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by Andrew Wright

Review: The Shallows

Blake Lively

At a time when more and more promising directors are quickly swallowed up by the remorseless blockbuster machine, there’s something admirable about a filmmaker like Jaume Collet-Serra (Non-Stop, Run All Night), who is seemingly content to stay a rung or two down on the respectability ladder and continue refining his chops. The Shallows, Collet-Serra’s new primal screamer, may not be his best work—that honor still falls to the wonderfully sick Orphan—but its single-minded devotion to getting viewers to grip their armrests is really something to see. Clocking in at a lean and mean 86 minutes, it takes its deliberately simple premise and comes close to knocking the damn cover off of it.

Continue reading at The Stranger

How to Talk Like Jeff Goldblum

Jeff Goldblum in ‘The Fly’

The problem with writing about Jeff Goldblum’s speech patterns is that the things that make them so distinctive—the spoken italics, the stutter-step changes in pitch, the sense that he’s parodying his own line readings, sometimes in the middle of said line—are almost impossible to replicate in print. Consider this valiant effort to transcribe Goldblum’s Goldblumisms, taken from Independence Day: Crucible, a novel that serves as a prequel to Independence Day: Resurgence.

“I’m not—clearly not—the leader type. Evil counselor, I can do, you know, the guy plotting in the shadows, Cardinal Richelieu and so forth—”

Almost. Almost, but no.

Continue reading at The Portland Mercury

Review: ‘Green Room’

Anton Yelchin and Alia Shawkat in ‘Green Room’

“When you put people in extreme situations,” says Jeremy Saulnier, “it can be scary, or tragically pathetic, or even funny to watch them flail and try to acclimate.”

Blue Ruin, Saulnier’s Kickstarter-aided 2013 calling card, managed to ring the cherries on all of the options above, fashioning a diabolically inventive revenge movie that repeatedly headed down unpredictably satisfying avenues. The writer/director’s larger-budgeted follow-up, Green Room, gathers up that earlier promise and just goes sick with it, taking an intentionally stripped-down premise and jacking it up to ferocious speeds. As ruthlessly pedal-through-the-floor efficient as it is, the narrative also manages to find space for the director’s growing assortment of decidedly unheroic heroes—who somehow remain weirdly endearing while their hastily thought-out plans fall to bloody pieces. “What I do,” says Saulnier, “is revel in the details and minutia that bog people down. I account for ineptitude.”

Continue reading at The Portland Mercury

Review: Midnight Special (2)

Michael Shannon and Jaeden Lieberher in ‘Midnight Special’

Jeff Nichols is in the zone. With just a handful of films, the Little Rock, Arkansas, native has crafted his own busy little pocket of Southern Gothic, spilling over with feuding families (2007’s Shotgun Stories), ordinary people touched with terrible prophecy (2011’s Take Shelter), and the painful limits of self-aware mythologizing (2012’s Mud). Whatever the subject, the writer/director’s movies are all marked by unobtrusive camerawork, unsparing yet respectful looks at blue-collar living, and a few touches of downright weirdness somehow specific to his region. (Shotgun Stories features a father who names his offspring Son, Boy, and Kid, which is something that you can imagine Flannery O’Connor and Harper Lee enthusiastically high-fiving about in the afterlife.) He’s got chops, is what I’m saying.

Midnight Special, Nichols’ latest, continues the director’s winning streak. While on its surface an affectionate throwback to the kid-friendly sci-fi adventures of yesteryear (as the critic Matt Zoller Seitz said on Twitter, if this had been made in the ’80s, it’d never stop playing on HBO), its underlying themes of families under pressure make it very much of a piece with the filmmaker’s other work.

Continue reading at The Portland Mercury

Review: 10 Cloverfield Lane

Mary Elizabeth Winstead and John Goodman

Some movies let you know you’re in good hands with the very first shot. The latest mystery wrapped in an enigma from producer J.J. Abrams, 10 Cloverfield Lane takes an instantly fraught premise and never stops stripping the screws. Within its narrow self-imposed parameters, it’s just about perfect.

