One of the more unusual thrillers to come down the pike in recent years, The Hummingbird Project revolves around the construction of a high-speed fiber optics cable to facilitate high-frequency stock trades where every millisecond counts. The project pits cousins Vincent (Jesse Eisenberg) and Anton (an almost unrecognizable Alexander Skarsgård) against their high-flying trader ex-boss Eva (Salma Hayak) who is determined to put a stop to the upstarts’ attempt to usurp her business. The Orchard release debuts in March.
It would be easy to dismiss the porgs as so much Disney marketing. After all, the cuddly toys based on the avian characters have been in stores since well before Star Wars: The Last Jedi opened. But it would be a mistake to assume the only creatures in the galaxy far, far away that are more emo than Kylo Ren (Adam Driver) represent mere opportunities for merchandising. The birds with the big Keane painting eyes that come to roost in the Millennium Falcon are a nod to the wildlife that find a home on Skellig Michael, the remote island (the site, appropriately enough, of an ancient monastery), that serves as Luke Skywalker’s (Mark Hamill) reclusive home.
As a bird habitat, Skellig Michael is home to a large population of gannets—27,000 thousand pairs—as well as the storm petrel, the smallest seabird in Europe. But it was the clownish puffins that inspired the porg. Penguin coloring; large, colorful beaks; and sad eyes render the little birds irresistible. At least, Star Wars: The Last Jedi director Rian Johnson thought so when he came up for the idea of the porgs.
And he’s not wrong. Of all the things to love about the movie—including Chewbacca’s pained reaction to the birds as they invade his ship—the porgs rank up there, adding charm and comic relief to an intense adventure. –Pam Grady
On Sunday, Nov. 12, SFFILM offers the rare opportunity to dig deeper into motion-capture technology and how actor Andy Serkis brings characters like Planet of the Apes’ Caesar and The Lord of the Rings trilogy’s Gollum to life with The Art & Craft of War for the Planet of the Apes with Andy Serkis and Joe Letteri. The onstage conversation between Serkis and Welta Digital Senior Visual Effects Supervisor Letteri will take place within the context of a triple bill of the most recent Planet of the Apes trilogy, and will take place prior to the day’s final screening of War for Planet of the Apes. A single ticket gives entrance (with in-and-out privileges) to the conversation and all three films.
The schedule is as follows:
12:00 pm – Rise of the Planet of the Apes (105 min)
2:00 pm – Dawn of the Planet of the Apes (130 min)
6:00 pm – Onstage conversation with Andy Serkis and Joe Letteri
7:00 pm – War for the Planet of the Apes (140 min)
Sunday, Nov. 12; $13 SFFILM members/$15 general; Castro Theatre, 429 Castro Street, SF. To purchase tickets, visit https://www.sffilm.org/screenings-and-events/planet-of-the-apes.
Something to look forward to in the new year: The Stone Age meets the Bronze Age in Nick Park’s Early Man. The Wallace & Gromit creator’s first film since 2005’s The Curse of the Were-Rabbit stars Eddie Redmayne as the scion of a rabbit (what else?) hunting tribe and Tom Hiddleston as Bronze Age baddie Lord Nooth. Opens February 2018.
Eddie Constantine looked like the love child of Jack Palance and Ernest Borgnine, a real tough guy. In truth, he was the American-born son of a Russian father and Polish mother who trained as an opera singer. He pursued his career in Europe where he sang cabaret. Then, nearing 40, he switched gears and turned to acting. Cinema buffs know him from Jean-Luc Godard’s 1965 dystopian sci-fi/film noir hybrid Alphaville where he played secret agent Lemmy Caution.
But Alphaville was not the first nor the last time Constantine would play Lemmy Caution. In all, he played the character 14 times, the last time only two years before his 1993 death in another Godard film Germany Year 90 Nine Zero. Now, during the Fri Nov 3-Mon Nov 6 The French Had a Name for It 4 French noir film festival at San Francisco’s Roxie Theater, is a chance to see Constantine’s Lemmy Caution from the legendary character’s beginning.
Constantine first stepped into Lemmy Caution’s shoes in 1953 in two adaptation of British author Peter Cheyney’s novels, Poison Ivy and This Man Is Dangerous. The French Had a Name for It 4 is screening the latter that opens with news of American convict Lemmy Caution’s prison escape and flight to Europe. And sure enough, wicked charm with the ladies aside, Caution seems for all the world like a bad guy. The multilingual tough guy is certainly fluent in violence and he eagerly enters into a plot to kidnap an American heiress. But people on both sides of the law would be well advised to note that name, “Caution,” and take heed. It’s not so easy to get a handle on just who or what Lemmy is.
