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Saturday, August 24, 2019  Spokane, Washington  Est. May 19, 1883
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A&E >  Movies

Film finds a ‘Home Sweet Home’ in Spokane area

UPDATED: Mon., Aug. 12, 2019, 5:15 p.m.

Amy Lillard, executive director of Washington Filmworks, the nonprofit that manages the Motion Picture Competitiveness program, said the Spokane area is, so far this year, the preferred destination for films shooting in Washington, with four movies in the works.
A&E >  Movies

Review: ‘Scary Stories’ gets the kids right

“Scary Stories to Tell in the Dark” actually makes you care about the fates of its characters, likable or venal. It has a way of treating even the gross-out bits, involving scarecrow transformation nastiness and the aftermath of a Cinerama Dome-sized spider bite, for real emotion and no little anguish. The movie’s good even when it goes in too many directions at once, because it gets the kids right.
A&E >  Movies

Review: Mob wives brutally take over the business in ‘The Kitchen’

UPDATED: Thu., Aug. 8, 2019, 4:38 p.m.

It’s two-thirds of the way through “The Kitchen” before anyone asks Kathy Brennan (Melissa McCarthy) what, exactly, she wants. It’s her son, at the dinner table. We’ve seen Kathy struggle and scrape by to survive, sick of depending on and thanking men for her existence.
A&E >  Movies

Review: ‘The Farewell’ is a heartfelt sendoff to big family traditions, truths and a ‘good lie’

In her moving sophomore feature film, “The Farewell,” writer/director Lulu Wang dives into the specific and the personal to unearth universal nuggets of divine truth about family, faith and fear. At the beginning, “The Farewell” announces that it’s “based on a real lie.” Wang reveals it’s about her own family, a “good lie” they once chose to tell.
A&E >  Movies

Review: Dog drama ‘Art of Racing in the Rain’ laps up pathos

“The Art of Racing in the Rain” is ostensibly a story about what Enzo the dog learns about life as a companion to Denny, Eve and Zoe, a wordless omnipresence who takes it all in, the good, the bad and the ugly. One would hope that perhaps a film filled with such melodrama and pathos would unearth an observation about the existential nature of life and death beyond “racing cars is fun.” But after all that philosophizing, that’s all Enzo leaves us with, and what else could we expect from such pup psychology?
A&E >  Movies

Review: Jamie Bell’s performance is more than ‘Skin’ deep

“Skin” is the scariest film of the year. It doesn’t need creatures from other worlds trying to kill the population or the undead creeping around in search of a brain snack to create terror. What makes “Skin” so frightening is that it is all based in reality. The evil depicted here roams the planet with such an unbridled hatred that it should keep everyone awake at night.
A&E >  Movies

Review: ‘Wild Rose’ is rare film that tells truth about what it means to be female artist

A sweet, stirring and yet refreshingly unsentimental tale of a singer with ambition (and pipes to match), “Wild Rose” is like the anti-“A Star Is Born.” Set in Glasgow, Scotland, and centering on a young single mother and ex-con who dreams of moving to Nashville to become a country singer, this small, glitz-free drama is a bracing counterpoint to that Oscar winner, which garnered several nominations, including one for its star, Lady Gaga.
A&E >  Movies

Review: Goofy ‘Diamantino’ mixes neo-noir and memes

An exploration in absurdist comedy and the symptoms of modern-day, “Diamantino,” directed by Gabriel Abrantes and Daniel Schmidt, has all the anti-climactic plot mess of a neo-noir but is doused in the lighthearted irony of millennial meme culture.
A&E >  Movies

Review: ‘Once Upon a Time in Hollywood’ could be Tarantino’s most sensitive film

UPDATED: Wed., July 24, 2019, 11:23 a.m.

It’s shocking to say that Quentin Tarantino’s Manson murders film is perhaps his most sedate and self-reflective yet. But maybe that’s because it’s not a Manson murders film. It’s not even a revenge picture. Rather, “Once Upon a Time in Hollywood” is a rumination on stardom and myth-making, a memo on the cult of celebrity and the narratives we use to process the world around us.
A&E >  Movies

Chiwetel Ejiofor picks at Scar from ‘The Lion King’

“When you are looking at a character, you are looking to empathize and not necessarily sympathize and I think in that sense you are looking with Scar at someone who is envious but he’s also corrupted by this idea of power and status – and many of us are,” Ejiofor says. “He takes it to a very exaggerated place.”
A&E >  Movies

‘Fall of the American Empire’ review: a Montreal caper, with a little philosophy on the side

UPDATED: Thu., July 18, 2019, 1:26 p.m.

Was there a time, not long ago, when a smoothly operating hypocrite of a movie such as “The Fall of the American Empire” might’ve stolen the hearts of art-house audiences worldwide, even – or especially – in America? You don’t have to look this far back, but the commercial American cinema of the 1970s in particular couldn’t get enough of caper and heist movies steeped in post-Watergate institutional loathing, paying lip service to social injustice while treating everyone pretty shabbily (“Fun with Dick and Jane,” et al.). Not a lot has changed. We love to imagine tremendous wealth obtained the easy way. We relish the narrative payback of seeing rich weasels get theirs, now more than ever, probably.