#siff cinema egyptian

[filmnoirfoundation]

New NOIR CITY festival dates have been added for 2024!

CONFIRMED 2024 NOIR CITY DATES

NOIR CITY: Seattle: Feb 16-22 SIFF Cinema Egyptian, Seattle, WA

NOIR CITY: Hollywood: Mar 22-31 Egyptian Theatre, Hollywood, CA

NOIR CITY: Boston: Jun 14-16 The Brattle, Cambridge, MA

NOIR CITY: Portland: Jul 19-21 Hollywood Theatre, Portland, OR

NOIR CITY: Chicago: Sep 6-12 Music Box Theatre, Chicago, IL

NOIR CITY: Detroit: Sep 20-22 Redford Theatre, Detroit, MI

NOIR CITY: D.C.: Oct 11-24 AFI Silver Theatre and Cultural Center

NOIR CITY: Philadelphia: Nov 15-17 The Colonial Theatre, Phoenixville, PA

*Other U.S. cities will be added as festival dates are confirmed.

[foolcrum57]

BFDI X II TOUR announcement video(s) Summary

Locations covered in the JNJ animation are NYC, LA and Florida

Locations covered in the AE animation are Huston, Chicago and Seattle

-II2 15 will premiere the whole tour -BFDI, the TPOT episode releasing by the time of the tour will show at the first 3 locations, and then the BFDIA episode releasing by the time of the tour will be shown at the other 3 -Taco II plush, Evil Leafy plush, and the Pin enamel pin are the 3 merch offerings -There also seems to be what looks to be… a themed towel? with several BFB voting icons behind adam michael and cary while they are talking. IDK if this is merch tho

Full Schedule: New York, New York - June 29th and 30th at the NYU Skirball Center Houston, Texas - JUly 6th at the Linda & Archie Dunham Theater Seattle, Washington - July 13th and 14th at the SIFF Cinema Egyptian Los Angeles, California - July 20th and 21st at the Saban Media Center Chicago, Illinois - July 27th at the Harris Theater Fort Lauderdale, Florida - Location not yet announced, tickets will go live on April 15th

Tickets are the same price as last time. $35 for standard viewing and $75 for VIP seating which includes meet and greet + signed item.

[therandomcreechur]

Update for all the BFDI/II fans!

LA tickets are now sold out

Chicago, Seattle, New York, Fort Lauderdale and Houston tickets are available

Dates and the Places (for the people that are going and don’t know where the event will take place):

New York, New York (NYU Skirball Center): June 28, 29, 30

Houston, Texas (Linda & Archie Dunham Theater): July 6th

Seattle, Washington (SIFF Cinema Egyptian): July 13, 14

Los Angeles, California (Saban Media Center): July 20 and 21

Chicago, Illinois (Harris Theater): July 27

Fort Lauderdale, Florida (Miniaci Performing Arts Center): August 3 and 4

[thewordofswitz]

0.0.1a miiiight come out a bit later.

School strikes again, but it will definitely come out today.

But on the other hand...

(spoiler alert)

A new meetup has been leaked!

SIFF Cinema Egyptian in Seattle on July 13th and 14th. New episodes will be premiered there! I'm really sad I can't come because as always - I'm at the other side of the world if you couldn't tell.

[missing-old-seattle]

February 6, 2021 

The Seven Gables Theatre began life as an American Legion dance hall in 1925, designed by Swedish-born architect Eric Carl Rising (1892-1987). In 1968, Randy Finley bought the Movie House (currently the Grand Illusion Cinema), which he and his partners converted from a dentist’s office and opened in 1970. This led to him eventually buying 15 more theaters, including the Seven Gables Theatre in 1974, which opened on December 10, 1976. These theaters (minus the Movie House) eventually became part of the Seven Gables Corp.

Landmark Theaters acquired the chain in 1989. Sadly, out of all the theaters that existed when I moved to Seattle, only the Crest still operates as a Landmark theater (at least until COVID closed all the theaters in our state).

The first to go was the Neptune, bought out by STG in 2011. Then the Metro, initially turned into Sundance Cinemas in 2012 and then acquired by AMC (who kept the interior and the 21+ rules the same but changed the menus). Next to go was the Egyptian Theatre in 2013, which SIFF reopened in time for the 40th Seattle International Film Festival in 2014 and ran as its second year-round cinema (third if you count the Film Center, though that theater is more of a weekend venue). The Varsity’s future was up-in-the-air for years, until Far Away Entertainment purchased it in 2015 (they also run the Admiral in West Seattle). Then we lost the Harvard Exit in 2015 (see my post about it here), currently a Mexican Embassy. Last to go were the Guild 45th and the Seven Gables.

[weresolvingsociety]

The European Investment Bank froze activities in Ukraine,[118] saying, “For the time being, the situation is so cruel that it would be politically the wrong signal, but also irresponsible vis-a-vis the people we asked to do the job, to be active on business in Ukraine.”[119]

In early 2022, my cynicism was on high alert. Impotence in American culture faced with obvious corruption was widespread, and promptly rationalized and repressed in a humiliatingly weak manner for the people of my country. I mocked the situation in what semblance of good faith I could, saying that Americans should text in to revolt. I felt both a nausea and a scathing, vitriolic derision at my fellow Americans thinking about phones littered with the words, “I revolt,” as they texted in to ‘the revolution’ and thought nothing more of it.

