PDXFilm Presents TEAM AMERICA: WORLD POLICE this Friday, July 3rd!

28 06 2009

Since 2004, I’ve been kicking myself for not going to see TEAM AMERICA: WORLD POLICE (Trey Parker, U.S., 2004) in the cinema when it came out.  The attention to detail and the craftsmanship of the art direction in this $30 million marionette film is so very fine with a tremendous sense of humor that it really needs to be seen on a big screen.

And so this Independence Day weekend, I asked Cinema 21 if we could have a late night screening to kick off the holiday weekend and they obliged!

team_america_2004_poster

TEAM AMERICA was ranked by the 2004 Film Comment Film Critics’ Poll as one of the best films of 2004 and despite its references to Bush Era politics, the film’s vitriolic attack on Hollywood’s love of military power while their celebrities hypocritically condone real life violence is still timely.  TEAM AMERICA’s cast is without sex organs and just like a Hollywood sex scene, they boff away into the rosey dawn, neutered and unthreatening. TEAM AMERICA is a merciless attack on American ignorance, arrogance, self-righteousness and corporate funded imperialism, a buggery of the sophomoric and puerile comic book franchises, all the while theatrically self-aware of the limitations of their marionettes.  In other words, TEAM AMERICA is as much a film about film as it is a political satire, which for me makes this a perfect cinema event.

J. Hoberman of Village Voice, “Team America is at once grandiose and tacky, elaborate and deflationary.”

Peter Travers of Rolling Stone, “Outrageously, gut-bustingly hilarious.”

John Anderson of Newsday, “Sophomoric, vulgar, obscene and brilliant.”

Desson Thomson of Washington Post, “Wickedly funny and devilishly subversive.”

TEAM AMERICA: WORLD POLICE plays one night only, Friday July 3rd at 11PM at Cinema 21, 616 NW 21st Ave. This is a 21 and over show, Cinema 21 now serves beer and wine.

Another great Independence Day weekend film is THE PARALLAX VIEW (Alan J. Pakula, U.S., 1974) starring Warren Beatty, Paula Prentiss, Hume Cronyn and gorgeous cinematography by Gordon Willis who shot The Godfather and Annie Hall, which opened Friday at Laurelhurst Theater.

Parallax View

Of the three films that make up director Alan J. Pakula’s “paranoid trilogy” (Klute, All the President’s Men and THE PARALLAX VIEW), the latter most strongly conveys the paranoid atmosphere of the 1960s and ’70s. A stylish suspense-thriller, THE PARALLAX VIEW mirrors the political distrust Americans began to feel during the period following the Kennedy assassination and the Vietnam War, culminating in the Watergate conspiracy. The film stars Warren Beatty as investigative journalist Joe Frady, whose former girlfriend and colleague, Lee Carter (Paula Prentiss), witnesses the assassination of a U.S. senator at the Seattle Space Needle. A government report declares it the work of a lone gunman, but when eyewitnesses begin showing up dead, Carter is convinced that a wider conspiracy is at work. Probing deeper, Frady uncovers the operations of the Parallax Corporation, which recruits social misfits and uses mind control techniques to turn them into assassins. In keeping with classic 1970s film, the story is a suspenseful, well-acted thriller with a surprise ending that will resound with the viewer long after the credits start rolling.  Plus the film brilliantly employs the use of montage.  Check out this sequence from the testing room.  It’s genius.

THE PARALLAX VIEW plays through the rest of the week at The Laurelhurst.  Check website for showtimes.

The Hollywood Theatre is showing the most dazzling, confounding, flamboyant and operatic piece of virtuoso filmmaking you’re likely to ever see, IL DIVO (Paolo Sorrentino, Italy, 2008) which won the Prix du Jury at Cannes 2008.

ildivo

For the life of me, when my best friend and I saw this at PIFF last year, we couldn’t follow it at all and we really didn’t care.  It was as if we were being whisked through the history of contemporary Italian politics in a cherry red Ferrari while blaringDanse Macabre, Opus 40 by Camille Saint-Saëns with all the windows down.  We had no idea where we were or what was happening, but we were giddy like school children dizzy on lemonade.

