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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/lawrence-of-arabia-2/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘Lawrence of Arabia’\u003c/h4>\n\u003cdiv class=\"event-desc\">Screening at two theaters in the Bay Area.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 31, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Rafael Film Center, San Rafael\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/lawrence-of-arabia-2/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 30-Sept. 1, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Castro Theatre, San Francisco\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/lawrence-of-arabia/all/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Even if he had lived to quell violence in Ferguson, fix the California drought and discover a cure for Ebola, the late, great Peter O’Toole would still be remembered most for his role as T.E. Lawrence in \u003cem>Lawrence of Arabia\u003c/em>. But it’s not O’Toole that the Rafael Film Center is concerned with when it screens the 1962 blockbuster as part of their current retrospective. \u003cem>Alec Guinness at 100\u003c/em>, running through Sept. 28, celebrates the British master in a series of digital restorations and archival prints, mixing his better-known films (\u003cem>Bridge on the River Kwai\u003c/em>, 1957) with relative unknowns (\u003cem>Kind Hearts and Coronets\u003c/em>, 1949).\u003c/p>\n\u003cp>Discovery, or re-discovery, is the name of the retrospective. (\u003cem>Star Wars\u003c/em>, with Guinness’ most famous role as Obi-Wan Kenobi, is not on the menu.) While those who’ve never heard of the Carol Reed-Graham Greene-Noël Coward collaboration \u003cem>Our Man in Havana\u003c/em> (1959) can now have the chance to see it in 35mm, it’s \u003cem>Arabia\u003c/em> that anchors the lineup, and \u003cem>Arabia\u003c/em> that never tires—its nearly four-hour runtime be damned.\u003c/p>\n\u003cp>\u003cem>Arabia\u003c/em> has been through restorations before, most notably a 1987 version which reintroduced 35 deleted minutes of director David Lean’s original that was saved by film archivists from forgotten, rusting canisters at Columbia Studios. That particular cleanup job solved the worst of the VHS format’s crimes against the movie, but the recent 4k digital restoration is said to be so precise, it doubles the clarity of Blu-Ray, and retains even the film-like patina of the original 70mm film.\u003c/p>\n\u003cp>\u003cem>Lawrence of Arabia\u003c/em> screens Sunday, Aug. 31, as part of the \u003cem>Alec Guinness at 100\u003c/em> series, which continues through Sept. 28 at the Rafael Film Center in San Rafael. The same digital 4k restoration of \u003cem>Lawrence of Arabia\u003c/em> also screens on Saturday, Aug. 30, at the Castro Theatre in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "fall-film-a-bakers-dozen-of-must-see-hollywood-and-indie-movies",
"title": "Fall Film: A Baker's Dozen of Must-See Hollywood and Indie Movies",
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"headTitle": "Fall Film: A Baker’s Dozen of Must-See Hollywood and Indie Movies | KQED",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>At last, the moment we’ve all been waiting for: the return of movies for thinking people. Children are back in school, the Toronto and Telluride festivals just jump-started the race to the Oscars, and local theaters are filling with adult-oriented movies from established and promising directors featuring our most reliable and risk-inclined actors. This handpicked list pairs major (and sure-to-be heavily promoted) Hollywood movies with blink-and-you-might-miss-em independent films that deserve all the love and attention they can get. There are so many intriguing films headed our way between now and Thanksgiving, in fact, that several tempting titles (such as \u003cem>The Judge\u003c/em> with Robert Downey Jr. and Robert Duvall) didn’t make the cut. Too many worthwhile movies? Let’s enjoy it while it lasts.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141227\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/eleanor.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/eleanor-400x265.jpg\" alt=\"<i>The Disappearance of Eleanor Rigby: Them</i>\" width=\"400\" height=\"265\" class=\"size-thumbnail wp-image-10141227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/eleanor-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/eleanor-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/eleanor.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Disappearance of Eleanor Rigby: Them\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Disappearance of Eleanor Rigby: Them\u003c/i>\u003c/h3>\n\u003ch5>Opens Sept. 12\u003c/h5>\n\u003cp>Writer-director Ned Benson made an ambitious debut at Toronto last year with a pair of films that portrayed a fractured relationship from the perspectives of each partner. Edited and integrated into a single feature that premiered at Cannes, \u003cem>The Disappearance of Eleanor Rigby: Them\u003c/em> should be catnip for fans of intimate character studies as well as those perpetually on the lookout for talented newcomers. The ever-surprising and perennially award-worthy Jessica Chastain and the perpetually boyish James McAvoy play the lovebirds derailed by a tragedy. The two original movies, incidentally, are tentatively slated to receive very limited releases in October.\u003c/p>\n\u003cp>http://youtu.be/0dtk9yJDckw\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141228\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/skeleton.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/skeleton-400x225.jpg\" alt=\"The Skeleton Twins\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/skeleton-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/skeleton-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/skeleton.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Skeleton Twins\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Skeleton Twins\u003c/i>\u003c/h3>\n\u003ch5>Opens Sept. 12\u003c/h5>\n\u003cp>Another young director, Craig Johnson, embraces the fraught and fertile territory of adult siblings in this serio-comic tale that was a word-of-mouth triumph at the S.F. International Film Festival. Suicidal estranged twins Bill Hader and Kristen Wiig — fine comic actors displaying their range — are unhappily grappling separately with how and where their lives went askew when a failed wrist-slashing throws them together. Who said misery loves company? (Among others, the legendary San Francisco band It’s a Beautiful Day, on their third album.) Johnson and Mark Heyman took the Waldo Salt Screenwriting Award at Sundance, and no wonder: \u003cem>The Skeleton Twins\u003c/em> is funny, real, poignant and shattering.\u003c/p>\n\u003cp>http://youtu.be/nhULZJDXLaE\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141229\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/boxtrolls.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/boxtrolls-400x225.jpg\" alt=\"<i>The Boxtrolls</i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/boxtrolls-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/boxtrolls-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/boxtrolls.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Boxtrolls\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Boxtrolls\u003c/i>\u003c/h3>\n\u003ch5>Opens Sept. 26\u003c/h5>\n\u003cp>I prefer eccentric, labor-intensive, handmade stop-motion animation to the seamless computer-generated stuff. (I also like LPs and stick shifts.) \u003cem>The Boxtrolls\u003c/em>, from the Portland studio Laika that made the stop-motion winners \u003cem>Coraline\u003c/em> and \u003cem>ParaNorman\u003c/em>, is a hybrid. Adapted from Alan Snow’s massive children’s book, \u003cem>Here Be Monsters!\u003c/em>, the movie follows an orphan raised by underground trash collectors. The wee lad eventually helps his benefactors by fending off the obligatory villain (Sir Ben Kingsley) with the help of a winsome lass (Elle Fanning). The movie has something of a British sensibility, with Dickens’ spirit hovering and Simon Pegg and Nick Frost voicing key parts. It all adds up to a film for kids and adults.\u003c/p>\n\u003cp>http://youtu.be/Q2dFVnp5K0o\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141230\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/gonegirl.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/gonegirl-400x263.jpg\" alt=\"<i>Gone Girl</i>\" width=\"400\" height=\"263\" class=\"size-thumbnail wp-image-10141230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/gonegirl-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/gonegirl-300x197.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/gonegirl.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Gone Girl\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Gone Girl\u003c/i>\u003c/h3>\n\u003ch5>Opens Oct. 3\u003c/h5>\n\u003cp>David Fincher (\u003cem>Seven\u003c/em>, \u003cem>Zodiac\u003c/em>) is one of a small handful of American directors whose films are essential viewing — alive, surprising, unnerving and disturbing — despite their often-distasteful subject matter. His new thriller, adapted by Gillian Flynn from her novel, finds Ben Affleck distraught over the disappearance of his wife (Rosamund Pike). As the screws tighten, hubby’s story springs a leak. Is he really a victim, or the perp? \u003cem>Gone Girl\u003c/em> runs nearly 2½ hours, a declaration, along with its opening-night slot at the New York Film Festival, that it wants to be seen as an important movie, if not an instant American classic.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141231\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/listenup.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/listenup-400x225.jpg\" alt=\"<i>Listen Up Philip</i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/listenup-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/listenup-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/listenup.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Listen Up Philip\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Listen Up Philip\u003c/i>\u003c/h3>\n\u003ch5>Opens Oct. 17\u003c/h5>\n\u003cp>Wunderkind writer-director Alex Ross Perry (\u003cem>The Color Wheel\u003c/em>) aims to bust through the indie-world ceiling with this Philip Roth-influenced drama. Jonathan Schwartzman plays the titular Philip, a narcissistic writer awaiting the publication of his no-doubt-brilliant second novel. Angry and wired, he jumps at the invitation to hang out with a revered older writer (the marvelous Jonathan Pryce) at his country home. Let’s hope the place is big enough to hold both egos. Elisabeth Ross, Krysten Ritter and Jess Wexler play the women in Philip’s complicated life.\u003c/p>\n\u003cp>http://youtu.be/Jkjn5ICqmJI\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141232\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/pitt.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/pitt-400x266.jpg\" alt=\"<i>Fury</i>\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10141232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/pitt-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/pitt-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/pitt.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Fury\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Fury\u003c/i>\u003c/h3>\n\u003ch5>Opens Oct. 17, 2014\u003c/h5>\n\u003cp>Fifteen years after \u003cem>Saving Private Ryan\u003c/em>, war movies are more realistic than ever. Consider yourself warned. Brad Pitt, making up for his role in the cartoonish World War II fantasy \u003cem>Inglourious Basterds\u003c/em>, commands a Sherman tank on a mission behind German lines in April 1945. Once upon a time, the star didn’t die in war films, but we’re not making any bets on this one. We \u003cem>are\u003c/em> curious about the look, edging toward black-and-white, that writer-director David Ayer and the young Russian cinematographer Roman Vasyanov devised for the picture.\u003c/p>\n\u003cp>http://youtu.be/O8u5eKUY0NI\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141233\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/whitepeople.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/whitepeople-400x266.jpg\" alt=\"<i>Dear White People</i>\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10141233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whitepeople-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whitepeople-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whitepeople.