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Week in Film: Dinosaurus!, a Highly Accurate Prehistoric Epic, Stalker Returns

Combat Cops
Thursday May 11, 9:30 pm at Nitehawk: $12

Perhaps you’ve heard of The Deuce Jockeys, the resident VJs at Nitehawk whose film series has a very specific mission: “Excavating the facts and fantasies of cinema’s most notorious block; 42 Street between 7th and 8th Avenues.” If you’re wondering, that’s the Port Authority Bus Terminal, once the epicenter of violence in Fear City. Around 1970, the Times described the place as a sort of terrifying, tortuous God’s waiting room– another circle of Hades that Dante himself would have considered just a bit too far even for tax evaders. Its occupants went one of two ways: “Some are waiting for buses. Others are waiting for death.”

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Week in Film: ‘Supernatural Comedy,’ Women Rule the World, and More


The Lost City Of Z

Now through Thursday May 11 at Sunshine Cinema: $14

I haven’t seen The Lost City of Z just yet, but what I can tell you is that the film takes place in 1925, a tumultuous time in the Western world when it looked like the sun might very well start to set on the British Empire. In fact, imperial order was starting to collapse around the globe, and would eventually be replaced by a new bipolar world order– divvied up into two supposedly opposite political instincts, nationalism and socialism. (If that sounds like a super mysterious process, that’s because it is. There are tons of fascinating theories about how and why this happened, and about WTF nationalism even is, man– none of which I will go into here.) So even though a bunch of landowning white men still ruled the day at this point, they were probably feeling a little insecure about their privileged position, which they justified by an unshakeable belief in white supremacy and fashionable pseudoscientific ideas/total BS concepts of the time. I mean, now we know that terms like “imperial expansion” and “colonization” are just fancy ways to talk about pirate stuff (e.g., raping, pillaging). Oh, and racism too.

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Week in Film: Viagra for Nursery Rhymes, Poitras Does Assange, and More

(Flyer via Spectacle)

Unkissed Bride 
Saturday April 22, 10 pm at Spectacle: $5 

OK, before you LMFAO at the premise of this Jack Harris film, put yourself in the shoes of either Ted or Margi, the young couple who find out on their honeymoon (of course) that there’s a roadblock standing in the way of (early) marital bliss. Like, that blows. Especially for such a young couple, because for the most part isn’t it true that marriage–am I pronouncing that right? may-raj…? mar-ridge..?–these days either ends in de jure divorce (courthouses, lawyers, and custody battles, etc.) or de facto divorce (separate beds, six-month yoga retreats, and the like).

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Week in Film: Find Out If Ghost in the Shell Is a Shadow of Its Former Self, and More


Ghost in the Shell (1996)
Thursday April 13, Saturday April 15, and Sunday April 16 at The Metrograph: $15

No better time to see the original Ghost in the Shell, now that the anime classic has been remade and lost a good chunk of its futuristic/cyborg ambiguity in the process via the casting of a decidedly blonde, white bombshell in the lead. In the remake, Scarlett Johansson plays Major, i.e. an Anglicized version of the already Anglized Cyborg Major Kusanagi from the anime version.

The year is 2029, and this “perfect specimen of human-brained computer engineering” has been tasked with tracking down the elusive and amorphous villain known as The Puppet Master, whose precise plan for overthrowing the world– a Blade Runner-like super-city megalopolis where the human race has become so consumed by technology, that they are now inseparable and, at times, difficult to distinguish. The film deftly navigates the ethical and existential quandaries that are dramatically more real than they were in 1996 when the animated film was made.

Ghost in the Shell (2017)
Thursday April 13 through Thursday April 20 at Nitehawk: $12

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Week in Film: Punky Frida Kahlo, Buñuel in France, and More

(Painting by Panteha Abareshi)

The Girl Who Loves Roses
Thursday March 30, 6 pm to 9 pm at Larrie, NY: free

Kelsey and Remy Bennett, granddaughters of Tony Bennett, are working artists, outspoken feminists, and curators of various exhibitions and art happenings. You might be saying to yourself, “Of course they are.” But that would be a jerk move, since the Bennett sisters take after their family patriarch, who is widely known as one of the nicest dudes in showbiz (the Daily Beast called him “one of the greatest living Americans” for his long history of service to just causes including “Nazi hunting” and participating in the 1965 Selma to Montgomery marches of the Civil Rights movement). Their approach to curating is ultra-inclusive and social justice-oriented, but it’s not motivated by self-congratulatory horn tootin’ and seems instead to come from an easy, natural inclination to do good work.