Here.  Just watch the beginning of the movie.  It’s only two minutes long.  Watch in full screen.

And the trailer can be viewed on the official IL DIVO website HERE.

For more than 50 years, Giulio Andreotti has been Italy’s most powerful, feared and enigmatic politician. And as he begins his seventh term as Prime Minister, he and his hardliner faction take control of a country reeling from the brazen murders of several high-level bankers, judges and journalists, as well as the kidnapping and assassination of former Prime Minister Aldo Moro. But as the Christian Democrat party crumbles in a nationwide bribery scandal, suspicion begins to fall on Andreotti himself as the center of a shocking conspiracy involving the Vatican, the Mafia and the secret neo-Fascist Masonic Lodge P2. In what is called The Trial Of The Century, Italy’s legendary Senator for Life will stand accused of corruption, collusion and murder.  That’s the story, a true one, but go for the filmmaking.  MUST SEE.

IL DIVO starts Friday at The Hollywood Theatre.  Check website for showtimes.

Still playing at The Hollywood, one of the most innovative and existential thrillers you’re likely to ever see, REVANCHE (Götz Spielmann, Austria, 2008) which was nominated for Best Foreign Film last year and won countless European awards.

revanche

At once  gripping and tragic of nearly Greek proportions, REVANCHE is the stunning international breakthrough debut from Austrian filmmaker Götz Spielmann. In a ragged section of Vienna, hardened ex-con Alex (the mesmerizing Johannes Krisch) works as an assistant in a brothel, where he falls for Ukrainian hooker Tamara (Irina Potapenko). Their desperate plans for escape unexpectedly intersect with the lives of a rural cop (Andreas Lust) and his seemingly content wife (Ursula Strauss). With meticulous, elegant direction, Spielmann creates a tense, surprising portrait of vengeance and redemption, and a journey into the darkest forest of human nature, in which violence and beauty exist side by side.  This is one of the best films of the year.


Revanche – Trailer – The most popular videos are here

REVANCHE plays for one more week at The Hollywood Theatre.  Check website for showtimes.
And don’t forget, you only have one more week to see one of the best films of the year at The Laurelhurst, Jim Jarmusch’s THE LIMITS OF CONTROL.

But I hope to see many of you at the TEAM AMERICA screening.  Bring lots of friends!  The more the merrier!  And there’s BEER too!

tenzispdxfilm

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Grindhouse, Il Divo, Parallax and PDXFilm Presents a Special Screening!

25 06 2009

Last night, I lucked into the very last ticket to see David Byrne and was reminded why I prefer cinema to music venues.  At the cinema, the program starts ON TIME.  At the cinema, people don’t talk and if they do, they are scolded by the patrons.  Talking during a film is socially unacceptable and rude.  At the cinema, audiences are not constantly getting up from their seats and wandering around.  At the cinema, people don’t stand up to watch action scenes and then sit down for quiet scenes.  At the cinema, there aren’t dweeby security guards bossing the audience around.  Why is it so different?  Because at the cinema, PEOPLE PAY ATTENTION.

At the cinema, what is happening in front of the audience is all there is.  There’s no chatting up girls, no videotaping with cell phones (which makes about as much sense as videotape yourself fucking; it’s always more boring on video), no texting to your friend in the other aisle because the audience is FOCUSED, dreaming awake collectively, rapt by “The Holy Moment” of cinema.  Music venues function as backgrounds for socialization, and you know, I did not pay sixty bucks to be a guest at someone else’s party.  I came to dream, my dream of David Byrne.  I’m sorry, but I just don’t trust music venues anymore.  I’m tired of being corralled by age into specific areas and having some knuckle dragging troglodyte stamp my wrist with a beaver so I can get back in, none of which happens at the cinema.  The cinema is a place of unspoken respect for the collective experience.  So goodbye and no thanks to music.  I’ll stick to my cinema dreams where people care enough to mindfully pay full attention and respect the moment.