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Dear White People\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Dear White People\u003c/i>\u003c/h3>\n\u003ch5>Opens Oct. 24\u003c/h5>\n\u003cp>Justin Simien’s timely, canny satire has garnered awards nearly everywhere it’s played, including a Special Jury Prize at Sundance and the audience award at SFIFF. Four distinctly different black characters pursue strategies (that is, identities) for success at an Ivy League university. Riffing on the stereotypes, expectations and presumed cultural tastes that the majority uses to define black people, even at a supposedly enlightened East Coast school, \u003cem>Dear White People\u003c/em> tweaks every shade of racial identity. The question, after the tragedy and brutality of Ferguson, is whether a hip, young, white audience is inclined to check out or ignore a hip, young, black point of view.\u003c/p>\n\u003cp>http://youtu.be/XwJhmqLU0so\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141234\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/interstellar.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/interstellar-400x250.jpg\" alt=\"<i>Interstellar</i>\" width=\"400\" height=\"250\" class=\"size-thumbnail wp-image-10141234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interstellar-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interstellar-300x187.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interstellar.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Interstellar\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Interstellar\u003c/i>\u003c/h3>\n\u003ch5>Opens Nov 7\u003c/h5>\n\u003cp>According to his army of adoring fans, Christopher Nolan (\u003cem>Inception\u003c/em>, three Batman movies) is a combination of Kubrick and Kierkegaard. I find his movies boring and superficial, when they aren’t outright impenetrable. His latest money-spinning hunk of sentimental, less-than-meets-the-eye science fiction ships sensitive Texan Matthew McConaughey to Mars to save his family and, incidentally, the rest of us peons on Earth. Or so the trailer leads me to conclude. I’ll see it anyway, digging the visual effects and enjoying crafty vets William Devane, Ellen Burstyn, John Lithgow and Michael Caine in thankless cameos.\u003c/p>\n\u003cp>http://youtu.be/zSWdZVtXT7E\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141235\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/wayhelooks.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/wayhelooks-400x193.jpg\" alt=\"<i>The Way He Looks</i>\" width=\"400\" height=\"193\" class=\"size-thumbnail wp-image-10141235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/wayhelooks-400x193.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/wayhelooks-300x145.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/wayhelooks.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Way He Looks\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Way He Looks\u003c/i>\u003c/h3>\n\u003ch5>Opens Nov 7\u003c/h5>\n\u003cp>Expanding his 2010 short film with the same trio of young actors, Brazilian writer-director Daniel Ribeiro makes his feature debut with the charming saga of a blind teenager determined to carve his own path. Leonardo’s routine, his relationship with his (female) best friend, and the way he perceives the world all change with the arrival of a new (male) student. Friendship, lust, romance, love — the gang’s all here in this deliciously observed and wonderfully acted coming-of-age tale. Winner of the audience award at several festivals, including Frameline, \u003cem>The Way He Looks\u003c/em> (note the double meaning) has heart to spare.\u003c/p>\n\u003cp>http://youtu.be/X4nni_7ScRQ\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141236\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/rosewater.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/rosewater-400x283.jpg\" alt=\"<i>Rosewater</i>\" width=\"400\" height=\"283\" class=\"size-thumbnail wp-image-10141236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/rosewater-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/rosewater-300x212.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/rosewater.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Rosewater\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Rosewater\u003c/i>\u003c/h3>\n\u003ch5>Opens Nov 14\u003c/h5>\n\u003cp>Comedian and \u003ci>The Daily Show\u003c/i> host Jon Stewart grows up with this hard-hitting and at times droll depiction of the imprisonment and torture of Tehran-born, London-based BBC journalist Maziar Bahari (played by Gael Garcia Bernal) for four months in 2009. Stewart penned the screenplay (adapting Bahari’s memoir of the events that transpired when he returned to Iran to cover the presidential election) and makes his debut behind the camera, so there’s a chance that it’s a flatfooted flop. But the guy’s pretty darn smart, and he chose a compelling story and a remarkable character. And how can you not root for a first-time director in his 50s (even if he is a multimillionaire)?\u003c/p>\n\u003cp>http://youtu.be/cEExQHYsOT4\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141237\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/theory.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141237\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/theory-400x266.jpg\" alt=\"The Theory of Everything\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/theory-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/theory-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/theory.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Theory of Everything\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Theory of Everything\u003c/i> and \u003ci>The Imitation Game\u003c/i>\u003c/h3>\n\u003ch5>Opening Nov. 14 and Nov. 21\u003c/h5>\n\u003cp>Americans love physics and geeks, if the success of the sitcom \u003ci>The Big Bang Theory\u003c/i> is any measure. I somehow doubt, however, that those Nielsen numbers will translate into long lines for the pair of films based on real English brainiacs opening on successive Fridays. Drawing on Jane Hawking’s memoir and directed by the gifted documentarian James Marsh, \u003cem>The Theory of Everything\u003c/em> portrays the Cambridge love affair of graduate student Stephen Hawking (Eddie Redmayne) and his future wife (the luminous and criminally underrated Felicity Jones). When he is struck by a degenerative disease and given a terminal diagnosis, Jane becomes his fiercest ally. (At least in the movies, nothing inspires romantic commitment like a partner’s illness.) The ticking clock that drives \u003cem>The Imitation Game\u003c/em>, meanwhile, is the seemingly inevitable invasion of Britain by Nazi Germany. Gay mathematician, logician, cryptologist and computer scientist Alan Turing (Benedict Cumberbatch of \u003ci>Sherlock\u003c/i>) heads a team of code breakers racing to decipher intercepted German messages. After the war, Turing made several other contributions, but his career and life were cut short by a 1952 prosecution for homosexuality. I expect this terrible chapter falls outside the film’s purview, and will be disclosed in an end card before the closing credits.\u003c/p>\n\u003cp>http://youtu.be/Salz7uGp72c\u003c/p>\n\u003cp>http://youtu.be/S5CjKEFb-sM\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141240\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/foxcatcher.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/foxcatcher-400x211.jpg\" alt=\"<i>Foxcatcher</i>\" width=\"400\" height=\"211\" class=\"size-thumbnail wp-image-10141240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/foxcatcher-400x211.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/foxcatcher-300x158.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/foxcatcher.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Foxcatcher\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Foxcatcher\u003c/i>\u003c/h3>\n\u003ch5>Opens Nov. 21\u003c/h5>\n\u003cp>Yet another riveting drama crafted from real life finds Steve Carell solidifying his place on the long list of comedians with outstanding dramatic chops. (Let us pause here to remember Robin Williams.) Carell plays a schizophrenic, manipulative du Pont heir who persuades Olympic gold-medal wrestlers Dave and Mark Schultz (Mark Ruffalo and Channing Tatum) to accept his deep-pocket sponsorship as they train for the 1988 Games. Bennett Miller (\u003cem>Capote\u003c/em>, \u003cem>Moneyball\u003c/em>) won the Best Director prize at Cannes for this piercing, downbeat character (and crime) story that illuminates the gulf between appearances and reality, thereby pulling back the curtain on the whole Reagan-era “morning in America” jive. A surefire year-end awards contender, and not to be missed.\u003c/p>\n\u003cp>http://youtu.be/aE3O6jT78-Q\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141241\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maps.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maps-400x266.jpg\" alt=\"<i>Maps to the Stars</i>\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10141241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maps-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maps-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maps.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Maps to the Stars\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Maps to the Stars\u003c/i>\u003c/h3>\n\u003ch5>Opening TBD\u003c/h5>\n\u003cp>I realize that a baker’s dozen is 13, but I can’t resist including a bonus track: David Cronenberg’s icy cool, blacker-than-black comedy of an alienated, damaged Hollywood family and the ripple effects of their narcissism and cruelty. Julianne Moore (Best Actress winner at Cannes), John Cusack, Mia Wasikowska, Olivia Williams and Robert Pattinson (as a limo driver!) embody the seven deadly sins (and there is assuredly death). Bruce Wagner, a bitterly funny novelist and chronicler of L.A.’s foibles (the fondly remembered ‘90s miniseries \u003ci>Wild Palms\u003c/i> was his handiwork) wrote the screenplay, which is piled high with his trademark blend of absurdist humor and gut-wrenching depravity.\u003c/p>\n\u003cp>\u003cem>Maps to the Stars\u003c/em> is not for everyone, and definitely not for the kids. But that’s the great thing about fall movies: They make you very glad to be an adult.\u003c/p>\n\u003cp>http://youtu.be/Zd5EM7Z0MS8\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "At last, the moment we’ve all been waiting for: the return of movies for thinking people. ",
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"title": "Fall Film: A Baker's Dozen of Must-See Hollywood and Indie Movies | KQED",
"description": "At last, the moment we’ve all been waiting for: the return of movies for thinking people. ",
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"headline": "Fall Film: A Baker's Dozen of Must-See Hollywood and Indie Movies",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>At last, the moment we’ve all been waiting for: the return of movies for thinking people. Children are back in school, the Toronto and Telluride festivals just jump-started the race to the Oscars, and local theaters are filling with adult-oriented movies from established and promising directors featuring our most reliable and risk-inclined actors. This handpicked list pairs major (and sure-to-be heavily promoted) Hollywood movies with blink-and-you-might-miss-em independent films that deserve all the love and attention they can get. There are so many intriguing films headed our way between now and Thanksgiving, in fact, that several tempting titles (such as \u003cem>The Judge\u003c/em> with Robert Downey Jr. and Robert Duvall) didn’t make the cut. Too many worthwhile movies? Let’s enjoy it while it lasts.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141227\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/eleanor.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/eleanor-400x265.jpg\" alt=\"<i>The Disappearance of Eleanor Rigby: Them</i>\" width=\"400\" height=\"265\" class=\"size-thumbnail wp-image-10141227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/eleanor-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/eleanor-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/eleanor.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Disappearance of Eleanor Rigby: Them\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Disappearance of Eleanor Rigby: Them\u003c/i>\u003c/h3>\n\u003ch5>Opens Sept. 12\u003c/h5>\n\u003cp>Writer-director Ned Benson made an ambitious debut at Toronto last year with a pair of films that portrayed a fractured relationship from the perspectives of each partner. Edited and integrated into a single feature that premiered at Cannes, \u003cem>The Disappearance of Eleanor Rigby: Them\u003c/em> should be catnip for fans of intimate character studies as well as those perpetually on the lookout for talented newcomers. The ever-surprising and perennially award-worthy Jessica Chastain and the perpetually boyish James McAvoy play the lovebirds derailed by a tragedy. The two original movies, incidentally, are tentatively slated to receive very limited releases in October.