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to Section One | to Arts & Entertainment
posted Friday, May 23 2014 - Volume 42 Issue 21
Movie Reviews
Arts & Entertainment
ALL STORIES
  next story
Future and past collide in latest X-Men spectacle
by Sara Michelle Fetters - SGN A&E Writer

X-MEN:
DAYS OF FUTURE PAST
Now playing


X-Men: Days of Future Past is nothing if not ambitious. Beginning in a dystopian, undefined and brutally apocalyptic future, and then going back in time, with the majority of the story taking place right at the tail end of the Vietnam War when American spirits ran low and suspicions of the unknown ran terrifyingly high, the movie is a furious maelstrom of emotions and ideas reeking of tragedy and soaked in regret. It embraces heartbreak and death, devastation and bloodlust course through its veins, and an aura of catastrophic despair lingers over everything, as if it were the Grim Reaper making ready to collect souls one after the other until none are left.

At the same time, the film also embraces the glorious resilience of the human spectacle in all its multifaceted marvel. It speaks to the best of who we are and what we can choose to be, finding redemption in chaos and showing how bad choices and ill-considered decisions do not have to define one's character as far as the long run is concerned. The movie asks its heroes to journey into the heart of darkness and attempt to see the light cascading through the other side, showing how hope and faith can battle even the most despicable of demons even when said demons perilously lurk inside one's very own soul.

Bryan Singer, returning to the series as director for the first time since helming X2: X-Men United in 2003, combines casts from the original trilogy and from 2011's X-Men: First Class in order to tell a story where past and future collide, each side of the coin working in tandem with the other, supposedly for the greater good of all. Screenwriter Simon Kinberg (Sherlock Holmes), working from a story co-conceived with Matthew Vaughn (Stardust) and Jane Goldman (Kick-Ass), shows economic efficiency in bringing everything to life, the resultant film a time travel comic book adventure worthy of multiple viewings.

The idea is both hopelessly complex, yet also deliciously simple. With the world of the very near future on the doorstep of total annihilation, former adversaries Professor Charles Xavier (Patrick Stewart) and Erik Lehnsherr (Ian McKellan), a.k.a. Magneto, join forces with the surviving X-Men to fight for both human and mutant alike. With the aid of Kitty Pryde (Ellen Page), the team comes up with an ambitious plan to send Logan (Hugh Jackman), a.k.a. Wolverine, back in time to 1973, putting his older consciousness into the body of his younger self in order to stop current events from ever happening in the first place.

Problem is, the 1973 incarnation of Professor X (James McAvoy) is a shell of his former self, events in Cuba ten years prior combined with the current situation in Vietnam causing him to wallow in self-pity and depression. But it is vital Logan brings the powerful telepath back to his senses, as it's his skills that will be required to make sure Raven (Jennifer Lawrence), a.k.a. Mystique, doesn't unintentionally ignite a chain of events that will lead to worldwide Armageddon. They will also need the assistance of that time period's Magneto (Michael Fassbender), but trusting him to do the right thing is close to impossible, the chances he'll follow his own idiosyncratic path practically a given.

From there we're off and running, Mystique out to get revenge for what she sees as the evil experimentation on mutantkind by scientist Dr. Boliver Trask (Peter Dinklage) while Logan hopes to use Professor X, Magneto and Hank McCoy (Nicholas Hoult), a.k.a. Beast, to convince her from letting her passions become homicidal. In the future we watch as the likes of Storm (Halle Berry), Iceman (Shawn Ashmore), Colossus (Daniel Cudmore) and others are coldly dispatched by an unstoppable army of gigantic Sentinel warriors. In the past we are introduced to potential new heroes like Quicksilver (Evan Peters) while also making the acquaintance of villains-to-be like Maj. Bill Stryker (Josh Helman) for the very first time. Everything ultimately rams together on the White House lawn, survival incumbent on a precious few making the decision to go against their baser instincts in order to allow nature to take its natural course.