Now then…

Some real doozies this week.  First off, Portland’s gift to pulp cinema, Dan Halsted of Grindhouse, brings us the only surviving 35mm print of one of the most revered martial arts film ever made, 7 GRANDMASTERS (Joseph Kuo, Taiwan, 1978) shot with a glorious 2.35 super wide aspect ratio!

7Grandmasters

To quote Dan’s website, “A kung fu teacher sets out to prove that he is the greatest fighter by finding and defeating the seven Grandmasters. One by one, he fights their wide variety of animal styles (tiger, leopard, mantis, monkey, etc.) He also puts a young student through elaborate training, and is followed by a mysterious kung fu villain wearing a weird hat. Let’s be honest though, how important is the plot when a jaw-dropping kung fu fight breaks out every few minutes? Featuring all the best old school sound effects, fighting styles, martial arts weapons, and silver haired villains with maniacal laughter. Directed by the great Joseph Kuo and starring Jack Long and Mark Long (the original Ghostface Killer) This is one of the top five kung fu movies of all time!”

I’m not sure if the print is in the original Mandarin language (most HK films during this era were in Cantonese) or dubbed in English like the above trailer, but it doesn’t matter too much.  Just go.  This is an event.  Really.  I know a lot of you are fans of that Tarantino guy, but THIS is a film that Tarantino is a huuuuuuuuuuuuuge fan of.  I recommend you go to the source.

7 GRANDMASTERS plays ONE NIGHT ONLY, Saturday, June 27th at 7:45pm at The Hollywood Theatre.  Drop all your other plans and go.  If you’re new to the genre, start NOW.

Speaking of Tarantino, if anyone wants to read the script for INGLORIOUS BASTERDS (yes, that’s how he’s spelling the title), I have it so drop me a line at pdxfilm@mac.com.  I always heard he couldn’t spell worth a damn, but I had to read one of his scripts to see how bad his spelling really is.  Wow.

Also at The Hollywood Theatre starting Friday, the most dazzling, confounding, flamboyant and operatic piece of virtuoso filmmaking you’re likely to ever see, IL DIVO (Paolo Sorrentino, Italy, 2008) which won the Prix du Jury at Cannes 2008.

ildivo

For the life of me, when my best friend and I saw this at PIFF last year, we couldn’t follow it at all and we really didn’t care.  It was as if we were being whisked through the history of contemporary Italian politics in a cherry red Ferrari while blaring Danse Macabre, Opus 40 by Camille Saint-Saëns with all the windows down.  We had no idea where we were or what was happening, but we were giddy like school children dizzy on lemonade.

Here.  Just watch the beginning of the movie.  It’s only two minutes long.  Watch in full screen.

And the trailer can be viewed on the official IL DIVO website HERE.

For more than 50 years, Giulio Andreotti has been Italy’s most powerful, feared and enigmatic politician. And as he begins his seventh term as Prime Minister, he and his hardliner faction take control of a country reeling from the brazen murders of several high-level bankers, judges and journalists, as well as the kidnapping and assassination of former Prime Minister Aldo Moro. But as the Christian Democrat party crumbles in a nationwide bribery scandal, suspicion begins to fall on Andreotti himself as the center of a shocking conspiracy involving the Vatican, the Mafia and the secret neo-Fascist Masonic Lodge P2. In what is called The Trial Of The Century, Italy’s legendary Senator for Life will stand accused of corruption, collusion and murder.  That’s the story, a true one, but go for the filmmaking.  MUST SEE.

IL DIVO starts Friday at The Hollywood Theatre.  Check website for showtimes.

Still playing at The Hollywood, one of the most innovative and existential thrillers you’re likely to ever see, REVANCHE (Götz Spielmann, Austria, 2008) which was nominated for Best Foreign Film last year and won countless European awards.

revanche

At once  gripping and tragic of nearly Greek proportions, REVANCHE is the stunning international breakthrough debut from Austrian filmmaker Götz Spielmann. In a ragged section of Vienna, hardened ex-con Alex (the mesmerizing Johannes Krisch) works as an assistant in a brothel, where he falls for Ukrainian hooker Tamara (Irina Potapenko). Their desperate plans for escape unexpectedly intersect with the lives of a rural cop (Andreas Lust) and his seemingly content wife (Ursula Strauss). With meticulous, elegant direction, Spielmann creates a tense, surprising portrait of vengeance and redemption, and a journey into the darkest forest of human nature, in which violence and beauty exist side by side.  This is one of the best films of the year.


