Natasha Lyonne is probably best known for her role as Nicky Nichols on Orange is the New Black, where she plays a heroin-addicted inmate known for her wild hair, mischievous smile and lady killer charms—be still, my heart.
OITNB won't have a new season out until June, but you get your lesbian cinema fix when the Loft Cinema (3233 E. Speedway Blvd) screens But I'm a Cheerleader this Sunday, March 26 at 7:30 p.m.
The film stars (you guessed it!) Natasha Lyone as a young woman named Megan whose parents ship her off to a gay-to-straight conversion camp hoping she'll be able to focus on back handsprings instead of boobs during cheerleading practice. Good luck with that.
Michelle Williams, RuPaul (out of drag) and Rufio also show up in this cinematic delight.
It's worth more than worth the $6 ticket—so, maybe you should sign up for a Loft Membership? As March nears its end, so does the Loft's annual membership drive.
Here's what you get if you sign up—during March the number of free tickets are doubled, as reflected below:
4 FREE TICKETS* ANNUALLY FOR INDIVIDUALS, STUDENTS & TEACHERS
8 FREE TICKETS* ANNUALLY FOR COUPLES & ABOVE
MONTHLY FREE SCREENINGS OF GREAT NEW FILMS
FREE ORGANIC POPCORN AT EVERY FILM
FREE LOFT CINEMA STICKER
MEMBER PRICE OF $5.75 FOR ALL REGULARLY SCHEDULED FILMS
By Bob Grimm
on Thu, Mar 23, 2017 at 9:00 AM
The King Kong cinematic machine gets cranking again with Kong: Skull Island, an entertaining enough new take on the big ape that delivers the gorilla action but lags a bit when he isn’t on screen smashing things.
Among Kong incarnations, this one has the most in common with the 1976 take on the classic story, basically because it’s set just a few years earlier in ’73. While there is a beautiful girl the big guy does get a small crush on (Brie Larson as a photographer), the story eschews the usual “beauty and the beast” Kong angle for more straight-up monster vs. monster action.
Unlike the past American Kong films, this one never makes it overseas to Manhattan, opting to stay on Kong’s island—thus, the title of the film. Kong himself is portrayed by motion-capture CGI, and he’s a badass. He’s also tall enough to be a formidable foe for Godzilla, a mash-up already announced for 2020. In the few scenes where he interacts with humans, Kong plays like an organic creature rather than a bunch of gigabytes. He blends well with his human counterparts.
That’s right, there hasn’t been much mention of those human counterparts yet. That’s because, with the exception of John C. Reilly as a fighter pilot stranded on the island during World War II, most of the humans are bland. Tom Hiddleston might make a decent James Bond someday, and he’s a lot of fun as Loki, but he just doesn’t play here as a rugged tracker/action hero. Reilly, on the other hand, gives the film the bursts of humor it needs. His castaway is a wild card, like Dennis Hopper in Apocalypse Now.
Actually, the whole movie, with its post-Vietnam setup and Nixon-era themes, plays like Apocalypse Now meets King Kong. When Reilly is on screen, it plays like Apocalypse Now meets King Kong meets Talladega Nights.
By Bob Grimm
on Tue, Mar 21, 2017 at 10:00 AM
If this schlocky horror offering suffers from anything, it’s that it thinks it is deeper and cleverer than it actually is.
Penned by James Gunn, this silly movie pits a bunch of office staff workers against one another after a voice comes over their intercom telling them to start killing each other off, or everybody dies. The building is sealed, the “experiment” is put into motion, and the likes of Tony Goldwyn and John C. McGingley start acting like real, homicidal assholes.
Directed by Greg McLean, the film is fun on a very base level (If you like movies where lots of heads blow up, this one’s for you!). There’s a definite terror involved in not knowing whose head is going to blow up next, and the folks handling the gore factor do a pretty good job. It’s when the big reveal comes at the end, a big reveal that offers absolutely nothing in the surprise category, that the movie loses a few points.
John Gallagher Jr. (10 Cloverfield Lane) is good as the protagonist, a guy who does his darndest to not join in on the inter-office carnage. You could look at this as deep satire, or a resonating meditation on the current state of mind control when it comes to government and employers in an increasingly paranoid society. I like to look at it as a film where brains go flying in a fairly convincing, somewhat entertaining manner.
Some nights all we want to do after a long, exhausting day is change into that worn-out sweatshirt, grab our favorite snacks and curl up next to our furry friends on the couch for a mindless Netflix marathon. When even Netflix runs out of binge-worthy shows for your tastes, have no fear—Casa Video is here! Here are the current top ten rentals you too can snag from Tucson's favorite video store.