Like I said, it's extremely ambitious, Singer and company adapting Chris Claremont's classic Marvel comic in ways that are consistently intriguing and oftentimes surprising. Additionally, they right the X-Men ship, hitting the reset button in a way that doesn't so much wipe X-Men: The Last Stand out of existence, so much as it allows filmmakers to not be handicapped by the cavalcade of bad choices and ill-considered decisions that film sadly made.

More importantly, however, it manages to take this convoluted scenario and present it in ways that are easy to process and even more fun to digest. It treats its audience with intelligence and respect but doesn't skimp on action pyrotechnics and show-stopping sequences of mutant-powered excitement. The Sentinels are rendered spectacularly, while the human element that makes these characters so relatable is never lost for a single solitary moment.

It is a little too streamlined at times, almost too straight-forward in both presentation and design, brushing past speed bumps and plot holes with maximum rapidity in hopes the viewer will fail to notice their existence. Some of the characterizations are a bit nondescript, Lawrence in particular not given the same room to evolve like she was in X-Men: First Class - and with so much of the narrative revolving around Mystique, this is a defect that's hard to miss. The reliance on Wolverine/Logan is also getting a little tiresome. And while Jackman is as wonderful as ever, the fact this is his seventh appearance in so many films makes me wonder if filmmakers don't trust audiences to buy a ticket if he's not part of the adventure being presented.

But McAvoy and Fassbender are as sublime here as they were in First Class, each with far more to do this time, making their respective characters even more intriguing. It's also nice to see Stewart and McKellan return to the series, the two having a grand time reinterpreting their versions of the iconic characters, each man now living in a world that's descended to a point well beyond madness. Dinklage is an inspired addition, the veteran character actor giving Trask noticeable depth with gradations that go well beyond what's hinted at within the confines of the script.

Singer stages a few bravura centerpieces, not the least of which is a magnificent prison break showcasing the cocky Quicksilver, charmingly portrayed by Peters, at his egocentrically eccentric best. The biggest star, however, might just be John Ottman (The Usual Suspects), the veteran pulling double-duty for the director - editing the motion picture while also composing its score. He does exemplary work, his efforts in key towards making the film the enjoyable adventure it so exuberantly ends up being. X-Men: Days of Future Past isn't perfect, that's true; but that doesn't make it any less fun, the road it travels down one worth traversing for both fan and newcomer alike.


Blended a frustratingly uneven Sandler-Barrymore reunion
by Sara Michelle Fetters - SGN A&E Writer

Jim (Adam Sandler) is a single father managing a local sporting goods box store trying to raise three lovely young girls in the wake of their mother's untimely death to cancer. Lauren (Drew Barrymore) is a single mother who runs her own small business doing the best she can for her two boys after their self-centered father Mark (Joel McHale) stepped his way out of the family portrait. The two of them are set up on a blind date that goes all kinds of wrong, and by the time it's over neither wants to see the other ever again.

Just their luck, his boss Dick (Dan Patrick) and her best friend and business partner Jen (Wendi McLendon-Covey) are dating. More, they're currently on the outs, meaning their big, week-long already paid for trip to Africa isn't going to happen. Both Jim and Lauren are struck with inspiration, instantly snatching up the tickets of the party they're acquainted with, hoping to gift their children a family vacation they'll remember for the rest of their lives - neither thinking for a moment the other will have the exact same idea. Now the lot of them are in South Africa forced to eat, drink, and sleep with one another, Jim and Lauren needing to reassess their opinions about one another, if only to hopefully make things bearable for the kids they so selflessly love.

Blended is thankfully not a disaster. It has moments of surprising insight, beauteous warmth, and truly astonishing humor, magically bringing a smile to my face at times and in ways I didn't for a second see coming. At the same time, the movie is also an almost unforgivable, annoyingly frustrating failure, reveling in stereotypes and ideas beyond odious, while also mucking around in sophomoric comedic bits that go one step below the lowest common denominator.