Revanche – Trailer – The most popular videos are here

REVANCHE plays for one more week at The Hollywood Theatre.  Check website for showtimes.

Starting Friday at The Laurelhurst is THE PARALLAX VIEW (Alan J. Pakula, U.S., 1974) starring Warren Beatty, Paula Prentiss, Hume Cronyn and gorgeous cinematography by Gordon Willis who shot The Godfather and Annie Hall.

Parallax View

Of the three films that make up director Alan J. Pakula’s “paranoid trilogy” (Klute, All the President’s Men and THE PARALLAX VIEW), the latter most strongly conveys the paranoid atmosphere of the 1960s and ’70s. A stylish suspense-thriller, THE PARALLAX VIEW mirrors the political distrust Americans began to feel during the period following the Kennedy assassination and the Vietnam War, culminating in the Watergate conspiracy. The film stars Warren Beatty as investigative journalist Joe Frady, whose former girlfriend and colleague, Lee Carter (Paula Prentiss), witnesses the assassination of a U.S. senator at the Seattle Space Needle. A government report declares it the work of a lone gunman, but when eyewitnesses begin showing up dead, Carter is convinced that a wider conspiracy is at work. Probing deeper, Frady uncovers the operations of the Parallax Corporation, which recruits social misfits and uses mind control techniques to turn them into assassins. In keeping with classic 1970s film, the story is a suspenseful, well-acted thriller with a surprise ending that will resound with the viewer long after the credits start rolling.  Plus the film brilliantly employs the use of montage.  Check out this sequence from the testing room.  It’s genius.

THE PARALLAX VIEW starts Friday at The Laurelhurst.  Check website for showtimes.

And don’t forget, you only have one more week to see one of the best films of the year at The Laurelhurst, Jim Jarmusch’s THE LIMITS OF CONTROL.

AND LASTLY…PDXFilm Presents this coming Independence Day weekend, TEAM AMERICA: WORLD POLICE (Trey Parker, U.S., 2004)! Yup, this July 3rd, PDXFilm is presenting one of the most subversive comedies made this decade as we celebrate the coming of a new political era (we hope) and wave goodbye to ignorance and arrogance of the Bush Era.  Come celebrate with me July 3rd at 11pm.  This screening is only SIX BUCKS!  21 and over only as Cinema 21 now serves beer and wine.

team_america_2004_poster

TEAM AMERICA: WORLD POLICE, with a $30 million budget, was made entirely using marionettes in the style of the 60’s British television series, Thunderbirds.  The puppetry is deft and creative, the production design is detailed and loaded with secret jokes (the streets of Paris are cobblestones that look like croissants, to name one of many), and in typical Trey Parker form, the film holds no alliance to any politics, vilifying all abuses of power and imperiousness.  But more than that, this is also an attack on the crappy action films made in Hollywood.  Idiotic dialogue, impossible plot points, completely neutered sex scenes and lots and lots and lots of destruction and pro-military imperialism.  And I appologize in advance but the film print does not include the famous golden showers and Hot Carl scene.

TEAM AMERICA: WORLD POLICE plays Friday, July 3rd only at 11PM.  SIX BUCKS.  21 and over only.

I’ll see you there.

tenzispdxfilm





The Limits of Control IS BACK!

18 06 2009

In several recent posts, I’ve waxed lyrically about THE LIMITS OF CONTROL (Jim Jarmusch, U.S., 2009), Jarmsuch’s career masterpiece and one of the best films of the year, albeit a poorly reviewed one.  And then the film poofed out of Portland.  Well, The Laurelhurst is bringing it back!

the-limits-of-control-01

By any means necessary, pleeeeeeeeeeease come out to see this hypnotic, minimal, sensual and smart film.  Leave your expectations behind about what you feel a film should be and see something totally new and mesmerizing.  THE LIMITS OF CONTROL returns to Portland on Friday at 4:30pm and plays all weekend at that time and 9:10pm and the rest of the week at 9:40pm.  I recommend the later shows.  It’s more dreamlike that way.