“What a funny woman!” I heard. Only a few months later, the infamously pathetic deal would be initiated wherein Twitter would be bought by Elon Musk for 44B, only for him to initiate surely what he thought was an ingenious plan of determining what was and wasn’t “real information” based on the blue check, while scrying for trade secrets on that matter barely disguised as criticism and investigation into Fauci. In his attempt to seem like a legitimate democratic presence, he ran a poll that promptly revealed his unpopularity. He tried to bury that post, but I reposted it to make it clear a fool who pried open government coffers for supposed space exploration only to spend in a good portion of it on what he personally viewed as “funny” was a true threat to democracy, far worse than the denialist Joe Biden was capable of hitting home. In addition, Twitter is a well known test field of how the most active voters think and act, showing his power hunger and need to affect elections. Finally, giving him a monopoly over private account access (the illegality of which Elon Musk is notorious for disregarding merely from sheer vanity) as well as the data he might want or need in that regard seemed to be a big sell for Elon as well. Seeing that his power was not sufficient to stay the effects of his unpopularity, Elon Musk staged a fake step down only to emerge seething again with his capricious and arbitrary attempt to limit access to information in his own personal North Korean blackout fantasy originating in both narcissistic rage and certainty that he could get it too if it would all just slow down. This revealed at last he never respected his new female CEO, and hot on the heels of his disrespectful and violating tantrum on her authority Barbie came out, trying to drive home that same message from the highly affected and enraged position of a man failing feminist class; making a mockery of feminism while seemingly complimenting it, in the style the ‘friend’ in seething jealous rage who tells the woman she’s envious of that she must enjoy having access to such a “large potential sample size” in men willing to make themselves available to her, the implications of conservative contempt there hardly hidden. This ‘friend’ of this vitriolic barely disguised bastion of envy should of course be glad because she clearly respected her fellow female scientist. Not.

In contrast to the ogling narcissistic rage of Barbie, Maidan offers a balm for those few of us who held back vomit instead of stuffed our faces watching the piss poor attempt to seem like an ally. “Our strength is our dignity,” the announcer in Maidan insists. “Without dignity, a nation is nothing.” The logical implication is of course without strength, a nation is nothing. As I looked over at this barely disguised backwards complement mockery of intersectional feminism in a cinema lined with mosaics of clearly black Egyptian queens, I remembered the hypocrisy. During the Seattle International Film Festival 2023, a disabled black woman in a walker had come up to me to say the the SIFF crew had patently ignored her need to move to the front because she couldn’t stand in her walker very long. Just to tell them this she stood in line, much less to wait for the volunteer training. Finally, she could no longer bear it and came to me (I was just another line-waiter at the time, but I deeply treasure being so trusted). I told her that I would figure out what was going on, the irony of her being ignored as a black woman in the SIFF Egyptian not lost on me. I saw exactly the instantiation of what the Ukrainian announcer meant; a disgusting people, where disgusting means without dignity. A people stuffing their faces as a mockery of depression was made that barely disguised Hollywood writers helping themselves to HIPAA violations of those women who attracted their “muse” piggish parasitism in the style that the poor and unfortunate Barbie might. I was reminded of the film Illusions about a Hollywood executive who passes for white due to her features is secretly black, and who immediately loses the sexual attentions of her insistent harassers after they find out about her true heritage. In that movie, she states, “We have plenty of writers, and not many good ideas.” And so, as the illness of uncreativity seethed in the clutches of men like Elon, had they begun to help themselves to encrypted medical records so pathetically stripped with fertile ideas as they may be? Hollywood doesn’t have to obey the law, until they do…just like a black executive of Illusions can be viewed as attractive, until she can’t. I worried that such a piggish people could not be trusted with Ukranian female refugees, often widely hailed as some of the most beautiful women on this earth…who would certainly come to the states with the exact same beauty and the exact same depression, OCD, anxiety based on torturous evil from the homicidal jealousies of Putin’s women and the rapacious ogling of Putin and his henchmen alike.

My thoughts on this were proven correct when I tried to fundraise for Ukraine, and asked for accommodations of a split shift due to chronic fatigue. The individuals were enraged that they could not make as much money on me. They insisted they couldn’t split the shift, and then when I cited disability accommodations they spewed a pathetic litany of vitriol at me, insisting they couldn’t pay me for training because I was “trying to siphon money from the company” as I never actually fundraised but only trained due to quitting on their failure to accommodate. IRC was equally disgusted at their tantrum that they did not get to make as much as they hoped off me, and pulled their partnership. Barbie reminds me of if those same individuals seethed in the shadows until they could have their day in the sun, with no empathetic ability to be remorseful despite in the field of nonprofit but insistent that there was money to be made on me and my body, my disabilities be damned.

For, why should someone do their own work when they can just pay for someone else to do it? As I take a plagiarist to court as she deeply shames her African community with her undignified descent into lies and denial over her narcissistic rage in being unable to pay as little as $200, I think of her when I hear the words “white savior” for a job I never wanted. She embodied jealous rage at my existence that resulted in constant changes of her makeup and hair to be more similar to mine as we continued to work together and her rage and jabs continued to grow. Her need to insist that she wasn’t jealous seems to be marked all over Barbie, and they all fall flat…literally. As she and her family continue to stalk me, even her lawyers seemed disturbed by the obvious. “I’m not jealous! I’m not jealous!” is all I hear in characters that cheapen white women, trying to convince themselves more than anyone. As my stalker and plagarist spends another 10k to rationalize her delusions as to the fact she had any good reason to not pay me $200 during the time when she had gone full steam in forcing me to write her content (which I was forced to report for labor extortion to her school), I wonder how narcissistic rage ever gets that entrenched, like Nazi Germany’s plans to drill into the center of the earth. No matter what I research, the emitted plumes of cancerous, thick columns of death’s smoke never makes sense of such a homicidal envy…be it in Russian women, Eritrean women, Japanese women, Indian women or Chinese women. Or mixed race men, for that matter. Her rationale was the insistence that she could write just like me and that she only paid me because I had gotten there first. Has anyone else seen such narcissistic rage? Instead of celebrating and compensating for doing well, she claws from a pit of anger absolutely certain she is me in underdog version. And the same is true of Elon, who clearly thinks he can “level the playing field” if it would all slow down. What should the Russians do, now that their tech is discovered to be a vain front for excellence? Shout across the battlefield, “Slow down Ukraine, so we can pillage your land a little better!” The absurdity is unreal. They and those like them all seem to have reached a forty-four billion dollar fever pitch; there is no other way to describe it than pathetic.

