Here’s what else is screening:
A Tangerine, Embarcadero Center, California (Berkeley), opens Friday
Sometimes a new movie blows apart every concept you had about what a motion picture can be. Sean Baker’s tale of a transgender prostitute out for justice creates just that sort of magic. Fast, frenetic, funny, and sad, Tangerine looks like no other movie I’ve ever seen, probably because it was shot entirely on iPhones. And yes, that works, allowing the filmmakers to capture the tarnished glamour of today’s Hollywood. The most exciting and original new film I’ve seen this year. Did I tell you it’s a Christmas movie? Read my full review. Special appearances by filmmakers at the Embarcadero (Friday after the 7:30 show) and the California (Saturday, after the 7:20 show)
B+ Mr. Holmes, Clay, Albany, Piedmont, Guild, opens Friday
Ian McKellen plays Sherlock Holmes as an old man and as a very old man—mostly the later—in this entertaining but not too deep drama. Retired from solving crimes, Holmes is now a 90ish beekeeper (the film is set in 1947–about 20 years after Doyle wrote his last Holmes story), living with a widowed housekeeper and her young son. Holmes is in a race against time, trying to write down the true story of his last case—to correct Watson’s exaggerations—before senility sinks too deep. For Holmes fans, and I’m one of them, this is a wonderful gift. For everyone else, it’s still an enjoyable day at the movies. Read my full review.
A Panther Panchali, Rafael, Sunday
Our hero’s birth starts this first chapter of Satyajit Ray’s great Apu Trilogy, which then skips a few years so we can know him as a curious and mischievous child. Upbeat in nature, Apu seems to delight in the world around him–despite considerable hardship. His rural family lives in desperate poverty, and his educated but dreamy father’s unrealistic optimism doesn’t help. Apu’s mother is far more level-headed, and that makes her far more scared. Meanwhile, Apu and his older sister Durga play and fight and avoid their responsibilities. There’s a great deal of joy in this film, but a greater deal of tragedy. The Rafael will screen the trilogy chronologically over the course of three Sundays. Read my Apu discussion.
B+ Scarlet Street, Stanford, Wednesday through next Friday
If you’re lonely, bored, professionally unfulfilled, and stuck in a bad marriage, beware of beautiful women who seem interested in you–especially if you look like Edward G. Robinson. A cashier who dabbles in painting on the side (Robinson) falls for a dame who easily wraps him around her finger (Joan Bennett). Soon he’s stealing from his boss and letting the dame take credit for his suddenly successful paintings. You know this isn’t going to go well. A fine noir written by Dudley Nichols and directed by Fritz Lang. On a double bill with Father of the Bride.
A Early British Hitchcock double bill: The Lady Vanishes & the 39 Steps, Castro, Sunday
If you walked into The Lady Vanishes without knowing it was directed by Alfred Hitchcock, you’d spend nearly half an hour thinking you were watching a very British screwball comedy. Then a nice old lady disappears on a moving train, and everyone denies that she was there. Now it feels like Hitchcock! Of his work, only North by Northwest is more entertaining. Read my Blu-ray review. Although The 39 Steps is the lesser of these two, it’s very well made and an important step in Hitchcock’s transition to the Master of Suspense. The basic story, which he’d repeat twice again, involves an everyman (Robert Donat) chased both by evil foreign spies and the police.
B Tommy, Lark, Saturday, 8:00
Ken Russell’s over-the-top film version of Pete Townsend’s and The Who’s rock opera hits you over the head with all the subtlety of Pete Townsend smashing a guitar, while turning a parable of spiritual quest into a carnival satire of materialism and cults. Oliver Reed proves he can’t sing as he plays a male version of the stereotypical evil stepmother, but Roger Daltrey and Ann-Margaret sing, dance, and act like the professionals they are. So do Eric Clapton, Tina Turner, and Elton John in smaller roles. Townsend’s music is still brilliant, and if this isn’t the best version of Tommy, it’s certainly the most fun.
A Double Indemnity, various CineMark theaters, Sunday, Monday, and Wednesday
Rich, unhappy, and evil housewife Barbara Stanwyck leads insurance salesman Fred MacMurray by the libido from adultery to murder in Billy Wilder’s near-perfect thriller. Not that she has any trouble leading him (this is not the wholesome MacMurray we remember from My Three Sons). Edward G. Robinson is in fine form as the co-worker and close friend that MacMurray must deceive. A great, gritty thriller about sex (or the code-era equivalent) and betrayal, Double Indemnity can reasonably be called the first true film noir.
A Pulp Fiction, Castro, Saturday
Quentin Tarantino achieved cult status by writing and directing this witty mesh of interrelated stories involving talkative killers, a crooked boxer, romantic armed robbers, and a former POW who hid a watch in a very uncomfortable place. Tarantino entertainingly plays with dialog, story-telling techniques, non-linear time, and any sense the audience may have of right and wrong. On a double bill with Robert Altman’s Short Cuts, which I haven’t seen in a very long time.
A To Kill A Mockingbird, Elmwood, Sunday, 11:00am; Stanford, Saturday through Tuesday
The Elmwood will screen the film digitally off a DCP; the Stanford 35mm film. So you can choose your preferred technology, or go to both theaters and compare them.
The film version of Harper Lee’s Pulitzer Prize-winning novel manages to be both a nostalgic reverie of depression-era small town Southern life and a condemnation of that life’s dark and ugly underbelly. Gregory Peck’s Atticus Finch is the ultimate decent and moral father, a character so virtuous he’s only believable because the story is told through the eyes of his six-year-old daughter, Scout. (It’s worth noting that in the new sequel to the novel, the now-grown Scout discovers her father’s flaws.) The Stanford will screen it on a double bill with Billy Wilder’s comic murder mystery, Witness for the Prosecution.
B+ Fight Club, UA Berkeley, Thursday, 9:00
This is one strange and disturbing flick. Edward Norton wants to be Brad Pitt. Who wouldn’t? Pitt’s a free-spirited kind of guy and a real man. Besides, he’s shagging Helena Bonham Carter (who plays an American, and would therefore never use the verb shag). On the other hand, he just might be a fascist. Or maybe…better not give away the strangest plot twist this side of Psycho and Bambi, even if it strains more credibility than a Fox News commentary. And Bonham Carter gets to say the most shocking and hilariously obscene line in Hollywood history.
B West Side Story, Oakland Paramount, Friday, 8:00
West Side Story swings erratically from glorious brilliance to astonishing ineptitude. The songs and dances–especially the Jerome Robbins-choreographed dances–create a world of violent intensity and eroticism that both carry the story and shine in their own right. I’d be hard-pressed to think of a better choreographed widescreen musical. It also contains magnificent supporting performances by Russ Tamblyn, George Chakiris, and especially Rita Moreno. But the dialog is often stilted and stage-bound, and juvenile lead Richard Beymer is so bad he sinks every scene he’s in. See West Side Story in 70mm for more on the movie–even though the Paramount will screen the movie in 35mm (and, I assume in mono).