Talk about a mixed bag.

After a rocky start, the movie somehow, someway manages to hit something close to a pleasant stride as it allows Jim and Lauren to showcase their parental skills in stunningly authentic ways. There is an inherent realism to both their situations that cuts through the sitcom pabulum, and I loved how honest the movie was in regards to parental responsibilities and what living up to them can oftentimes entail. I even didn't mind the tricky harebrained lunacy that's required to get both of them and their respective children to Africa, and as story devices go, this one didn't strike me as near as stupid as I'd worried it would be before the picture began.

Once there, things pretty much go as anticipated. Jim's daughters are wary of Lauren, while her sons despise Jim right out of the gate, both sides finding their preconceptions to be all kinds of wrong as they slowly get to know one another a bit more fully, while the same goes for the parents themselves. But intermixed inside all of this is bathroom humor so juvenile even Mad Magazine would find it in poor taste, gender stereotypes so horrific they're borderline insulting, and racial observations so backwards they might as well be of a bygone century. A great scene is quickly followed by a putrid, borderline unwatchable one, every pleasant smile or gentle tear upended by an eye-rolling moment of ineptitude that cancels them out almost to the point of never having existed at all.

Shame, because say what you will about Sandler, and plenty can be proclaimed, the overall second-rate nature of the majority of his filmography speaking for itself, the one co-star he's always been close to magical with has, without question, been Barrymore. While I don't particularly care for 50 First Dates, their chemistry in that romantic Hawaiian frolic is nearly enough to make it worthwhile. As for The Wedding Singer, its charm and magnetic ebullience speaks for itself, that 1998 effort growing in both status and in importance with every passing year.

They continue to sparkle here as well, Barrymore once again achieving a graceful symbiotic emotional balance with her co-star, the likes of which no other female lead has ever been close to equaling in any other motion picture Sandler has appeared in. For whatever reason, believing the two of them as a viable couple is remarkably easy, and no matter how outlandish or far-fetched things might end up becoming, their connection one to the other is never, ever in doubt.

All of which makes Blended even more of a disappointment. Reteaming with their The Wedding Singer director Frank Coraci, the movie is disjointed and unfocused, assembled with an infuriating randomness that causes individual scenes to more often than not feel completely disconnected to the ones adjoining them. On top of that, Ivan Menchell (The Cemetery Club) and newcomer Clare Sera's script transitions from reality-based humor to Sandler-style absurdities with lumpy, tetchy regularity, making maintaining a connection to anything that is happening impossible. The movie is a mess, and as enjoyable as it may be in parts, on the whole it's still an exasperating misfire, wasting its inherent plusses and attributes to an almost unforgivable degree.


SIFF 2014: Synopsis & Recommendations
by Herb Krohn - SGN A&E Writer

[EDITOR'S NOTE: Films listed without dates have already been shown.]

CASE AGAINST 8
USA
Rating: Excellent
Genre: Documentary

This film is a solid comprehensive documentary about the political and legal battle to fight and overturn California's Proposition 8, which limited marriage to heterosexual couples. The filmmakers obtained nearly complete access to the attorneys and plaintiffs as the effort to win marriage equality progressed through the courts. Additionally, the lives and families of the plaintiffs are profiled as is the unlikely alliance of the leading attorneys who were on opposite sides in the Bush v Gore election litigation. It's a remarkable inside view of how marriage equality was achieved in California.

DIOR AND I
France - Subtitled
Rating: Good
Genre: Documentary

A profile of designer Raf Simon's debut fashion presentation for the House of Christian Dior, this is a film that will be greatly appreciated by those into the world of fashion. It provides a rare inside glimpse into this world of high-end design from conception to the display on the runway, and the people who are instrumental in making it all come together.