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0dtk9yJDckw'\n title='//www.youtube.com/embed/0dtk9yJDckw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141228\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/skeleton.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/skeleton-400x225.jpg\" alt=\"The Skeleton Twins\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/skeleton-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/skeleton-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/skeleton.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Skeleton Twins\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Skeleton Twins\u003c/i>\u003c/h3>\n\u003ch5>Opens Sept. 12\u003c/h5>\n\u003cp>Another young director, Craig Johnson, embraces the fraught and fertile territory of adult siblings in this serio-comic tale that was a word-of-mouth triumph at the S.F. International Film Festival. Suicidal estranged twins Bill Hader and Kristen Wiig — fine comic actors displaying their range — are unhappily grappling separately with how and where their lives went askew when a failed wrist-slashing throws them together. Who said misery loves company? (Among others, the legendary San Francisco band It’s a Beautiful Day, on their third album.) Johnson and Mark Heyman took the Waldo Salt Screenwriting Award at Sundance, and no wonder: \u003cem>The Skeleton Twins\u003c/em> is funny, real, poignant and shattering.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nhULZJDXLaE'\n title='//www.youtube.com/embed/nhULZJDXLaE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141229\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/boxtrolls.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/boxtrolls-400x225.jpg\" alt=\"<i>The Boxtrolls</i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/boxtrolls-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/boxtrolls-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/boxtrolls.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Boxtrolls\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Boxtrolls\u003c/i>\u003c/h3>\n\u003ch5>Opens Sept. 26\u003c/h5>\n\u003cp>I prefer eccentric, labor-intensive, handmade stop-motion animation to the seamless computer-generated stuff. (I also like LPs and stick shifts.) \u003cem>The Boxtrolls\u003c/em>, from the Portland studio Laika that made the stop-motion winners \u003cem>Coraline\u003c/em> and \u003cem>ParaNorman\u003c/em>, is a hybrid. Adapted from Alan Snow’s massive children’s book, \u003cem>Here Be Monsters!\u003c/em>, the movie follows an orphan raised by underground trash collectors. The wee lad eventually helps his benefactors by fending off the obligatory villain (Sir Ben Kingsley) with the help of a winsome lass (Elle Fanning). The movie has something of a British sensibility, with Dickens’ spirit hovering and Simon Pegg and Nick Frost voicing key parts. It all adds up to a film for kids and adults.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Q2dFVnp5K0o'\n title='//www.youtube.com/embed/Q2dFVnp5K0o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141230\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/gonegirl.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/gonegirl-400x263.jpg\" alt=\"<i>Gone Girl</i>\" width=\"400\" height=\"263\" class=\"size-thumbnail wp-image-10141230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/gonegirl-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/gonegirl-300x197.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/gonegirl.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Gone Girl\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Gone Girl\u003c/i>\u003c/h3>\n\u003ch5>Opens Oct. 3\u003c/h5>\n\u003cp>David Fincher (\u003cem>Seven\u003c/em>, \u003cem>Zodiac\u003c/em>) is one of a small handful of American directors whose films are essential viewing — alive, surprising, unnerving and disturbing — despite their often-distasteful subject matter. His new thriller, adapted by Gillian Flynn from her novel, finds Ben Affleck distraught over the disappearance of his wife (Rosamund Pike). As the screws tighten, hubby’s story springs a leak. Is he really a victim, or the perp? \u003cem>Gone Girl\u003c/em> runs nearly 2½ hours, a declaration, along with its opening-night slot at the New York Film Festival, that it wants to be seen as an important movie, if not an instant American classic.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141231\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/listenup.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/listenup-400x225.jpg\" alt=\"<i>Listen Up Philip</i>\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/listenup-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/listenup-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/listenup.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Listen Up Philip\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Listen Up Philip\u003c/i>\u003c/h3>\n\u003ch5>Opens Oct. 17\u003c/h5>\n\u003cp>Wunderkind writer-director Alex Ross Perry (\u003cem>The Color Wheel\u003c/em>) aims to bust through the indie-world ceiling with this Philip Roth-influenced drama. Jonathan Schwartzman plays the titular Philip, a narcissistic writer awaiting the publication of his no-doubt-brilliant second novel. Angry and wired, he jumps at the invitation to hang out with a revered older writer (the marvelous Jonathan Pryce) at his country home. Let’s hope the place is big enough to hold both egos. Elisabeth Ross, Krysten Ritter and Jess Wexler play the women in Philip’s complicated life.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Jkjn5ICqmJI'\n title='//www.youtube.com/embed/Jkjn5ICqmJI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141232\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/pitt.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/pitt-400x266.jpg\" alt=\"<i>Fury</i>\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10141232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/pitt-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/pitt-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/pitt.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Fury\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Fury\u003c/i>\u003c/h3>\n\u003ch5>Opens Oct. 17, 2014\u003c/h5>\n\u003cp>Fifteen years after \u003cem>Saving Private Ryan\u003c/em>, war movies are more realistic than ever. Consider yourself warned. Brad Pitt, making up for his role in the cartoonish World War II fantasy \u003cem>Inglourious Basterds\u003c/em>, commands a Sherman tank on a mission behind German lines in April 1945. Once upon a time, the star didn’t die in war films, but we’re not making any bets on this one. We \u003cem>are\u003c/em> curious about the look, edging toward black-and-white, that writer-director David Ayer and the young Russian cinematographer Roman Vasyanov devised for the picture.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O8u5eKUY0NI'\n title='//www.youtube.com/embed/O8u5eKUY0NI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141233\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/whitepeople.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/whitepeople-400x266.jpg\" alt=\"<i>Dear White People</i>\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10141233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whitepeople-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whitepeople-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/whitepeople.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Dear White People\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Dear White People\u003c/i>\u003c/h3>\n\u003ch5>Opens Oct. 24\u003c/h5>\n\u003cp>Justin Simien’s timely, canny satire has garnered awards nearly everywhere it’s played, including a Special Jury Prize at Sundance and the audience award at SFIFF. Four distinctly different black characters pursue strategies (that is, identities) for success at an Ivy League university. Riffing on the stereotypes, expectations and presumed cultural tastes that the majority uses to define black people, even at a supposedly enlightened East Coast school, \u003cem>Dear White People\u003c/em> tweaks every shade of racial identity. The question, after the tragedy and brutality of Ferguson, is whether a hip, young, white audience is inclined to check out or ignore a hip, young, black point of view.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XwJhmqLU0so'\n title='//www.youtube.com/embed/XwJhmqLU0so'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141234\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/interstellar.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/interstellar-400x250.jpg\" alt=\"<i>Interstellar</i>\" width=\"400\" height=\"250\" class=\"size-thumbnail wp-image-10141234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interstellar-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interstellar-300x187.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interstellar.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Interstellar\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Interstellar\u003c/i>\u003c/h3>\n\u003ch5>Opens Nov 7\u003c/h5>\n\u003cp>According to his army of adoring fans, Christopher Nolan (\u003cem>Inception\u003c/em>, three Batman movies) is a combination of Kubrick and Kierkegaard. I find his movies boring and superficial, when they aren’t outright impenetrable. His latest money-spinning hunk of sentimental, less-than-meets-the-eye science fiction ships sensitive Texan Matthew McConaughey to Mars to save his family and, incidentally, the rest of us peons on Earth. Or so the trailer leads me to conclude. I’ll see it anyway, digging the visual effects and enjoying crafty vets William Devane, Ellen Burstyn, John Lithgow and Michael Caine in thankless cameos.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zSWdZVtXT7E'\n title='//www.youtube.com/embed/zSWdZVtXT7E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141235\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/wayhelooks.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/wayhelooks-400x193.jpg\" alt=\"<i>The Way He Looks</i>\" width=\"400\" height=\"193\" class=\"size-thumbnail wp-image-10141235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/wayhelooks-400x193.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/wayhelooks-300x145.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/wayhelooks.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Way He Looks\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Way He Looks\u003c/i>\u003c/h3>\n\u003ch5>Opens Nov 7\u003c/h5>\n\u003cp>Expanding his 2010 short film with the same trio of young actors, Brazilian writer-director Daniel Ribeiro makes his feature debut with the charming saga of a blind teenager determined to carve his own path. Leonardo’s routine, his relationship with his (female) best friend, and the way he perceives the world all change with the arrival of a new (male) student. Friendship, lust, romance, love — the gang’s all here in this deliciously observed and wonderfully acted coming-of-age tale. Winner of the audience award at several festivals, including Frameline, \u003cem>The Way He Looks\u003c/em> (note the double meaning) has heart to spare.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/X4nni_7ScRQ'\n title='//www.youtube.com/embed/X4nni_7ScRQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141236\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/rosewater.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/rosewater-400x283.jpg\" alt=\"<i>Rosewater</i>\" width=\"400\" height=\"283\" class=\"size-thumbnail wp-image-10141236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/rosewater-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/rosewater-300x212.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/rosewater.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Rosewater\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Rosewater\u003c/i>\u003c/h3>\n\u003ch5>Opens Nov 14\u003c/h5>\n\u003cp>Comedian and \u003ci>The Daily Show\u003c/i> host Jon Stewart grows up with this hard-hitting and at times droll depiction of the imprisonment and torture of Tehran-born, London-based BBC journalist Maziar Bahari (played by Gael Garcia Bernal) for four months in 2009. Stewart penned the screenplay (adapting Bahari’s memoir of the events that transpired when he returned to Iran to cover the presidential election) and makes his debut behind the camera, so there’s a chance that it’s a flatfooted flop. But the guy’s pretty darn smart, and he chose a compelling story and a remarkable character. And how can you not root for a first-time director in his 50s (even if he is a multimillionaire)?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cEExQHYsOT4'\n title='//www.youtube.com/embed/cEExQHYsOT4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141237\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/theory.