Related to the original Cloverfield by mood and background references only (check your nearest message board for exhaustive details), the film follows a woman (Mary Elizabeth Winstead) who suffers a horrendous car accident. When she comes to, she finds herself locked down in an underground shelter…

Continue reading at The Portland Mercury

Review: ‘London Has Fallen’

Gerard Butler in ‘London Had Fallen’

Even when judged on a generous B-movie curve, 2013’s Olympus Has Fallen counts as a whiff, with its base, Die Hard-ish pleasures and hilariously overqualified supporting cast (Morgan Freeman! Melissa Leo!) terminally undercut by shoddy technique. While London Has Fallen is a quantum improvement over its predecessor in most regards—for one thing, it doesn’t appear to have been lit by a single, five-gallon aquarium bulb—the Spirit of Ugly Americanism has, if anything, intensified. Even viewers who are fully able to engage their reptile brains may find themselves taken aback by the pure sociopathic glee with which the hero stabbily dispatches the various villains from Fuckheadistan. Yes, that is an actual term from the movie.

Continue reading at The Portland Mercury

Interview: Robert Eggers on ‘The Witch’

‘The Witch’

“In the early modern period,” begins Robert Eggers, writer and director of the deeply unsettling The Witch, “the real world and the fairy tale world were the same thing.” It’s an appropriately Once Upon a Time preamble for discussing the film, in which a devouter-than-thou family of New England Puritans venture past the outskirts of civilization, only to attract the attention of a primal—and terrifyingly implacable—force. “These days, the evil witch is more of a Halloween decoration,” Eggers says, “so we have to go back to the 17th century and be in that mindset to believe again. In that time, the idea of an evil witch was a given, like, a tree is a tree, a rock is a rock.”

Continue reading at The Portland Mercury

Review: Deadpool

‘Deadpool’

Deadpool, Ryan Reynolds’ second crack at Marvel’s most in-your-face character (following a forgotten appearance in the misbegotten X-Men Origins: Wolverine) is a terrifically faithful adaptation of some awfully obnoxious source material. If you’re a pre-existing devotee, the film’s nonstop assortment of cartoony assholes and elbows to the ribs might very well make your head pop off in a paroxysm of joy. (Seriously, the employees at the crammed preview screening I attended probably wished they had put down plastic beforehand.)

Continue reading at The Portland Mercury

Review: The Revenant

Leonardo DiCaprio

Many things can be said about Alejandro G. Iñárritu as a filmmaker, but that he’s timid isn’t one of them. The Revenant, the director’s follow-up to Birdman, is as far from a cushy post-Oscar victory lap as one can possibly get, featuring extended takes in hellish locations, stunts seemingly lifted from a snuff film, and well-documented reports of tormented extras. Judged on a scene-by-scene basis, it often feels like one of the most amazing movies ever made, with Emmanuel Lubezki’s breathtaking cinematography capturing every vivid facet of nature’s teeth and claws.

Continue reading at The Stranger

Parallax View’s Best of 2015

Welcome 2016 with one last look back at the best releases of 2015, as seen by the Parallax View contributors and a few notable Seattle-based film critics.

Soren Andersen

1. Mad Max: Fury Road
2. Spotlight
3. The Revenant
4. Ex Machina
5. Chi-Raq
6. Steve Jobs
7. Kingsman: The Secret Service
8. Goodnight Mommy
9. The Martian
10. The 100-Year-Old Man Who Climbed Out the Window and Disappeared
(more at The Seattle Times)

Sean Axmaker

1. Clouds of Sils Maria
2. Carol
3. Phoenix
4. Taxi
5. Mad Max: Fury Road
6. Spotlight
7. 45 Years
8. Mustang
9. Jauja
10. Ex Machina
And ten more that almost made the list: Brooklyn, Experimenter, Girlhood, Inside Out, It Follows, Love & Mercy, The Martian, Queen & Country, Sicario, Timbuktu
Also lists at Village Voice Film Poll and Keyframe

