• Eugene Weekly Loves You!
Share |

Movies

September 11, 2014 01:00 AM

Let’s keep the movies about female musicians, shall we? Yes to 20 Feet from Stardom; yes to Begin Again; a hearty punk-rock yowl of approval to We Are the Best! And a quieter, more introspective yes to God Help the Girl, a whimsical, fey, intimate movie about music, friendship and moving forward. 

Let’s keep the movies about female musicians, shall we? Yes to 20 Feet from Stardom; yes to Begin Again; a hearty punk-rock yowl of approval to We Are the Best! And a quieter, more introspective yes to God Help the Girl, a whimsical, fey, intimate movie about music, friendship and moving forward. 

September 4, 2014 01:00 AM

I really, really, really want to tell you what happens in The One I Love, the smart and slithery new movie by director Charlie McDowell, but I can’t. To reveal the device at the center of this cinematic mind-fuck about a married couple on the skids and their surreal, disarming and ultimately transformative experiences during a weekend retreat suggested by their therapist would be tantamount to breaking the first rule of Fight Club (“Don’t talk about fight club”) or spilling the beans on Rosebud in Citizen Kane (it’s the sled).

I really, really, really want to tell you what happens in The One I Love, the smart and slithery new movie by director Charlie McDowell, but I can’t. To reveal the device at the center of this cinematic mind-fuck about a married couple on the skids and their surreal, disarming and ultimately transformative experiences during a weekend retreat suggested by their therapist would be tantamount to breaking the first rule of Fight Club (“Don’t talk about fight club”) or spilling the beans on Rosebud in Citizen Kane (it’s the sled).

August 28, 2014 01:00 AM

When I heard author Jon Ronson interviewed on NPR recently about Frank, the film based on his book, I was excited. Having seen trailers featuring Michael Fassbender wearing a papier-mâché head, I was tickled to learn from Ronson that the story was inspired by a real person — Frank Sidebottom. With Fassbender and Maggie Gyllenhaal on the roster, how could Frank be anything but a delightful whimsical romp?

When I heard author Jon Ronson interviewed on NPR recently about Frank, the film based on his book, I was excited. Having seen trailers featuring Michael Fassbender wearing a papier-mâché head, I was tickled to learn from Ronson that the story was inspired by a real person — Frank Sidebottom, the English musician and comedian who lead the band The Freshies as the ’70s sank into the ’80s. With Fassbender and Maggie Gyllenhaal on the roster, how could Frank be anything but a delightful whimsical romp?

August 20, 2014 11:00 PM

In what would become his final film role, the late Philip Seymour Hoffman inhabits a classic fictional persona, that of the downbeat institutional man. As Günther Bachmann, a career spy heading an anti-terrorism unit in Hamburg, Hoffman puts an ingenious modern spin on the existential anti-hero who, against all odds and caught up in a tangle of lies and deceit, tries to do the right thing.

In what would become his final film role, the late Philip Seymour Hoffman inhabits a classic fictional persona, that of the downbeat institutional man. As Günther Bachmann, a career spy heading an anti-terrorism unit in Hamburg, Hoffman — who died in February of a heroin overdose — puts an ingenious modern spin on the existential anti-hero who, against all odds and caught up in a tangle of lies and deceit, tries to do the right thing.

August 13, 2014 11:00 PM

Guardians of the Galaxy is, for the most part, exactly what you’d want from the Marvel Comics kind of movie in which a ragtag bunch of scoundrels save the world (or, at least, a world). The plot involves a pretty glowing purple rock that looks like something Link needs to collect in The Legend of Zelda.

Guardians of the Galaxy is, for the most part, exactly what you’d want from the Marvel Comics kind of movie in which a ragtag bunch of scoundrels save the world (or, at least, a world). The plot involves a pretty glowing purple rock that looks like something Link needs to collect in The Legend of Zelda. One character’s hideout is on a space station that is built on the severed head of a massive cosmic creature. It’s got scope and shiny effects and the kind of beautiful aerial battle sequences that give a nerd like me pretty intense goose bumps.

August 6, 2014 11:00 PM

It’s nothing new for Richard Linklater to demonstrate his fascination with the passage of time in cinema. Dazed and Confused took place on the last day of high school; his films with Ethan Hawke and Julie Delpy, most recently Before Midnight, skip through the years in the life of a couple, their relationship moving from young passion to a maturity that’s both prickly and graceful.

