For a generation seemingly addicted to discord and isolation, the impending end of the world has become something we can all get together on, though we don’t know how it will come — solar flares, earthquakes, global warming, and even the mere existence of the year 2012 have all been put to film. In Denis Hennelly’s new movie, the EOTW boldly enters the information age, and it begins with a simple text message: “Goodbye World.”
Alejandro Jodorowsky's adaptation of Frank Herbert's sci-fi classic "Dune" – a book which the cult director still to this day has not read – might have been the pinnacle of his career, had it ever been made. Instead, what we get is Frank Pavich's doc Jodorowsky's Dune, a loving exploration of the director's lapsed dream grounded by the man himself, part prophet, part trickster and always first in line to stoke his own legend.
The notion that Lars von Trier’s Nymphomaniac: Volume I is only half of a movie doesn’t sit well: nothing about the two-hour sex opus feels incomplete –it feels delightfully restrained considering the subject matter and the director’s notorious history. Considering said history, it also feels like the edge of a precipice.
Though I enjoyed Bottle Rocket and Rushmore, Wes Anderson's big-budget spectacles have never had much draw for me. Like a beautiful soufflé that somehow fails to rise, they've always been missing something. If The Grand Budapest Hotel is any indication, Ralph Fiennes may have been that missing ingredient.
Australia's entry to the best foreign film category at the Academy Awards, The Rocket, didn't win the category. The Laos-set film, which captured accolades all over its home country and nearly swept Tribeca, wasn't even nominated, passed over for six selections all notable for their decidedly "adult" subject material, which is too bad, because it's a damn good film.
Riding high on "House of Cards" intrigue, Netflix has quickly become a prime source for political docs. Recently, its documentary Mitt was praised for its humanizing portrait of the candidate, but before that, Netflix had exclusive lease of HANK: 5 Years from the Brink, an eye-opening doc that makes its way out of the browser and onto Bay Area screens this weekend.
Hidden among February 14th’s ubiquitous chocolates, candy hearts, and hastily signed cards is a specter of true love: what could be more frightening? Veering from last year's twee-tastic slate filled with hot American indie name filmmakers like Joel Swanberg and Amy Seimetz, this year’s SF Indiefest takes on a subtler shade, perhaps unwittingly playing up its Valentine’s Day slot with a series of flicks about how goddamn hard love can be.
Essential SF knowledge in your inbox
Sign up for our email newsletters to keep up on events, restaurants and SF haps.