[akadaniel]

film & tv & lit & livemusic log May19

Support the Girls (Andrew Bujalski, 2018) [Hulu] High Life (Claire Denis, 2018) [Tower] Booksmart (Olivia Wilde, 2019) [Tower] Close Encounters of the Gay Kind: Blue Boy (Manuel Abramovich, 2019); Haus (Joseph Amenta, 2018); Homecoming (Jennifer Blair, 2018); Infinite While It Lasts (Akira Kamiki, 2019); Pepper (Jayil Pak, 2018); Stepdaddy (Lisa Steen, 2019); Sweater (Nick Borenstein, 2018); Tadpole (Jovan James, 2018) [Seattle International Film Festival - SIFF Cinema Uptown] Midnight Family (Luke Lorentzen, 2019) [Seattle International Film Festival - AMC Pacific Place, Press Screening] DJ NicFit presents Fantastic Planet (Rene Laloux, 1973) [Seattle International Film Festival - SIFF Cinema Egyptian] In Fabric (Peter Strickland, 2018) [Seattle International Film Festival - SIFF Cinema Egyptian]

started Street Food (S1) [Netflix] continued The Twilight Zone (S1) [CBS] continued & finished Veep (S7) [HBO] continued & finished Barry (S2) [HBO] continued Jane the Virgin (S5) [The CW] started & finished Easy (S3) [Netflix]

continued The Round House (Louise Erdrich, 2012) started Slouching Towards Bethlehem (Joan Didion, 1968)

Julia Jacklin at Urban Lounge [5/15]

[lhaaff]

#TWIST23 + #LHAAFF: See RAFIKI in Seattle Oct 21

The #LangstonHughesAfricanAmericanFilmFestival is proud to support Seattle's #TWIST23 Queer film festival. 

Sunday, October 21, 2018 at 7:00 PM: We’re honored to co-host the closing night film RAFIKI by Kenyan director Wanuri Kahiu (you may have seen her science fiction short, PUMZI, at one of our past festivals). The screening is at  SIFF Cinema Egyptian, 805 E. Pine St, Seattle, WA 98122.

RAFIKI

Wanuri Kahiu; 2018; Kenya; 83 min; in Swahili with English subtitles; Northwest Premiere

On a sunny afternoon in Nairobi, Kena is hanging out with her friends in a local café when she spots Ziki—and is instantly smitten with her vibrant, free-spirited energy. Turns out, though, that Ziki’s father is running against her own father in a local political campaign. Despite their families’ rivalry, the two young women start to meet up and get closer. Keeping their attraction secret, they spend time discussing their dreams and ambitions, soon finding intimacy in a little camper away from prying eyes in the gossipy neighborhood.

As their relationship develops, family pressure and danger lurk for the two lovers. In a place that does not want to admit that queerness exists and love is love, Kena and Ziki are destined to be wives and mothers. Both must choose how to survive in this coming-of-age story where the stakes are high.

Ticket link: https://threedollarbillcinema.org/twist23/2018/9/4/closing-night-film-party-rafiki?rq=Rafiki 

Deaf Friendly screening.

Content Warnings: Graphic Violence, Non-Explicit Sexual Situations, and Vulgar Language

Find the full, amazing #TWIST23 schedule here: https://threedollarbillcinema.org/twist23guide #TDBC

[daveinediting]

I sat in a darkened theater last night and watched the short film I cut for the Combat Wombats production team a couple weekends ago during the 48 Hour Film Project.

This was the first time I ever watched something I cut in a theater, in this case, the SIFF Cinema Egyptian on Pine.

It was a fascinating and exciting experience even just waiting for the films to start. 

I won't lie, though. I was worried that I might see a problem on the big screen through theater speakers that I hadn't seen on my small screen through desktop speakers. And the more my brain kicked that thought around, the more likely it seemed. Only...

That's not what happened.

The picture was glorious. 

The sound... perfect. 

It was everything I hoped it would be. On top of which we got the laughs we were going for in the places we were going for them and we managed a successful tonal shift.

And this:

After an audience vote at the end of the screenings, our mockumentary, Convergent Belonging, turned out to be the audience favorite.

Enjoy!

[chardscarf12-blog]

Upcoming Modernist Bread Events

The release of Modernist Bread is just a couple of months away—you’ll find it in bookstores starting November 7. To celebrate, coauthors Nathan Myhrvold and Francisco Migoya are hitting the road this fall to give audiences a preview of their book before it goes on sale. Join us at any of the events below to hear new insights and discoveries from Modernist Bread as well as the story behind what is sure to be the biggest, most comprehensive book about bread. Tickets are on sale now.