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141237\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/theory-400x266.jpg\" alt=\"The Theory of Everything\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/theory-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/theory-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/theory.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Theory of Everything\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Theory of Everything\u003c/i> and \u003ci>The Imitation Game\u003c/i>\u003c/h3>\n\u003ch5>Opening Nov. 14 and Nov. 21\u003c/h5>\n\u003cp>Americans love physics and geeks, if the success of the sitcom \u003ci>The Big Bang Theory\u003c/i> is any measure. I somehow doubt, however, that those Nielsen numbers will translate into long lines for the pair of films based on real English brainiacs opening on successive Fridays. Drawing on Jane Hawking’s memoir and directed by the gifted documentarian James Marsh, \u003cem>The Theory of Everything\u003c/em> portrays the Cambridge love affair of graduate student Stephen Hawking (Eddie Redmayne) and his future wife (the luminous and criminally underrated Felicity Jones). When he is struck by a degenerative disease and given a terminal diagnosis, Jane becomes his fiercest ally. (At least in the movies, nothing inspires romantic commitment like a partner’s illness.) The ticking clock that drives \u003cem>The Imitation Game\u003c/em>, meanwhile, is the seemingly inevitable invasion of Britain by Nazi Germany. Gay mathematician, logician, cryptologist and computer scientist Alan Turing (Benedict Cumberbatch of \u003ci>Sherlock\u003c/i>) heads a team of code breakers racing to decipher intercepted German messages. After the war, Turing made several other contributions, but his career and life were cut short by a 1952 prosecution for homosexuality. I expect this terrible chapter falls outside the film’s purview, and will be disclosed in an end card before the closing credits.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Salz7uGp72c'\n title='//www.youtube.com/embed/Salz7uGp72c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>http://youtu.be/S5CjKEFb-sM\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141240\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/foxcatcher.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/foxcatcher-400x211.jpg\" alt=\"<i>Foxcatcher</i>\" width=\"400\" height=\"211\" class=\"size-thumbnail wp-image-10141240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/foxcatcher-400x211.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/foxcatcher-300x158.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/foxcatcher.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Foxcatcher\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Foxcatcher\u003c/i>\u003c/h3>\n\u003ch5>Opens Nov. 21\u003c/h5>\n\u003cp>Yet another riveting drama crafted from real life finds Steve Carell solidifying his place on the long list of comedians with outstanding dramatic chops. (Let us pause here to remember Robin Williams.) Carell plays a schizophrenic, manipulative du Pont heir who persuades Olympic gold-medal wrestlers Dave and Mark Schultz (Mark Ruffalo and Channing Tatum) to accept his deep-pocket sponsorship as they train for the 1988 Games. Bennett Miller (\u003cem>Capote\u003c/em>, \u003cem>Moneyball\u003c/em>) won the Best Director prize at Cannes for this piercing, downbeat character (and crime) story that illuminates the gulf between appearances and reality, thereby pulling back the curtain on the whole Reagan-era “morning in America” jive. A surefire year-end awards contender, and not to be missed.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aE3O6jT78-Q'\n title='//www.youtube.com/embed/aE3O6jT78-Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141241\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maps.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maps-400x266.jpg\" alt=\"<i>Maps to the Stars</i>\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10141241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maps-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maps-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maps.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Maps to the Stars\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Maps to the Stars\u003c/i>\u003c/h3>\n\u003ch5>Opening TBD\u003c/h5>\n\u003cp>I realize that a baker’s dozen is 13, but I can’t resist including a bonus track: David Cronenberg’s icy cool, blacker-than-black comedy of an alienated, damaged Hollywood family and the ripple effects of their narcissism and cruelty. Julianne Moore (Best Actress winner at Cannes), John Cusack, Mia Wasikowska, Olivia Williams and Robert Pattinson (as a limo driver!) embody the seven deadly sins (and there is assuredly death). Bruce Wagner, a bitterly funny novelist and chronicler of L.A.’s foibles (the fondly remembered ‘90s miniseries \u003ci>Wild Palms\u003c/i> was his handiwork) wrote the screenplay, which is piled high with his trademark blend of absurdist humor and gut-wrenching depravity.\u003c/p>\n\u003cp>\u003cem>Maps to the Stars\u003c/em> is not for everyone, and definitely not for the kids. But that’s the great thing about fall movies: They make you very glad to be an adult.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Zd5EM7Z0MS8'\n title='//www.youtube.com/embed/Zd5EM7Z0MS8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "New Organ Planned For Castro Theatre Will Be Among Largest in the World",
"headTitle": "New Organ Planned For Castro Theatre Will Be Among Largest in the World | KQED",
"content": "\u003cp>Castro Theater regulars know to come early.\u003c/p>\n\u003cp>They know to sink deep into the plush red seats and to to savor the intricate details around them: golden woodwork, the art deco chandelier, a pair of unexpected murals on the theatre’s side walls.\u003c/p>\n\u003cp>But mostly, they know to listen. Because fifteen minutes before \u003ca href=\"http://ww2.kqed.org/news/2014/08/28/fundriasing-underway-for-new-organ-castro-theatre/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/08/28/fundriasing-underway-for-new-organ-castro-theatre/\" target=\"_self\" title=\"New Organ Planned For Castro Theatre Will Be Among Largest in the World\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>\u003c/p>\n\u003cp>Castro Theater regulars know to come early.\u003c/p>\n\u003cp>They know to sink deep into the plush red seats and to to savor the intricate details around them: golden woodwork, the art deco chandelier, a pair of unexpected murals on the theatre's side walls.\u003c/p>\n\u003cp>But mostly, they know to listen. Because fifteen minutes before \u003ca href=\"http://ww2.kqed.org/news/2014/08/28/fundriasing-underway-for-new-organ-castro-theatre/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"description": "\nCastro Theater regulars know to come early.\nThey know to sink deep into the plush red seats and to to savor the intricate details around them: golden woodwork, the art deco chandelier, a pair of unexpected murals on the theatre's side walls.\nBut mostly, they know to listen. Because fifteen minutes before ...read more",
"title": "New Organ Planned For Castro Theatre Will Be Among Largest in the World | KQED",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/tdl_templogo-e1408481727479-300x186.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/blue/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘Blue’\u003c/h4>\n\u003cdiv class=\"event-desc\">Jarman’s melancholy finalé.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 28, 2014\u003c/h4>\n\u003cp>7:00pm\u003c/p>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Pacific Film Archive, Berkeley\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/blue/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Pity the child who grows up experiencing loneliness alone. Who listens to Leonard Cohen’s “Bird on a Wire” in earbuds instead of the full theater while Cohen performs. Who reads W.H. Auden’s “Funeral Blues” alone in a library instead of hearing it amongst others at the graveside service.\u003c/p>\n\u003cp>Pity the child, too, who watches Derek Jarman’s \u003cem>Blue\u003c/em>, chopped into 10-minute increments, on a three-and-a-half inch screen.\u003c/p>\n\u003cp>Berkeley’s BAM/PFA closes out its retrospective of the filmmaker Derek Jarman this week, and appropriately, organizers have chosen Jarman’s final, heartbreaking film, \u003cem>Blue\u003c/em>. The film is an immersive experience of solitude that begs to be shared with others, and whether one has seen the film or not, the rare screening offers that very fruit of communion.\u003c/p>\n\u003cp>Visually, \u003cem>Blue\u003c/em> is solely a blue screen, for 79 minutes. But the film’s discordant score and evocative narration—by Tilda Swinton, Nigel Terry, John Quinton and Jarman himself—create lasting, intimate images of the British filmmaker’s final days wrestling with complications from AIDS. The disease had rendered him blind, blue was all he saw, and thus blue is all the audience sees.\u003c/p>\n\u003cp>Short, sharp vignettes of frustrating visits to the hospital, to the optometerist, to the café—these are interwoven with Jarman’s commentary on the disease and the uselessness of AIDS-awareness campaigns. “I shall not win the battle against the virus, in spite of the slogans like ‘Living With AIDS,’” he intones at one point. “The virus was appropriated by the well, so we have to live with AIDS while they spread The Quilt for the moths of Ithaca across the wine dark sea.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aside from the intimacy of the film itself, the reason to specifically see it with others is akin to that of a book club. As the crowd of strangers leaves the theater after \u003cem>Blue\u003c/em>, they’ve all technically seen the same thing, yet they’ve reflected their own differing personal resources of emotion and imagination. Jarman himself put it best in a BBC interview about \u003cem>Blue\u003c/em>, right before his death:\u003c/p>\n\u003cp>“They see all sorts of things, of course, that they’re not seeing on the screen. And they’re really surprised by themselves. And they go on to this quite euphoric state.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let euphoria reign. On Thursday, let \u003cem>Blue\u003c/em> in.\u003c/p>\n\n",
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"content": "\u003cp>When Stephen Spielberg was looking for someone who could make dinosaurs seem plausible in \u003cem>Jurassic Park\u003c/em>, he asked fellow filmmaker Richard Attenborough to do something he hadn’t done in almost 14 years: act. Plenty of performers could look at green screens and convey a sense of wonder. What Attenborough could do while playing the owner of Jurassic Park, figured Spielberg, was flesh out the bigger picture — the why. And when he did, it sounded almost as if he was stating the filmmaking credo he’d lived by all his life.\u003c/p>\n\u003cp>“I wanted to show them something that wasn’t an illusion,” Attenborough’s park owner tells Laura Dern, as his dream comes crashing down around them. “Something that was real … something they could see and touch.”\u003c/p>\n\u003cfigure id=\"attachment_10141119\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/ap648973655288-9b6724ca85a0056cbfdc6adc1d7fbf0c6765957a-e1409007174286.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/ap648973655288-9b6724ca85a0056cbfdc6adc1d7fbf0c6765957a-e1409007174286.jpg\" alt=\"Director Richard Attenborough won two Academy Awards for his movie, <em>Gandhi</em>.\" width=\"600\" height=\"450\" class=\"size-full wp-image-10141119\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Director Richard Attenborough won two Academy Awards for his movie, \u003cem>Gandhi\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>That is more or less what Attenborough had been doing for five decades at that point, ever since 1947, when he was so persuasive in a British film noir called \u003cem>Brighton Rock\u003c/em>, that he risked being typecast as a thug when he played a baby-faced but cold-blooded teenager who killed his friends as casually as he killed his enemies.\u003c/p>\n\u003cp>If raising gooseflesh was what Attenborough did at the start of his acting career, raising consciousness was his aim once he stepped behind the camera. He personalized cautionary tales in \u003cem>Oh! What A Lovely War\u003c/em>, and his epic about military miscalculation, \u003cem>A Bridge Too Far\u003c/em>.\u003c/p>\n\u003cp>And he spent 20 years and all of his personal fortune, even mortgaging his house, in a struggle to bring a story about non-violence to the screen. It was a story Hollywood was convinced would never sell, about how the British empire was brought virtually to its knees, by a frail wisp of a man named Gandhi who employed passive resistance and hunger strikes to demand “that the fighting will stop.