

Inspired by the true story of Japanese sailors stranded on a deserted island during World War II, Anatahan (1953) was the final film completed by Josef von Sternberg. In a career where he was increasingly forced to compromise his style and sensibility, it marked his final hurrah: a film over which he had complete control.

Kino Classics

After a prologue on a Japanese ship bombed by an American plane, the film takes place almost entirely on Anatahan, a former plantation island in the South Pacific that is now completely overrun by the tropical jungle. The twelve survivors, a mix of sailors and soldiers, find the old plantation and a couple who stayed behind when the rest of the island population either enlisted or was evacuated. “We were to be here for seven long years,” reports the narrator (Sternberg himself), speaking in a tone of recollection and reflection long after the fact. (There is no effort to assign the narration to an individual character; it could very well stand in as the guilty conscience of the survivors.) As they await their rescue, their discipline breaks down and their desire for Keiko (Akemi Negishi), the lone woman in the society of men, stirs them to aggression and murder, which becomes easier when they find and scavenge the remains of a downed fighter plane, including a pair of handguns. “There was no law on our island, no police,” observes the narrator. “Only two pistols.”

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SIFF 2017: From ‘The Big Sick’ to ‘The Young Karl Marx’ – over 400 movies in 24 days

The 43rd Annual Seattle International Film Festival opens on Thursday, May 18, with the opening night gala presentation of Sundance and SXSW hit The Big Sick from director Michael Showalter and writer/star Kumail Nanjiani.

24 days later, the North American premiere of Raoul Peck’s The Young Karl Marx takes the closing night spot at Cinerama on Sunday, June 11.

In between, 233 features films (including 58 documentaries) and 163 short films from 80 countries will screen across 12 venues in Seattle, Bellevue, Kirkland, and Shoreline.

Welcome to SIFF 2017, still the biggest and longest film festival in the United States. It’s got something for everyone, from world premieres to restorations of classic movies, from movies for families to gonzo midnight movies that are definitely not for kids. There are comedies and dramas and thrillers, true stories and fantasies and stranger-than-fiction documentaries.

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Blu-ray: The silent horror of ‘Behind the Door’ restored

Behind the Door (1919) (Flicker Alley, Blu-ray+DVD) was for decades a film known by reputation only. A good film, yes, but more than that a notorious one, for what lay behind the door was… No spoilers because the film, once known to exist only in incomplete form, has been reconstructed and restored by the San Francisco Silent Film Festival and released on disc by Flicker Alley. Its reputation proves well-earned.

Flicker Alley

Hobart Bosworth plays Captain Oscar Krug, an American seaman of German ancestry who left the sea for life ashore for the love of a woman. But in the opening moments of the film he’s a haunted man returning to the ghosts of the past in his old taxidermy shop, now a ransacked ruin choked by dust and shadow. His story plays out in the shadow of this resignation, a sunnier time when he was in love with banker’s daughter Alice (Jane Novak) and respected by his New England community. A jealous suitor uses the outbreak of World War I to whip up anti-German hysteria (which, in 1919, was not that distant a memory) but the two-fisted patriot wins over the mob with a roundhouse of a brawl and a rousing proclamation to do his duty, as every American should. He bonds with his opponent, McTavish (James Gordon), over the brawl and a few cuts later Krug is captaining an American naval ship, the Perth, with McTavish as his loyal mate and friend. And Alice stows aboard, kicked out by her possibly-crooked, definitely-shady banker father, ready to do her duty as a nurse. Then the unmistakable conning tower of a submarine rises from the surface of the sea and German U-boat commander Brandt (Wallace Beery) torpedoes and sinks the Perth with far too much malicious glee. If director Irvin Willat makes a point of celebrating the patriotism of German-Americans, he brands the German enemy with the familiar stereotype of the bloodthirsty Hun.

The rest of the story is best discovered on your own because it’s a doozy of a portrait of war crimes and gruesome revenge.

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Why ‘Bones’ Was One of the Most Interesting Love Stories on TV

After 12 years and 245 episodes, Bones is coming to an end. I know that will come as news to some of you. I mean, that’s the show with Zooey Deschanel’s older sister and the guy who played the brooding vampire on Buffy the Vampire Slayer, right? It’s really still on?