September 2017

Thursday, September 28 at 7:00 p.m., Toronto

Royal Canadian Institute and George Brown College Talk

In Conversation with Nathan Myhrvold: The Future of Bread

Event location: George Brown College

Tickets and information

October 2017

Monday, October 2 at 7:00 p.m.,  Boston

Harvard Science and Cooking Public Lecture Series

Insights from Modernist Bread with Nathan Myhrvold

Event location: Harvard University

Tickets and information

Wednesday, October 4 at 7:00 p.m., Brooklyn

A special event for members of Heritage Radio Network and MOFAD

Modernist BreadCrumbs Live: Nathan Myhrvold in Conversation with Michael Harlan Turkell 

Event location: MOFAD

Tickets and information

Saturday, October 7 at 10:00 a.m., New York City

The New Yorker Festival

Nathan Myhrvold Talks with Michael Specter

Event location: Gramercy Theatre

Tickets and information

Thursday, October 19, Chicago

Read It & Eat Author Talk

Insights from Modernist Bread with Co-Author and Head Chef Francisco Migoya

Event location: Read It & Eat

Tickets and information

Monday, October 23, Brooklyn

StarChefs 12th annual International Chefs Congress

Modernist Bread demo with Francisco Migoya

Event location: Brooklyn Expo Center

Tickets and information

Thursday, October 26 at 7:30 p.m., Seattle

Town Hall Seattle

Modernist Bread with Nathan Myhrvold

Event location: SIFF Cinema Egyptian Theater

Tickets and information

We have more appearances in the works—follow us on Facebook, Twitter, and Instagram for event announcements, updates, coverage, and more.

Source: https://modernistcuisine.com/2017/09/upcoming-modernist-bread-events/

[diaryofanangryasianguy]

02/20/17

SAAFF emphasizes the Asian American community with this year’s theme, “#StarringUs”

This year marks Seattle Asian American Film Festival’s (SAAFF) fifth year in the making with the theme, “#StarringUs,” emphasizing Asian American representations in both underground indie works as well as mainstream film. SAAFF is Seattle’s only film festival for Asian American voices, perspectives, and histories featuring independent films that reflect the depth of the Asian American community. Catch these one-of-a-kind films, including Taste of Home, Mixed Match, and Tiger Hunter February 23-26 at SIFF Cinema Egyptian and Northwest Film Forum.

[filmnoirfoundation]

NOIR CITY Seattle opens tonight at SIFF Cinema Egyptian with KEY LARGO (one of three magnificent performances by Edward G. Robinson featured in this year's fest) and THE LADY FROM SHANGHAI. Eddie Muller in-person intros!Separate admissions.Tix: http://bit.ly/3HJ7C4U

[hollywoodglees]

Posted by Larry Gleeson

14 World, 22 North American and 11 U.S. Feature Premieres!

North American Premiere of The Young Karl Marx to Close Festival

  Landline to Screen as Centerpiece Gala

  Fest Tributes to Sam Elliott and Anjelica Huston

  SEATTLE — May 3, 2017 — The Seattle International Film Festival, the largest and most highly attended festival in the United States, announced today the complete lineup of films, guests, and events for the 43rd annual 25-day Festival (May 18 – June 11, 2017).

This year, SIFF will screen 400 films representing 80 countries and will include: 161 features (plus 4 secret films), 58 documentaries, 14 archival films, and 163 shorts. The lineup includes 36 World premieres (14 features, 22 shorts), 34 North American premieres (22 features, 12 shorts), and 20 U.S. premieres (11 features, 19 shorts).

Opening night kicks off Friday, May 18 with The Big Sick from Amazon Studios. Starring and written by Kumail Nanjiani (Silicon Valley) along with his wife Emily V. Gordon, the film promises to electrify audiences with the smart and complicated romantic story based on the beginnings of their relationship. Nanjiani will be in attendance at the Seattle premiere and Opening Night Gala, along with co-writer Emily V. Gordon and director Michael Showalter (Hello, My Name is Doris and Wet Hot American Summer). Closing this year’s Festival is the North American premiere of The Young Karl Marx, directed by Raoul Peck (I Am Not Your Negro). The story follows 26-year-old Karl Marx (August Diehl) and his wife Jenny in exile in Europe, where they meet a man who provides them with the final piece needed for the foundation of Marxist theory.

At the annual Centerpiece Gala, SIFF will travel to 1990s Manhattan in the slice-of-life comedy, Landline. Director Gillian Robespierre brings back actress-comedienne Jenny Slate following their SIFF 2014 run of Obvious Child. Slate, Robespierre, and new-coming actress Abby Quinn are all scheduled to attend the Seattle premiere taking place on Saturday, June 3.

The World premiere of Theresa Rebeck’s Trouble will screen at Seattle’s historic SIFF Cinema Egyptian as SIFF honors the film’s executive producer and star, Anjelica Huston, with the Career Achievement in Acting Award. In addition to the award presentation and screening, the acclaimed actress is also slated for an on-stage interview at the Wednesday, June 7 event.

Also scheduled is An Afternoon with Sam Elliott, where the festival will pay tribute to the all-American actor. Along with his iconic voice, Elliott makes his way to SIFF on Saturday, May 27th for the Seattle premiere of his newest film The Hero following an onstage discussion that afternoon.

Receiving raving reviews following its’ world premiere at SXSW is Seattle native S.J. Chiro’s first full-length feature, Lane 1974. Drawing off of Chiro’s own childhood experiences as well as those described in Clane Hayward’s memoir “The Hypocrisy of Disco”, SIFF is thrilled to present this 1970s coming-of-age narrative.

One of several interactive events features Rumble: The Indians Who Rocked The World, a documentary by Catherine Bainbridge celebrating the achievements and contributions of Native Americans in modern American music. Along with the screening of the film, guests will also enjoy Indigenous Centered Perspectives, an exhibit showcasing works by four indigenous artists at the Paramount Theater. The Friday, May 26 event is hosted by SIFF in collaboration with Amazon Video Direct, STG, and Longhouse Media.

“This year’s robust line-up includes a wide variety of programs ranging from heartfelt features from comedy favorites to thought-provoking documentaries, as well as once in a lifetime conversations with Hollywood legends,” says Interim Artistic Director Beth Barrett. “We are thrilled to jump into our 43rd edition and introduce spectacular programming from across the world to over 150,000 film enthusiasts in Seattle over the course of 25 days.”