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That plea was echoed five years later in \u003cem>Cry Freedom\u003c/em>, when Attenborough engaged audiences in the struggle against apartheid by concentrating his story on the words and personality of South African activist Steve Biko.\u003c/p>\n\u003cp>When Attenborough tackled less weighty subjects, the fire sometimes went out of his film making. His movies \u003cem>Chaplin\u003c/em>, and \u003cem>A Chorus Line\u003c/em> didn’t connect with audiences. \u003cem>Shadowlands\u003c/em> did, although it was arguably a tougher sell — a story of cancer and Christian theology that briefly turned Oxford academic C.S. Lewis into a matinee idol — mostly because Lewis had big ideas\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And big ideas were what fired the imagination of Richard Attenborough — ideas that he could turn into something an audience could see and touch. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Director+Richard+Attenborough+Brought+Intimacy+to+Big+Ideas&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Stephen Spielberg was looking for someone who could make dinosaurs seem plausible in \u003cem>Jurassic Park\u003c/em>, he asked fellow filmmaker Richard Attenborough to do something he hadn’t done in almost 14 years: act. Plenty of performers could look at green screens and convey a sense of wonder. What Attenborough could do while playing the owner of Jurassic Park, figured Spielberg, was flesh out the bigger picture — the why. And when he did, it sounded almost as if he was stating the filmmaking credo he’d lived by all his life.\u003c/p>\n\u003cp>“I wanted to show them something that wasn’t an illusion,” Attenborough’s park owner tells Laura Dern, as his dream comes crashing down around them. “Something that was real … something they could see and touch.”\u003c/p>\n\u003cfigure id=\"attachment_10141119\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/ap648973655288-9b6724ca85a0056cbfdc6adc1d7fbf0c6765957a-e1409007174286.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/ap648973655288-9b6724ca85a0056cbfdc6adc1d7fbf0c6765957a-e1409007174286.jpg\" alt=\"Director Richard Attenborough won two Academy Awards for his movie, <em>Gandhi</em>.\" width=\"600\" height=\"450\" class=\"size-full wp-image-10141119\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Director Richard Attenborough won two Academy Awards for his movie, \u003cem>Gandhi\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>That is more or less what Attenborough had been doing for five decades at that point, ever since 1947, when he was so persuasive in a British film noir called \u003cem>Brighton Rock\u003c/em>, that he risked being typecast as a thug when he played a baby-faced but cold-blooded teenager who killed his friends as casually as he killed his enemies.\u003c/p>\n\u003cp>If raising gooseflesh was what Attenborough did at the start of his acting career, raising consciousness was his aim once he stepped behind the camera. He personalized cautionary tales in \u003cem>Oh! What A Lovely War\u003c/em>, and his epic about military miscalculation, \u003cem>A Bridge Too Far\u003c/em>.\u003c/p>\n\u003cp>And he spent 20 years and all of his personal fortune, even mortgaging his house, in a struggle to bring a story about non-violence to the screen. It was a story Hollywood was convinced would never sell, about how the British empire was brought virtually to its knees, by a frail wisp of a man named Gandhi who employed passive resistance and hunger strikes to demand “that the fighting will stop.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "‘Frank’ Talk: That’s Michael Fassbender Inside That Big Head | KQED",
"content": "\u003cp>There are a number of reasons why you shouldn’t cast Michael Fassbender in your movie and have him wear a giant, papier-mâché head throughout, but most central is that he has a wonderfully emotive face (stern in \u003cem>Shame\u003c/em>, wild-eyed in \u003cem>12 Years a Slave\u003c/em>, creepy in \u003cem>Prometheus\u003c/em>), one that’s central to his acting abilities and that happens to be as attractive as it is talented. Put the two together, and the mask stands to get you accused of both thespian and aesthetic crimes.\u003c/p>\n\u003cp>Yet covering up Fassbender is exactly what Lenny Abrahamson improbably pulls off in his dark comedy \u003cem>Frank\u003c/em>, a film about a mid-30s rock star based only loosely but obviously on Chris Sievey, an artist who performed in the ’80s and ’90s under the name Frank Sidebottom while wearing a fake head, and who one of the film’s writers, Jon Ronson, toured with at the time. That Fassbender plays the role of the disguised rocker fits well with the movie’s tone: putting one of the biggest actors in Hollywood behind a mask lends a further rebellious streak to an already sardonic film.\u003c/p>\n\u003cp>http://youtu.be/9dcLw6CPzIs\u003c/p>\n\u003cp>The film’s protagonist and narrator, however, is not Frank but Jon (Domhnall Gleeson), an office drone with dreams of rock stardom. We meet him in the film’s first scene as he sits by the beach of his hometown, writing awful songs in his head based on the actions of passersby. (“Ladies with babies. That’s how it works!” is one of his masterpieces.)\u003c/p>\n\u003cp>By chance, Jon happens upon Frank’s band, The Soronprfbs, as pianist Lucas is being forcibly restrained from drowning himself in the ocean. With a gig that night, the band needs a new member, and Jon steps in, eventually getting invited to a remote lakeside cabin where the band plans to record an album.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To start, Frank is largely kept in the background as the enigmatic leader of the mysterious group. When he emerges, though, what stands out is how decidedly uncool he is. While performing, he’s a post-rock Jim Morrison, producing moody spoken word over the band’s noise-rock sounds. But otherwise, Frank is sweet-natured, telling everyone which positive facial expressions he’s making behind his mask and reacting all too enthusiastically to any band member’s new idea.\u003c/p>\n\u003cp>The rest of the band, particularly the scowling Clara (Maggie Gyllenhaal), are not nearly as peppy, but they’re equally unfit for the limelight. Filtered through Jon’s enthusiasm, the band may seem like geniuses living in artistic isolation waiting for inspiration to strike. But a closer look reveals they’re in fact a lonesome bunch finding a simple satisfaction in their music.\u003c/p>\n\u003cp>The trouble is that Jon begins to tweet, blog and post YouTube videos of their recording process, turning the band into a mythic presence online. Much of the film turns on this tension between the grandiose image that the overzealous Jon — who uses his inheritance to pay for rent at the cabin — has of the band, the dreams of grandeur he inspires in Frank, and the reality check that necessarily awaits both of them in the future.\u003c/p>\n\u003cp>That conflict mirrors a more structural tension in the film as it careens between rich, dark comedy and insensitivity, particularly in its treatment of mental illness. From the start, it’s explicitly acknowledged that Frank and the band’s manager, Don (Scoot McNairy), were hospitalized earlier in their lives. The film, though, plays their ailments and their impulsive behavior for laughs. Don, it turns out, has a mannequin fetish, and a scene where he tries to drown himself in a lake is one of the more comically surreal moments in the movie.\u003c/p>\n\u003cp>For most of \u003cem>Frank\u003c/em>, Abrahamson walks this potentially offensive line largely by playing it as part of Jon’s ignorance: At the cabin, Jon excitedly explains, “I have found my abusive childhood, my mental hospital, that which pushes me to my furthest corners.” The film quite clearly means to deride the notion — heard particularly when discussing outsider art or musicians like Daniel Johnston, who Abrahamson has said also inspired the film — that mental illness can somehow be a path to boosted creativity.\u003c/p>\n\u003cp>In this attempt to push the limits of its comedy, it helps that the film is consistently funny (a scene where Frank plays the band his “most likeable song ever” is one of the year’s best scenes) and that Abrahamson is clearly an equal-opportunity offender. He mocks Jon, the art-school pretension of The Soronprfbs, the absurdities of their 18-month recording retreat, and audiences’ fixation on reclusive artists with the same uninhibited energy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet toward the end, there are suggestions of a lack of compassion for some of these characters. After letting the audience think it’s OK, if not necessarily tasteful, to laugh at jokes about attempted suicide, the story shifts and we are left to question if there was ever any humor in it at all. Whether the film fully accomplishes this transition from comical (and almost sneering) to empathetic is its own open question. My vote says it does, but it’s a fine line, one that \u003cem>Frank\u003c/em> necessarily risks overstepping with its complex, but worthwhile, attempt at being facetious, satirical and emotionally bare all at once. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Frank%27+Talk%3A+That%27s+Michael+Fassbender+Inside+That+Big+Head&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are a number of reasons why you shouldn’t cast Michael Fassbender in your movie and have him wear a giant, papier-mâché head throughout, but most central is that he has a wonderfully emotive face (stern in \u003cem>Shame\u003c/em>, wild-eyed in \u003cem>12 Years a Slave\u003c/em>, creepy in \u003cem>Prometheus\u003c/em>), one that’s central to his acting abilities and that happens to be as attractive as it is talented. Put the two together, and the mask stands to get you accused of both thespian and aesthetic crimes.\u003c/p>\n\u003cp>Yet covering up Fassbender is exactly what Lenny Abrahamson improbably pulls off in his dark comedy \u003cem>Frank\u003c/em>, a film about a mid-30s rock star based only loosely but obviously on Chris Sievey, an artist who performed in the ’80s and ’90s under the name Frank Sidebottom while wearing a fake head, and who one of the film’s writers, Jon Ronson, toured with at the time. That Fassbender plays the role of the disguised rocker fits well with the movie’s tone: putting one of the biggest actors in Hollywood behind a mask lends a further rebellious streak to an already sardonic film.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9dcLw6CPzIs'\n title='//www.youtube.com/embed/9dcLw6CPzIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film’s protagonist and narrator, however, is not Frank but Jon (Domhnall Gleeson), an office drone with dreams of rock stardom. We meet him in the film’s first scene as he sits by the beach of his hometown, writing awful songs in his head based on the actions of passersby. (“Ladies with babies. That’s how it works!” is one of his masterpieces.)\u003c/p>\n\u003cp>By chance, Jon happens upon Frank’s band, The Soronprfbs, as pianist Lucas is being forcibly restrained from drowning himself in the ocean. With a gig that night, the band needs a new member, and Jon steps in, eventually getting invited to a remote lakeside cabin where the band plans to record an album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To start, Frank is largely kept in the background as the enigmatic leader of the mysterious group. When he emerges, though, what stands out is how decidedly uncool he is. While performing, he’s a post-rock Jim Morrison, producing moody spoken word over the band’s noise-rock sounds. But otherwise, Frank is sweet-natured, telling everyone which positive facial expressions he’s making behind his mask and reacting all too enthusiastically to any band member’s new idea.\u003c/p>\n\u003cp>The rest of the band, particularly the scowling Clara (Maggie Gyllenhaal), are not nearly as peppy, but they’re equally unfit for the limelight. Filtered through Jon’s enthusiasm, the band may seem like geniuses living in artistic isolation waiting for inspiration to strike. But a closer look reveals they’re in fact a lonesome bunch finding a simple satisfaction in their music.\u003c/p>\n\u003cp>The trouble is that Jon begins to tweet, blog and post YouTube videos of their recording process, turning the band into a mythic presence online. Much of the film turns on this tension between the grandiose image that the overzealous Jon — who uses his inheritance to pay for rent at the cabin — has of the band, the dreams of grandeur he inspires in Frank, and the reality check that necessarily awaits both of them in the future.