This Man Is Dangerous is a terrific introduction to Lemmy Caution, full of actions and plot twists. It is also a great introduction to Constantine and his gruff charm. On the other end of the double bill is another Constantine vehicle, Lucky Jo (1965). This late noir displays a different, more vulnerable side of the actor. As the ironically named titular character, Constantine a petty crook who can’t give up on the life even as every scheme ends in disaster and his confederates abandon him, certain that he is a jinx.
Other highlights of The French Had a Name for It 4 include Claude Chabrol’s Le Beau Serge (1958), starring Jean-Claude Brialy who returns to his home village to find his best friend Serge (Gerard Blain) has become an embittered drunk; The Night Affair (1958), starring the great Jean Gabin as a cop investigating a jazz world murder who falls for a young junkie (Nadja Tiller); Gigolo (1951), starring legendary Arletty as a pimp who brings a young man (Georges Marchal) to debauched ruin; and The Strange Mr. Steve (1957) and Mademoiselle (1966), showing two different sides of Jeanne Moreau, as a sophisticated femme fatale in the former, and, in the latter, an adaptation of Jean Genet story scripted by Marguerite Duras and directed by Tony Richardson, as a school teacher who unleashes evil on her small village and is obsessed with a local woodsman. –Pam Grady
For tickets and further information about The French Had a Name for It 4, visit http://www.roxie.com/ai1ec_event/french-name-4/?instance_id=23567
So looking forward to Jeff Nichols’ latest, starring Joel Edgerton and Ruth Negga and acclaimed at Cannes. It’s the flesh-and-blood story of Richard and Mildred Loving, the plaintiffs in Loving v. Virginia, whose mixed-race marriage made them criminals in the eyes of their home state. This was the case that went to the Supreme Court in 1967 and ended with the ruling that invalidated laws against interracial marriage nationwide. — Pam Grady
Stellan Skarsgård is a boisterous Russian who pulls poetry professor Ewan McGregor into his plans to defect in this adaptation of a John le Carré thriller. Looking forward to getting an early peek at it when it makes its international premiere on Sunday, May 1, at the San Francisco International Film Festival.
After utterly transforming himself (and winning the Oscar for it) to play Dr. Stephen Hawking last year, Eddie Redmayne does it again to play pioneering transgender painter Lili Elbe in The King’s Speech director Tom Hooper’s latest. The drama world premieres, Saturday, Sept. 5, at the Venice Film Festival. But for now, here’s a tantalizing look at one of the most anticipated films of the fall season.
Tom Hiddleston certainly looks every inch the part in this still, the first Sony Pictures Classics has released from I Saw the Light, Marc Abraham’s Hank Williams biopic. Singer/songwriter Rodney Crowell plays Williams’ dad Elonzo. More importantly, Crowell is also the film’s executive music producer and the person charged with transforming the Brit actor into an American legend. They were in the process of that when Hiddleston joined Crowell on stage last September at the Wheatland Music Festival to sing “Move It on Over” in a performance that augers well for a film that ought to have a lot of people seeing the light.
Here’s a first peek of Bryan Cranston as screenwriter Dalton Trumbo, one of the Hollywood Ten, who served time in prison for contempt of Congress at the dawn of the Cold War after refusing to play ball with the House Un-American Activities Committee during its original fishing expedition seeking information about communist influence in Hollywood. After prison came the blacklist that kept him offically unemployable through the 1950s, although that didn’t stop Trumbo from writing the Academy Award-winning screenplay for the 1953 Audrey Hepburn-Gregory Peck romantic comedy Roman Holiday (for which credit was given to Trumbo’s “front,” Ian McLellan Hunter), or the Oscar-winning story for the 1956 drama about a young boy trying to saving his pet bull from slaughter, The Brave One (under the pseudonym Robert Rich).
Joining Cranston in Jay Roach’s drama are Diane Lane, Elle Fanning, Michael Stuhlbarg, Louis C.K., Stephen Root, John Goodman, and in what is sure to be a highlight, Helen Mirren as one of the superstar (and vicious) gossip columnists of the era, Hedda Hopper. —Pam Grady