See review this issue. Various Theaters.
See Film, this issue. Cinema 21.
See review this issue. Various Theaters.
Conan O'Brien Can't Stop
See review this issue. Hollywood Theatre.
Everything Must Go
Writer/director Dan Rush's debut feature—based on a sliver of a short story by Raymond Carver called "Why Don't You Dance?", which is so minimal it could almost be considered flash fiction—is clear, concrete evidence of Will Ferrell's remarkable ability as an actor even when he doesn't have a silly costume or bushy mustache to hide behind. NED LANNAMANN Laurelhurst Theater, Liberty Theatre, Mission Theater.
Filmusik: Planet of Dinosaurs
The 1979 flick Planet of Dinosaurs, accompanied by live voice acting and music from "local jazz renegades" the Blue Cranes. On June 23rd, it'll be a Spanish-language performance featuring Enrique Andrade—better known as THE SPANISH VOICE OF THE MAX TRAIN! Hollywood Theatre.
Green Lantern has looked pretty goddamned dumb in every trailer and TV ad. That was no misrepresentation; no confused, bumbling media machine improperly selling their sci-fi epic. Green Lantern is exactly the giant-size lump of glowing green stupid it's always appeared to be. BOBBY "FATBOY" ROBERTS Various Theaters.
How to Live Forever
If you're looking for a how-to guide, Mark Wexler's new documentary won't quite deliver, although his globetrotting tour of the world's oldest living people and "longevity hotspots" (Okinawa! Iceland!) offers some affirmation of common sense: active lifestyles, nutrient-rich diets, yada yada. More enlightening are Wexler's conversations with life-extension experts who contend that we're close to achieving an ageless society, the development of which will outshine the internet as the most important scientific development of the era. It's all very interesting, but the unenigmatic Wexler's insistence on framing the whole project around his own personal journey is a weakening fissure throughout—although it does underscore the self-interest that's stereotypical of the boomer generation whose numbers are driving the expansion of the life-extension industry. Director in attendance for 7:30 pm shows Fri June 24-Sun June 26. MARJORIE SKINNER Fox Tower 10.
The Italian Job
The 1969 caper flick, not the 2003 remake with Marky Mark. Michael Caine and Benny Hill represent. Laurelhurst Theater.
Kung Fu Theater: Shaolin vs. Wu-Tang
The always-badass Gordon Liu stars in this 1981 kung fu classic, in which (you guessed it) students of the Shaolin style face off with students of the Wu-Tang style. Wu-Tang is for the children. ERIK HENRIKSEN Hollywood Theatre.
Luchino Visconti's terminally long 1963 adaptation of Giuseppe Tomasi di Lampedusa's renowned Italian novel is both breathtakingly gorgeous and butt-numbingly dull. A dubbed Burt Lancaster is a baffling choice to star as the 19th-century Sicilian prince whose house and title become obsolete as Northern and Southern Italy draw toward unification. Coppola and Scorsese have both cribbed liberally from The Leopard, but anyone looking for a shade of the vitality found in The Godfather or The Age of Innocence won't find anything of the sort here. NED LANNAMANN Northwest Film Center's Whitsell Auditorium.
Light of Mine
Portland filmmaker Brett Eichenberger's drama about a man who loses his sight. Director in attendance. Northwest Film Center's Whitsell Auditorium.
Lord of the Rings: The Return of the King: Extended Edition
A big-screen showing of Peter Jackson's extended cut of 2003's The Return of the King, preceded by a taped introduction by Jackson. Consider yourself informed, dweeb. Century 16 Cedar Hills Crossing, Century Clackamas Town Center, Lloyd Center 10 Cinema.
Midnight in Paris
Midnight in Paris is a lightweight fantasy, sure, but it's nothing less than a shocking return to form for Woody Allen, who's pulled himself out of his recent slump of truly awful movies by revisiting the magical whimsy that worked so well in The Purple Rose of Cairo. (That's the one where Jeff Daniels climbs off the movie screen to romance Mia Farrow.) Allen's back in control here, stirring fantasy and reality into something that—despite the film's muddled logic and complete disregard for historical fact—is both comic and winningly romantic. While far from flawless, this is one of the most purely enjoyable films Allen's ever made. NED LANNAMANN Various Theaters.
Brilliant premise: Carrie meets Christine when a telekinetic tire named Robert goes on a murderous rampage in stylish fashion, blowing people's heads up and mooning over a brunette. Tiresome execution: The French filmmakers get all meta and deconstruction happy, reveling in their more-clever-than-thou cheekiness. COURTNEY FERGUSON Laurelhurst Theater.
Jodorowsky's 1989 psyche-out, and the inspiration for the 1994 classic The Santa Clause. Take drugs. Fifth Avenue Cinema.
Some Days Are Better
With Some Days Are Better than Others, local filmmaker Matt McCormick is responsible for some of the prettiest footage of Portland you'll ever see. Whether he's shooting an overpass or the inside of a Goodwill, McCormick's representation of the city is arresting, with a heft and depth that demand you consider Some Days as a visual statement as well as a narrative one. By the unavoidable metrics of character and plot, though, Some Days is a flop, with a predictable, overlapping-lives setup that's doused in hipster melancholy and uninspired quirk. ALISON HALLETT Living Room Theaters.
To say Submarine is reminiscent of films like Rushmore and Harold and Maude is no insult—those movies are great, and Submarine wears its influences proudly. But at the same time, Submarine is a coming-of-age story that's perfectly its own. Some high school films are genre pleasures, fun for what they are, but Submarine transcends its well-worn genre with heart, energy, and style. ALISON HALLETT Fox Tower 10.
Transformers: Dark of the Moon
Michael Bay's robo-porn saga returns, this time with Frances McDormand and John Malkovich in tow. There will be robots, explosions, slow motion, 3D, and robots exploding in slow motion and also in 3D. Come back on Tuesday, June 28 for our review. Various Theaters.
The Tree of Life
With The Tree of Life, Terrence Malick's created a film that embodies the best and worst of his tendencies. I'd tell you what it's about, but it's kind of about everything: Cosmic and daring and intimate and insightful, it straddles, dodders, and occasionally trips along the thin black line between glorious success and well-intentioned failure. It ranges from dourly introspective familial drama to life-and-death struggles between dinosaurs, spanning eons and species and the tiny distances between people. Sometimes it works, beautifully and boldly and with Old Testament-style grandeur; sometimes it feels like a deleted scene from Jurassic Park. ERIK HENRIKSEN Fox Tower 10.
!Women Art Revolution
A doc focusing on the history of the feminist art movement, which began in the 1960s as a response to a white male-dominated art world, and continues today... in response to a white male-dominated art world. Filmmaker Lynn Hershman-Leeson (herself an artist who was involved in the movement) covers a lot of artists over a lot of years—in fact, so many women are interviewed here, at various points during their careers, that it's nearly impossible to keep track of who's who. But the interviews themselves are fascinating, and the archival images and footage Hershman-Leeson showcases remain vibrant, provocative, and challenging. It's a surface-level exploration of an enormous subject; here's hoping it inspires future filmmakers to take a deeper look. ALISON HALLETT Northwest Film Center's Whitsell Auditorium.
Worst in Show
Competition for title of "World's Ugliest Dog" is surprisingly fierce—the dogs are more grotesque than you could imagine (milky eyes! missing teeth! giant goiters!) and the humans take the title more seriously than you'll believe. Worst in Show is a charming little doc that's at times as ridiculous as the Christopher Guest movie from which it takes its name, and at others is authentically heartwarming. ALISON HALLETT Clinton Street Theater.