The 2017 Seattle International Film Festival is presented by SIFF, the non-profit arts organization that reaches more than 350,000 annually through SIFF Cinema, SIFF Education, and the annual flagship Festival.

Festival Box office opens May 4 online at siff.net and in person at any SIFF venue box office. View the full public program here: www.siff.net/festival

#SIFF Announces Lineup for Seattle International Film Festival’s 43rd Edition Posted by Larry Gleeson 14 World, 22 North American and 11 U.S. Feature Premieres! North American Premiere of The Young Karl Marx to Close Festival…

[recentnews18-blog]

New Post has been published on https://shovelnews.com/30-movies-worth-watching-in-seattle-this-weekend-nov-15-18-2018/

30 Movies Worth Watching in Seattle This Weekend: Nov 15-18, 2018

Widows is a damn fun thriller from an artsy director.

You’ve got many options for movie thrills this weekend, from Steve McQueen’s spectacularly cast Widows to the creepy/comedic classic Beetlejuice. For artsier fare, don’t miss Frederick Wiseman’s new documentary on small-town America, Monrovia, Indiana. Follow the links below to see complete showtimes, tickets, and trailers for all of our critics’ picks, and, if you’re looking for even more options, check out our film events calendar and complete movie times listings.

Stay in the know! Get all this and more on the free Stranger Things To Do mobile app (available for iOS and Android), or delivered to your inbox.

Beautiful Boy I’ve never been a parent or a junkie (yet!), but I found a lot that resonated in Beautiful Boy, a low-key film based on a pair of interconnected memoirs from father and son David and Nicolas Sheff. David (Steve Carell) chews himself up over son Nic’s (Timothée Chalamet) spiral into meth and heroin addiction, asking what he could have done to prevent it and wondering how he can fix it. Nic, meanwhile, copes with not only his body’s betrayal but with the disappointment he feels, both self-directed and from his patient, confused father. From Beautiful Boy’s perspective, Nic is really only guilty of having a curious mind, while David, a good father in every recognizable way, might have simply waited too long to show his beloved son some tough love. The performances make the whole thing sing. Carell and Chalamet both do expectedly good work, and they’re matched by Amy Ryan as Nic’s mother and Maura Tierney as his stepmother. Beautiful Boy is driven by the real-life horror of watching a loved one succumb to drugs, but it’s a family drama devoid of most of the genre’s manipulative qualities, substituting them with honesty, empathy, and fully drawn human beings. NED LANNAMANN Meridian 16 (Regal) & Oak Tree

Beetlejuice Newly dead Adam and Barbara Maitland aren’t down with the Deets family, who moved into the couple’s home after their unfortunate passing and don’t seem at all phased by the Maitlands’ attempts at scaring them out of it. Enter rotten, pervy Betelgeuse (“Beetlejuice”), who sells himself as a bio-exorcist capable of getting rid of their living pests, though he turns out to be a dangerous nuisance who’s more trouble than he’s worth. Tim Burton’s first film (and my first Tim Burton film, too) is on-point with vibrantly weird visuals, quick-witted comedy, and strong before-they-were-big-stars performances from (goddamn he looks young) Alec Baldwin, Geena Davis (extra dimply, woman-next-door funny), a teenage gothed-out Winona Ryder, and Michael Keaton at his comedic one-liner-throwing best—like, has he ever been this good? It’s bizarre yet delightful and still tons of fun three decades later. Even the dated special effects retain their charm. LEILANI POLK Central Cinema Friday–Sunday

Bohemian Rhapsody I heart Queen. The song this film is named for was on the soundtrack of my youth. But early reactions to the film biopic (that’s more about Freddie Mercury than the British rock band he led) have been mixed to bad. The New York Times’ Kyle Buchanan tweeted that Bohemian Rhapsody “is a glorified Wikipedia entry but Rami Malek plays Freddie Mercury (and wears his wonderful costumes) with incredible gusto.” Our own Chase Burns was not a fan at all. (“The 15-minute long shit I took during the middle of the movie was more nuanced than the straight-washed hagiography peddled in that movie theater.”) In sum, enter at your own risk. LEILANI POLK Various locations

Boy Erased This film features the most prolific twinks of our time: Troye Sivan, Lucas Hedges, and Nicole Kidman. These three gays will dazzle the screen in this year’s most star-studded gay flick—oh wait, Troye Sivan is the only gay among them. Lucas Hedges has said he’s “not totally straight, but also not gay and not necessarily bisexual,” and Nicole Kidman, despite being the world’s most famous twink, is surprisingly a 51-year-old Australian woman. While think pieces on Hedges’s sexuality will probably dominate the conversation around Boy Erased, it looks like a cute holiday movie about gay conversion therapy. Go see it! CHASE BURNS SIFF Cinema Uptown & Meridian 16

Can You Ever Forgive Me? In Can You Ever Forgive Me?, Melissa McCarthy stars as real-life best-selling biographer Lee Israel. But this isn’t a life of literary glitz and glamour that you’re imagining after such a juicy introductory sentence! After falling on hard biographer times, Israel turned to a life of writerly crimes, forging letters from long-dead authors to make just enough cash to pay her rent, take her cat to the vet, and aggressively drink. This all sounds sad, I know, but there’s warmth underneath, thanks to Israel’s friendship with the charming, equally self-destructive Jack Hock (Richard E. Grant). McCarthy, who’s made a career of portraying loud women, is a different kind of jerk here—a real person who lashes out not for laughs, but because life is hard and she knows she’s making bad choices. ELINOR JONES SIFF Cinema Egyptian & AMC Seattle 10

