B-Movie Bingo: Above the Law
Your monthly opportunity to literally check off a bingo card full of B-movie clichĂ©s! This month features one of the very best B-movies the â80s ever coughed up, Above the Lawâbut not the Above the Law you might be thinking of. There were two sweaty, low-budget Above the Laws that decade. The more popular one came out in 1988, starring world-class buttplug Steven Seagal. That one is trash. The good (relatively speaking) one came out in 1986, and stars bonafide badass Cynthia Rothrock as an inspector teamed with a disgruntled lawyer-turned-vigilante (basically Hong Kongâs Matt Murdock) to catch (and kick the fuck out of) a notorious murderer. You will be watching that one. You will be watching it on VHS. You will be better for it. BOBBY ROBERTS Hollywood Theatre.
Back to the Future
Once upon the 1980s, a young Republican in a life-vest, with the help of his science friend, traveled back in time, where he had to prevent his motherâs sexual advances and instead steer her towards Crispin Gloverâs dick. He succeeded, but accidentally transformed the future into Planet Las Vegas, which sounds cool, but was actually kinda shitty. So he went all the way back to the Wild West, where Mary Steenburgen lives, and managed to set the timeline back on track and everyone learned that itâs never really a good idea to steal plutonium from angry Libyans. Costarring Huey Lewis and Flea. BOBBY ROBERTS 99W Drive-In.
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The Big Sick
The Big Sick doesnât sound like anything extraordinary. But thatâs what makes it so enjoyableâthis is the type of sweetly told, small-scale story that has all but evaporated from movie screens and wouldnât work as a TV show. Itâs also got one or two things to say about being a Muslim in America, so itâs not only different from the usual white-bread romantic comedies, itâs very much connected to this political moment, too. Maybe this is putting too much significance onto a story this small. But I think The Big Sick is up for it. NED LANNAMANN Cinemagic.
Birthright: A War Story
Civia Tamarkin and Luchina Fisherâs documentary about the disturbing number of women who have had their autonomy taken away by state and federal governments who seem to believe they should decide what a woman can do with her body. Director in attendance. Hollywood Theatre.
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Brigsby Bear
The bear looks dumb. I get it, I do. You donât want to see some dumb-looking bear movie! And itâs got that nerd from SNL in it. Not that one. The other one. The one with glasses. And the trailer looks artsy and precious and... post-apocalyptic? It looks weird. And every fiber of your being is going, âUghhhhh, do I gotta go see this dumb bear movie?â I am here to tell you that yes, you do gotta go see this dumb bear movie. Brigsby Bear is great. Itâs beautiful and hilarious and it has something fundamentally compelling to say about how we tell stories. Even if those stories are, yes, about dumb-looking bears. BEN COLEMAN Laurelhurst Theater.
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Clueless
Oh shit, itâs Turk from Scrubs! Oh hey, itâs Jon from those execrable Garfield movies! Oh no, itâs that crazy Fox News lady that Chris Rock used as a prop at the Oscars one year! Aww damn, thereâs Brittany Murphy, itâs a shame sheâs not still here, I bet sheâd have been one hell of an award-winning weirdo by now. Oh hey, itâs Paul Rudd and holy fuck why hasnât he aged a single second, thatâs not fair! Thatâs not fair at all. Clinton Street Theater.
Collide-o-Scope
Half video art installation and half stoner gawkfest, Collide-O-Scope is the cinema-collage extravaganza created by Michael Anderson and Shane Wahlund, Seattle men who bonded over a love of oddball videoânews bloopers, educational films, B-movie gemsâthen joined forces to bring the treasures of their exploration to the public. No matter the locale, the takeaway of the Collide-O-Scope experience remains the same: Thereâs nothing more glorious, hilarious, ridiculous, and horrifying than human behavior, and hereâs proof. DAVID SCHMADER Hollywood Theatre.