Cinema Project wraps up their Spring line-up of experimental films with The Films of Amar Kanwar.

Recipient of the 1st Edvard Munch Award for Contemporary Art from Norway; Kanwar’s films have shown in galleries and festivals all over the world. In the mid eighties Kanwar became interested in filmmaking as a way to explore issues of justice. Emerging from the Indian sub continent, Kanwar’s films are complex, contemporary narratives that connect intimate personal spheres of existence to larger social political processes. The films exist at the crossroads of documentary, visual poetry and philosophical meditation; linking legends and ritual objects to new symbols and public events, which trigger emotional and intellectual disturbances in the viewer. Finding a contextual relationship with diverse audiences, Kanwar’s work maps a journey of exploration revealing our relationship with the politics of power, violence, ecology, sexuality and justice.

Plays Thursday only at 7:30pm.  Cinema Project is located at 11 NW 13th Ave on the 4th floor.

One of the most poetic films which played at this year’s Portland International Film Festival starts this Friday at The Hollywood Theatre, TREELESS MOUNTAIN (So Yong Kim, U.S./South Korea, 2008). This is her follow up film to her debut, In Between Days, which was more complex in story structure but less emotionally involving as TREELESS.

tm_poster

TREELESS MOUNTAIN evokes the innocence and struggle found in the films of Indian master, Satyajit Ray, as it tells the story of two very little girls who must look after one another after their mother leaves them to search for their estranged father.  More optimistic than Kore-eda’s Nobody Knows, TREELESS MOUNTAIN puts us in the perspective of the sisters as they adapt to change and instability.

Winner of the Ecumenical Jury Award at this year’s Berlin Int’l Film Festival, TREELESS MOUNTAIN is that rare film which captures youth in a way that’s universal and earnest.  DO NOT MISS.

TREELESS MOUNTAIN starts Friday at The Hollywood Theatre.

Also of interest at The Hollywood, a book signing of Theatres of Portland, which includes 217 rare and historic photos covering the entire spectrum of Portland’s rich movie theater history. The authors culled the archives and private collections to obtain many photographs that are being published for the first time in 80 years. Theatres of Portland is the first book to explore Portland’s rich movie theater past, complete with the events and architecture that made movie-going one of the city’s greatest forms of entertainment.

The event witll include a screening of the classic British comedy THE SMALLEST SHOW ON EARTH (Basil Dearden, U.K., 1957) starring Peter Sellers which tells the tale of a couple that inherits an old dilapidated movie theater and their struggles to bring it back to life.  PLEASE NOTE:  It is unconfirmed if the film will be a 35mm print or DVD.  For the sake of integrity, it better be film, doncha think?

smallest_show_on_earth_xlg

Theatres of Portland book signing and screening at The Hollywood Theatre is Sunday, June 21st at 1PM only.

This next one makes me grumble a little bit.  Here’s the deal:  The NW Film Center is presenting THE MAN WITH A MOVIE CAMERA (Dziga Vertov, USSR, 1929). If that was all, that would be enough.  Dziga Vertov was a goddamn genius who is still being mimicked today.  The film is being accompanied by a band calling themselves The Alloy Orchestra, but The Alloy Orchestra is NOT an orchestra, it’s three guys.  Additionally, I am HIGHLY skeptical that NWFC will be screening a 35mm film print of THE MAN WITH A MOVIE CAMERA as The Alloy Orchestra released a DVD of the film with their original score.  See picture:

man-movie-camera-poster

The problem I have with these kinds of screenings is that the screening is more about the musicians than it is about the film.  At the end, people applaud and what they applaud are musicians and not the film.  Also this weekend, and in the same vein, are a series of short Surrealist films accompanied by live music at The Clinton St. (being billed as Opera: Dada, which is rather different than Surrealism, but never mind).  Both events are about the music and not about the film.  You do not NEED a new score for Vertov’s THE MAN WITH THE MOVIE CAMERA because it is perfect in its original silent form.

