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YOUR WEEKLY MOVIE TO-DO LIST
SCARY SEASON
Sunday, Oct. 21
Getting into the Halloween spirit, UCLA and the Hammer Museum offer a free screening of a 35mm print of Abbott and Costello Meet Frankenstein, in which Bud and Lou con- front Count Dracula (Bela Lugosi), The Wolf Man (Lon Chaney Jr.) and the bolt-necked eponymous monster (Glenn Strange). UCLA’s Billy Wilder Theater, 10899 Wilshire Blvd., Westwood; Sun., Oct. 21, 11 a.m.; free. (310) 206-8013, cinema.ucla.edu.
The Autry’s annual Home Movie Day (presented by the Center for Home Mov- ies) offers a fresh concept: Drop off your old 16mm, 8mm and Super 8 reels in the morning, watch them on the big screen in the afternoon. Professional film archivists will examine your prints and provide light repair work for exhibition. At the top of each hour, home movies of a Western vin- tage will be exhumed and shown, including looks behind the scenes of The Painted Desert (1938) and Oklahoma! (1955). The Autry Museum of the American West, 4700 Western Heritage Way, Griffith Park; Sun., Oct. 21, noon; free with museum admission. (323) 667-2000, theautry.org.
Monday, Oct. 22
Forty-five years ago, William Friedkin’s The Exorcist scared the pea soup out of audiences by depicting evil as it had never been seen before. William Peter Blatty’s lurid story of a 12-year-old girl (Linda Blair)
possessed by a violent demon became a genuine phenomenon, breaking box office records and garnering 10 Oscar nomina- tions (including Best Picture — a first for a horror film). For its anniversary, AMPAS has invited Friedkin and Ellen Burstyn onto the Samuel Goldwyn stage for a discussion. Sa- muel Goldwyn Theater, 8949 Wilshire Blvd., Beverly Hills; Mon., Oct. 22, 7:30 p.m.; $5. (310) 247-3000, www.oscars.org/events.
Tuesday, Oct. 23
LACMA’s Tuesday Matinees series screens The Crucible, Nicholas Hytner’s faithful 1996 adaptation of Arthur Miller’s classic American play. A 17th-century tale of mass hysteria in New England that reverberates with references to McCarthyism, the film’s paranoid themes are malleable enough to fit any time frame. LACMA, 5905 Wilshire Blvd., Mid-Wilshire; Tue., Oct. 23, 1 p.m.; $4. (323) 857-6000, lacma.org.
Thursday, Oct. 25
Korean auteur Lee Chang-dong’s newest film will appear at the Aero for a special screening. Burning is a 21⁄2-hour portrait of an alienated young man whose two newest friends trigger furious emotions that play out tragically in a shocking conclusion. Lee, one of the finest melo- dramatists in contemporary world cinema, will appear after the screening in conver- sation with critic Justin Chang. The second feature, the highly praised 2007 feature Secret Sunshine, will bring the program to a close. Aero Theatre, 1328 Montana Ave., Santa Monica; Thu., Oct. 25, 7:30 p.m.; $12. (323) 466-3456, americancinematheque calendar.com. —NATHANIEL BELL
Lots of Kids,
a Monkey and a Castle
Oct. 19 -25, 2018 ❖ Daily at 12:00, 2:20, 7:40 & 10:00 Laemmle’s Music Hall
9036 Wilshire Blvd. ❖ Beverly Hills, CA 90211 310-478-3836 ❖ laemmle.com
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A FILM BY RÉMI KESSLER
EVERYONE NEEDS SOMEONE WHO HAS THEIR BACK
ADVOCATESFILM.COM @ADVOCATESFILM
STARTS FRIDAY, OCTOBER 19SANTA MONICA LAEMMLE’S MONICA FILM CENTER (310) 478-3836 laemmle.com Daily: 1:20, 7:20 Sat/Sun: 11:00AM, 1:20, 7:20
Q&As with Producer/Director Rémi Kessler and Special Guests, Friday 10/19 – Monday 10/22, after the 7:20pm show at the Laemmle Monica FIlm Center. Details and Tickets at Laemmle.com
SPECIAL ONE NIGHT
SCREENING EVENTS at 7:30 PM! (310) 478-3836 laemmle.com (310) 478-3836 laemmle.com (310) 478-3836 laemmle.com
Q&As to follow the 7:30 show each night. Details and Tickets at Laemmle.com
Tue 10/23: PASADENA Wed 10/24: N. HOLLYWOOD Thur 10/25: ENCINO