It’s nothing new for Richard Linklater to demonstrate his fascination with the passage of time in cinema. Dazed and Confused took place on the last day of high school; his films with Ethan Hawke and Julie Delpy, most recently Before Midnight, skip through the years in the life of a couple, their relationship moving from young passion to a maturity that’s both prickly and graceful. 

August 6, 2014 11:00 PM

Having all but walked away from movies in exhaustion and disgust after finishing his last full-length feature Killing Me, local writer-director Henry Weintraub now returns to the cinematic fold with The Assassin, a compact gem of shoestring filmmaking.

Having all but walked away from movies in exhaustion and disgust after finishing his last full-length feature Killing Me, local writer-director Henry Weintraub now returns to the cinematic fold with The Assassin, a compact gem of shoestring filmmaking. Shot in digital black-and-white and devoid of dialogue, this surreal short film about a low-rent, grungy killer is in many ways a return to Weintraub’s roots in slam-bang, low-budget auteurism, and the joy he rediscovered in the endeavor shows in every frame.

July 30, 2014 11:00 PM

John Carney’s Once (2007) was a lovely, intimate film, the story of two musicians whose romance played out artistically. Once is now a Broadway powerhouse, made a little tidier but no less affecting, and Carney is back with a movie that’s almost Once again: two drifting, lovelorn souls brought together through musical collaboration.

John Carney’s Once (2007) was a lovely, intimate film, the story of two musicians whose romance played out artistically. Once is now a Broadway powerhouse, made a little tidier but no less affecting, and Carney is back with a movie that’s almost Once again: two drifting, lovelorn souls brought together through musical collaboration.

July 23, 2014 11:00 PM

Bombastic, charismatic and iconic through and through, Roger Ebert was the Muhammad Ali of film criticism, a man whose face and voice became synonymous with our modern pastime of going to the movies.

Bombastic, charismatic and iconic through and through, Roger Ebert was the Muhammad Ali of film criticism, a man whose face and voice became synonymous with our modern pastime of going to the movies. He was the champ: With a review in The Chicago Sun-Times or a little wiggle of his thumb on the syndicated TV show At the Movies, Ebert possessed the power to single-handedly revive a flailing filmmaker’s career or curse a new movie to oblivion.

July 16, 2014 11:00 PM

Two dudes standing behind a service counter, slinging cheesecake for the masses and, during down times, brainstorming a tangle of ideas about music, movies and the end of the world: This is the genesis of Tectonic Jelly, a deliciously bizarre short film and companion comic book series that gets its first public airing Thursday, July 17, at Bijou Art Cinemas.

Two dudes standing behind a service counter, slinging cheesecake for the masses and, during down times, brainstorming a tangle of ideas about music, movies and the end of the world: This is the genesis of Tectonic Jelly, a deliciously bizarre short film and companion comic book series that gets its first public airing Thursday, July 17, at Bijou Art Cinemas.

July 16, 2014 11:00 PM

Fans of scary monsters and super creeps will have a lot to feast on in coming days, as the Bijou Classic Series unleashes its “Monster Blockbuster” tribute, featuring screenings of a handful of legendary films moderated by local film buffs.

Fans of scary monsters and super creeps will have a lot to feast on in coming days, as the Bijou Classic Series unleashes its “Monster Blockbuster” tribute, featuring screenings of a handful of legendary films moderated by local film buffs.

Coordinated by Joshua Purvis, Bijou marketing director and founder of the Eugene Film Society, the series puts together a chilling variety of freaker classics — from Jaws to Invasion of the Body Snatchers — pairing each with a moderated Q&A and discussion that will tackle critical, historic and technical aspects of the film.

July 9, 2014 11:00 PM

Last week, a friend wanted to know if she should see Snowpiercer. The easy answer is “Yes.” The longer, glibber answer was, “Did you want a sci-fi movie about class warfare? Then yes.”

Last week, a friend wanted to know if she should see Snowpiercer. The easy answer is “Yes.” The longer, glibber answer was, “Did you want a sci-fi movie about class warfare? Then yes.”

She replied, “Isn’t that what all sci-fi movies are really about?”