\u003c/p>\n\u003cp>That conflict mirrors a more structural tension in the film as it careens between rich, dark comedy and insensitivity, particularly in its treatment of mental illness. From the start, it’s explicitly acknowledged that Frank and the band’s manager, Don (Scoot McNairy), were hospitalized earlier in their lives. The film, though, plays their ailments and their impulsive behavior for laughs. Don, it turns out, has a mannequin fetish, and a scene where he tries to drown himself in a lake is one of the more comically surreal moments in the movie.\u003c/p>\n\u003cp>For most of \u003cem>Frank\u003c/em>, Abrahamson walks this potentially offensive line largely by playing it as part of Jon’s ignorance: At the cabin, Jon excitedly explains, “I have found my abusive childhood, my mental hospital, that which pushes me to my furthest corners.” The film quite clearly means to deride the notion — heard particularly when discussing outsider art or musicians like Daniel Johnston, who Abrahamson has said also inspired the film — that mental illness can somehow be a path to boosted creativity.\u003c/p>\n\u003cp>In this attempt to push the limits of its comedy, it helps that the film is consistently funny (a scene where Frank plays the band his “most likeable song ever” is one of the year’s best scenes) and that Abrahamson is clearly an equal-opportunity offender. He mocks Jon, the art-school pretension of The Soronprfbs, the absurdities of their 18-month recording retreat, and audiences’ fixation on reclusive artists with the same uninhibited energy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet toward the end, there are suggestions of a lack of compassion for some of these characters. After letting the audience think it’s OK, if not necessarily tasteful, to laugh at jokes about attempted suicide, the story shifts and we are left to question if there was ever any humor in it at all. Whether the film fully accomplishes this transition from comical (and almost sneering) to empathetic is its own open question. My vote says it does, but it’s a fine line, one that \u003cem>Frank\u003c/em> necessarily risks overstepping with its complex, but worthwhile, attempt at being facetious, satirical and emotionally bare all at once. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Frank%27+Talk%3A+That%27s+Michael+Fassbender+Inside+That+Big+Head&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The One I Love': A Marriage That's Not Quite What It Appears",
"headTitle": "‘The One I Love’: A Marriage That’s Not Quite What It Appears | KQED",
"content": "\u003cp>Before Charlie McDowell’s fantastical debut feature \u003cem>The One I Love\u003c/em> descends completely down the rabbit hole, it begins with a more everyday kind of dream. Ethan (Mark Duplass), trying to rekindle the romance in his failing marriage to Sophie (Elisabeth Moss), hopes that one magic night might do the trick. To celebrate their anniversary, he gets Sophie to re-create the night the two met, when they sneaked into a stranger’s backyard to swim in their pool, only to be caught by the homeowner.\u003c/p>\n\u003cp>Of course, the fanciful re-creation backfires when the owner never appears, despite Ethan’s calling out to him after diving in. Evidently there’s no panacea for his and Sophie’s problems — lingering distrust after some infidelity, Sophie’s sense that “happiness is now something we need to re-create” — though that doesn’t stop their therapist (Ted Danson) from suggesting his own cure-all: a weekend getaway to an idyllic countryside estate.\u003c/p>\n\u003cp>http://youtu.be/aH_4yfB-6vg\u003c/p>\n\u003cp>Initially, the retreat appears to work wonders. On the first night, the two make dinner, they get high, and eventually, as they explore the nearby guesthouse, they seem to rediscover a playfulness in their relationship. They even have sex. It’s all quite lovely until Sophie, returning to the main house, discovers Ethan asleep on the couch. He remembers nothing beyond dinner and smoking up.\u003c/p>\n\u003cp>The next morning, after spending the rest of the night alone in the guesthouse, Ethan wakes up to Sophie, who has seemingly forgotten about the previous night’s disagreement, making breakfast. But Ethan notices that something’s off with the food she’s preparing: “You hate it when I eat bacon,” he says suspiciously.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(In interviews about the movie, Moss and Duplass have been fairly adamant about not spoiling the plot much further than this. But frankly, I don’t think the movie can be ruined by disclosing a plot twist that occurs 20 minutes in. It’s more interesting than that. Still, if you want the full surprise, you’ve been warned.)\u003c/p>\n\u003cp>Instead of discovering a cure to their marriage woes, Sophie and Ethan discover a guesthouse that seemingly contains an alternate dimension in which their doppelgangers reside. Considering how outrageous the twist sounds now that I write it, it’s particularly impressive how naturally the film introduces it.\u003c/p>\n\u003cp>McDowell and writer Justin Lader don’t resort to shock tactics by having, say, the two Ethans come face to face suddenly. The reveal is gradual and infused with comedy. While still under the impression that he’s talking to the real Sophie, Ethan asks doppel-Sophie why she claimed they had sex the night before. Was she so drunk she imagined the whole thing? Was it a failed joke? Sophie’s double tries feebly to explain the moment away: “Honestly, it was just one of those things, you know?”\u003c/p>\n\u003cp>Like in other doppelganger scenarios — such as, most recently, \u003cem>The Double\u003c/em> and \u003cem>Enemy \u003c/em>— Ethan and Sophie’s doubles represent idealized versions of themselves, although in this case the fantasy is not self-directed but a product of Sophie and Ethan’s illusions about each other. The guesthouse creates the fantasy partners that both Ethan and Sophie have been missing: the husband that’s playful, romantic and agrees to wear contacts instead of glasses; the wife that’s forgiving, affectionate and lets you eat bacon.\u003c/p>\n\u003cp>In service of a story about a relationship in distress, the gimmick is fairly on the nose, no doubt. It becomes clear fairly early in the film that what Sophie wants Ethan to be has become increasingly distanced from the reality of the man in front of her — hence the luck of finding a new and improved double! Nevertheless, it’s a gimmick that is also easy to condone for the sake of seeing Moss and Duplass, both superb in their roles, play out a \u003cem>Before Midnight\u003c/em>-like scenario.\u003c/p>\n\u003cp>McDowell and Lader, though, run out of patience or ideas for the broken marriage plotline halfway through, shifting focus almost entirely to the science fiction elements of the plot. That means, more than anything, that the two decide we need a semi-reasonable explanation for the magic of the guesthouse. The resulting twist is hastily expounded, far-fetched, filled with gaping holes in logic, and all the more frustrating for its pointlessness. If you haven’t bought into the premise by the time the film gets to these explanations, it’s hard to imagine that half-cogent reasoning will win you over.\u003c/p>\n\u003cp>The only thing that saves the movie once it reaches that point is the pleasure of watching Moss and Duplass. In distinguishing the two versions of their characters, both offer simple but precise physical transformations, particularly Moss, who distinguishes guesthouse Sophie by softening her voice and repeatedly tilting her head down to better give coy and flirtatious looks up at Ethan.\u003c/p>\n\u003cp>The film’s dialogue was largely improvised, as it is usually in films featuring Duplass, and that produces a richness in the actors’ reactions. Simple gestures, from how Sophie responds to Ethan’s kisses to how the two laugh at each other’s jokes, show all we need to know about both the strains and lingering satisfactions in their relationship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s particularly disappointing, then, that McDowell’s eventual emphasis on the film’s sci-fi elements hampers the natural feeling in Ethan and Sophie’s interactions: It forces Ethan into repeated exclamations of how “weird” the guesthouse is as he and Sophie repeat arguments about the true nature of their doubles. But more generally, the direction the plot takes shifts \u003cem>The One I Love\u003c/em> away from what was initially charming about its story. It begins by exploring how fantasy intrudes on and affects our perceptions of reality; it ends by trying too hard to convince us that its fantasies could, somehow, be real. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+One+I+Love%27%3A+A+Marriage+That%27s+Not+Quite+What+It+Appears&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Charlie McDowell’s fantastical debut feature \u003cem>The One I Love\u003c/em> descends completely down the rabbit hole, it begins with a more everyday kind of dream. Ethan (Mark Duplass), trying to rekindle the romance in his failing marriage to Sophie (Elisabeth Moss), hopes that one magic night might do the trick. To celebrate their anniversary, he gets Sophie to re-create the night the two met, when they sneaked into a stranger’s backyard to swim in their pool, only to be caught by the homeowner.\u003c/p>\n\u003cp>Of course, the fanciful re-creation backfires when the owner never appears, despite Ethan’s calling out to him after diving in. Evidently there’s no panacea for his and Sophie’s problems — lingering distrust after some infidelity, Sophie’s sense that “happiness is now something we need to re-create” — though that doesn’t stop their therapist (Ted Danson) from suggesting his own cure-all: a weekend getaway to an idyllic countryside estate.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aH_4yfB-6vg'\n title='//www.youtube.com/embed/aH_4yfB-6vg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Initially, the retreat appears to work wonders. On the first night, the two make dinner, they get high, and eventually, as they explore the nearby guesthouse, they seem to rediscover a playfulness in their relationship. They even have sex. It’s all quite lovely until Sophie, returning to the main house, discovers Ethan asleep on the couch. He remembers nothing beyond dinner and smoking up.\u003c/p>\n\u003cp>The next morning, after spending the rest of the night alone in the guesthouse, Ethan wakes up to Sophie, who has seemingly forgotten about the previous night’s disagreement, making breakfast. But Ethan notices that something’s off with the food she’s preparing: “You hate it when I eat bacon,” he says suspiciously.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(In interviews about the movie, Moss and Duplass have been fairly adamant about not spoiling the plot much further than this. But frankly, I don’t think the movie can be ruined by disclosing a plot twist that occurs 20 minutes in. It’s more interesting than that. Still, if you want the full surprise, you’ve been warned.)\u003c/p>\n\u003cp>Instead of discovering a cure to their marriage woes, Sophie and Ethan discover a guesthouse that seemingly contains an alternate dimension in which their doppelgangers reside. Considering how outrageous the twist sounds now that I write it, it’s particularly impressive how naturally the film introduces it.\u003c/p>\n\u003cp>McDowell and writer Justin Lader don’t resort to shock tactics by having, say, the two Ethans come face to face suddenly. The reveal is gradual and infused with comedy. While still under the impression that he’s talking to the real Sophie, Ethan asks doppel-Sophie why she claimed they had sex the night before. Was she so drunk she imagined the whole thing? Was it a failed joke? Sophie’s double tries feebly to explain the moment away: “Honestly, it was just one of those things, you know?”\u003c/p>\n\u003cp>Like in other doppelganger scenarios — such as, most recently, \u003cem>The Double\u003c/em> and \u003cem>Enemy \u003c/em>— Ethan and Sophie’s doubles represent idealized versions of themselves, although in this case the fantasy is not self-directed but a product of Sophie and Ethan’s illusions about each other. The guesthouse creates the fantasy partners that both Ethan and Sophie have been missing: the husband that’s playful, romantic and agrees to wear contacts instead of glasses; the wife that’s forgiving, affectionate and lets you eat bacon.\u003c/p>\n\u003cp>In service of a story about a relationship in distress, the gimmick is fairly on the nose, no doubt. It becomes clear fairly early in the film that what Sophie wants Ethan to be has become increasingly distanced from the reality of the man in front of her — hence the luck of finding a new and improved double! Nevertheless, it’s a gimmick that is also easy to condone for the sake of seeing Moss and Duplass, both superb in their roles, play out a \u003cem>Before Midnight\u003c/em>-like scenario.