Chance Solem-Pfeifer
Arts Writer at Willamette Week
Host at Be Reel
Host of @thekick_pod on Now Playing Network | Arts writing @wweek @dailyastorian | Portland Critics Association | Formerly, lovingly @hearnebraska
Articles
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3 weeks ago |
wweek.com | Chance Solem-Pfeifer
Josie and the Pussycats (2001)In retrospect, Josie and the Pussycats was destined for cult status on arrival in 2001. As the movie itself suggests, teenagers were hungrier for celebrity entertainment than for a satire of its corporate manufacturing. But step back, and what’s not to love? Josie plays like a cross between That Thing You Do! and Austin Powers.
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1 month ago |
wweek.com | Chance Solem-Pfeifer
The Masque of the Red Death (1964)Singular B-movie impresario Roger Corman fostered a collaborator tree of both nascent legends (Jack Nicholson, Martin Scorcese) and stars in their dotage (Boris Karloff, Ray Milland). But Vincent Price was an anomaly in finding a genuine career sweet spot alongside Corman. Their 1960s “Poe Cycle” cemented and deepened Price’s horror icon status right in the thick of his acting prime.
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1 month ago |
wweek.com | Chance Solem-Pfeifer
Metropolitan (1990)To the parties concerned, there’s no such thing as champagne problems. There are only problems. That’s the fun, the irony, the empathy and the joke of Metropolitan (1990), Whit Stillman’s breathless debut comedy about a crew of debutante ballers whiling away Christmas break on Manhattan’s Upper East Side. Crackling through an Oscar-nominated screenplay, the clique argues about whether there’s a popular imagination.
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1 month ago |
wweek.com | Chance Solem-Pfeifer
The Straight Story (1999)Often recollected as that time Disney released a David Lynch movie, The Straight Story deserves a deeper reputation than that of its unlikely distributor. Yes, Lynch’s arguably least-remembered feature film has the shape of a conventional “one last shot at life” dramedy.
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1 month ago |
wweek.com | Chance Solem-Pfeifer
The Long Goodbye (1973)Every generation gets the Los Angeles snoop it deserves. In The Long Goodbye (1973), Elliott Gould plays Philip Marlowe—the noir detective originated by Dick Powell and immortalized on screen by Humphrey Bogart—as five-o’clock shadow personified. From the moment we meet Marlowe, he’s exhausted, suit rumpled, jaded by free love, cigarette dangling from his bottom lip for minutes at a time.
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