THE DUNE
France/Israel - Subtitled
Rating: Excellent
Genre: Drama
FRI MAY 23 | 11:00 AM | PACIFIC PLACE
WED MAY 28 | 9:30 PM | SIFF CINEMA UPTOWN

An aging openly Gay police officer who specializes in missing person cases finds himself in the middle of what may be his last case before retirement, that of a bicycle mechanic who seems to have amnesia and cannot or will not speak. Is the officer seemingly being stalked by the mechanic? Everything about this case peaks the interest of the office, including the location where the unidentified cyclist was found. This is a beautiful and engaging film that holds the viewer's attention and interest while revealing the mystery.

EASTERN BOYS
France - Subtitled
Rating: Above Average
Genre: Suspense/Romance
SUN MAY 25 | 9:00 PM | HARVARD EXIT
TUE MAY 27 | 3:30 PM | SIFF CINEMA UPTOWN

A businessman solicits sex from a young man at the Paris Nord train station and they set a date to trick for the following day at the john's apartment. However, when a young boy shows up and forces his way in, followed by a group of thugs and thieves, the businessman finds himself a hostage at his own unwilling house party, while they rob him of everything of value. Eventually the young man shows up at the party, and then returns a day or two afterwards, alone and seeking to make the money in exchange for the originally promised sex. Slowly over time it becomes a regular thing, and emotions become involved. This is a story of an exploitation con turned romance as well as a glimpse into the lives of unfortunate young men from Eastern Europe, who move to Western Europe in an attempt to improve their lives. They often end up coalescing as gang members to survive.

FIGHT CHURCH
USA
Rating: Good
Genre: Documentary
MON MAY 26 | 12:30 PM
RENTON IKEA PERFORMING ARTS CENTER

"Turn the other cheek" as the Bible says? Not so for many Christian churches who are forming fight clubs to develop camaraderie among their male members. This interesting and provocative SIFF documentary explores this phenomena and how these religious Christian leaders reconcile their beliefs with the idea of fighting and injuring others for the fun of it. While it delves into the American Christian controversy, the film actually avoids yet provokes the global issue of religious fanaticism and extremism by those who pervert their interpretations of religious doctrine to suit their personal ideals and fulfill their need to engage in and perpetuate violence. This is a film for thought as there are so many issues left untouched by the filmmakers that need to be examined.

LAND OF STORMS
NORTH AMERICAN PREMIERE
Hungary/Germany - Subtitled
Rating: Average
Genre: Coming of Age, Romance & Coming out Conflicts

A young closeted German soccer player returns to his home in Hungary after a falling out with other teammates. He sets out to live in the deteriorating home of his grandparents, while his father continues to push him to rejoin his team. One night he catches a thief trying to steal his motorbike. They end up as friends and work together to fix the house. Of course, the sexual tension is too much; add in a visit from a teammate and sex partner and things get quite complicated. However, hostile heterosexist social pressure intervenes to hinder their relationships. What makes this film interesting is that it is one of the first Hungarian films to deal with Gay male sexual relationships, and the viewer can plainly see the parallels to an earlier era of Gay cinema in America especially with the ending. SKELETON TWINS
USA
Rating: Average
Genre: Family Drama

Estranged suicidal twins who are brother and sister reunite after the Gay brother's attempt fails. He goes back to upstate New York to visit for a while with his sister and her fiancé. Of course, all of their old skeletons come flying out of the closet, exposing them both for their faults, poor life choices. And why they were estranged is finally exposed. TO BE TAKEI
USA
Rating: Excellent
Genre: Bio-Documentary
FRI JUN 6 | 7:00 PM | EGYPTIAN
SAT JUN 7 | 4:00 PM | SIFF CINEMA UPTOWN

A great biographical profile of actor George Takei whose most famous role as Sulu in the original "Star Trek" series is only one small role in this remarkable man's life as an actor and recent Gay rights activist. As a child he was interned in the Japanese-American camps with his family, and he went on to become an icon for modern Asian American actors, even though he once had to play stereotypical characters to earn his living. He faced having to choose to live in the closet to maintain his profession, until finally he could no longer reconcile it when California Measure 8 passed. This well-made production is a perfect example of expert documentary filmmaking, conveying to the audience who this brave and famous person really is and what influenced his life and success.