David Coursen

(alphabetical)
About Elly (Asghar Farhadi, Iran)
Chi-Raq (Spike Lee,US)
Leviathan (Russia, Andrey Zvyagintsev)
Love and Mercy (Bill Pohlad, US)
Sicario (Denis Villeneuve, US)
Spotlight (Tom McCarthy, US)
Taxi (Jafar Panahi, Iran)
Timbuktu (Abderrahmane Sissako, Mauritania)
The Tribe (Myroslav Slaboshpytskiy, Ukraine)
Winter Sleep (Nuri Bilge Ceylan, Turkey)
Honorable Mention: Carol (Todd Haynes, US)

Bob Cumbow

(in no intending order)
Phoenix
Brooklyn
Ex Machina
Spotlight
Sicario
Slow West
Carol
The Big Short
Bridge Of Spies
Jauja
Also: The Walk, Mr. Holmes
Endings: PhoenixCarol
Disappointments: SpectreThe Hateful 8
Surprises: Mission Impossible: Rogue NationPredestination
Guilty Pleasure: San Andreas
Actors: Nina Hoss (Phoenix), Ronald Zehrfeld (Phoenix), Rooney Mara (Carol), Saorise Ronan (Brooklyn), Oscar Isaac (Ex Machina), Alicia Vikander (Ex Machina), Emily Blunt (Sicario), Mark Rylance (Bridge Of Spies), Laura Linney (Mr. Holmes)
Director: Christian Petzold (Phoenix)
Music: Thomas Newman, Bridge of Spies; Carter Burwell, Carol; Howard Shore, Spotlight; Alan Silvestri, The Walk; Andrew Lockington, San Andreas

John Hartl

45 Years
Spotlight
Brooklyn
Sicario
Trumbo
Carol
Ex Machina
Bridge of Spies
Inside Out
99 Homes
A second 10: The Walk, Joy, Timbuktu, Love & Mercy, Phoenix, Tab Hunter Confidential, Rosenwald, I’ll See You in My Dreams, The Big Short, Me and Earl and the Dying Girl.
Most miraculous restoration: The Apu Trilogy.

Robert Horton

1. 45 Years
2. Son of Saul
3. Bridge of Spies
4. Experimenter
5. It Follows
6. Clouds of Sils Maria
7. Ex Machina
8. The Assassin
9. Spotlight
10. The Duke of Burgundy
The second 10, just missing: The droll Swedish film A Pigeon Sat on a Branch Reflecting on Existence; Mad Max: Fury Road, maybe not as good as the fanboys say, but definitely good; the straightforwardly lovely Brooklyn; Viggo Mortensen in the magical Jauja; Bone Tomahawk; Mississippi Grind; the devastating documentary The Look of Silence; The Hateful Eight; the pictorially astonishing The Revenant; and—why not—Star Wars: The Force Awakens.
(via Seattle Weekly)

Richard T. Jameson

1. It Follows
2. Clouds of Sils Maria
3. Spotlight
4. Bridge of Spies
5. Room
6. The Assassin
7. 45 Years
8. Son of Saul
9. Jauja
10. Me and Earl and the Dying Girl
Close and by all means a cigar: Bone Tomahawk, Brooklyn, Blackhat, Mad Max: Fury Road, Phoenix, Ex Machina, Sicario
Pix: Saiorse Ronan, Emory Cohen, Brooklyn; Charlotte Rampling, Tom Courtenay, 45 Years
(via Framing Pictures)

Jay Kuehner

1. The Assassin (Hou Hsiao-hsien)
2. Carol (Todd Haynes)
3. Horse Money (Pedro Costa)
4. Jauja (Lisandro Alonso)
5. The Kindergarten Teacher (Nadav Lapid)
6. Heaven Knows What (Benny and Josh Safdie)
7. The Wonders (Alice Rohrwacher)
8. Arabian Nights (Miguel Gomes)
9. Phoenix (Christian Petzold)
(via Keyframe)

Moira Macdonald

(in alphabetical order)
45 Years
Brooklyn
Carol
Diary of a Teenage Girl
Grandma
Inside Out
Room
Shaun the Sheep Movie
Spotlight
The Third Man/ Tales of Hoffmann
(more at The Seattle Times)

