Cinema Junkie
Satisfy your celluloid addiction and mainline film 24/7 with Cinema Junkie’s Beth Accomando. So if you need a film fix, want to hear what filmmakers have to say about their work, feel like taking a deep dive into a genre, or just want to know what's worth seeing this weekend, then you've come to the right place. You can also find Beth's coverage of other arts and culture events here.
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At a time when much of Hollywood's award hopefuls feel familiar in their storytelling formula, it's refreshing to find films like "Waves" and the upcoming "A Hidden Life" from Terrence Malick that speak in an audaciously cinematic language that is pure visual poetry. "Waves'" filmmaker Trey Edward Shults grabbed my attention two years ago for "It Comes At Night," an unconventional horror film that was poorly served by its misleading ad campaign. I had the opportunity to speak to Shults back in 2017 when "It Comes At Night" opened. With his new film in theaters I thought it would be fun to revisit his interview. -
It's the holidays and I'm feeling sentimental. My dad died on Aug. 23 this year and he's the person responsible for making me fall in love with movies. So for my holiday edition of Cinema Junkie I give thanks to my dad for passing on his passion for movies to me and I highlight some of my favorite movie memories I shared with my dad. So it's a personal edition of the show and you'll get some insights into why I became a film critic. -
It's crazy gearheads to crazy rich Asians as Cinema Junkie goes from the Le Mans track to debating the best in Asian American films from the past two decades. First up, director James Mangold discusses his new film "Ford v Ferrari," about the showdown between the two car icons in 1966 at the 24-hour Le Mans race. It may be called "Ford v Ferrari" but the story is really more about American car designer Carroll Shelby and driver Ken Miles who collaborated on designing and racing the car. Then San Diego Asian Film Festival artistic director Brian Hu talks about the L.A. Times list he helped curate of the 20 best Asian American films of the past 20 years. "Better Luck Tomorrow" topped the list but you might be surprised by some of the other films in the canon. -
Two films that will make my ten best list are arriving in theaters: "The Lighthouse" and "Jojo Rabbit" so I'm thrilled to be able to highlight both films with interviews. I speak with filmmaker Robert Eggers (who previously directed "The Witch") about his new film "The Lighthouse" starring Willem Dafoe and Robert Pattinson and set in an 1890s remote New England lighthouse. And then I talk with actor Stephen Merchant who enlightens us about how to tackle playing a Nazi for laughs in Takia Waititi's anti-hate satire "Jojo Rabbit." -
Eddie Murphy stars in the Netflix film "Dolemite is My Name." The film introduces audiences to singer, musician, stand up comic, actor and film producer Rudy Ray Moore. Moore found success in the 1970s with a string of Blaxploitation films that began with the 1975 film "Dolemite." I speak with award-winning comic book writer David Walker, who knew the real Rudy Ray Moore, as well as with independent filmmakers Sanns Dixon and Dante Moran about the dual legacies of Moore and Murphy. This podcast includes explicit language. -
With AMC's "NOS4A2" renewed for a second season Cinema Junkie digs into the archives for a 2013 interview with author Joe Hill at the KPBS studios. He talks about his best-selling novel, horror, and comics. Plus he reads a selection from his novel and we'll hear from fans about what they love about his writing. -
John Waters' Odorama has inspired filmmaker JC Calciano to make his new film "Steam Room Stories: The Movie" in Cinema Scent. I talk with Calciano about scratch 'n' sniff cards, going from YouTube to feature films, and working with Traci Lords. -
Horrible Imaginings Film Festival celebrates its tenth anniversary this Labor Day Weekend at the Frida Cinema so that is the perfect excuse to speak with the festival's founder and executive director Miguel Rodriguez about all things horror. We will discuss trends as well as some of the standout films from the festival.
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Earlier this week I highlighted the film "Immobilité" that's being touted as the first "feature-length foreign film shot entirely on a mobile phone." The film by artist Mark Amerikia is showing in The Project Room for New Media at Chelsea Art Museum in New York through May 9, with a remix version exhibited in the Streaming Museum that presents exhibitions in cyberspace. The unique nature of the project inspired me to seek Amerika out for an interview. Here's what he had to say about his provocative new film.
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Following on the heels of the animated "Monsters Vs. Aliens," "Alien Trespass" (opening April 3 at Landmark's Hillcrest Cinemas) covers somewhat similar ground. Both films present us with an alien who comes to earth and then the films try to use the trappings of 50s sci-fi movies to sell the premise. But unlike "Monsters Vs. Aliens," "Alien Trespass" is live action. It also comes from R. W. Goodwin who should know what he's doing since he worked on the cult TV show "The X-Files," which frequently dealt with aliens although usually in a more serious vein.
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Most films that deal with border issues focus on immigrants and immigration along the California or Texas state lines. But the new film "Sin Nombre" (opening April 3 at Landmark's Hillcrest Cinemas) shows us how people living deeper in Mexico and Central America get to that border. The film played last month at the San Diego Latino Film Festival and just about everyone I spoke to at the fest was recommending it. I spoke with first time feature filmmaker Cary Fukunaga at the festival just before he presented the film to a full house.
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Just a quick reminder that the San Diego Latino Film Festival is not the only festival in town screening films this week. The San Diego Italian Film Festival will screen Incantesimo Napoletano/A Neopolitan Spell on Thursday, March 12 at 7:00 pm at the Museum of Photographic Arts in Balboa Park. The tageline for the film asks: "In Naples, what could be worse than not being Neapolitan?" Written and directed by Paolo Genovese, "Incantesimo Napoletano" serves up a fanciful tale about the shock felt by a fifth-generation Neopolitan couple whose daughter's first words are in Milanese. Mama mia! This film features Chiara Papa, Gianni Aiello, Serena Improta and Clelia Bernacchi. Although it's nice to have choice it's too bad these festivals are up against each other.
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Here's a little twist on Trailer Tuesday: Instead of posting a preview of a big Hollywood movie or cool indie title you get to see an entire movie.
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The teen critics have spoken out on The Last House on the Left (opened March 13 throughout San Diego) and I was curious to hear what they had to say since they weren't even born when the original film came out (OK, that made me feel old). I was glad that at least one of them had seen the original and found it more disturbing than the remake. -
The 16th San Diego Latino Film Festival kicked off last night with films, music, and a gala party. Now we can get down to the business of seeing films. Here are a few suggestions for what you might want to seek out and mini-reviews of some of the films that I had a chance to screen in advance. All films are at the UltraStar Mission Valley Theaters at Hazard Center.
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Real life French teacher François Bégaudeau plays an on-screen version of himself in "The Class/Entre les murs" (held over at Landmark's La Jolla Village Theaters), based on his book about his own classroom experiences. We discussed the film on last month's Film Club but I also wanted to highlight the film on my blog. Director Laurent Cantet (who also made "Time Out" and "Heading South") collaborated with Bégaudeau to bring his story to the screen. The ressult is a documentary style portrait of teaching in a contemporary French school. Cantet chose to shoot multiple improvised takes using real students and multiple cameras to chronicle what happens in a single classroom of middle school age students. The film was nominated this year for an Oscar for Best Foreign Language Film and took home the Palm D'Or at Cannes. While there were definitely more worthy films to pick as the best of the year, the Cannes Award is telling because it reflects France's need and maybe desire to try and come to terms with its increasing multi-ethnice make-up, a fact that's been harder to ignore inlight of recent riots and protests.
Beth Accomando is taking a short break from film reviews and arts coverage to create a six-part video podcast called Stripper Energy. Check it out!