TOM AT THE FARM
Canada (Quebec)/France - Subtitled
Rating: Average
Genre: Psychological Suspense

Tom, an advertising executive, travels to the country for the funeral of his former lover. However, once he arrives at the family farm, he finds himself involved in a depraved family situation, where the delusional mother knows nothing of her deceased son's sexuality, and his violent brother, who has identity issues of his own, seeks to prevent his mother from knowing the truth. Things go from awkward to strange to perverse, and border on extreme violence in this interesting tale. However, once it ends, too many questions are left unanswered. The culmination doesn't really make sense, leaving the audience hanging and wondering what was the purpose in this screenplay?

ROCKY HORROR PICTURE SHOW
United Kingdom/USA
Rating: Excellent
Genre: Cult Classic

What is there left to say about this most famous of cult classic films? We can mention this screening included subtitles prompting the audience to respond verbally as well as when to utilize the props contained in the goodie bag everyone received when entering the theatre. In 39 years and arguably one of the most viewed late night films in American history, Rocky has not lost any of its audience appeal and in fact has only become even more satisfying with age.

REGARDING SUSAN SONTAG
USA
Rating: Excellent
Genre: Bio-Documentary

A brilliant influential writer, thinker and cultural icon who began writing at 15, Sontag's experiences and provocative perceptions had a significant impact on the fledging LGBT movement. This well researched and put together documentary film examines her rich life from childhood to her passing, exploring what experiences made her into such an intellectual force in our culture.

VENUS IN FUR
France - Subtitled
Rating: Excellent
Genre: Updated Classic Sexual Drama

Leopold von Sacher-Masoch was an Austrian writer (1836-1895) whose writings on human sexuality resulted in his name being adopted as the term for masochism. Venus in Furs is a novella he wrote, and this film is a modernized version of this written work. A contemporary playwright/director is seeking an actress to star in his production of this story. He finds himself completely immersed as a lengthy audition with an unlikely perspective performer becomes increasingly intimate and personal. This Roman Polanski film is a remarkable work of art, sometimes funny, often provocative, and occasionally disturbing it crosses the line between intellectualism and sexual fetish and perversion.

Other upcoming SIFF Films of LGBT Interest:

GAY-LA FILM PRESENTATION:
HELICOPTER MOM
WORLD PREMIERE
USA
Genre: Comedy
WED JUN 4 | 7:00 PM | EGYPTIAN
Followed by Gay-La Party at Q Nightclub

Sponsored in part by Three Dollar Bill Cinema, Greater Seattle Business Association, The Stranger, Poquitos, Q Nightclub Regular screening without the party: THU JUN 5 | 4:00 PM | EGYPTIAN

BOYS
Netherlands
Genre: Coming of Age
MON JUN 2 | 9:30 PM | EGYPTIAN
TUE JUN 3 | 4:00 PM | EGYPTIAN

THE CIRCLE
Switzerland
Genre: Documentary Narrative
TUE JUN 3 | 9:30 PM | HARVARD EXIT
SUN JUN 8 | 12:00 PM | SIFF CINEMA UPTOWN

FIFI HOWLS FROM HAPPINESS
Iran-USA-Italy
Genre: Bio-Documentary
THU MAY 22 | 9:30 PM | HARVARD EXIT
FRI MAY 23 | 3:00 PM | SIFF CINEMA UPTOWN

THE FOXY MERKINS
USA
Genre: Comedy
FRI MAY 23 | 9:30 PM | HARVARD EXIT
SUN MAY 25 | 4:00 PM | HARVARD EXIT

FUTURO BEACH
Brazil/Germany
Genre: Romance
FRI JUN 6 | 9:30 PM | SIFF CINEMA UPTOWN
SAT JUN 7 | 11:00 AM | EGYPTIAN

