A bizarre episode of father-son bonding in the 21st century

Unlike many fledgling web series that use broad comedic strokes to up the laughs per second, faux-vlogging gem My Bastard Son combines the naturalistic acting of shows like The Office with absurd circumstances and very specific characters. The grainy, five-minute video shows James Urbaniak (American Splendor) trying to connect with…

Horror films from A to Z: part four

At The ABCs of Death, showing now at the Sie FilmCenter, you’re going to get the equivalent of horror tapas — one short, punchy tale for each letter of the alphabet, each delivered by a current or rising star in the genre. It’s a tasty appetizer that can serve as…

Horror films from A to Z: part three

At The ABCs of Death, showing now at the Sie FilmCenter, you’re going to get the equivalent of horror tapas — one short, punchy tale for each letter of the alphabet, each delivered by a current or rising star in the genre. It’s a tasty appetizer that can serve as…

Horror films from A to Z: part two

When you to to The ABCs of Death, showing now at the Sie FilmCenter, you’re going to get the equivalent of horror tapas — one short, punchy tale for each letter of the alphabet, each delivered by a current or rising star in the genre. It’s a tasty appetizer that…

Horror films from A to Z: part one

At The ABCs of Death, opening today at the Sie FilmCenter, you’re going to get the equivalent of horror tapas — one short, punchy tale for each letter of the alphabet, each delivered by a current or rising star in the genre. It’s a tasty appetizer that can serve as…

Now Showing

Art of the State. This juried effort at the Arvada Center has been attracting crowds, to say the least. The two-person jury comprised Collin Parson, Arvada’s exhibition manager and curator, and Dean Sobel, who, as director of the Clyfford Still Museum, is an art-world celebrity. Because of the curators’ stature,…

Cate Shortland’s Lore resembles a dark children’s fable

Nine years on from her intoxicating road-movie debut, Somersault, Australian director Cate Shortland has fashioned a different kind of journey — this one set amid the winding trails of the Bavarian woods, circa 1945. There the five children of a captured Nazi officer flee toward what they hope is safety…

Oz the Great and Powerful tilts toward the mawkish

It’s a bad omen when, early on in Oz the Great and Powerful, we learn that the full given name of its wizard is Oscar — also the name of the ceremony that star James Franco once presided over as calamitously as he does this sagging Disney tent pole, a…

The existence of The Gatekeepers is its own chief statement

It’s a cliché of the voting world that even the staunchest liberals — especially of the privileged, male variety — tend to drift rightward through middle age and beyond. Yesterday’s protesters develop the libertarian malaise; its progressives seek to fence in their fiefdoms and tax-proof their stock portfolios. Not so…

Other Ozzes great and (mostly) terrible

Twenty minutes into the first full-length movie based on L. Frank Baum’s most beloved novel, a duck pukes into the face of Larry Semon, the star and director. Semon’s 1925 flop, titled The Wizard of Oz, opens and closes with a Geppetto-esque toymaker reading to his granddaughter from a well-loved…

Five picks from the Women + Film Voices Film Festival

As with past editions, this year’s third annual Women + Film Voices Film Festival aligns with the celebration of International Women’s Day — which is Friday, March 8. Curated by festival producer Tammy Brislin, FilmCenter artistic director Brit Withey and festival director Britta Erickson, narratives and documentaries alike get top…

Now Showing

20th Century Modernists. For her first show, Thérèse O’Gorman — who moved from Santa Fe to become the exhibition director at David Cook Fine Art in LoDo — has put together 20th Century Modernists, which highlights abstraction done in the West. The show proper, in the street-level space, is dedicated…

Let My People Go!‘s cute comedy offers little insight

With his fluttery falsetto and haughty gaze, Ruben, the flamboyantly gay, ambivalently Jewish twenty-something hero of the new French comedy Let My People Go!, is the kind of big-screen character usually relegated to the sidelines. It’s refreshing to see him front and center, gamely played by Nicolas Maury, gangly limbs…

The reimagined Jack the Giant Slayer is a tale well told

To paraphrase Stephen Sondheim, there are big, tall, terrible, fleshy, bulbous-headed giants in the sky in Jack the Giant Slayer. And what would a big-budget, mildly revisionist, 3-D spin on “Jack and the Beanstalk” be if those fearsome beasties didn’t somehow make it down to sea level, where a storybook…

West of Memphis is more a work of advocacy than of journalism

The murder of the children should be the most disturbing thing. But for many viewers, that isn’t the case in the four films chronicling the arrest, conviction, and eighteen-year incarceration of Damien Echols, Jessie Misskelley and Jason Baldwin for a crime they didn’t commit. The crime-scene photos of three young…

Californication‘s excesses take a turn for the worse

Honestly, when it started six years ago, Californication was provocative, ballsy and fun, with laugh-out-loud dialogue and plenty of smart musings about love, sex, family and responsibility. Over five seasons, anti-hero Hank Moody (David Duchovny) has drank and fucked his way through a series of Hollywood writing jobs, all the…

21 & Over just dares you to get offended

Guy humor is always with us, kind of like the poor. For as long as cavemen have been etching fart jokes into the walls of caves, women have been rolling their eyes, as they didn’t yet have the language tools to whip up outraged essays for Jezebel. Still, given the…