A Seattle moviegoing lifestyle magazine
Welcome into the world of Bob’s Burgers, a long-running animated series on FOX. It features a ridiculous little family (the Belchers) who fights tooth and nail to keep their shabby chic burger joint open despite constant setbacks and weird twists and turns (they get far more than their fair share).
Reportedly shot in about five days, it is meant to capture behind-the-scenes drama about the filming of a medieval-era movie about three women being burned at the stake.
Less a feature film than an occasion to binge-watch a mini-season in a theater with friends who will cackle along at the cuttingly droll humor and gasp in synchrony with each revelation or faux pas, the new Downton Abbey is an utter delight of fan service. Just as some will pack the multiplexes whenever a bunch of Marvel heroes assemble, I will happily pile in with a bag of popcorn and peanut M&Ms whenever the Granthams and their sprawling team of indentured servants deign to get the gang back together for yet another round of utterly inconsequential drama that can be tidily wrapped up, two hours later, with an elegant bow.
Several days late but not several dollars short, please see below for a machine-gun rundown of everything else I saw at SIFF …
When I finished watching Rick Charnoski’s narrative feature debut, I was so bowled over I had to see it a second time in as many days on a festival screen—just to determine if my immense love for it was the cinematic equivalent of an immediate, all-consuming crush that evaporates in the harsh light of day. Upon second viewing, I realized my movie-crush was no fluke.
It’s not often that you feel sorry for the world’s biggest studio Goliath having the misfortune to follow in the shadow of a plucky indie release, but here we are in the season of dueling multiverses at the multiplex.
When asked how he sees the movie of his life, Russian opposition presidential candidate Alexei Navalny bristles at the suggestion that his real-life story be depicted as a dry historic drama. It’s a thriller, Navalny asserts. And with that proclamation by its subject, filmmaker Daniel Roher literally opens the curtain on what turns out to be one hell of a thriller—and much more.
Although its “WTF” category was nearly as expansive as ever, this year’s truncated SIFF only featured three actual “playing-at-midnight” midnighters. Jenn takes a look at what worked and what didn’t.
Like anyone or anything just beginning to recover from the metaphoric or literal ravages of a global pandemic, the 2022 iteration of …
A young boy Rolf (Julius Weckauf) and his father Ludwig (Volker Bruch), a journalist who spoke out against Hitler, are racing toward the Spanish border via France attempting to escape the grasp of German soldiers and make it to America where Rolf’s mother waits for them.
