Fences
Last night, while leaving a screening of the solid and engaging adaptation of August Wilson’s play Fences, which was directed by Denzel Washington, a man walking behind me said to the woman walking next to him that this is not the kind of Denzel film he likes. It’s too act-y, it’s all about the Academy Awards. Clearly, he wanted Washington to shoot more and talk less, but Fences has no guns and a whole lot of talking about life; it deals with failed dreams, race relations in mid-century America, marital problems, parenting problems, working-class problems, drinking problems, problems with debts, with mental health, and, ultimately, with death. What might kill the character Washington plays in Fences is not a car chase or a shootout, but blocked arteries. The man behind me was correct; it is likely Washington will be recognized by the Academy for this performance. And thank God! It is good to see a great actor take a break from his fall into the abyss of crap and produce something of social, artistic, and cultural value. CHARLES MUDEDE Various Theaters.
Fifty Shades Darker
Review forthcoming at portlandmercury.com. Various Theaters.
Hidden Figures
Before Hidden Figures, I had no idea three black women were integral to the success of America’s space program. That’s not the only surprise here: Even the film’s title has a double meaning, referring to both the unheralded women who helped us catch up in the space race, and the calculations that were missing before their contributions. Spending much of its runtime dealing with issues that persist today—segregation, racism and sexism in the workplace—Hidden Figures focuses on the black women who had to balance being tenacious and docile in order to get ahead, even as they were underestimated and undervalued every step of the way. JENNI MOORE Various Theaters.
John Wick: Chapter 2
See review, this issue. Various Theaters.
The LEGO Batman Movie
See review, this issue. Various Theaters.
Lion
The incredible true story of why you should never have children in India. Based on Saroo Brierley’s memoir A Long Way Home, the film, an inspiring drama that earns tears without jerking them, begins with five-year-old Saroo (Sunny Pawar) becoming separated from his mother and brother and ending up a thousand miles away in Calcutta. First-time feature director Garth Davis jangles the nerves with these early scenes, but don’t fret: Saroo is rescued soon enough, adopted by a saintly Australian couple, John and Sue Brierley (David Wenham and Nicole Kidman), who raise him up lovingly to become Dev Patel. Grown-up Saroo, tortured by the knowledge that his family never knew what happened to him, sets out to find them, with only his distant memories and Google Earth to assist him. ERIC D. SNIDER Various Theaters.
The Notebook
You might have forgotten that the only reason Ryan Gosling is super-famous is because he made out with Rachel McAdams in the rain once. Sure, he maintained that fame via a series of challenging roles in rewarding films, but The Notebook is the wet block of cheese that served as his launchpad. Academy Theater.
The Philadelphia Story
This 1940 romantic comedy was considered an instant classic upon release and has only grown more beloved in the 70-plus years (!) since its release. But time has also made it harder to believe the truth of a film that ultimately concludes Katharine Hepburn should relax her standards for the sake of Cary Grant’s smarmy ass. But then again, the 1940s just weren’t ready for Katharine Hepburn—hell, the 2010s are only just now getting around to really understanding what a marvel she was. And if you don’t know, this screening is a great introduction. Hollywood Theatre.
Portland Black Film Festival
See Film, this issue. Hollywood Theatre.
Portland International Film Festival
See Film, this issue. Various Theaters.
Queer Horror: Bound
The bimonthly series, hosted by Carla Rossi, shares a low-key noir classic for Valentine’s Day, Bound. The 1996 debut of Lana and Lilly Wachowski tells the story of a mobster’s moll (Jennifer Tilly) teaming up with an ex-con (Gina Gershon) to fuck over her stupid boyfriend (Joey Pants) and to fuck each other, frequently, in sex scenes that to this day are spoken of with hushed, awed reverence by those who saw them in their formative years. The screening is preceded by performances by Honey LaFleur, Leigh Rich, and more. BOBBY ROBERTS Hollywood Theatre.
Silence
Silence, which is perhaps Scorsese’s most overtly religious movie, is self-recommending: It’s a nearly three-hour film about Portuguese missionaries in post-feudal Japan, and a slow meditation on the nature of one’s faith in one Jesus Christ. Based on that description, you’re either all in or all out. If you’re in, you’re lucky, because Scorsese has some really interesting questions to pose to you.
NED LANNAMANN Academy Theater.
Split
Everyone rags on director M. Night Shyamalan for being a one-trick pony. But guys, he’s so much more than that! His films can be pretty great (2000’s Unbreakable) or they can be embarrassing garbage (2015’s adult-diaper-filled The Visit). That’s two whole tricks! With Split, he’s back to vintage Shyamasurprise® Time, and the result is a fairly solid thriller with only a few missteps. Not bad, sir, not bad.
COURTNEY FERGUSON Various Theaters.
A United Kingdom
The movie is probably good, but goddamn if that title doesn’t currently read like the punchline to a cruel joke. A United Kingdom, huh? Sure. Okay. Nothing like watching the true story of love defeating racism right next door to South Africa in the 1940s to make you feel better about both Great Britain and America clumsily fucking themselves to death in the 21st century. Various Theaters.
MEANS WE RECOMMEND IT. Theater locations are accurate Friday, February 10-Thursday, February 16, unless otherwise noted. Movie times are updated daily and are available here.