Cinema Italian Style The Cinema Italian Style is a weeklong SIFF mini-festival featuring the best in contemporary Italian cinema. This final day, watch Euphoria, about two very different brothers who come together in difficult circumstances. SIFF Cinema Uptown Thursday only

Dr. Seuss’s The Grinch If you’ve ever wondered how the jammy vocals of Benedict Cumberbatch would sound coming from a neon-green Seussian monstrosity, you have your chance in this visit to Whoville. This time, the Grinch has a doggy sidekick named Max. Angela Lansbury voices the Mayor and Rashida Jones does Donna Lou Who. Various locations

Fantastic Beasts: The Crimes of Grindelwald Twee hunter Newt Scamander returns for more J.K. Rowling-inspired exploits. Of the previous Fantastic Beasts film, critic Bobby Roberts wrote: “It is eager to please and amaze, but undersells its spectacle until that spectacle becomes perfunctory. It milks sentiment drier than the Arizona desert Newt’s trying to get to. It’s a goofy blast of kid-lit in love with Looney Tunes-inspired adventure—except when it’s a sour metaphor for child abuse and intolerance that owes one hell of a debt to Stephen King’s famous prom queen.” The new one has Johnny Depp as the titular dark wizard. Various locations

First Man The space stuff is great. When La La Land director Damien Chazelle’s biopic about Neil Armstrong focuses on NASA’s insanely ambitious and dangerous plan to put a man on the moon, it thrums with thrill and threat—from the astonishing scope of space to the claustrophobic confines of the command module, the best parts of First Man are worth experiencing on the biggest screen possible. Ryan Gosling offers an excellent turn as Armstrong, but even Gosling can’t liven up the story’s more pedestrian elements, which largely involve Armstrong’s relationship with his wife (Claire Foy) and his stoic mourning of his daughter. First Man bears the familiar curse of the biopic—it somehow feels both overlong and unsatisfying—and never quite escapes the shadow of The Right Stuff, Philip Kaufman’s remarkable 1983 film that told a similar story with more grace and smarts. Still: the space stuff is great. ERIK HENRIKSEN Meridian 16 & AMC Pacific Place

Free Solo This highly praised, dizzying documentary reveals the heart-stopping journey of Alex Honnold as he conquered Yosemite’s El Capitan wall without ropes or safety gear. You don’t need to be a climber to be thrilled at this glimpse into human accomplishment. Various locations

Hep Cats Cats in movies have symbolized everything from elegance to curiosity to evil, but sometimes they are simply their wonderful selves. Hep Cats delivers a handful of these ailurophilic flicks, like Harry and Tonto, a charming road movie about a man and his cat forced to leave their Upper West Side apartment. It stars Art Carney, who won an Oscar for the role. JOULE ZELMAN Northwest Film Forum Saturday only

HUMP! Film Festival The 14th Annual HUMP! Film Festival, the world’s biggest and best porn short film festival, premiers in Seattle, Portland, and San Francisco this November! After the opening festival concludes its run, HUMP! will hit the road in 2019 and screen in more than 50 cities across the U.S. and Canada. HUMP! invites filmmakers, animators, songwriters, porn-star wannabes, kinksters, vanilla folks, YOU, and other creative types to make short porn films—five minutes max—for HUMP! The HUMP! Film Festival screens in theaters and nothing is ever released online. HUMP! films can be hardcore, softcore, live action, animated, kinky, vanilla, straight, gay, lez, bi, trans, genderqueer—anything goes at HUMP! (Well, almost anything: No poop, no animals, no minors, no MAGA hats.) DAN SAVAGE On the Boards

Meow Wolf The adorably named Santa Fe artist collective Meow Wolf caught the fancy of George R.R. Martin, who helped them take over a disused bowling alley for an epic art exhibition. But success comes with its own struggles. Enter their world and find delirious, DIY inspiration. Northwest Film Forum Thursday only

Mid90s Mid90s tells the story of 13-year-old Stevie (Sunny Suljic) who, after he’s rejected and bullied by his older brother Ian (Lucas Hedges), finds new role models in a crew of skaters led by the wise and magnanimous Ray (Na-kel Smith). Stevie’s willingness to repeatedly fall on hard concrete as he tries to maneuver a skateboard that looks half his height endears him to his newfound friends. The resultant feelings—and the film’s title—places Mid90s squarely in Hill’s nostalgic memory, where he both dramatizes and idealizes the kids’ adventures. SUZETTE SMITH Various locations

Monrovia, Illinois The amazingly prolific documentarian Frederick Wiseman (Ex Libris, In Jackson Heights, National Gallery, and 40 more films!) explores a tiny American hamlet steeped in old farming traditions and periodic ceremonies, like church services, Town Council meetings, Freemason rituals, weddings, and funerals. Northwest Film Forum Friday–Sunday

Mystery Train Exactly one year ago, I was walking down a street in Memphis, Tennessee, when I had what is known as a Proustian experience (or what literary critics call an “involuntary memory”). But in Proust’s novel Remembrance of Things Past, the involuntary memory sends the narrator, Marcel, to a town he visited as a boy (Combray). My memory, which was triggered by crossing a street, sent me to a film, Jim Jarmusch’s Mystery Train, which is set in Memphis and concerns young Japanese lovers who are obsessed with American popular culture. The couple walks around Memphis a lot. And while I walked around Memphis, I found myself walking, not through my Memphis, but theirs. This movie does not have much of a plot. CHARLES MUDEDE Grand Illusion Thursday only

Narcissister Organ Player The feminist body-shocker Narcissister, who carries out her performance art mostly naked and masked, muses on her Moroccan, Jewish, and African American roots and her intense relationship with her mother in this absurdist, experimental documentary. Northwest Film Forum