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Week in Film: a Very Lynchian Retrospective, Full-Frontal Greek Mythology, and More


Metamorphoses
Saturday March 25 (10 pm),  Sunday March 26 (7:30 pm), Tuesday March 28 (10 pm) Thursday March 30 (10 pm) at Spectacle: $5, advance tickets available 

You know what’s cool about ancient Greek mythology? It looks good on almost anyone. Even 21st-century French people, as you’ll see in Christophe Honoré’s new film Metamorphoses. It’s actually based on a really old poem–but you already knew that by the film’s title right? Metamorphoses (the original) dates to about 8 AD when this Roman dude named Ovid fused bits from more than 250 existing Greek mythos together to create a pretty wacky piece of non-linear literature that defies the standard didactic, A-to-B tellings that were popular back then. Thankfully, Ovid’s story is every bit as riveting as the OG mythos, which are always chock-full gore, guts, adultery, betrayal and, of course, horny gods mingling with orgy-prone mortals.

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Week in Film: Cinema Kink a-Go-Go, a Chloë Sevigny Retrospective, and More


Cinekink NYC
Thursday March 16 through Sunday March 19 at Anthology Film Archives: $11 individual screenings, $45 to $85 for all-access pass (get your tickets here

Fet culture and cinema? I mean, duh, guys, they’re a match made in heaven– er, whichever circle of hell doms and bronies go to. (Dunno about you guys, but that’s where I’m hoping to end up, Lucifer willing). That’s why Cinekink NYC– which clears up any confusion by calling itself “the kinky film festival”– is popping off this week for its 14th year.

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Week in Film: Billy the Kid Was a Punk, a ‘Digital-Organic Trip,’ and More


Dirty Little Billy
Thursday March 9, 9:30 pm at Nitehawk: $16

Legends and lore of the Old West have been distorted so horrendously for modern entertainment purposes that what most people know about Billy the Kid they’ve learned from The Wild Wild West (arguably Will Smith’s greatest cinematic/symphonic achievement ever) and a National Geographic Channel reenactment where the infamous, down-n’dirty, sharp-shootin’ gunslinger is portrayed by a male-frickin’-model.

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Week in Film: 8-Bit Computer Wars, Women Do Horror, and More


Harlan County, U.S.A.
Friday February 17 through Wednesday February 22 at The Metrograph: $15

Lately we’e seen some pretty intense and protracted protest movements fighting it out against the seemingly impossible-to-topple Powers That Be, and in some cases actually succeeding in their effort (or lasting much longer than anyone could have guessed).

Flashback to 1974, Southeastern Kentucky: a group of coalminers and their families organized against the Eastover Coal Company– one of those Coal Country corporate machines that own whole towns and everything in it. If you want to hear more about what it was like to be a director embedded in such a massive strike, be sure to go tonight at 7 pm for a special Q+A with the filmmaker Barbara Kopple. Because this film takes place in Appalachia, it would be absolutely criminal to proceed without a banjo, so the night includes a live performance by Appalachian musician Jack Morris, whose father David Morris was featured in the film’s soundtrack.

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Week in Film: Polish Mermaid Strippers, a ‘Shapeshifting’ New Leftist, and More


The Lure
Friday February 10 through Thursday February 16 at IFC Center: $14

This beautifully shot, futuro nightlife fantasy flick is sort of like a glammed-up, femme-fatale version of Splash, only the mermaids here are hardly damsels in distress. These sister mermaids are flesh-eating fish people with vampy tendencies. They have the same power to entrance and, well, lure that sirens are supposed to have, but that somehow American imaginings have left out (Puritans, ughhh). I guess it took some Catholic guilt and Polish imagination to get this darkened-disco retelling of The Little Mermaid off the ground. IFC writes, “One sister falls for a human, and as the bonds of sisterhood are tested, the lines between love and survival get blurred.”

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Week in Film: Turkish Street Cats, Glue-Sniffin’ Delinquents, and More


Scrubbers
Friday February 3 (10 pm), Thursday Feb 13, (7:30 pm) Monday Feb 20 (10 p), and Sunday Feb 26 (5 pm) at Spectacle: $5 

“Punk” is maybe one of the most confused, contradictory, and misunderstood terms, like, ever. For some people it’s a lifestyle, a fashion statement, or a style of music, for others its Liberty Spikes and an ever-present leather jacket with pins and patches and even more spikes. In its simplest form it’s an immediately recognizable baditude, and boy do these ladies at an all-girls borstal (the British school system for juvenile delinquents) know a thing or two about punk.

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Week in Film: OG Badass Babe Mildred Pierce; Purple Reign in Blood, and More


Purple Rain: Terror Beyond Belief
Friday January 27, 7:30 pm at Spectacle: $5 always

Ok, so I might be outing myself as a giant lame by admitting this but, until I came across this mind-blowing feature presentation, I had no idea that “détournement” is actually, like, its own thing. Basically, that’s just a fancy word for (re)appropriated movies that have been drastically altered and yet retain some of the original characteristics of their source films which tend to be instantly recognizable classics. The result is a chunky, weird-tasting at first, but then loveably gritty combination of parody/homage, familiar/totally alien, nostalgic/apocalyptic– or post-modern upchuck that could trick your grandma and scare the kids. In other words, it’s very punk.

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