GERONTOPHILIA
Canada
Genre: Coming of Age & Aging
SAT MAY 24 | 9:00 PM | SIFF CINEMA UPTOWN
SUN MAY 25 | 11:00 AM | HARVARD EXIT

LILTING
United Kingdom
Genre: Family Drama
FRI MAY 30 | 7:00 PM | HARVARD EXIT
SAT MAY 31 | 2:00 PM | EGYPTIAN

ME, MYSELF AND MUM
NORTH AMERICAN PREMIERE
Belgium/France/Spain
Genre: Coming Out & Gender Identity
THU MAY 22 | 9:30 PM | LINCOLN SQUARE
THU MAY 29 | 7:00 PM | EGYPTIAN
SUN JUN 1 | 1:30 PM | SIFF CINEMA UPTOWN

PIERROT LUNAIRE
Germany/Canada
Genre: Experimental
SAT MAY 24 | 10:00 PM | SIFF CINEMA UPTOWN
THU MAY 29 | 10:00 PM | SIFF CINEMA UPTOWN

SALVATION ARMY
Morocco/France
Genre: Coming of Age/Coming Out
TUE MAY 27 | 6:00 PM | SIFF CINEMA UPTOWN
FRI MAY 30 | 2:00 PM | SIFF CINEMA UPTOWN

THE WAY HE LOOKS
Brazil
Genre: Coming of Age
FRI MAY 30 | 9:30 PM | HARVARD EXIT
WED JUN 4 | 4:00 PM | EGYPTIAN

YVES SAINT LAURENT
France
Genre: Biopic Drama
FRI MAY 30 | 8:30 PM | KIRKLAND PC
SAT MAY 31 | 6:30 PM | PACIFIC PLACE


2014 Summer Preview - May & June
by Sara Michelle Fetters - SGN A&E Writer

Even though Captain America: The Winter Soldier was a summer movie shrouded in April clothing, the real silly season at multiplex as far as major Hollywood studios are concerned begins today with the release of The Amazing Spider-Man 2. It's the first in a rather large, and admittedly expected, collection of big budget sequels, remakes, spin-offs and reboots hitting theaters between now and the end of August, all of them hoping to match the $1.2 billion worldwide gross of 2013's Iron Man 3.

This year's crop of tent pole sequels includes X-Men: Days of Future Past (which culls cast members from both the original X-Men as well as X-Men: First Class in an Avengers-style superhero team-up), Transformers: Age of Extinction (with Mark Wahlberg stepping in for Shia LaBeouf), the animated How to Train Your Dragon 2, Dawn of the Planet of the Apes (which takes place after a worldwide apocalypse has left humanity in a seemingly hopeless state of disrepair), 22 Jump Street, The Expendables 3, Marvel's Guardians of the Galaxy and Sin City: A Dame to Kill For. Other big budget enterprises hoping to bring new life to old standbys include Godzilla, Disney's live action Maleficent, a Michael Bay produced Teenage Mutant Ninja Turtles and Dwayne 'The Rock' Johnson assuming the mantel of Greek hero Hercules.

On the comedy side of the equation, Adam Sandler and Drew Barrymore team up for the third time in Blended, Melissa McCarthy hopes to see her star continue to rise with Tammy, Cameron Diaz and Jason Segel reunite for Sex Tape, Kevin Hart and company return for Think Like a Man, Too, Seth Rogen and Zac Efron are a pair of extremely unfriendly Neighbors and Seth MacFarlane tries to prove Ted wasn't a fluke with the Mel Brooks-like western A Million Days to Die in the West. As for the original properties, Disney tosses out the baseball drama Million Dollar Arm, Clint Eastwood's adaptation of the Broadway smash Jersey Boys steps onto the stage, Tom Cruise goes sci-fi Groundhog Day-style with Edge of Tomorrow, Andy and Lana Wachowski return to their interstellar roots with Jupiter Ascending while Twister-wannabe Into the Wind storms into theaters eager to blow away the competition.