At any rate, it’s playing Wednesday, June 24th at 7:30pm at The Whitsell Auditorium, if that’s your bag.  I’ll be bringing earplugs.

Lastly, this Saturday, a confirmed film print presented by Fleur de Lethal Cinematheque of Portland’s own, Todd Haynes’ VELVET GOLDMINE (U.K., 1998) starring Ewan McGregor and Jonathan Rhys Meyers in a glam rock lip lock between Iggy Pop and David Bowie (kinda sorta)!  Yummy!  Also starring Christian Bale, Toni Collette and Eddie Izzard!

velvet

Doors open at 10pm with a costume contest at 10:45pm, film at 11pm.  I can’t think of a more Portlandly kind of film because everyone wants to be glam in this city…if they only knew how.

Anyway, that’s about it.  REVANCHE, if you missed it last week, moved to The Hollywood Theatre, also one of the best from PIFF this year.

And don’t forget this:  http://www.theauteurs.com/criterion

COMING SOON from PDXFilm:  A special Independence Day screening at Cinema 21!  That’s right!  I finally get to start programming!  IT’S A DREAM COME TRUE!

STAY TUNED!

tenzispdxfilm





light week for cinema. go fly a kite.

11 06 2009

eh.

Not much playing this week worth mentioning.  The best of the lot is REVANCHE (Götz Spielmann, Austria, 2008) which was nominated for Best Foreign Film last year and won countless European awards.

revanche

 

REVANCHE opens this Friday at Cinema 21.  Check website for showtimes.

 

 
Revanche – Trailer – The most popular videos are here

 

Sorry.  That’s it.  If you were there for the RR screening at Cinema Project, you saw one of the most special screenings this year.  A 16mm projector on the rooftop over Burnside as the sky bruised pink and violet.  Beautiful.

 

tenzispdxfilm





Secret Outdoor Screening! Truffaut! Grindhouse Double Feature!

4 06 2009

Why is it that when I explain to people that I have seen a film multiple times at the cinema, people laugh like I’m crazy?

There’s a perplexing contrast between how people view cinema and how people listen to music.  I often hear from people, “I need to listen to an album a couple of times before I know if I like it or not,”  which of course makes sense.  You do need to listen to music multiple times in order to become more open to what the music has to offer.  And the more you listen to an album you like, the more you begin to anticipate the parts you like and then that like turns to LOVE.  But why isn’t cinema viewed this way?  Why is it that most people expect cinema to clearly expose all its components in a single viewing?  Or why is it that people have been conditioned to this expectation of cinema?  Just like with any art, you have to live with it, roll it around on your tongue for a while before you can really reach a symbiosis with cinema.  Yet people only view a film once assuming that what the experienced the first time is all there is to the film.  With music, there are notes, there are lyrics, there is performance and tone and mood and that’s a lot to process.  But cinema is music AND images AND narrative AND where you were in your life when you saw it AND the audience AND AND AND.  I think the reason is because people are conditioned to think of cinema as a distraction, not as an emotional tool or a mirror or a dream or art.  It’s been on my mind a lot since THE LIMITS OF CONTROL was released.  The people who get the film are also compelled to see the film more than once, myself included.  And I have found that each time I see it, the more I love it.  At first, because I’m seeing more and understanding more.  But now it’s because I’m anticipating parts I adore and “singing along with” the film in my head at those parts, like how one would at a concert.  I fully believe that cinema should be viewed multiple times.  If something resonated for you, even if you really hated the film, it requires several viewings the same way you have to give an album another couple of tries.  So that’s my lecture for today.  My usual soapbox statement has been see more films at the cinema.  My previous philosophy, which still holds true, is see more than one film in a row.  But now I’d add to the sum total:  See more films in a row at the cinema multiple times.  You’ll be richer for it the same way it took you ten times before you realized how much you loved your favorite band.  And think of each screening at the cinema the equivalent of getting to see that favorite band LIVE.