Night Heat They proliferated in anxious postwar America and still occasionally return to brood and smolder onscreen: films noirs, born of the chiaroscuro influence of immigrant German directors and the pressure of unique American fears. Once again, the museum will screen nine hard-boiled, moody crime classics like this week’s Night of the Hunter, one of the most unusual and thrilling films ever to come out of Hollywood. The veteran actor Charles Laughton took inspiration from the stylistic extremity of German Expressionism to film this hallucinatory tale of a psychotic preacher pursuing two young children who know he’s murdered their mother. Clear your Thursday night schedule for this one. Seattle Art Museum Thursday only

Night on Earth Five cabbies and five passengers around the globe share funny, weird, and intimate moments in Jim Jarmusch’s quirky classic—a little inconsequential, but charming and beautifully acted. Thanks to Roberto Benigni’s performance, you’ll never look at a pumpkin quite the same way again. Grand Illusion Thursday only

The Old Man and the Gun Based on a true story, the latest from David Lowery (Ain’t Them Bodies Saints) reteams the filmmaker with Robert Redford, who plays Forrest Tucker, the charming, handsome leader of a trio of geriatric bank robbers. Forrest’s partners in crime are Teddy (Danny Glover) and Waller (a fantastic Tom Waits). Like one of Forrest’s disarmingly polite robberies, The Old Man and the Gun starts out pleasant and sweet before revealing hints of darkness—each of these characters is deeper than they first appear, and one’s never quite sure what any of them are going to do next. Lowery is happy to tag along, capturing lives that are polished by time and dented by experience but remain bright and sharp with wit and passion. Watching Redford have this much fun is, as always, a goddamn delight. ERIK HENRIKSEN Admiral Theater

Overlord While carrying out a vital pre-D-Day mission, a ragtag bunch of American Dogfaces stumble across a small French village that’s just packed to the rafters with secret Gestapo experiments. (Note: In what may be a controversial move in this day and age, the Nazis are unequivocally depicted as the Bad Guys.) Genre mashups are often content to rest on their high-concept laurels, but this J.J. Abrams production is very willing to do the grunt work, solidly establishing its war movie bonafides—an early paratrooper sequence is genuinely alarming—before transitioning into full-tilt body horror. (This is an extremely moist movie.) If this sounds even remotely like your sort of thing, Overlord’s combination of heavy artillery and horrid creatures should prove to be pretty irresistible. When it comes to B-Movies, nasty, brutish, and short all count as positive traits. ANDREW WRIGHT Various locations

Ponyo You can pretty much guarantee that anything with Hayao Miyazaki’s name attached to it will be superbly wrought, fantastically animated, and delivered with a fine dose of poignant storytelling. He has left a fine legacy of films in his (no longer retired, for now) wake, including Ponyo, which has its 10-year anniversary this year and is being celebrated in a series of screening events across the country. This anime fantasy is loosely based on The Little Mermaid (Hans Christian Andersen’s version, not Disney’s), about an austere, potentially malevolent warlock/sea king whose young amphibious daughter runs (swims) away from her home. Sosuke, the little boy who scoops her from the waves, believes she’s a goldfish, names her Ponyo, and introduces her to a small slice of his world before her father finds her and brings her back to their underwater kingdom. But Ponyo’s taste of food and friendship fuels her next escape, setting off a chain of events that will change her (and Sosuke) forever. This film gets me choked up every time. LEILANI POLK SIFF Cinema Egyptian Saturday only

Prospect Is this the first major work of Northwest science fiction? Indeed, it imagines a moon that is like the evergreen forests that surround Seattle. The whole planet is green—gothic green. And the light on this strange moon is sharply slanted like Northwest light. The superb film is about prospectors (a father and daughter) looking for a root-made gem that will make them rich. The daughter, however, is keen to get off the planet because the line to it is about to be shut down. But her father is money-mad. If he does not make it here, he will never make it anywhere in the galaxy. Translucent insects float through the air. There are other money-mad prospectors in the endless forest. You do not leave this planet without paying a big price. Money is the root of all evil. CHARLES MUDEDE Meridian 16

Sadie The latest from local filmmaker Megan Griffiths (Lucky Them, Eden) has a perfect Northwest feel. Sadie is 13 and lives with her mother in a dilapidated trailer park. Sadie worships her absent father while being impossible with her harried mother. She is smart and precocious, trying to come to an understanding of how the world works, but the adults around her have their own problems. The film shows the way adults communicate with kids, never talking to them directly, trying to fool the kid and themselves. This leaves young people with half-ass ideas, and they run with them without really understanding the situation, with mixed results. The film has a great cast: The wonderful Melanie Lynskey plays the mom, with Sophia Mitri Schloss as Sadie. GILLIAN ANDERSON SIFF Cinema Uptown Sunday only

Seattle Turkish Film Festival The Turkish American Cultural Association of Washington will present the sixth annual edition of their community-driven, volunteer-led festival featuring a rich panorama of new Turkish films. For the final weekend, check out Something Useful, an intense drama about two women, one of whom has a grim mission, who meet on the train; The Legend of the Ugly King, about the Kurdish actor/director Yilmaz Güney; and Taksim Hold’em, about a man determined to play his weekly poker game despite the massive anti-government protests taking place outside. SIFF Film Center Friday–Saturday

SHRIEK!: Thirst The class focusing on women and minorities in horror is back with a screening and discussion of Park Chan-wook’s Thirst, about a saintly Catholic priest transformed into an insatiable blood-drinker and sex fiend by a risky medical experiment. Here’s an excerpt from the review Lindy West wrote at its release: “Thirst is a horror movie, albeit a silly one. Actual scares are few to none—instead, Sang-hyun’s painfully earnest consternation at trying to live as an ethical monster (losing his priestly virginity, daintily sipping a comatose man’s blood straight from the IV) make it a funny, cartoonish, and strangely sweet fable about ethics versus instincts: ‘Is it a sin for a fox to eat a chicken?’ Unfortunately, Thirst drags on for a punishing gazillion hours—ethical monster shacks up with manipulative harpy and the complications pile up like bodies (because, you know, they literally are bodies)—and you feel like you’ll never see your home or your mom or the precious golden sun again.” It might not be the most positive of reviews, but you’re guaranteed to get a good discussion out of it with organizers Evan J. Peterson and Heather Marie Bartels. Naked City Brewery Sunday only