\u003c/p>\n\u003cp>McDowell and Lader, though, run out of patience or ideas for the broken marriage plotline halfway through, shifting focus almost entirely to the science fiction elements of the plot. That means, more than anything, that the two decide we need a semi-reasonable explanation for the magic of the guesthouse. The resulting twist is hastily expounded, far-fetched, filled with gaping holes in logic, and all the more frustrating for its pointlessness. If you haven’t bought into the premise by the time the film gets to these explanations, it’s hard to imagine that half-cogent reasoning will win you over.\u003c/p>\n\u003cp>The only thing that saves the movie once it reaches that point is the pleasure of watching Moss and Duplass. In distinguishing the two versions of their characters, both offer simple but precise physical transformations, particularly Moss, who distinguishes guesthouse Sophie by softening her voice and repeatedly tilting her head down to better give coy and flirtatious looks up at Ethan.\u003c/p>\n\u003cp>The film’s dialogue was largely improvised, as it is usually in films featuring Duplass, and that produces a richness in the actors’ reactions. Simple gestures, from how Sophie responds to Ethan’s kisses to how the two laugh at each other’s jokes, show all we need to know about both the strains and lingering satisfactions in their relationship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s particularly disappointing, then, that McDowell’s eventual emphasis on the film’s sci-fi elements hampers the natural feeling in Ethan and Sophie’s interactions: It forces Ethan into repeated exclamations of how “weird” the guesthouse is as he and Sophie repeat arguments about the true nature of their doubles. But more generally, the direction the plot takes shifts \u003cem>The One I Love\u003c/em> away from what was initially charming about its story. It begins by exploring how fantasy intrudes on and affects our perceptions of reality; it ends by trying too hard to convince us that its fantasies could, somehow, be real. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+One+I+Love%27%3A+A+Marriage+That%27s+Not+Quite+What+It+Appears&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Best of the B Movies: So Bad, They're Good",
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"content": "\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13139\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/sharknado-2.jpg\" alt=\"sharknado-2\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/08/sharknado-2.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/08/sharknado-2-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>\u003cstrong> By Maria Judnick\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">There are three levels of mainstream Hollywood films. First are the serious films: the ones in limited release, in which that incredibly important story gets told, that famous actor says or does something really brave, and everybody earns an Oscar. Next, there’s the popular movie category: the summer blockbusters people line up to see with the big explosions and scruffy guys who save the planet, while getting the girl.\u003c/p>\n\u003cp style=\"text-align: left\">And then there are the best kinds of movies...the best of the worst, at least. B movies: the low budget, anything goes, guilty pleasure science fiction or western films from Hollywood’s Golden Era (or the exploitation films of the 1970s) that now often only get made for television. \u003cem>Sharknado\u003c/em> and the rubber-suit-monster films like it are the ones that make us laugh for the wrong reasons, get played at independent theaters at midnight to a packed house or one loyal viewer, and can be recited line by line by fans who’ve seen it too many times.\u003c/p>\n\u003cp style=\"text-align: left\">Let's take a look at some B movies that are so awful that they can’t be anything but a classic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Famous Names\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>I Was a Teenage Werewolf\u003c/em>\u003cem> \u003c/em>(Gene Fowler Jr, 1957)\u003c/p>\n\u003cp>http://youtu.be/7jZS2Yn_vRQ\u003c/p>\n\u003cp>and\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Attack Of The Crab Monsters\u003c/em> (Roger Corman, 1957)\u003c/p>\n\u003cp>http://youtu.be/tTVWQ8dxPW0\u003c/p>\n\u003cp>Before Harry Potter’s Remus Lupin or MTV’s \u003cem>Teen Wolf\u003c/em>, half-man, half-wolf Michael Landon (yes, that guy from reruns of \u003cem>Little House on the Prairie \u003c/em>and \u003cem>Highway to Heaven) \u003c/em>was\u003cem> \u003c/em>frightening -- and thrilling -- teen audiences. Half the fun of B movies is recognizing now-famous names as they got their start (people like Jack Nicholson, Martin Scorsese, Sylvester Stallone, Francis Ford Coppola, Robert De Niro, and James Cameron, to name a few). Many of them owe their nascent careers to director Roger Corman. While “King of the Bs” Corman is recognized for his adaptations of Edgar Allen Poe short stories (most of which starred B movie favorite Vincent Price), he also created such classics as 1978’s \u003cem>Piranha \u003c/em>(his own \u003cem>Jaws\u003c/em>-like film) and \u003cem>Attack of the Crab Monsters\u003c/em> that featured -- you guessed it -- giant crab monsters.\u003cem> \u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Aliens Among Us\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Plan 9 From Outer Space\u003c/em> (Edward D. Wood, 1959)\u003c/p>\n\u003cp>http://youtu.be/u2ukRYsYPmo\u003c/p>\n\u003cp>If the director’s name sounds familiar, you probably remember Tim Burton’s 1994 biopic \u003cem>Ed Wood\u003c/em>. When most people think of B movies, they think of \u003cem>Plan \u003c/em>9 \u003cem>From Outer Space\u003c/em>, which was once considered “the worst movie ever made” thanks to continuity errors, actors still reading their scripts, and a flying saucer obviously made out of either a paper plate or a hubcap. A simple plot summary is enough to get some excitement going:\u003cstrong> “\u003c/strong>Aliens resurrect dead humans as zombies and vampires to stop humanity from creating the Solaranite (a sort of sun-driven bomb).\" Add in the fact that Vampira (Maila Nurmi) makes an appearance alongside the final footage of America’s favorite vampire, Bela Lugosi, and you’ve got a classic on your hands.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Monster Movies\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Creature from the Black Lagoon \u003c/em>(Jack Arnold, 1954)\u003c/p>\n\u003cp>http://youtu.be/lM1o1xe5FGE\u003c/p>\n\u003cp>Move over, Godzilla; there's another monster in town. What happens when a slimy half-human, half-amphibian creature from deep in the Amazon falls in love with a beautiful girl? Most original viewers don’t know (they were probably too busy necking at the drive-in to pay attention), but, if you did actually watch the film, you’d enjoy many of the typical speeches from “scientists” about how there’s a world out there that we don’t even know about. The film also features some of the first really technical “3-D” underwater shots that predated \u003cem>Jaws\u003c/em>. In the monster movie category, there’s a ton of competition, but this rubber-suited swimmer will always be a personal favorite.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Modern International Contributions\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Samurai Cop\u003c/em> (Amir Shervan, 1989)\u003c/p>\n\u003cp>http://youtu.be/EPxEy51RpnA\u003c/p>\n\u003cp>and\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Troll 2\u003c/em> (Drake Floyd, 1990)\u003c/p>\n\u003cp>http://youtu.be/RL2wVv94xLo\u003c/p>\n\u003cp>It’s not just Americans that make great B movies; clueless directors from around the world have created films that have made fans giggle for decades. \u003cem>Samurai Cop\u003c/em>, directed by an Iranian filmmaker, features a plot that would make \u003cem>Lethal Weapon \u003c/em>seem like Shakespearean high drama. Plus, it stars an actual hair model (Matt Hannon)! \u003cem>Troll 2\u003c/em> (which is not actually a sequel to anything), directed by Italian Claudio Fragrasso, features amateur actors (including a dentist) from Utah being attacked by vegetarian cannibal goblins. This film was so bad it spawned a 2010 documentary called \u003cem>Best Worst Movie\u003c/em>.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The New Classics\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>The Room\u003c/em> (Tommy Wiseau, 2003)\u003c/p>\n\u003cp>http://youtu.be/yCj8sPCWfUw\u003c/p>\n\u003cp>and\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Snakes on a Plane\u003c/em> (David R. Ellis, 2006)\u003c/p>\n\u003cp>http://youtu.be/u6Squ9a2kO4\u003c/p>\n\u003cp>and\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Sharknado \u003c/em>(Anthony C. Ferrante, 2013)\u003cem> \u003c/em>\u003c/p>\n\u003cp>http://youtu.be/9cN5PO2oFl4\u003c/p>\n\u003cp>It’s hard to say much about these incredible films that hasn’t been said before. While Wiseau’s cult-favorite love triangle inspires fans to throw plastic spoons at the screen and everyone can quote Samuel L. Jackson’s epic frustration with those snakes on that plane, the legacy of \u003cem>Sharknado \u003c/em>continues to grow. \u003cem>Sharknado 2\u003c/em> was released this summer and \u003cem>Sharknado 3\u003c/em> looms on the horizon. Will \u003cem>Sharknado 3 \u003c/em>exceed all expectations and take the B movie genre to all new levels of bad/good? Here's hoping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13139\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/sharknado-2.jpg\" alt=\"sharknado-2\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/08/sharknado-2.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/08/sharknado-2-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>\u003cstrong> By Maria Judnick\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">There are three levels of mainstream Hollywood films. First are the serious films: the ones in limited release, in which that incredibly important story gets told, that famous actor says or does something really brave, and everybody earns an Oscar. Next, there’s the popular movie category: the summer blockbusters people line up to see with the big explosions and scruffy guys who save the planet, while getting the girl.\u003c/p>\n\u003cp style=\"text-align: left\">And then there are the best kinds of movies...the best of the worst, at least. B movies: the low budget, anything goes, guilty pleasure science fiction or western films from Hollywood’s Golden Era (or the exploitation films of the 1970s) that now often only get made for television. \u003cem>Sharknado\u003c/em> and the rubber-suit-monster films like it are the ones that make us laugh for the wrong reasons, get played at independent theaters at midnight to a packed house or one loyal viewer, and can be recited line by line by fans who’ve seen it too many times.\u003c/p>\n\u003cp style=\"text-align: left\">Let's take a look at some B movies that are so awful that they can’t be anything but a classic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Famous Names\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>I Was a Teenage Werewolf\u003c/em>\u003cem> \u003c/em>(Gene Fowler Jr, 1957)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7jZS2Yn_vRQ'\n title='//www.youtube.com/embed/7jZS2Yn_vRQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>and\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Attack Of The Crab Monsters\u003c/em> (Roger Corman, 1957)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tTVWQ8dxPW0'\n title='//www.youtube.com/embed/tTVWQ8dxPW0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before Harry Potter’s Remus Lupin or MTV’s \u003cem>Teen Wolf\u003c/em>, half-man, half-wolf Michael Landon (yes, that guy from reruns of \u003cem>Little House on the Prairie \u003c/em>and \u003cem>Highway to Heaven) \u003c/em>was\u003cem> \u003c/em>frightening -- and thrilling -- teen audiences. Half the fun of B movies is recognizing now-famous names as they got their start (people like Jack Nicholson, Martin Scorsese, Sylvester Stallone, Francis Ford Coppola, Robert De Niro, and James Cameron, to name a few). Many of them owe their nascent careers to director Roger Corman. While “King of the Bs” Corman is recognized for his adaptations of Edgar Allen Poe short stories (most of which starred B movie favorite Vincent Price), he also created such classics as 1978’s \u003cem>Piranha \u003c/em>(his own \u003cem>Jaws\u003c/em>-like film) and \u003cem>Attack of the Crab Monsters\u003c/em> that featured -- you guessed it -- giant crab monsters.