For those wanting more serious (or at least more independent) fair, as always there's plenty to choose from just as long as you're willing to put forth the effort to see it. There's Richard Linklater's 12 years in the making Boyhood, Jon Favreau's star-studded dramedy Chef, the faith-based gross-out female-driven comedy (make sense out of all of that, I dare you) Mom's Night Out, Jim Jarmusch's fascinating vampire romance Only Lovers Left Alive, the UW-set Decoding Annie Parker, the spooky sci-fi shocker The Signal, real-time (and real world) thriller Locke with Tom Hardy, and Australian director David Michôd's unsettling looking The Rover, while the late Philip Seymour Hoffman pops up twice appearing in both May's God's Pocket and July's A Most Wanted Man.



The following is a small sampling of films and events hitting Seattle screens between now and the end of June. (I'll work up a separate preview for July and August in a few weeks.) As always, release dates are subject to change so make sure and check with local theaters to make sure the movie you're aching to see is actually going to be playing.

May 2
The Amazing Spider-Man 2, Decoding Annie Parker, Hateship Loveship, Only Lovers Left Alive, Watermark

May 2-12
Seattle Cinerama Sci-Fi Film Festival - The Cinerama stages it's second-ever Science Fiction Film Festival and not only is the lineup itself extraordinary, so are the guests: Sam Jones (Flash Gordon), Tom Skerrit (Alien), Jonathan Frakes (Star Trek: First Contact) and legendary visual effects wunderkind Douglas Trumbull (2001: A Space Odyssey, Brainstorm, Close Encounters of the Third Kind) all scheduled to attend.

May 8-11
Translations: The Seattle Transgender Film Festival - Three Dollar Bill Cinema presents its ninth annual Transgender Film Festival, a full weekend of flicks spanning the gender spectrum on display including the North American premier of Kate Bornstein is a Queer and Pleasant Danger as the closing night selection.

May 9
Fading Gigolo, Fed Up, Legends of Oz: Dorothy's Return, Locke, Mom's Night Out, Neighbors, Teenage, Young and Beautiful

May 15-June 8
Seattle International Film Festival - It's baaaack & Seattle's favorite film festival returns for its 40th big screen cinematic adventure, kicking things off with director John Ridley's highly anticipated Jimi Hendrix biopic Jimi: All Is By My Side starring Outkast megastar André Benjamin in the title role.

May 16
Chef, God's Pocket, Godzilla, Million Dollar Arm

May 23
Belle, Blended, Cold in July, The Double, X-Men: Days of Future Past

May 30
A Million Ways to Die in the West, Chinese Puzzle, Filth, The Grand Seduction, Maleficent

June 6
Edge of Tomorrow, The Fault in Our Stars, Gore Vidal: the United States of Amnesia, Obvious Child, Supermensch: The Legend of Shep Gordon, Trust Me, Words and Pictures

June 13
22 Jump Street, Evergreen: The Road to Legalization, How to Train Your Dragon 2, Lucky Them, Palo Alto, The Signal

June 20
Jersey Boys, The Rover, Think Like a Man, Too, Venus in Fur

June 27
Snowpiercer, Transformers: Age of Extinction, Yves Saint Laurent




Time to have a ball with Lady GaGa
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Pacific MusicWorks and the UW School of Music present an excellent opera staging of G.F. Handel's Semele
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This week is concert-heavy for Seattle
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Outbound - Just plane cool: Boeing Factory Tour is fascinating and educational
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'Stroke: From Under the Mattress to the Museum Wall'
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Northwest News
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LETTERS
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Lily Allen adds Seattle to U.S. tour
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Future and past collide in latest X-Men spectacle
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Blended a frustratingly uneven Sandler-Barrymore reunion
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SIFF 2014: Synopsis & Recommendations
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2014 Summer Preview - May & June
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