I'm a unique 1-year-old boy and I need a new home. I was transferred to HSSA from a different shelter so they don't know a lot about my previous living situation. My teeth look a little different, but I think that's what makes me special and unique!
I've been getting well with other dogs, and love meeting new people. I'm learning how to sit for treats and love to play! If you have a current dog bring them over to HSSA Main Campus at 3450 N. Kelvin Blvd. to do a doggy meet and greet!
I need a home, but if you aren't looking to adopt you can still help homeless pets like me by donating to HSSA's fund to build a new home!
They are asking people like you to help them raise 3 million dollars! Click here for more information about the new shelter and how you can help today!
I hope to meet you soon!
By Bob Grimm
on Thu, Mar 16, 2017 at 2:00 PM
Hugh Jackman—allegedly—says goodbye to Wolverine with Logan, a total shocker of a superhero movie that lays waste to the X-Men and standalone Wolverine movies that came before it. Director James Mangold, who piloted the decent The Wolverine, revamps the character’s mythos, and pulls along Charles Xavier (Patrick Stewart) for the gritty, bloody, nasty, awesome ride.
It’s the future, and the X-Men are gone. A mutant hasn’t been born in a quarter of a century, and Logan isn’t looking too hot. He’s driving a limo to make ends meet, coughing up blood, and basically not aging well. He’s doing a lot better than Xavier, the mutant formally known as Professor X, who’s prone to seizures and suffering from some sort of degenerative brain disease. In short, the days of X-Men glory are way, way over, with Logan and Xavier having a shit time in their autumn years. Just when it seems as if the pair will waste away in their miserable existence, along comes Laura (a dynamite Daphne Keen). She’s a genetically engineered mutant equipped with the same retractable claws and viciously bad temper as Logan. When her life becomes endangered, Logan throws her and Xavier in the back of his vehicle, and they are off on one wild, dark road trip.
To say this movie is violent would be an understatement. On the heels of Dead pool and its R-rated success, Mangold and company have let the flesh and profanity rip with this one. It’s early in the year, but I expect this will wind up on my year-end best list.
By Bob Grimm
on Thu, Mar 16, 2017 at 11:00 AM
This Oscar nominated film (Best Foreign Film) from Denmark is about as complicated and difficult a story to tell, but writer-director Martin Zandvliet more than succeeds.
It’s post WWII in Denmark, and a group of Nazi youth POWs is tasked with clearing a beach of thousands of mines. Their commander, a Danish Sergeant (an excellent Roland Moller) views his crew with contempt at first, treating them harshly. Over time, the fact that they are just young boys begins to wear on him, especially when some of them meet their deaths on the beach.
The cast is beyond good here, delivering a story that has echoes of All Quiet on the Western Front. It’s a difficult film in that it portrays wartime German soldiers in a sympathetic way, and the film will justifiably irritate some.
In the end, it’s about the horrors of war, its aftermath, and coping with the hatred and bitterness that follows. The movie is a heart wrenching experience, especially in how Moller’s character endures an emotional rollercoaster. Moller makes everything the Sergeant goes through seem authentic and convincing. This is a brutal film, and it should be.
By Bob Grimm
on Tue, Mar 14, 2017 at 12:00 PM
Chris (Daniel Kaluuya), a young African-American man, is a little nervous. He’s going to visit the parents of Rose Armitage (Allison Williams), his white girlfriend. Rose is relaxed about the trip, but Chris is a little anxious. His anxiety proves justified shortly into the trip.
Upon arrival at her large estate, her parents like Chris. They really, really like Chris. Actually, parents Missy and Dean (Catherine Keener and Bradley Whitford) like Chris at a level that’s a bit unsettling. Chris shrugs it off at first, as does Allison, but strange things start happening.
Writer-director Jordan Peele, the comedic performer from TV’s Key & Peele, and the adorable, funny cat movie Keanu, delivers a huge cinematic surprise with Get Out, a twisted, darkly satiric, nasty little horror film that pulls no punches when it comes to race relations and dating. Peele has cited Night of the Living Dead and The Stepford Wives as inspiration for this journey to the dark side of his creative soul.
Those films’ influences are detectable, and I’d say you could throw in a pinch of Rosemary’s Baby with a side of Being John Malkovich as well.
Two of the hardest things to accomplish with a movie are to make people laugh and get them legitimately scared. Get Out manages to do both for its entire running time. Peele takes taboo subjects and stereotypes and doesn’t let his pen get restricted by fear of offending anybody. This is an appropriately evil, scabrous movie.