Brian Miller

Favorite moments at Seattle Weekly

Kathleen Murphy

(in no intending order)
Brooklyn
Phoenix
Clouds of Sils Maria
45 Years
It Follows
Room
Son of Saul
Jauja
Bone Tomahawk
Mad Max: Fury Road / The Assassin
(via Framing Pictures)

Bruce Reid

1. Experimenter
2. Taxi
3. It Follows
4. The Hateful Eight
5. Welcome to New York
6. Blackhat
7. Clouds of Sils Maria
8. Timbuktu
9. Queen and Country
10. Maps to the Stars

In my absolute favorite scene of the year Stanley Milgram sits and reads from Speak, Memory the famous opening line of how we’re all our lives suspended between oblivions. Behind him two assistants lower lab equipment into a crate with the professional solemnity of undertakers.

In my second favorite scene a figure loping down a road, dressed in a ridiculous, baggy frog costume complete with bulging eyes, is revealed to be the last-act badass whose coming has been threatened throughout the movie.

One of those films made the list below; the other, Miike’s entertainingly unhinged Yakuza Apocalypse, didn’t quite. But both show off the quality that marks my favorite movies: an apparent legibility that, looked at more closely, resists any definitive reading. The ending of Milgrim’s most famous experiment is framed (literally, through a window that carves another screen inside the screen we’re watching) as a death; but one of the movie’s many points is that lives carry on, quite fulfillingly, after their supposed defining moments have passed. And when the muppet suit comes off there’s another surprise, and a further bad guy to confront.

We’re always told that movies, capturing real people moving through real environments, tend away from the mysterious and toward the concrete in a way that the other arts aren’t hampered. Except the camera’s eye can make even concrete glow with mysteries. I fell in love with the films above for the way they tracked down hallways in prisons and apartments, refusing to distinguish between the two; for the expertly timed closing of a piano lid; for the anxious way its actors clutched fishbowls, and the nonchalance with which they grasped cameras; for clouds roiling down a mountaintop, which you’d think would be beyond a director’s control; for a skyscraper flickering in a dying woman’s eyes. But it’s not just pianos and hallways, fishbowls and clouds and cameras, or even flicker. It never is.

Andrew Wright

1. Mad Max: Fury Road
2. Blackhat
3. Carol
4. The Hateful Eight
5. It Follows (Reviewed for the Portland Mercury)
6. Bridge of Spies (Reviewed for The Stranger)
7. Tangerine (Reviewed for The Stranger)
8. Bone Tomahawk
9. Creed
10. Sicario

Lists of lists:

Village Voice (poll and lists)
Roger Ebert.com
Variety
Keyframe Best Feature Films of 2015
Keyframe Daily Lists and Award 2015 Index

Polls
Film Comment
Indiewire Poll
Roger Ebert
Sight and Sound
Time Out London

Other lists
2015 additions to the National Film Registry
Kristin Thompson and David Bordwell’s Ten Best Films of … 1925
New York Times Year in Culture

Review: Macbeth

Michael Fassbender

Out of all of Shakespeare’s back catalog, Macbeth has perhaps been the best cinematically served, with such Hall of Famers as Orson Welles, Akira Kurosawa, and Roman Polanski applying their distinctive worldviews to the material. (Polanski’s 1971 version, his first film following the death of Sharon Tate, is still an amazingly tangible, all-encompassing ode to mud and blood and smoke and shit.) From the first frames of relative newcomer Justin Kurzel’s adaptation, it becomes apparent that his method of putting his stamp on the prose is to, well, ruthlessly pare away much of the prose. While the Big Scenes are rendered with a ravishing starkness, the connective tissue that’s allowed to remain tends to fall away into a low-toned dirge. Even those viewers unfamiliar with the source material may sometimes feel like they’re flipping through a brutally gorgeous set of CliffsNotes.

Continue reading at The Stranger

Review: Victor Frankenstein

Daniel Radcliffe and James McAvoy

Mary Wollstonecraft Shelley’s most famous creation has withstood all manner of affronts to its dignity over the years, ranging from Abbott & Costello to nuclear pink cereal to Robert De Niro seemingly doing an impression of Curley from the Three Stooges. This one, though, boy, I dunno.