July 3, 2014 01:00 AM

We’re starting to live in a Jenny Slate world, and I’m perfectly OK with that. She’s brilliantly annoying on Kroll Show, as one of the Lizzes of PubLIZity; she’s the creator, with her husband Dean Fleischer-Camp, of the video and bestselling book Marcel the Shell With Shoes On; she’s been guest-starring on more TV shows than I can remember.

We’re starting to live in a Jenny Slate world, and I’m perfectly OK with that. She’s brilliantly annoying on Kroll Show, as one of the Lizzes of PubLIZity; she’s the creator, with her husband Dean Fleischer-Camp, of the video and bestselling book Marcel the Shell With Shoes On; she’s been guest-starring on more TV shows than I can remember. She makes fart jokes in interviews and tweets videos of her dog. And Slate stars in Obvious Child, the rare film that can genuinely be called a feminist romantic comedy.

June 26, 2014 01:00 AM

In Kelly Reichardt’s new film, Night Moves, a ragged trio of would-be eco-saboteurs plot to blow up a hydroelectric dam in western Oregon.

In Kelly Reichardt’s new film, Night Moves, a ragged trio of would-be eco-saboteurs plot to blow up a hydroelectric dam in western Oregon. There is Josh (Jesse Eisenberg), a steely young man full of sidelong glances and inarticulate rage; Dena (Dakota Fanning), a doe-eyed rich girl levitating on hippie zen; and Harmon (Peter Sarsgaard), the elder, who emanates the cool, malevolent calm of nihilism.

June 19, 2014 01:00 AM

Fifteen years ago, Lukas Moodysson’s feature debut, Show Me Love (limply retitled from the evocative Fucking Åmål), gave us a beautifully honest, complicated and lovely tale about small-town teenage life and love. Moodysson’s latest, We Are the Best!, is another gloriously told tale about Swedish teens — though they can barely claim the word. 

Fifteen years ago, Lukas Moodysson’s feature debut, Show Me Love (limply retitled from the evocative Fucking Åmål), gave us a beautifully honest, complicated and lovely tale about small-town teenage life and love. Moodysson’s latest, We Are the Best!, is another gloriously told tale about Swedish teens — though they can barely claim the word. 

June 12, 2014 01:00 AM

James Franco is a fascinating character. With his chiseled good looks and bedroom eyes, he is genetically perched for sex-symbol status, and certainly Hollywood yearns to dip him in those spangled shallows.

James Franco is a fascinating character. With his chiseled good looks and bedroom eyes, he is genetically perched for sex-symbol status, and certainly Hollywood yearns to dip him in those spangled shallows. But Franco, as part of Seth Rogen and Jason Segel’s Freaks and Geeks mob, resists the most earnest superfluities of celebrity; his artistic talent is tempered by self-deprecation and suspicion, which keeps him on his toes — witness the masochistic pleasure he takes in ripping his reputation in This is the End.

June 5, 2014 01:00 AM

The illegitimate, biracial daughter of a British navy admiral, Dido Elizabeth Belle, was born into complicated circumstances. In Belle, director Amma Asante and screenwriter Misan Sagay take some liberties with what’s known about the real Belle, but strict accuracy isn’t the point of Asante’s lush, Jane Austenesque film, which belongs fully to Belle (Gugu Mbatha-Raw). 

The illegitimate, biracial daughter of a British navy admiral, Dido Elizabeth Belle, was born into complicated circumstances. In Belle, director Amma Asante and screenwriter Misan Sagay take some liberties with what’s known about the real Belle, but strict accuracy isn’t the point of Asante’s lush, Jane Austenesque film, which belongs fully to Belle (Gugu Mbatha-Raw). 

May 29, 2014 01:00 AM

Days of Future Past opens in a dark future, a world devastated by war. A ragtag band of mutants, led by Professor X (Patrick Stewart) and Magneto (Ian McKellan), puts up a decent fight against the Sentinels, but they have zero hope of victory against the shape-shifting, mutant-hunting robots. 

Days of Future Past opens in a dark future, a world devastated by war. A ragtag band of mutants, led by Professor X (Patrick Stewart) and Magneto (Ian McKellan), puts up a decent fight against the Sentinels, but they have zero hope of victory against the shape-shifting, mutant-hunting robots. In a last-ditch effort, Kitty Pryde (Ellen Page) sends the consciousness of Wolverine (Hugh Jackman) back into his ’70s self.