\u003cem> \u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Aliens Among Us\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Plan 9 From Outer Space\u003c/em> (Edward D. Wood, 1959)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/u2ukRYsYPmo'\n title='//www.youtube.com/embed/u2ukRYsYPmo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If the director’s name sounds familiar, you probably remember Tim Burton’s 1994 biopic \u003cem>Ed Wood\u003c/em>. When most people think of B movies, they think of \u003cem>Plan \u003c/em>9 \u003cem>From Outer Space\u003c/em>, which was once considered “the worst movie ever made” thanks to continuity errors, actors still reading their scripts, and a flying saucer obviously made out of either a paper plate or a hubcap. A simple plot summary is enough to get some excitement going:\u003cstrong> “\u003c/strong>Aliens resurrect dead humans as zombies and vampires to stop humanity from creating the Solaranite (a sort of sun-driven bomb).\" Add in the fact that Vampira (Maila Nurmi) makes an appearance alongside the final footage of America’s favorite vampire, Bela Lugosi, and you’ve got a classic on your hands.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Monster Movies\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Creature from the Black Lagoon \u003c/em>(Jack Arnold, 1954)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lM1o1xe5FGE'\n title='//www.youtube.com/embed/lM1o1xe5FGE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Move over, Godzilla; there's another monster in town. What happens when a slimy half-human, half-amphibian creature from deep in the Amazon falls in love with a beautiful girl? Most original viewers don’t know (they were probably too busy necking at the drive-in to pay attention), but, if you did actually watch the film, you’d enjoy many of the typical speeches from “scientists” about how there’s a world out there that we don’t even know about. The film also features some of the first really technical “3-D” underwater shots that predated \u003cem>Jaws\u003c/em>. In the monster movie category, there’s a ton of competition, but this rubber-suited swimmer will always be a personal favorite.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Modern International Contributions\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Samurai Cop\u003c/em> (Amir Shervan, 1989)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EPxEy51RpnA'\n title='//www.youtube.com/embed/EPxEy51RpnA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>and\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Troll 2\u003c/em> (Drake Floyd, 1990)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RL2wVv94xLo'\n title='//www.youtube.com/embed/RL2wVv94xLo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not just Americans that make great B movies; clueless directors from around the world have created films that have made fans giggle for decades. \u003cem>Samurai Cop\u003c/em>, directed by an Iranian filmmaker, features a plot that would make \u003cem>Lethal Weapon \u003c/em>seem like Shakespearean high drama. Plus, it stars an actual hair model (Matt Hannon)! \u003cem>Troll 2\u003c/em> (which is not actually a sequel to anything), directed by Italian Claudio Fragrasso, features amateur actors (including a dentist) from Utah being attacked by vegetarian cannibal goblins. This film was so bad it spawned a 2010 documentary called \u003cem>Best Worst Movie\u003c/em>.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The New Classics\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>The Room\u003c/em> (Tommy Wiseau, 2003)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yCj8sPCWfUw'\n title='//www.youtube.com/embed/yCj8sPCWfUw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>and\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Snakes on a Plane\u003c/em> (David R. Ellis, 2006)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/u6Squ9a2kO4'\n title='//www.youtube.com/embed/u6Squ9a2kO4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>and\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Sharknado \u003c/em>(Anthony C. Ferrante, 2013)\u003cem> \u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9cN5PO2oFl4'\n title='//www.youtube.com/embed/9cN5PO2oFl4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s hard to say much about these incredible films that hasn’t been said before. While Wiseau’s cult-favorite love triangle inspires fans to throw plastic spoons at the screen and everyone can quote Samuel L. Jackson’s epic frustration with those snakes on that plane, the legacy of \u003cem>Sharknado \u003c/em>continues to grow. \u003cem>Sharknado 2\u003c/em> was released this summer and \u003cem>Sharknado 3\u003c/em> looms on the horizon. Will \u003cem>Sharknado 3 \u003c/em>exceed all expectations and take the B movie genre to all new levels of bad/good? Here's hoping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It might seem hard to describe \u003cem>The Giver\u003c/em> without revealing some of those plot points that touchy suspense fans call “spoilers.” But this brisk, deftly art-directed parable is basically unspoilable. Even viewers who know nothing of its source, Lois Lowry’s 1993 novel, will be able to anticipate every development.\u003c/p>\n\u003cp>That’s because Lowry’s vision of a serene but secretly corrupt future society offers little that wasn’t imagined decades earlier in \u003cem>1984\u003c/em>, \u003cem>Brave New World\u003c/em> and \u003cem>Fahrenheit 451\u003c/em>. Lowry just cooked such books down for a pre-teen audience that hasn’t read them.\u003c/p>\n\u003cp>After years of trying, producer and star Jeff Bridges finally got \u003cem>The Giver\u003c/em> made because of the success of \u003cem>The Hunger Games\u003c/em> and similar tales of noble teens in a world run by manipulative adults. So the first task was aging the novel’s protagonist (Jonas, played by Brenton Thwaites) from 12 to 16.\u003c/p>\n\u003cp>http://youtu.be/oYZxZups06w\u003c/p>\n\u003cp>Jonas lives in a community, called “the community,” that’s any high schooler’s vision of Hell: It’s run by guidance counselors. Where in \u003cem>Divergent\u003c/em> the kids were separated into different castes upon graduation, in \u003cem>The Giver\u003c/em> they’re given specific assignments. None is more specific than Jonas’. He’s the new receiver, assigned to learn the real history of humanity from the bearded, avuncular title character (Bridges, clearly enjoying the sound of his own voice).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the many questions the movie barely attempts to answer is, why do the positions of giver and receiver exist? The elders, led by an often holographic Meryl Streep, don’t want anyone else to know about the bad old days of war, famine and hatred. So why not assign Jonas to flip burgers for the rest of his life, and send the Giver on a long walk off a short pier?\u003c/p>\n\u003cp>Because, of course, there is violence just beneath the community’s veneer of calm. That’s one of the alarming if unsurprising things Jonas learns once he starts receiving — and stops taking his daily dose of mood controller. As in the substantially more macho \u003cem>Equilibrium\u003c/em>, ingestion of a Valium-like drug is required. This relaxant suppresses emotion and individuality, and even its users’ ability to distinguish color. So the first part of \u003cem>The Giver\u003c/em> is in black and white, like \u003cem>Pleasantville\u003c/em>.\u003c/p>\n\u003cp>If the movie hits ominous notes, they’ve all been heard many times before: There are no books or music in the futuristic planned community, human reproduction is controlled by the state, kissing is unknown and families are not genetically related. Jonas has merely been assigned to his father (Alexander Skarsgard) and mother (a drawn-faced Katie Holmes).\u003c/p>\n\u003cp>To make it less of a kiddie story, director Philip Noyce and scripters Michael Mitnick and Robert B. Weide have added romance (Jonas has the unauthorized hots for a classmate played by Odeya Rush) and boosted the action. There are chase scenes — including one on a bike path that’s lighted even though people aren’t allowed to go out at night — and confrontations. Also modestly exciting are the fragmentary flashbacks to a former receiver, played by Taylor Swift. (She and the community broke up, and they are never ever getting back together.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, Jonas must make a choice, and leave his sterile home for the forbidden outback. It’s not a spoiler to reveal that he finds a refuge there. Or that this new abode offers the sort of picture-postcard coziness that could have been simulated by his former community’s devious elders. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Giver%27+Strikes+Old+And+Ominous+Notes+About+The+Dark+Side+Of+Serenity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It might seem hard to describe \u003cem>The Giver\u003c/em> without revealing some of those plot points that touchy suspense fans call “spoilers.” But this brisk, deftly art-directed parable is basically unspoilable. Even viewers who know nothing of its source, Lois Lowry’s 1993 novel, will be able to anticipate every development.\u003c/p>\n\u003cp>That’s because Lowry’s vision of a serene but secretly corrupt future society offers little that wasn’t imagined decades earlier in \u003cem>1984\u003c/em>, \u003cem>Brave New World\u003c/em> and \u003cem>Fahrenheit 451\u003c/em>. Lowry just cooked such books down for a pre-teen audience that hasn’t read them.\u003c/p>\n\u003cp>After years of trying, producer and star Jeff Bridges finally got \u003cem>The Giver\u003c/em> made because of the success of \u003cem>The Hunger Games\u003c/em> and similar tales of noble teens in a world run by manipulative adults. So the first task was aging the novel’s protagonist (Jonas, played by Brenton Thwaites) from 12 to 16.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oYZxZups06w'\n title='//www.youtube.com/embed/oYZxZups06w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jonas lives in a community, called “the community,” that’s any high schooler’s vision of Hell: It’s run by guidance counselors. Where in \u003cem>Divergent\u003c/em> the kids were separated into different castes upon graduation, in \u003cem>The Giver\u003c/em> they’re given specific assignments. None is more specific than Jonas’. He’s the new receiver, assigned to learn the real history of humanity from the bearded, avuncular title character (Bridges, clearly enjoying the sound of his own voice).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among the many questions the movie barely attempts to answer is, why do the positions of giver and receiver exist? The elders, led by an often holographic Meryl Streep, don’t want anyone else to know about the bad old days of war, famine and hatred. So why not assign Jonas to flip burgers for the rest of his life, and send the Giver on a long walk off a short pier?\u003c/p>\n\u003cp>Because, of course, there is violence just beneath the community’s veneer of calm. That’s one of the alarming if unsurprising things Jonas learns once he starts receiving — and stops taking his daily dose of mood controller. As in the substantially more macho \u003cem>Equilibrium\u003c/em>, ingestion of a Valium-like drug is required. This relaxant suppresses emotion and individuality, and even its users’ ability to distinguish color. So the first part of \u003cem>The Giver\u003c/em> is in black and white, like \u003cem>Pleasantville\u003c/em>.\u003c/p>\n\u003cp>If the movie hits ominous notes, they’ve all been heard many times before: There are no books or music in the futuristic planned community, human reproduction is controlled by the state, kissing is unknown and families are not genetically related. Jonas has merely been assigned to his father (Alexander Skarsgard) and mother (a drawn-faced Katie Holmes).\u003c/p>\n\u003cp>To make it less of a kiddie story, director Philip Noyce and scripters Michael Mitnick and Robert B. Weide have added romance (Jonas has the unauthorized hots for a classmate played by Odeya Rush) and boosted the action. There are chase scenes — including one on a bike path that’s lighted even though people aren’t allowed to go out at night — and confrontations. Also modestly exciting are the fragmentary flashbacks to a former receiver, played by Taylor Swift. (She and the community broke up, and they are never ever getting back together.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, Jonas must make a choice, and leave his sterile home for the forbidden outback. It’s not a spoiler to reveal that he finds a refuge there. Or that this new abode offers the sort of picture-postcard coziness that could have been simulated by his former community’s devious elders. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Giver%27+Strikes+Old+And+Ominous+Notes+About+The+Dark+Side+Of+Serenity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"tagline": "Art is where you find it",
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"soldout": {
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"tagline": "A new future for housing",
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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