Film This Weekend at the Movies
posted by November 16 at 16:43 PMon
No news today, because I spent most of the day in the Church of Stop Shopping (comes out the 30th) and ’50s Paris (comes out next week). Is The Red Balloon the best kids’ movie ever or what? It gave me a tremendous craving for a Technicolor lollipop.
New to theaters this week:
Lindy West reviews the reanimated Anglo-Saxon epic Beowulf: “Robert Zemeckis’s retardedly modern, 3-D, motion-capture reworking of Ye Olde English yarn uses technology to murder the shit out of entertainment.”
Andrew Wright on the Coen Brothers’ No Country for Old Men: “The most perfect fusion of literary and filmmaking sensibilities since Polanski’s hallowed Rosemary’s Baby.”
Me on the first Hollywood adaptation of a Gabriel García Márquez novel, Mike Newell’s Love in the Time of Cholera: “There’s nothing less magical—or less realistic, for that matter—than prosthetic sagging breasts.”
And in On Screen this week: Richard Kelly’s Donnie Darko follow-up, the insane Southland Tales (Quoth Bradley Stienbacher: “Much like Mulholland Drive (a film it desperately wants to be), Southland Tales refuses to cough up easy answers; unlike Lynch’s film, however, you can’t help but feel that the only journey Kelly is taking you on is one deep inside his own bong.”); the surprisingly elegant and enjoyable food-policy doc King Corn (me: “If you’ve already read The Omnivore’s Dilemma, King Corn will be fascinating. If you haven’t read it, the facts will come as a shock.”); and Charles Mudede on a slick piece of dactylic tetrameter, Mr. Magorium’s Wonder Emporium (“Everything is wrong with this film. In it, zero is new; dead tired are its plot, imagery, themes, and acting. The movie wants to look and feel fresh, but it instead presents us with a series of heavy corpses: the corpse of the music, the corpse of the set design, the corpse of the dialogue. Even the special effects are not special.”).
And hidden away in Limited Runs this week: SIFF Cinema’s 30 Years of Kino, with screenings of Metropolis, Andrei Rublev (warning: this isn’t the complete Criterion version), Wong Kar-wai’s Fallen Angels and Happy Together, Claude Chabrol’s Les Bonnes Femmes, and more; the lukewarm Bruce Lee mockumentary Finishing the Game along with Enter the Dragon at Egyptian midnights; the worthwhile music doc The Holy Modal Rounders; the totally awesome Oliver!; the mostly not-awesome The New World; King Corn, which was good enough to graduate to On Screen; and last, but never least, Surf II: The End of the Trilogy (sic, hic).
For all your movie times needs, Get Out.