Alright.  On with the week.  The secret number for the week is SIX.

 

June 6th ONLY, Cinema Project presents RR (James Benning, U.S., 2007).  RR Takes its name from an abbreviation for “railroad” and is the latest (and possibly last) 16mm work by the great American independent filmmaker James Benning, whose prolific output over the past five years has placed him at the apex of his four-decade career, and is indeed about trains traversing the expansive American landscape. Yet its deceivingly simple schema of forty-three trains chugging through the frame sets the stage for a film rich in historical allusion, articulated structure, surprise and photographic beauty. The American pastoral tradition contains its own fabled history. Benning peppers his synch-sound recording with excerpts and songs that provide a clever counterpoint to the images, obliquely invoking past events including the Vietnam War. The collaged soundtrack, which includes Karen Carpenter singing for a Coca-Cola commercial, Woody Guthrie’s “This Land is Your Land,” Eisenhower’s foreboding farewell speech warning about the military-industrial complex and Gregory Peck reading from Revelations, both digs into and participates in the American psyche. RR can be seen as a meditation on nostalgia, the unadulterated joys of waiting, Western over-consumption, and the cinema itself. Train-spotting has never been so rewarding.

Kent Jones of Film Comment, published by The Film Society of Lincoln Center, writes, “The train-watching experience itself has harmonized with cinema since its beginnings, but never as fully as it does here. Stopping to watch a train go by, to remove oneself from the constraints of planned and coordinated time as well as perceptual constancy, is indeed to ‘cede authority’—it’s one of the rare moments when we give ourselves over to purely poetic time.”  Film Comment placed RR as the sixth best unreleased film of 2008.

As exciting as the film itself, I received an email from Cinema Project with details about this special screening that read, “Meet us at our screening space at 11 NW 13th Ave on Saturday at 9PM to be escorted to the secret outdoor location.  And in the unfortunate event of rain, we will screen at our usual microcinema space.”  Wow!  A secret outdoor location to watch a film on FILM!  That’s no easy stunt!  

So really, don’t miss what will be a one time opportunity to see what may be your first (and only) screening by James Benning, RR!  Saturday ,June 6th at 9pm.

 

June 6th ONLY at Cinema 21 at 3pm, Actress P.J. SOLES in attendance to introduce a DVD projection of The Ramones in ROCK ‘N’ ROLL HIGH SCHOOL (Allan Arkush, U.S., 1979)!!!  

168886.1020.AI asked Cinema 21 about why they’re showing a DVD and not a film print.  Apparently, the only existing print is in the UCLA Film Archive and they aren’t renting it out.  Additionally, the film is being hosted and sponsored by video store, Movie Madness, so this is partially a promotion for them.  But gee, an opportunity to meet P.J. Soles who was also in Carrie, The Boy in the Plastic Bubble, Halloween, Breaking Away, Private Benjamin AND Stripes!  Ya can’t beat it.

ROCK ‘N’ ROLL HIGH SCHOOL with P.J. Soles in attendance, Saturday, June 6th at 3pm ONLY at Cinema 21.

 

Also at Cinema 21 starting June 6th is Paul Newman in THE HUSTLER (Robert Rossen, U.S., 1961) co-starring Jackie Gleason, George C. Scott, Piper Laurie and cameo by the original Raging Bull himself, Jake LaMotta!

hmar08

 

THE HUSTLER was nominated for nine Academy Awards and was selected by the Library of Congress Film Registry for preservation.  Martin Scorsese directed a sequel with Paul Newman reprising his role as Fast Eddie Nelson for which he won Best Actor in a Leading Role.

THE HUSTLER plays one week at Cinema 21.  Check website for showtimes.

 

Starting June 6th, A goddamn Grindhouse Double Feature!  Of films from the Eighties, no less!  Get groups of friends together and go!  First up, LADY TERMINATOR, aka Nasty Hunter, aka Shooting Star, aka Pembalasan Ratu Pantai Selatan, which translates to The Revenge of the South Seas Queen (H. TJut Djalil, Indonesia, 1988), which was clearly renamed to appeal to American action fans, then addended with this tag line,  “First she mates…then she TERMINATES!”

