Hudson Valley Crucial Viewing May 9-May 22

Hey y’all. Hope everyone has been enjoying the true, Springtime weather we’re getting this year. While I know the rain has been a bit of a bummer, at least it’s a good excuse to go see a movie, right? When the weather sucks, it’s one of the best things to do. We’ve got some great films for y’all over the next two weeks to keep you out of the rain. We’ll have some KFF specific announcements in the coming weeks, but in the meantime, support your local theaters, and us, if you can. We have a member’s screening coming up at the end of the month and you still have a little time to join and vote on what movie we’re showing! Anyway, without further ado…

Ray Kellogg’s THE KILLER SHREWS & Bernard L. Kowalski’s ATTACK OF THE GIANT LEECHES
World’s End Comics, Kingston – Saturday, May 10, 7:00pm

Who doesn’t love a double feature? Especially one that runs under 3 hours. That’s what’s in store at World’s End Comics this weekend, lovingly curated by friend of the Foundation, Joey Wright. I love that we’re bringing back the “midnight movie” phenomenon. Throw on some B-list horror, or funky sci-fi, and let the good times roll. These two are sort of classics of the b-movie genre, in my opinion, Attack of the Giant Leeches sort of plays out like an extra-ridiculous X-Files episode. Anyone remember the episode with the sewer leech creature? You know what I mean. Honestly, there’s not much more to say about these two other than, they’re extremely fun, you’ll have a great time, and it’s not a bad way to spend a (presumably) rainy Spring evening. Don't miss it. (1959, 69min; 1959, 62min)

P.J. Hogan’s MURIEL’S WEDDING
Rosendale Theater, Rosendale – Thursday, May 15, 7:00pm

Have I told you guys how much I love Rosendale Theater? I definitely have, but it never hurts to repeat it. I love this movie theater, and I love how much fun they’re willing to have. This week we’ve got a girl’s night out kind of flick from them, with Toni Collette’s breakout film Muriel’s Wedding. It’s got everything you need for a raucous group viewing experience: it’s camp-galore, it’s got over-the-top performances, cartoonishly evil antagonists, and, most importantly, an ABBA-heavy soundtrack (that also features the likes of the Ronettes, Blondie, and the Turtles, to name a few). It was also one of the biggest openings for an Australian film at the time. This is definitely one of our less serious Crucial Viewing recommendations, but that doesn’t mean it’s not worth your time. It’s always fun to see actors at their starts, and this is a surprising turn for Collette, and a delightful performance. It’s laugh out loud funny at times, and I think a movie that’s pretty under represented in the grand legacy of female driven comedies and quirky rom coms (though I use that term loosely here). If you haven’t seen it, or perhaps haven’t heard of it, maybe now's the time to get your friends together for a raucous viewing experience. I definitely think this one is better with a group. (1994, 101min)

Sidney Lumet’s DOG DAY AFTERNOON w/ Chris Sarandon
Starr Cinema, Saugerties – Opens Friday, May 16; Close-Up with Chris Sarandon Sunday, May 18, 3:00pm

I have a really hard time picking my “favorite” films. It can be a pretty impossible question to answer, like, from what time period? Of what genre? For what mood? If you give me some constraints with the question I can probably give you, like, a top three, but I’d be hard pressed to pick a single movie. That said, Dog Day Afternoon is up there, for me. I watched this movie for the first time in highschool, when I was stumbling through late 20th century cinema, largely unguided. I came across it after hearing the (slightly apocryphal) story that inspired it, mainly that John Wojtowicz had planned the robbery in order to pay for his partner, Elizabeth Eden’s, sex change operation. A sort of gay pride Robin Hood story? Sign me up. The film is frenetic, intimate, and intense. The screenplay was drawn from a Life article published in 1972 titled “The Boys in the Bank” (also the working title of the film during production). It’s hard to figure out what else to tell you all about this movie, because the production stories are as rich as the film itself. Al Pacino signed on and quit the film at least 4 times before production even started, and also pushed to have John Cazale cast despite his lack of resemblance to the real life Sal Naturile. This is probably my favorite of Lumet’s films, though it’s a close call. Just go see this, okay? It’s going to be especially worthwhile to hear Chris Sarandon (who plays Pacino’s lover) talk about it. (1975, 125min)

Gordon Parks’ SHAFT
Story Screen, Hudson – Monday, May 19, 8:00pm

The Blaxploitation genre has been on my mind lately. Maybe it’s because of the subtle nods towards the genre in Ryan Coogler’s Sinners (are you guys sick of me mentioning that movie yet?). Maybe it’s because I was digging into Spike Lee’s excellent Criterion Closet picks and loved his interview about Melvin van Peeble’s Sweet Sweetback’s Baadasssss Song (I wish I could link the video but it’s paywalled by the Criterion Channel). Blaxploitation is a genre I’m still learning about, and it’s been one of the most enjoyable parts of my own film education. Story Screen is doing a whole series this month featuring Blaxploitation films curated by Josiah Howard, who literally wrote the guide to the genre. I’m just going to quote his commentary on the film here, and really encourage you all to make it out to at least one of the films in this series, even if it’s not this one. They’re more than worth your time. Anyway, here’s Howard: “The film that solidified the genre’s success (Roundtree appeared on the cover of Newsweek magazine), and the film that set the template for audience expectations, this NYC crime drama captivated audiences and would be followed by two sequels… and a short-lived TV series! A film title that everyone has heard (it’s been re-made a few times) the movie theme song “Theme From Shaft,” recorded by Isaac Hayes, became a No. 1 Pop hit and won both a Grammy and an Academy Award!” (1971, 100min)

David Cronenberg’s CRASH
Orpheum Theater, Rhinebeck – Wednesday, May 21, 8:00pm

In case you’re shaking your head in disbelief, no, this isn’t the Crash from 2004 with the bad race politics and baffling Best Picture Win. This is the other Crash, the one that was arguably even more controversial, and is certainly more challenging. Cronenberg’s film is adapted from a J.G. Ballard novel of the same name, and if you’re at all familiar with Ballard’s work you can probably get a sense of this movie’s vibes. Its sexuality is cold and clinical, and its premise leans towards the disturbed – fetishists obsessed with car crashes. I love Ebert’s review of this film: “Crash is about characters entranced by a sexual fetish that, in fact, no one has. Cronenberg has made a movie that is pornographic in form, but not in result ... [Crash is] like a porno movie made by a computer: It downloads gigabytes of information about sex, it discovers our love affair with cars, and it combines them in a mistaken algorithm. The result is challenging, courageous and original—a dissection of the mechanics of pornography. I admired it, although I cannot say I "liked" it.” Now, listen. I love Crash. It’s like the precursor to Julia Ducournau’s Titane, or some kind of more humanized successor to Tetsuo: The Iron Man. The cast is phenomenal, Spader in particular, and I think it’s a film worth contemplating, however unpleasant it might be to watch. Plus, Orpheum is presenting it with a live score from Smootaphilia. Let the Indie Sleaze vibes take you away on this technosexual, dystopian joy ride. (1996, 100min)