Suspiria Call Me by Your Name director Luca Guadagnino’s reinterpretation of Argento’s film Suspiria is a precisely choreographed mindfuck, and progressing through the film’s six acts feels like peeling off layers of an onion until you reach the reeking core. It’s swift, brutal, and breathtaking, but it’s also frequently bogged down by overcomplicated subplots and distracting details. The original premise remains the same—ancient ballerina witches trying to live forever by sacrificing students—but this time around, the Markos Dance Academy is located right next to the Berlin Wall in post-World War II Germany, and Susie Bannion (a very meh Dakota Johnson) is a runaway Mennonite from Ohio. Whatever parallels Guadagnino hoped to draw between the traumatic aftermath of the Holocaust and the bloody chaos going on inside the coven ends up feeling more confusing than profound. CIARA DOLAN AMC Pacific Place & SIFF Cinema Uptown

A Star Is Born If you’re entering the theatre simply desiring a couple solid musical numbers, then your $15 will not have been spent in vain. Unfortunately, the movie falls flat as only a two-dimensional vignette of common misogyny can. Ally, the lead character played by Lady Gaga, is a woman who knows she has talent but needs to hear that she is sufficiently pretty to be an appropriate vehicle for said talent. Like any woman vying for a piece of the proverbial pie, she is just one man away from success. One man to lead her, to mold her, to push her through to the finish line. This man-shaped void is filled by her father, her husband, her manager, her producer, her choreographer, and her photographer, all of whom take credit or receive credit from other men for her creative output and appearance. A Star Is Born is a classic tale, meant to be mutable, fluid, to adapt within each age it is reimagined. But the flaws of the inherent narrative are too real, too every-day damaging to continue being told in the form of a cinematic fantasy. KIM SELLING Various locations

Voyeur Presents ‘The Prowler’ The November edition of VOYEUR brings “one of the bleakest noirs ever made,” Joseph Losey’s The Prowler, about a man who’s determined to get what he feels society owes him—an unhappily married woman played by Evelyn Keyes. Scarecrow Sunday only

Widows Arriving a week before Thanksgiving, Widows is an overflowing plateful of entertainment, piled high with juicy plot, buttery performances, and plenty of sweet genre pie. It’s a mash-up of pulp and prestige that shouldn’t work well on paper but plays out tremendously well on-screen. Director Steve McQueen (12 Years a Slave, Shame) cowrote the twisty script with novelist Gillian Flynn (Gone Girl, Sharp Objects), and while the interconnected webs of Chicago’s crime underworld and its racially charged local politics contain more than enough intrigue, the performances are what’ll grab you. I mean, just look at this cast: Harry (Liam Neeson) leads a crew of career criminals (including Jon Bernthal and Manuel Garcia-Rulfo) in a heist that goes disastrously wrong, leaving their widows Veronica (Viola Davis), Linda (Michelle Rodriguez), and Alice (Elizabeth Debicki) with a serious problem when crime boss Jamal Manning (Brian Tyree Henry) and his enforcer brother Jatemme (Daniel Kaluuya) demand they return the stolen money. The real fun is watching McQueen, Flynn, and this ridiculously large talent pool of actors lay the groundwork for a slick, rich, tantalizing thriller, and then connecting all the dots. NED LANNAMANN Various locations

Also Playing: Our critics don’t recommend these movies, but you might like to know about them anyway.

The Girl in the Spider’s Web

Instant Family

Nobody’s Fool

The Nutcracker and the Four Realms

Venom

Stay in the know! Get all this and more on the free Stranger Things To Do mobile app (available for iOS and Android), or delivered to your inbox.

Source: https://www.thestranger.com/things-to-do/2018/11/15/35633515/30-movies-worth-watching-in-seattle-this-weekend-nov-15-18-2018

[aslbgh]

SIFF 2017, The Final Week

Pow Wow Jun 5, 2017 6:30 PM, 75 min Ark Lodge Cinemas Glory Jun 5, 2017 9:30 PM, 101 min SIFF Cinema Uptown Festival Ears Jun 6, 2017 9:30 PM, 90 min SIFF Cinema Uptown Festival Nocturama Jun 8, 2017 6:00 PM, 130 min SIFF Cinema Uptown Festival The Inland Road Jun 8, 2017 9:00 PM, 80 min SIFF Cinema Uptown Festival The Landing Jun 9, 2017 9:15 PM, 86 min SIFF Cinema Uptown Festival In the Radiant City Jun 10, 2017 12:30 PM, 95 min SIFF Cinema Uptown Festival Taste of Cherry Jun 10, 2017 4:00 PM, 95 min SIFF Cinema Uptown Festival Knife in the Clear Water Jun 10, 2017 7:00 PM, 93 min AMC Pacific Place 11 Mr. Long Jun 10, 2017 9:15 PM, 129 min SIFF Cinema Egyptian This is Our Land Jun 11, 2017 1:30 PM, 114 min SIFF Cinema Egyptian Free and Easy Jun 11, 2017 5:30 PM, 97 min SIFF Cinema Uptown Festival

[equality365]

Katherine Fairfax Wright “Behind The Curtain: Todrick Hall” SIFF Premiere Tonight At SIFF Cinema Egyptian #Seattle - Equality 365