Oscar-winning actor (for 1995's Leaving Las Vegas), cultural curiosity (for his Superman and Elvis obsessions, tax troubles, hair, etc.), Coppola family member (Francis Ford is his uncle), meme generator, and cult icon Nicolas Cage is about to become a half-century man. And what better way to celebrate the 50th birthday of one of the most predictably unpredictable movie stars of all time than by checking out a pair of his movies?
Tomorrow (NC's actual bday: Jan. 7), Midnites for Maniacs unspools a pair of Cage classics, starting with his breakout role as a totally tripandicular Hollywood punk mooning after the title character in 1983's Valley Girl. This movie has it all: a killer soundtrack, terrible-amazing hair and fashions, the immortal EG Daily, and maybe the best prom scene in the 1980s teen-movie canon. We melt with you, Nic.
Not even sure if "amazing" is a strong enough word, but the Castro Theatre is screening a pair of cool-ass movies on 35mm tonight. Frankly, I don't think you have anything better to do, because there isn't anything better than a WARREN OATES movie except maybe a WARREN OATES DOUBLE FEATURE.
Kicking things off at 7pm, it's Sam Peckinpah's Bring Me the Head of Alfredo Garcia (1974). Oates plays a perpetually rumpled bartender whose determination to collect a huge bounty (the prize: see title) leads him into some mighty surreal adventures in Mexico's sinister outback. Co-stars include Kris Kristofferson (in particularly kreepy mode).
FILM The 2013 San Francisco Silent Film Festival isn't until July, but the fest's Silent Winter offshoot offers a day packed full of classic delights to tide over its legions of fans until summer. The Castro Theatre plays host to four features and one shorts program, all of which boast live musical accompaniment.Read more »
FILM Though it's much more a Southern than a Western — closer to Mandingo (1975) than Red River (1948), that's for sure — Quentin Tarantino's Django Unchained nonetheless pays specific homage to spaghetti westerns in its title and some stylistic fillips.Read more »
TRASH In 1968, Pretty Poison, which plays the Castro Theatre this Thursday in a new 35mm print, arrived a bit early. The next year Easy Rider would suddenly make young American directors seem like "the future" of an industry then hobbling on the same now-arthritic legs that had supported its Golden Age decades earlier. By 1970 and for several years afterward small, idiosyncratic, independent (both within and outside studio funding) films would flourish, in number and frequent quality if not commercially.Read more »
All my amigo Morlock E. wants to know is where Frank Chu is, since Frank Chu is still a fairly good indicator of being at the most happening event of the evening -- or at any rate the one with the most television cameras. But instead of Frank, all we see is a crush of autograph seekers pressed against the velvet rope separating them from the red carpet unfurled outside the Castro Theatre. They’re not here to see Frank Chu, and in truth, neither are we. We’re here to get a photo of Al Pacino and maybe touch the hem of his cloak, at the US premiere of his latest project, a documentary entitled Wilde Salome.
Since it’s not every day San Francisco gets to play host to a big premiere, the Wed/21 turnout is robust, convivial. Also a fundraiser for the GLBT Historical Society -- there are some quite dapper dandies in attendance, an element one feels certain Wilde would have approved of. But one gets the impression that the autograph-hounds are less enamored with the Wildean aspect of the event rather than the chance to shake the hand of Scarface, but Wilde, with his penchant for “rough trade” might well have approved of that too.