The Doors
There was a strange period in the 1990s where Jim Morrison became a teen idol again. Oliver Stoneâs very Oliver Stone-y 1991 biopic The Doors was a big part of that. But it was not Stone alone who resurrected the serpentine magic of Morrison for a new audience of dour teens thirsty for his disaffected nature and his shitty poetry. Val Kilmer had a lot to do with it, yes, but so did the screenwriter (everyone always forgets those guys!), Randall Jahnson, who will be in attendance at this screening to discuss the process of adapting the bandâs history to the big screen. BOBBY ROBERTS Hollywood Theatre.
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Double Indemnity
Billy Wilderâs career is defined by his comedies, including some of the genreâs very best entries, like Some Like it Hot and The Apartment. But Wilder put just as big a stamp on film noir with 1944âs Double Indemnity, a coldly efficient little ice pick of a thriller starring Barbara Stanwyck as the prototypical femme fatale, and Fred MacMurray as one of the best oafish dopes to ever get suckered onscreen, with Edward G. Robinson amiably thieving the movie right out from under both of them. Film noir basically starts here, and Wilder changed the face of cinema in less than two hours. BOBBY ROBERTS NW Film Centerâs Whitsell Auditorium.
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East of Eden
James Dean has become legendary for reasons that seem completely divorced from his acting. Posters and postcards of the pouty young rebel (without a cause, of course) have carried his spectre all the way into the 21st Century. Do yourself a favor and check out Elia Kazanâs adaptation of the John Steinbeck classic, and pay attention to Deanâs performance. Note how much of that disarming vulnerability still punctures and pours out of him. Then note that he was doing that in 1955, and you start to get an idea how electrifying he was for the short time he was a star. BOBBY ROBERTS Hollywood Theatre.
Enter the Dragon
âDonât think! Feel. It is like a finger pointing away to the moon. Donât concentrate on the finger or you will miss all that heavenly glory.â Academy Theater.
Good Time
Good Time has the keen eye for anthropology you find in a lot of Sundance moviesâthe casting feels both unconventional and authentic, and thereâs an interest in subcultures that you donât normally see on screenâbut the beauty is that it packs this sensibility into a taut genre thriller. VINCE MANCINI Hollywood Theatre.
Goon: Last of the Enforcers
See review, this issue. iTunes, On Demand.
I Do... Until I Donât
See review, this issue. Fox Tower 10.
Ingrid Goes West
Aubrey Plazaâs reign as Hollywoodâs queen of surliness continues. Plaza plays social media addict Ingrid Thorburn, whose mood fluctuates with each âlike.â Following the death of her mother, Ingrid pepper-sprays the bride of a wedding she wasnât invited to (as one does) and is committed to a mental institution. Once sheâs released, Ingrid cashes out her inheritance and moves across the country to befriend (well, okay, stalk) Los Angeles-based Instagram celebrity Taylor Sloane (Elizabeth Olsen). Though the film condemns both Taylor and Ingridâs lies, its depiction of Ingridâs deteriorating sanity insinuates that mentally ill peopleâespecially those with access to social mediaâare dangerous, manipulative, and just waiting to catfish you. Ingrid Goes West doesnât give its protagonist much depth beyond âInstagram lunatic,â and this grave mishandling of her mental health is its fatal flaw. CIARA DOLAN Fox Tower 10.
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Jaws
âJapanese submarine slammed two torpedoes into our side, chief. We was cominâ back from the island of Tinian to Leyte... just delivered the bomb. The Hiroshima bomb. Eleven hundred men went into the water. Vessel went down in 12 minutes. Didnât see the first shark for about a half an hour.â 99W Drive-In.
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Landline
If movies about benignly dysfunctional families are a fast-track to crying for you, prepare yourself for Gillian Robespierreâs Landline, which stars Edie Falco and Jenny Slate. This thing reduced me to a puddleâbut as any enthusiastic movie crier can attest, while it may have looked horrible from the outside, I was actually having a really good time. And you will too, especially if you also loved Robespierreâs last film, Obvious Child. MEGAN BURBANK Laurelhurst Theater.
