Usually critics are one film behind. In the case of David O. Russell's American Hustle, it appears they're one film ahead for a change.
Ladies and gentlemen, I give you the ultimate last-minute Christmas gift: Tommy Wiseau. I caught up with the enigmatic and often just plain hard-to-understand director of the off-the-wall cult classic The Room, which plays at a midnight screening this Saturday at The Clay, when he came to San Francisco for the film's 10th Anniversary screenings last month.
Making movie recommendations can be a dicey proposition. Luckily, picks for flicks to see at Another Hole in the Head, which kicked off on Black Friday and runs almost up until Christmas, hardly need to come with a warning--a certain potential for awful-ness is all part of the fun.
It pains me to say it, but there isn't much going on in movies over Thanksgiving. Big studios know they have a captive audience, so they dump some of their least interesting flicks over the long holiday. Do yourself a favor (unless you've got kids, then definitely go see Disney's Frozen) and plop down on the couch in front of some Netflix and consider something to be really thankful for: the continuing existence of Kathleen Hanna.
Despite the ballast of critical chatter pulling in the other direction, Alexander Payne's latest film, Nebraska, undoubtedly lives up to his name. It's brutal.
Joe Brewster and Michele Stephenson's doc American Promise is a story about outsized hopes fostered by the American educational system, and the equally outsized disappointments that await those who dare to believe in their own will to power.
7x7 checks in with a member of the local film scene and takes their temperature. This week, we chat with film producer and Disposable Film Fest founder Carlton Evans.
When the lights came up after Steve McQueen's latest film, 12 Years a Slave, I was as anxious as I probably ought to be as a white man watching a film about slavery. Where was the backslapping bonhomie that accompanied Tarantino's runaway hit Django Unchained?
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