June 16, 2019
The Goonies (35mm)June 16, 2019
Family / 1985 / 114 minutes
Outside of possibly E.T., Richard Donner’s The Goonies is arguably the quintessential kids’ adventure film of the 1980s – and it’s no small coincidence Spielberg himself produced it. Goonies certainly bears the enjoyable hallmarks of classic Amblin entertainment; a cast of winning child actors, high-stakes adventure, delightfully goofball but still threatening villains, wonderfully realized sets and boundless imagination. But what makes The Goonies stand apart from typical kiddie faire is Richard Donner’s sturdy action direction and keen sense of mythmaking, Spielberg’s canny grasp of wonder and a tightly-plotted script by Christopher Columbus that never condescends to its resourceful young heroes. And what heroes they are; endearing turns from Sean Astin, Corey Feldman, Martha Plimpton, Jonathan Ke Huy Quan, a remarkably non-grizzled Josh Brolin and the unforgettable Jeff Cohen as “Chunk” ensure that Goonies truly are forever. With Robert Davi, Joe Pantoliano, Mary Ellen Trainor and featuring 80s quirk-diva Cyndi Lauper’s pop hit “Goonies ‘R’ Good Enough”.
The White CrowJune 16, 2019
Biography / 2019 / 122 minutes
Handling duties both in front and behind the camera, celebrated British actor Ralph Fiennes once again proves his directorial meddle with his compelling new biopic The White Crow. Exploring the life and work of ballet icon Rudolf Nureyev, Fiennes focuses his lens on the idiosyncratic dancer's early years under the tutelage of his mentor (Fiennes, speaking entirely in Russian), detailing the ways that Nureyev's rule-bending dancing style and difficult personality chaffed against the strict Communist government of Cold War Soviet Union, ultimately leading to his defection. In the lead, Russian actor Oleg Ivenko rises to a difficult task, shouldering the physical demands of the role, humanizing the often off-putting Nureyev by allowing insight into his fascinating artistic mind. A thoughtful director with a keen sense of pace, Fiennes also brings his world class actors’ instincts to bear, delivering a brilliant supporting turn and assuring that performance and storytelling work in tandem like music to a ballet. With Adèle Exarchopoulos and Sergei Polunin.
Call Me By Your NameJune 16, 2019
Drama / 2017 / 130 minutes
The culmination of a thematic trilogy, Luda Guadagnino’s 2017 Call Me By Your Name completes the cinematic exploration of desire begun in previous films I Am Love and A Bigger Splash. Adapted from Andre Aciman’s highly acclaimed novel – by arthouse auteur James Ivory of the Merchant Ivory production team – Call Me By Your Name details the quietly building love affair between a Jewish-American 17 year-old (the impressive Timothee Chalamet), circa 1983 and living in Italy with his archeologist father and Italian intellectual mother, and the handsome, confident 24 year-old Jewish American graduate student (Armie Hammer) who comes to stay with them for six summer weeks. A coming of age story that could easily descend into melodrama in less sophisticated hands, Guadagnino’s film is lyrical, passionate and unfailing sweet, communicating much of the drama through performance and minimal dialogue, allowing the soulful sensuality of the actors and wistful beauty of the rural Italian setting to communicate that which remains unspoken. Featuring songs contributed by Sufjan Stevens and an understated soundtrack highlighting 80s hitmakers Psychedelic Furs. With Michael Stuhlbarg and Amira Casar.
Funeral Parade of RosesJune 19, 2019
Experimental / 1969 / 105 minutes
More than 50 years after its release, Toshio Matsumoto’s Funeral Parade of Roses still stands as daring and impactful vanguard of LGBTQ cinema. A transgressive riff on Oedipus Rex, Matsumoto’s 1969 masterwork utilizes experimental film techniques to tell the story of an unconventional love triangle between a pair of young transvestites (Japanese trans icon “Peter” and Osamu Ogasawara) and a drug dealer (Yoshio Tsuchiya) set in the underground gay club scene of swinging sixties Tokyo. Pushing sex and violence further than his French New Wave contemporaries – from whom the director clearly draws inspiration – ever dared, Matsumoto’s gay Greek tragedy still finds time to celebrate the subversive, and with its dazzling mishmash of filmic techniques showcases the medium at its most bold and revolutionary. A rare gem only recently unearthed, it’s a fascinating look at a little explored subculture executed in a brash, unapologetic style worthy of its subject.