“The infamous Indonesian action/horror mind blower.  A beautiful woman is possessed by an ancient mystical queen out for vengeance, turning her into an unstoppable killing machine!  She takes off on a rampage across Indonesia, gunning down anyone who gets in her way, and blowing apart half of the country.  She also sports a mean leather jacket…except when she’s naked…which is a lot.  But for those foolish enough to try to put their hands on her, she also castrates men with an eel that lives in her vagina.  Bullet-riddled mayhem, disco shootouts, mind-boggling dialogue, a mullet-headed cop who drives a tank, and so much more.  All in full-throttle 80’s excess!  This movie truly has to be seen to be believed.”

LADY TERMINATOR plays at 7pm nightly starting June 6th, followed by:

SLUMBER PARTY MASSACRE (Amy Holden Jones, U.S., 1982).  “A group of high school girls are throwing a slumber party.  They have seemingly endless reasons to take off their clothes, before a maniac with a fondness for a power drill shows up to ruin the party.  This is one of the best 80’s slasher films, from an incredibly rare 35mm print!”

SLUMBER PARTY MASSACRE plays at 9pm following LADY TERMINATOR.  Both films are $8.  

 

June 5th (and 6th…as well as 7th, actually) are two films by Francois Truffaut!!  SHOOT THE PIANO PLAYER (France, 1960) and THE WILD CHILD (France, 1970). 

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“Often overlooked, SHOOT THE PIANO PLAYER, Truffaut’s wonderful second film—sandwiched between art-house evergreens The 400 Blows and Jules and Jim—stars Charles Aznavour, master of the chanson, in his only collaboration with the director. The slight singer-songwriter, playing Charlie, an ivory-tickler at a dive who abandoned his career as a celebrated concert pianist after a family tragedy, may not be so indelibly associated with Truffaut as Jean-Pierre Léaud’s Antoine Doinel, but he’s just as heartbreaking. An adaptation of David Goodis’ 1965 novel ‘Down There,’ this film more than nods to noir: Charlie is on the lam because he killed in self-defense. Truffaut said he made it in reaction to The 400 Blows, which he deemed ‘so French,’ adding that he ‘needed to show that he was influenced by American cinema.’”—Melissa Anderson, Time Out New York.

SHOOT THE PIANO PLAYER plays Friday, June 5th at 7pm AND Saturday, June 6th at 9pm.

 

Check out how radically different the original French poster and the U.S. release poster for THE WILD CHILD are:

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One of Truffaut’s most personal and widely admired films, THE WILD CHILD is based on the journals of Dr. Jean Itard (played by Truffaut himself), an 18th-century physician who set out to raise and educate a “wolf boy” found in the forests of southern France. Much of the film’s complexity and power derives from the way that Truffaut identifies with both the good doctor’s faith in civilization and the “noble savage’s” resistance to civilization. Nestor Almendros’s luminous black-and-white cinematography dazzles anew in this restored print.

THE WILD CHILD plays Friday 8:45pm, Saturday 7pm and Sunday at 5pm.  Both Truffaut films presented by The NW Film Center and screening at The Whitsell Auditorium.  FREE for PSU students!

 

And now for a personal guilty pleasure.

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KUFO presents THE KARATE KID (John G. Avildsen, U.S., 1984) with Ralph Macchio, Pat Morita and Adventures in Babysitting’s Elisabeth Shue.  Believe it or not, THE KARATE KID was nominated for both a Golden Globe AND an Academy Award for Best Actor in a Supporting Role, Pat Morita.  

THE KARATE KID plays Friday at 10pm only at The Bagdad.  Undetermined if this will be a film print.  In the past, when hosted by KUFO, it’s been film.

 

And again, if you can’t afford to go to the movies, you can see six incredible Cannes contenders made between 1959 and 1976 FOR FREE at http://www.theauteurs.com/criterion.

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