Despite a lively titular performance from James McAvoy, Victor Frankenstein comes off as sloppily paced, overly knowing, and mostly inadvertently hilarious in its naked attempts to shape the source material to appeal to the kids these days, with their origin stories and shared cinematic universes and whatnot. This Dr. Frankenstein knows parkour.

Continue reading at The Stranger

Review: Bridge of Spies

Tom Hanks

The farther he moves away from temples of doom, altered suburbs, and shooting stars, the easier it is to somehow underestimate Steven Spielberg. (Yes, yes, Crystal Skull, I know.) Even at his most earthbound, though, the filmmaker’s basic chops still reside somewhere in the realm of the freakily supernatural. When he’s cooking, there’s nobody else who can do quite what he does.

Bridge of Spies, Spielberg’s first film since 2012’s Lincoln, is an exceptional job of work—a deliberately old-fashioned hybrid of courtroom drama and Cold War skullduggery that’s so expertly put together that you may not realize the beauty of its construction until after the fact.

Continue reading at Portland Mercury

Film Review: ‘Fantastic Four’

Kate Mara and Miles Teller

Even among the legions of characters in long underwear, the Fantastic Four have always stood apart, both for their squabbling family dynamics and an endearingly retro squareness. The latest attempt to move the team to the big screen captures, well, exactly neither of those aspects, with results that are too bloody and dour for kids (heads start popping off toward the end, GWAR-style), too laissez faire for continuity geeks, and too uninspired for everybody else.

Continue reading at The Stranger

Parallax View’s Best of 2014

Welcome 2015 with one last look back at the best releases of 2014, as seen by the contributors to Parallax View and a few notable Seattle-based film critics.

Sean Axmaker

My list this year is light on foreign movies, largely because I didn’t get out to as many festival screenings as I have in past years, and because many of the foreign language films placing highly on other lists have not opened in this corner of the world.

1. Boyhood (Richard Linkater, US)
2. The Grand Budapest Hotel (Wes Anderson, US)
3. Inherent Vice (Paul Thomas Anderson, US)
4. Gone Girl (David Fincher, US)
5. Under the Skin (Jonathan Glazer, UK)
6. Only Lovers Left Alive (Jim Jarmusch, US)
7. Ida (Pawel Pawlikowski)
8. Manuscripts Don’t Burn (Mohammad Rasoulof, Iran)
9. The Babadook (Jennifer Kent, Australia)
10. A Girl Walks Home Alone at Night (Ana Lily Amirpour, Iran/US)
And because this film turns it up to 11. Snowpiercer (Bong Joon Ho, US / South Korea / France / Czech Republic) – high concept science fiction thrillers are always best when serving as metaphors for sociopolitical commentary. Amiright?

More honorable mentions (in alphabetical order: Force Majeure (Ruben Östlund, Sweden), The Homesman (Tommy Lee Jones, US), The Immigrant (James Gray, US), John Wick (Chad Stahelski and David Leitch, US), Locke (Steven Knight, UK), A Most Violent Year (J.C. Chandor, US), Nightcrawler (Dan Gilroy, US), Night Moves (Kelly Reichardt, US), The Strange Little Cat (Ramon Zürcher, Germany), We Are the Best! (Lukas Moodyson, Sweden), What Now? Remind Me (Joaquin Pinto, Portugal)

Other published Top Ten Lists: Village Voice Film Poll, Keyframe
Also: Best of 2014 on Blu-ray and DVD

Sheila Benson

(as published in Village Voice)

1. Birdman
2. Foxcatcher
3. Mr. Turner
4. The Immigrant
5. Two Days, One Night
6. Leviathan
7. Nightcrawler
8. Force Majeure
9. Get on Up
10. Winter Sleep