Marvelâs Inhumans
From Scott Buck, the man who brought you the last few seasons of the Showtime trainwreck Dexter, and Netflixâs disastrously boring Iron Fist, comes the next chapter in Marvel televisionâs slow-motion decline, Inhumansâreported to have so thoroughly fucked the (teleporting) dog that preview screenings were compared to (of all the things) Tommy Wiseauâs The Room. BUT: It was shot on IMAX! Because when you film dogshit with the best cameras, you can pick out every last detail on the half-digested crayons embedded within it. Happy hunting! Various Theaters.
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Out of Sight
Steven Soderbergh is great at stories centered on people stealing shit. Logan Lucky is in theaters now, which references Oceanâs Eleven, both of whichâgreat as they areâpale when compared to Out of Sight, Soderberghâs best blend of indie adventurousness and pop sensibility (and arguably his best film, period). Based on Elmore Leonardâs novel, Out of Sight is the story of a bank robber caught up in a jailhouse scheme to rob a millionaire crook, while also managing to seduce the cop on his tail. Thanks to the unbelievable chemistry of leads George Clooney and Jennifer Lopez, and a stacked supporting cast that plays not even one false note, Out of Sight is of the smoothest, most charming film experiences of the â90s. BOBBY ROBERTS Laurelhurst Theater.
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Patti Cake$
See review, this issue. Cinema 21, Hollywood Theatre.
Sonic Cinema: L7âPretend Weâre Dead
The Hollywoodâs music documentary series presents L7: Pretend Weâre Dead, using home video footage, interviews, and past performances to follow the landmark bandâs turbulent arc through the â80s and â90s. Hollywood Theatre.
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The Trip to Spain
Michael Winterbottom latest continues the shenanigans first chronicled in 2010âs The Trip and 2014âs The Trip to Italy: Actor/comedians Steve Coogan and Rob Brydon travel to fancy restaurants, ostensibly for review purposes, but really so they can do dueling Michael Caine impressions and wax humorously on the foibles of middle-aged manhood. MARC MOHAN Cinema 21.
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Valentine
Paul Thomas Anderson is at it again. After directing three videos for Radioheadâs 2016 album A Moon Shaped Poolâone of which, âDaydreaming,â played in 35mm at the Hollywood Theatre last springâAndersonâs releasing a new rockumentary, Valentine, which follows the making of Haimâs gorgeous new album, Something to Tell You, at Valentine Recording Studios in Los Angeles. Thereâs a note on Valentineâs 35mm film canister: âThis short plays well with concert films, musicals, late night shows, sing-a-longs and a glass of beer. Please play loud!â Thankfully, the Hollywood Theatre is screening Andersonâs 14-minute short in 35mm this Friday, September 1 at 7:15 pm (before the L7 documentary Pretend Weâre Dead at 7:30) and Sunday, September 3 at 7:15 pm (before Valley Girl at 7:30). CIARA DOLAN Hollywood Theatre.
Valley Girl
Martha Coolidgeâs 1983 teen comedy isnât much more than a clot of â80s stereotypes coagulated around young Nicolas Cage as one of the most inauthentic âpunksâ the decade ever served up. Coolidge deploys Cage like a bug-eyed missile launched at cornball storytelling, simultaneously satirizing and embracing the teen film formula. Itâs never as exploitative as it probably should be (it only exists because Moon Zappa scored a novelty hit with her âValley Girlâ single the year before), so it ends up feeling like the cinematic equivalent of Pat Boone covering the Clash. Soundtrackâs still fuckinâ great, though. BOBBY ROBERTS Hollywood Theatre.
MEANS WE RECOMMEND IT. Theater locations are accurate Friday, September 1-Thursday, September 7, unless otherwise noted. Movie times are updated daily and are available here.