Awards Season Catchup Double Feature: ANATOMY OF A FALL and AMERICAN FICTION
There’s a specialized little genre of music I love – modern funk bands doing covers of classic hip hop songs. It’s just a best of both worlds kind of situation, combining my two favorite types of music, and bringing things full circle in a way. So much of hip hop comes from curating and collaging the best parts of old funk songs, and now we’ve got new funk bands curating the best hip hop songs and filtering the sound through their instruments. Many of them also have a working knowledge of the sampled works, covering them as well or mixing them with a song that sampled them. That happens on the two albums of Wu-Tang Clan covers by El Michels Affair, as well as Brownout’s Public Enemy tribute Fear of a Brown Planet. I also have this record called Expansions by the German group Bacao Rhythm & Steel Band where they cover Jay-Z’s “Dirt Off Your Shoulder,” but also “Space,” Galt MacDermot’s song famously sampled in “Woo Ha” by Busta Rhymes. And they play them with steel drums! So I immediately recognized their cover of 50 Cent’s “P.I.M.P.” when it started playing at the beginning of the Palme d’or winning French legal drama ANATOMY OF A FALL (Anatomie d’une chute), and I was surprised. I was even more surprised when it turned out to be an important part of the story, played about as much as “Fight the Power” is in DO THE RIGHT THING. Wouldn’t have guessed that in a million years, even with hints. I hope they play it every time it’s up for anything at the Oscars or any of those. (read the rest of this shit…)
Well, Scott Adkins has another franchise. ONE MORE SHOT is the new sequel to 
My favorite Michael Mann Mode (MMM) is crime movie mode. Or guy chasing another guy mode. Moody guy looking out a window talking to another guy across the city mode. The mode you can feel coming in the air tonight, oh lord.
I saw this movie THE ROYAL HOTEL that came out on video last week, and I really liked it, so I watched the previous one by director Kitty Green, and that was even better. Let me tell you about them in this Kitty Green/Julia Garner Stressful Job Double Feature, presented in order of release.
THE BEEKEEPER is a proudly absurd new Jason Statham vehicle where he plays a humble beekeeper – a guy who cultivates beehives and collects honey. But also he’s retired from being another type of Beekeeper – an operative for a secret organization who kill bad guys and use bee, hive and queen metaphors to describe their role in protecting civilization. (Not puns, though, sadly.) It has a good pedigree as far as these things go – the director is David Ayer (HARSH TIMES, 
Man, it’s too bad. 
LONE WOLF AND CUB: WHITE HEAVEN IN HELL is the final film in the LONE WOLF AND CUB series – six films released between 1972 and 1974. It has the same writer of the previous one, Tusutomu Nakamura, but a director who’s new to the series, Yoshiyuki Kuroda (THE GREAT YOKAI WAR).
Soi Cheang a.k.a. Cheang Pou-soi is a director whose name(s) get my attention because he made one of the great modern action films, 
I really wasn’t in the market for a Willy Wonka prequel, I did not think it sounded like a worthwhile idea, or that this new movie WONKA looked good, as much as I enjoyed director Paul King’s two PADDINGTON movies. So I wasn’t even planning to see it until it turned out to be the first thing showing at the SIFF Cinema Downtown, formerly Cinerama (1963-2020). It has been my theater of record for decades, but after owner Paul Allen died the people running his company wondered “What is there to gain from maintaining a beloved city institution?” and closed it shortly before the pandemic. We all assumed the worst for a couple years, but thankfully the Seattle International Film Festival organization acquired the theater (just not the name) and fuck it, if they were showing WONKA I was gonna see WONKA. I’ve seen so many Star Warses and Batmen and Tarantinos and 70mm retrospectives in there over the past 25 years, waiting in long lines, feeling the excitement of the crowded lobby as they take my ticket, but this is the first time the excitement was only about being in the building.
MAESTRO is the straight-to-Netflix biopic of composer, conductor, music educator etc. Leonard Bernstein. It stars and is directed by Bradley Cooper (
As a director he’s also flexing and back-flipping with numerous large scale sequences, detailed depictions of multiple time periods, shooting in both black-and-white and color, and occasionally sliding between realism and fantasy. It shows so much effort and enthusiasm it’s sure to annoy the shit out of many, but fuck ‘em. I enjoyed it. 