May 22, 2014 01:00 AM

It’s impossible for me to assess my attributes as a film critic, though I can say I’ve mentored with some of the best. My dear friend Richard Jameson, former editor of Film Comment, has taught me more about movies, and how to watch and discuss them, than the thousands of pages I’ve read over the years

It’s impossible for me to assess my attributes as a film critic, though I can say I’ve mentored with some of the best. My dear friend Richard Jameson, former editor of Film Comment, has taught me more about movies, and how to watch and discuss them, than the thousands of pages I’ve read over the years. I call Richard, fondly, the populist snob: a man of Apollonian discernment who nonetheless finds lasting quality in more mainstream stuff, and who can discuss Spielberg with as much acuity and energetic acumen as he can Fassbender or Godard.

May 15, 2014 01:00 AM

Funded by a Kickstarter campaign and written, directed and shot by Saulnier, Blue Ruin is the story of Dwight (Macon Blair), a young homeless man who, as the film opens, is roused from sleeping in his car by a sympathetic cop who informs him that the man who killed his parents is soon to be released from prison.

In 1984, a pair of shaggy Jewish brothers from a suburb of Minneapolis released a low-budget neo-noir crime thriller that, with its hard edges and bold style, would do for independent cinema what Nirvana, a few years later, would do for indie music.

May 8, 2014 01:00 AM

Languid, elegiac, mournful and unexpectedly funny, Jim Jarmush’s Only Lovers Left Alive introduces us to the ancient Adam (Tom Hiddleston) and Eve (Tilda Swinton), a pair of vampires who’ve been married so long they think nothing of living on opposite sides of the world.

Languid, elegiac, mournful and unexpectedly funny, Jim Jarmush’s Only Lovers Left Alive introduces us to the ancient Adam (Tom Hiddleston) and Eve (Tilda Swinton), a pair of vampires who’ve been married so long they think nothing of living on opposite sides of the world. He lurks in Detroit, a reclusive, black-clad musician whose work quietly slips into the world via his human friend Ian (Anton Yelchin, shaggy and game).

May 8, 2014 01:00 AM

Hang high in Colorado, Robert Redford, because we have another film festival worth digging into here in Eugene May 9-11. The Archaeology Channel is hosting its 11th International Film and Video Festival at The Shedd and just like the subjects depicted on screen, the festival is aging into something to behold, showcasing 18 films from around the globe. 

Hang high in Colorado, Robert Redford, because we have another film festival worth digging into here in Eugene May 9-11. The Archaeology Channel is hosting its 11th International Film and Video Festival at The Shedd and just like the subjects depicted on screen, the festival is aging into something to behold, showcasing 18 films from around the globe. 

May 1, 2014 01:00 AM

Having just watched Jonathan Glazer’s latest movie, Under the Skin, I’m now thoroughly convinced that we have entered a post-human age — an era of catastrophic reckoning in which humanity, threatened with inevitable extinction, will figure less and less as the engineer of its own destiny. Art is always way ahead of the curve, and if recent films like The Tree of Life and Melancholia, along with novels like Cormac McCarthy’s The Road, have anything to teach us, it’s this: Grab your ass, because the apocalypse is upon us. 

Having just watched Jonathan Glazer’s latest movie, Under the Skin, I’m now thoroughly convinced that we have entered a post-human age — an era of catastrophic reckoning in which humanity, threatened with inevitable extinction, will figure less and less as the engineer of its own destiny.

April 24, 2014 01:00 AM

Remember when Jude Law was pretty? Go back and watch Existenz, or A.I. or Gattaca, when he was often blonde and proper, and always a little bit cold. Then watch Dom Hemingway, in which he is, in so many ways, the opposite: earthy and sweaty and living it up. His hair sweeps back from a sharply pointed hairline, dyed dark brown and never clean; he’s carrying just enough extra weight (by movie-star standards) that his clothes bunch and puff in the wrong places, like real-person clothes. 

Remember when Jude Law was pretty? Go back and watch Existenz, or A.I. or Gattaca, when he was often blonde and proper, and always a little bit cold. Then watch Dom Hemingway, in which he is, in so many ways, the opposite: earthy and sweaty and living it up. His hair sweeps back from a sharply pointed hairline, dyed dark brown and never clean; he’s carrying just enough extra weight (by movie-star standards) that his clothes bunch and puff in the wrong places, like real-person clothes.