Ever since it debuted on 2005 as yet another CSI lite, the series has flown under the radar of TV critics and the cultural conversation alike. It’s a breezy procedural most likely to be stumbled across while channel surfing daytime cable TV (where it seems to be in endless rotation on TNT), which means it gets no respect. And that’s a shame. Behind the technology geek-out, the horror effects played for gross-out humor, and investigations through quirky social subcultures, Bones quietly and slyly spun one of the most interesting love stories on TV.

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The Love Story of Bones’ Booth and Brennan in 12 Episodes

It took 12 years and 245 episodes to tell the story of Temperance Brennan and Seeley Booth on Bones, the Fox series that comes to an end tonight. For those who are curious but lack the time, patience, or commitment to take the journey in its entirety, we’ve put together a guide to the highlights and turning points in their relationship told in 12 episodes, all available on Netflix.

“The Man in the Fallout Shelter” (Season 1, episode 9)
The show’s first Christmas episode quarantines the team in the lab over the holidays. Along with the inevitable seasonal bonding between characters who are, at this point, barely more than colleagues, we meet (through a glass barrier) Angela’s blues-guitarist father (ZZ Top’s Billy Gibbons) and Booth’s young son, Parker (Ty Panitz). The first is the coolest addition to the Bonesiverse (seriously, this guy becomes an enigma bordering on mythological trickster). The second is our first peek into the personal life of Booth and an introduction to the most important person in his world. The team’s chemistry really starts to bubble here.

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Blu-ray/DVD: ‘Mildred Pierce’ on Criterion

Is Mildred Pierce (1945) (Criterion, Blu-ray, DVD) film noir or melodrama? I say why choose? Film noir is almost entirely associated with crime stories and life in the shadows and at night in the city and sure enough Mildred Pierce, based on the novel by James M. Cain, opens with death and darkness and the twilight of the soul. But there’s a subset of noir rooted in melodrama or the women’s pictures, as they were called in the 1940s and 1950s, films about the lives of women as they reach for their American dream, or at least the one promised them in love, marriage, and family. Mildred Pierce offers both, almost as two separate films that converge in the final act

Criterion

It opens squarely in film noir territory (not that there is anything square and simple in noir), with a point blank murder and grotesque dying convulsions of a man who, even at first glance, convinces us he’s an oily, unclean manipulator who surely earned his terrible death. It’s Zachary Scott in a lounge lizard mustache playing his trademark gigolo with weasely insincerity—almost too perfect for our opening victim. We’ll get back to the corpse but first we leave the beach house scene of the crime for a seedy part of the boardwalk and a woman in fur (Joan Crawford) gripping the rail with every indication of a suicidal plunge into the surf. There’s a gaudily colorful bar with a Polynesian theme owned by Jack Carson, appropriately attired in a white tux that screams new money and no taste especially next to the elegance of Crawford, a nightcap, and what appears to be a neat little frame for murder that sweeps all of our characters into the police station for questioning.

You don’t think of Michael Curtiz, the great house director of Warner Bros. spectacles and prestige pictures, as one of the great noir directors but the opening twenty minutes or so is a master class in film noir directing, in part thanks to stunning nocturnal images by cinematography Ernest Haller (his work earned an Oscar nomination, one of six that the film racked up).

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Blu-ray: Deluge

Deluge (1933) (Kino Lorber Studio Classics, Blu-ray, DVD), the original end-of-the-world thriller, is a curious and often fascinating artifact. Produced in 1933, before the production code came down on Hollywood, on a relatively modest budget, it imagines not just the destruction of civilization in (unexplained) earthquakes and cataclysmic storms but life after the flood, so to speak. It’s based on a popular 1920s science fiction novel by the now forgotten Sydney Fowler Wright and can claim the title as the first disaster movie.