LAEMMLE’S PLAYHOUSE 7 LAEMMLE’S NOHO 7 LAEMMLE’S TOWN CENTER 5
FRI, OCT.19 thru LAEMMLE’S GLENDALE
THURS, OCT.25
207 N.MARYLAND,GLENDALE•310-478-3836•WWW.LAEMMLE.COM DAILY: 10:40AM*, 1:00, 3:00, 5:10, 7:20, 9:55 (*SAT/SUN ONLY)
New Orleans, a town that’s as toxic for Roy as his illness. He chain-smokes his way through Texas with Rocky before a pit stop to pick up her sister leads to another narrow escape following an ambiguous gunshot. The three find sanctuary at
a Galveston motel, plotting their next moves and telling their nosy neighbors they’re a family on va- cation. In adapting a novel by True Detective’s Nic Pizzolatto, the filmmakers attempt to imbue dark source material with a touch of mercy. Laurent’s work as an actor serves her well as a director, and she allows her performers the freedom to find each moment’s emotional core. Foster and Fanning are excellent, their chemistry intensified by their characters’ shared bitterness and loss of what could have been. This is especially evident when a hopelessly distraught Rocky recounts an agonizing experience to Roy, whose fury at the beginning of the scene melts into compassion. It helps, too, that cinematographer Arnaud Potier captures tenderness and extreme violence with equal skill. (Tatiana Craine)
GO THEGREATBUSTER:ACELEBRATION“It may not have been Houdini who said it, but what the hell,” Peter Bogdanovich says, in the voice of the Official Narrator, early in his joyous The Great Buster: A Celebration. He’s referring to the claim that the name Buster came from Harry Houdini,
a friend of Keaton’s vaudevillian parents, who is purported to have offered it up as praise for the striking way the youngest member of the Three Keatons took a tumble onstage — as a toddler. “That was a real buster!” the storied magician is said to have exclaimed. Bogdanovich’s cheery uncertainty befits a film with that subtitle of
A Celebration. He’s in print-the-legend mode, evangelizing a greater truth, one beyond mere fact-checking. Despite some talking-head testimonials from Carl Reiner, Johnny Knoxville and Leonard Maltin, The Great Buster at heart
is an opportunity to hang with Bogdanovich as
he screens favorite sequences from the Great Stone Face’s two- and five-reel masterpieces of the 1920s. It’s a relaxed study of greatness, of exquisite physical comedy, of how’d-he-do-that stuntwork, of a vigorous cinema artist who saw new and enduring possibilities for his medium. Always a showman, Bogdanovich shrewdly, bra- zenly upends the usual life-passing-by structure of such docs to close with what we want most, a lengthy appreciation of Keaton’s feature-length mid-’20s work. Bogdanovich selects his high- lights judiciously, gushes over them warmly and perhaps inevitably manages to work in an appear- ance from his old pal Orson Welles, introducing The General. Who could have guessed, back in the 1970s, that in 2018 we’d see a new Welles picture co-starring Bogdanovich (The Other Side of the Wind) and a new Bogdanovich film with a Welles cameo? (Alan Scherstuhl)
LIYANA The infectious energy of a child’s sto- rytelling is put on touching display in Liyana,
a documentary/folk tale filmed in Swaziland. Directors Amanda and Aaron Kopp focus on a group of orphaned children who come together to write a story of their own under the guidance of writer-performer Gcina Mhlophe. From the start, the Kopps interweave the children’s ideas with the context of their lives. The hero they conjure up, a young girl named Liyana, faces wild animals
LA WEEKLY | October 19 - 25, 2018 | WWW.LAWEEKLY.com
SPECIAL LIYANA Q&A’s with DIRECTORS AARON & AMANDA KOPP following 7:20pm shows Fri. & Sat. 10/19 & 10/20


































































































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