Jim Emerson

(as presented at Frye Art Museum Critics Wrap)
1. Under the Skin (Jonathan Glazer)
2. Only Lovers Left Alive (Jim Jarmusch)
3. Ida (Pawel Pawlikowski)
4. Calvary (John Michael McDonaugh)
5. The Homesman (Tommy Lee Jones)
6. The Babadook (Jennifer Kent)
7. Happy Valley (Amir Bar-Lev)
8. Gone Girl (David Fincher)
9. The Immigrant (James Gray)
In a realm of its own, circling above the calendar year considerations: A Summer’s Tale (Eric Rohmer, 1995; first US release, 2014)

Robert Horton

(as published in Seattle Weekly)
1. The Grand Budapest Hotel (Wes Anderson)
2. Only Lovers Left Alive (Jim Jarmusch)
3. Under the Skin (Jonathan Glazer)
4. Two Days, One Night (Jean-Pierre and Luc Dardenne)
5. Boyhood (Richard Linklater)
6. Blue Ruin (Jeremy Saulnier) and The Rover (David Michôd) (tie)
8. Force Majeure (Ruben Östlund)
9. The Homesman (Tommy Lee Jones)
10. Edge of Tomorrow (Doug Liman)

Other published Top Ten Lists: Frye Art Museum Critics Wrap

Richard T. Jameson

1. Under the Skin
2. Only Lovers Left Alive
3. The Grand Budapest Hotel
4. The Homesman
5. Two Days, One Night
6. American Sniper
7. Birdman
8. Mr. Turner
9. Ida
10. The Better Angels

Jay Kuehner

(as published on Fandor)
1. Goodbye to Language (Jean-Luc Godard)
2. A Spell to Ward Off the Darkness (Ben Russell and Ben Rivers)
3. Jealousy (Philippe Garrel)
4. The Strange Little Cat (Ramon Zürcher)
5. Boyhood (Richard Linklater)
6. Ida (Pawel Pawlikowski)
7. Two Days, One Night (Jean-Pierre Dardenne and Luc Dardenne)
8. Winter Sleep (Nuri Bilge Ceylan)
9. Story of My Death (Albert Serra)
10. Stranger by the Lake (Alain Guiraudie)
11. Like Father, Like Son (Kore-Eda Hirokazu)

Moira Macdonald

(as published in The Seattle Times)
(in alphabetical order)
Birdman
Boyhood
Final Cut: Ladies and Gentlemen
Gone Girl
The Grand Budapest Hotel
Life Itself
Like Father, Like Son
Love Is Strange
Mood Indigo
Selma

Brian Miller

(as published in Seattle Weekly)
1. Birdman
2. Boyhood
3. Ida
4. Whiplash
5. Frank
6. The Grand Budapest Hotel
7. Force Majeure / Gone Girl (tie)
8. National Gallery
9. Snowpiercer
10. The Homesman

Kathleen Murphy

1. Under the Skin
2. Only Lovers Left Alive
3. The Grand Budapest Hotel
4. The Homesman
5. Ida
6. Mr. Turner
7. American Sniper
8. Two Days, One Night
9. A Most Violent Year
10. Force Majeure

Other published Top Ten Lists: Frye Art Museum Critics Wrap

Andrew Wright

1. Snowpiercer (Joon-ho Bong)
2. Under the Skin (Jonathan Glazer)
3. The Babadook (Jennifer Kent)
4. Only Lovers Left Alive (Jim Jarmusch)
5. Dawn of the Planet of the Apes (Matt Reeves)
6. Boyhood (Richard Linklater)
7. Two Days, One Night (Jean-Pierre and Luc Dardenne)
8. Ida (Pawel Pawlikowski)
9. Whiplash (Damien Chazelle)
10. Cold in July (Jim Mickle)

Lists of lists:

Village Voice (poll and lists)
Roger Ebert.com
Keyframe Best Feature Films of 2014
Keyframe Daily Lists and Award 2014 Index

Polls
Film Comment
Indiewire Poll
Keyframe
Roger Ebert.com
Sight and Sound
Time Out London

Other lists
2014 additions to the National Film Registry
Kristin Thompson and David Bordwell’s Ten Best Films of … 1924
New York Times Year in Culture

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