Kino Lorber Studio Classics

Scientists are in a panic as barometers plunge and reports of cities flooded in tidal waves and hurricanes are breathlessly reported in radio broadcasts. In these opening scenes, however, the only destruction we witness is the lavish house in the woods of Martin and Helen (Sidney Blackmer and Lois Wilson), crushed under trees blown over by high winds while Martin carries them off to safety. Then the real spectacle begins: New York collapses in primitive yet evocative miniatures that are more expressionistic than realistic, like an avant-garde short dropped into a science fiction thriller. Crude travelling mattes put people amidst the destruction, fleeing collapsing buildings or getting crushed by the debris, and a magnificent miniature gives us a God’s eye view of New York City swamped in a tsunami. By modern standards it’s not all “realistic” but it’s mesmerizing in part because it’s a cinematic imagining of something no filmmaker had attempted on screen before. It’s a first pass at the kind of disaster spectacle we now take for granted and these technicians create it all from scratch, not just the technical matter of the physical special effects but the very visualization of the end of the world.

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Meet the Trailblazers of Documentary Activism

We think of the cinema of activism in documentary filmmaking as a relatively modern phenomenon, something first awakened in the 1960s and 1970s and popularized by the likes of Michael Moore and Laura Poitras and Alex Gibney. But the success films like Bowling for Columbine (2002) and An Inconvenient Truth (2006), both Oscar winners and box-office hits, not to mention such devastating investigative documentaries as The Cove (2009), the Oscar-nominated The Invisible War (Independent Lens, 2012), which directly led to a change in policy towards the prosecution of rape in the military (2012), and The Hunting Ground (2015), were built on a tradition that goes back decades.

Here are some of the landmarks in the cinema of advocacy and activism: documentary as investigative journalism, as an educational tool, as exposé of injustice and inequity, and as a vehicle for political or social change. [Note: All these films are available on various streaming services and DVD rental, while the first two are in the public domain.]

The Plow That Broke the Plains (1936) / The River (1938)

In The Plow that Broke the Plains and The River, both directed by Pare Lorentz and funded by the U.S. Government, two currents of non-fiction filmmaking met: the educational project and the propaganda film. These were pro-New Deal films but they addressed the dangers of over-cultivation of American farmland. The Plow casts its lens to the Dust Bowl and The River on the Mississippi River, each documenting the specific conditions that caused the ecological devastation of the regain and offering a more sustainable approach to farming. Both films are in the National Film Registry, and Lorentz now has a filmmaking fund named after him. [Watch The Plow That Broke the Plains and The River]

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Noir City Seattle 2017 – Film by Film

Noir City 2017 is titled “The Big Knockover” and the theme is heists: big, small, and inevitably doomed. It kicked off Thursday, February 16 with John Huston’s The Asphalt Jungle (1950), the godfather of the heist film, and Criss Cross (1949), the darkest, most truly noir-ish heist film ever.

I wrote a preview for The Stranger this week but I and other Parallax View critics have covered a number of these films in past reviews and essays. So here some capsules and notes on the films of this year’s festival, many by me, with links to longer pieces where available.

All screenings at SIFF Cinema Egyptian.

Thursday, February 16

The Asphalt Jungle (1950) – 7:00 PM
“Even as the perfect crime collapses in betrayal and the irrational impulses of human nature, The Asphalt Jungle is a model of elegant construction, street-level tragedy, and poetic justice, a film that both embraces the romance of the criminal code and acknowledges the mercenary impulses of outsiders and upstarts who have no code.” – More from Sean Axmaker for Stream On Demand

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Noir City 2017 Highlights Heists and Favors Risk Over Genre Purity

Throughout the years of Noir City’s Seattle residency, the programming has taken brief detours from the mean streets of hardcore noir to explore side alleys, from early influences on noir to noir influences on other genres. The 2017 festival, which runs February 16-22 and is the biggest to date (20 films in seven days), takes more leeway than usual for “The Big Knockover,” a week of capers, heists, and holdups. A lot of the films don’t qualify as pure noir. The heist genre occupies its own corner of the crime movie universe, sometimes embracing the dark heart of film noir’s world of corruption and desperation and doom, just as often skipping into lighthearted crime comedy or slipping into cool, calculated caper spectacle. You could say that the heist film is the original antihero team endeavor, the supervillain squad combining their unique skills to a common cause—in this case, the impossible robbery. This is one of those times when we root for the bad guys.

