Eugene Weekly

Spike Jonze’s Her takes place in a clearly futuristic Los Angeles, a spotless, sparse playground for disconnected souls, filmed as a place that is perpetually sunny and disconcertingly sad. Through this shiny, metal-and-glass metropolis march hundreds of humans having the sort of disconcerting earbud conversations we’re becoming accustomed to now. These folks aren’t talking to a friend on the other side of the country, though; they’re talking to their operating systems.  Continue reading →

From his early career until now, director Martin Scorsese has been documenting the dark and devious side of The American Dream, where success achieved in bad faith leads to spectacular crashes and spiritual bankruptcy. Scorsese is obsessed with the Cinderella story in reverse, where the magic slipper shatters into killing shards of glass. Continue reading →

Of all the things to appreciate about the new Coen brothers film, Inside Llewyn Davis, I’m hung up on the color and the light. These days, it’s easy to give your photos a retro feel; just open Instagram and let the magic happen. It’s not so easy to make your entire film evoke the cover of The Freewheelin’ Bob Dylan, right down to the cars, the streets and the color of Dylan’s jacket, which is echoed by the bag schlepped around by Llewyn Davis (Oscar Isaac).  Continue reading →

Nebraska’s black-and-white cinematography, all wide skies and one-story main streets, is a signpost, an indicator that Alexander Payne wants you to think old. Think old movies; think old men; think old-school values. But start with old men. We meet Woody Grant (Bruce Dern, with a frizz of white hair and a loping stagger of a walk) making his way onto the highway. After the Billings cops pick him up, Woody explains to his son David (Will Forte) that he was en route to Nebraska to claim a million-dollar prize. Continue reading →

David O. Russell’s new film, American Hustle, is a shaggy, shambolic love story masquerading as a period crime drama. Loosely based on the ABSCAM operation of the late 1970s, the movie follows the exploits of a pair of charming con artists, Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams), who end up getting popped by an ambitious FBI agent, Richie DiMaso (Bradley Cooper), and thereby enlisted in a sting that seeks to bring down, among others, Carmine Polito (Jeremy Renner), the mayor of Camden, N.J. Continue reading →

Sam Bond’s Garage bookends Sol Seed’s year quite well, and what a difference a year makes. On Dec. 31, 2012, Sol Seed played its first New Year’s Eve show at Sam Bond’s; the reggae fusion band will be reprising its role of ringing in the New Year with laid-back, back-beat cheer for 2014. Continue reading →

Can we talk about Jared Leto for a while? There’s a reason the internet likes to joke about Generation Catalano, referring to those neither-Gen X-nor-Millenial folks who identify with My So-Called Life, the excellent, short-lived TV show whose stars are now stars again. Claire Danes, now all angles and coolness, is on Homeland, while Leto, who played her crush, Jordan Catalano, is mostly a rock star. Every so often he turns up in a movie. Continue reading →

Stephen Frears’ Philomena hardly marks the first time Steve Coogan has played an ordinary fellow, but it feels like a definitive forward step in a peculiar and interesting career. To some, he’ll never stop being the British TV character Alan Partridge; to me, he’s always the guy from the under-seen Tristram Shandy, who pops up in brilliant cameos in all sorts of places (including Hot Fuzz).  Continue reading →

Tom Blank is on a mission.   A Navy veteran and retired director who served his career in television, Blank and his wife moved in 2005 from Hollywood to Eugene, where he immediately took up the cause of advocating for movies as cultural and spiritual artifacts.   Continue reading →