Most of the time, anyway.

John Huston essentially launched the heist drama as a genre of its own with The Asphalt Jungle (1950). Constructed around the meticulous planning and execution of a caper, it transformed the crime drama into a mission movie featuring shady soldiers of the urban underworld: mercenaries seeking redemption through one last gamble of action, trust, talent, and sacrifice. It’s a model of elegant construction, street-level tragedy, and poetic justice, with Huston’s wry fatalism providing the noir sensibility.

Continue reading at The Stranger

Blu-ray/DVD: ‘Loving’ – The couple behind the history

Universal Home Video

Loving (2016), Jeff Nichols’s portrait of Richard and Mildred Loving, does more than put a face to a landmark Supreme Court decision. Their 1958 marriage was a crime in the state of Virginia because Richard (played by Joel Edgerton with a terse determination) was a white man and Mildred (Ruth Negga, vulnerable yet hopeful) was a black woman. But this is not the portrait of a defiant couple protesting all the way to the Supreme Court. The title is more than just a form of shorthand or a clever double-meaning. It is the core of the film. This is about a marriage, a couple deeply in love and devoted to their family, who just want to live together in their home state.

Their courtship is presented in snapshots yet from the beginning it’s like they’ve been together forever, laying in one another’s arms with a natural intimacy. They live in an integrated pocket of blue collar families that could be a planet away from the segregation of the cities. When Mildred tells Richard she’s pregnant he beams with a rare smile, like it’s the sign he’s been waiting for, even if they have to sneak across the border to Washington D.C. for the ceremony and set up a household in secret. Negga earned a well-deserved Oscar nomination for her performance as Mildred and Australian actor Edgerton received a Golden Globe nomination for the stolid Richard, a man who looks like a redneck stereotype under his buzz cut and tight mouth yet is like a member of her family even before they marry.

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Blu-ray: ‘Something Wild’ (1962) on The Criterion Collection

Criterion

Not to be confused with the Jonathan Demme screwball comedy/thriller by the same name, the 1962 Something Wild (Criterion, Blu-ray, DVD) is an unusually frank drama about a teenage girl recovering from rape.

The film opens on the assault, a non-explicit scene that communicates both the violence of the rape and the terrible sense of violation and helplessness felt by Mary Ann (Carroll Baker), a New York middle-class girl who is attacked on the way home from school. Director Jack Garfein, who adapted the screenplay from the novel “Mary Ann” with author Alex Karmel, presents the ordeal in impressionistic fragments and discomforting close-ups and the aftermath, as she picks herself off and shuffles home, in a long, wordless scene sensitive to the nuances of her experience. The tactile presentation of the physical details (a skirt shoved up over her thigh, a sharp rock poking into her leg, bending to pick up the modest crucifix ripped from her neck and tossed to the ground) doesn’t just channel the sensory experience, it suggests the fragments of the ordeal that Mary Ann’s mind latches on amidst the horror of violation. More than fifty years later it is still startling and affecting, a simple yet evocative cinematic suggestion of ordeal too terrible to show.

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Blu-ray: ‘His Girl Friday’ meets ‘The Front Page’ on The Criterion Collection

Criterion

His Girl Friday (Criterion, Blu-ray, DVD) should really be listed as a double feature, for the “bonus” movie—a new edition of the original screen version of The Front Page, adapted from the snappy, cynical, double-barrel Broadway hit by Ben Hecht and Charles MacArthur—is not just a home video debut but a major discovery.

The Front Page (1931) stars Pat O’Brien as the crack reporter Hildy Johnson, ready to leave the beat for marriage and an office job, and Adolph Menjou as the crafty editor who pulls every trick to keep Hildy on the job to cover a breaking story: the execution of a convicted killer who is more addled everyman than rabble-rousing radical. The film opens on a test drop from the scaffold that is to hang Earl Williams, then the camera glides over to the reporter’s room where the thick-skinned gentlemen of the press prove that they are no gentlemen.

Is this the stuff of comedy? It is in the hands of Hecht and MacArthur, former newspapermen with plenty to say about the cutthroat tactics of journalists.

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