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Pencils Down! The 100 Days of the Writers Guild Strike (2014)
a slight shift
Greetings again from the darkness. This documentary from director Brian S. Kalata (a successful Location Manager) details the 100 day strike of the Writers Guild of America, and more interestingly, provides a peek behind the curtain of the business side of the entertainment industry. It's an industry that continually cries financial wolf, while green-lighting the construction of new theatres and producing ever-bigger budget projects. Though this documentary won't clear up any of the voodoo economics (to borrow a phrase), it does shed some light on who the power players are and who are the ones typically drawing the short straw.
On November 9, 2007, 4000 picketers joined the rally outside the Fox Studios as the WGA strike began. Numerous interviews with industry insiders provide us a basic education on what makes the entertainment world unique when it comes to labor disputes. Here, the leading studios competitors, mind you bond together to go up against each of the separate unions (DGA, SAG, WGA, Teamsters, etc) at contract time. Historically, this has resulted in contracts that heavily favor and maintain the largest piece of the pie for the power studios now run by major media conglomerates, rather than the hands-on studio heads of early Hollywood (Mayer, Warner, et al).
What made this particular strike more interesting was the strong support the WGA received from its members both past and present, the acting community (SAG), and the viewing public, thanks to an online media blitz telling the story. At the heart of the negotiations was this (at the time) new and rapidly expanding digital media. The studios claimed they didn't have a business model yet for streaming, iTunes, Netflix, etc, so this was all to be categorized as "home video", which short-changed the writers from previous contracts.
Those being interviewed include Alan Rosenberg, Harlan Ellison, Howard Rodman and Patric Verrone all key players in the strike and the vision for the WGA. Each is very forthright in the past shortcomings of contract negotiations, as well as how they felt this strike offered the first real opportunity for fairness.
Labor issues are commonplace in most industries, but the fascination here is derived from the creative artists going up against powerful corporate forces. Even with a show of solidarity between the various entertainment unions, the cause is severely impacted when the DGA cuts their own deal. The film acts as a primer on both entertainment economics and labor relations two topics we rarely have much access to, though we only get the labor (writers) side of the story.
The film trudges through the different stages of the 100 days, and makes it clear that the WGA felt back-stabbed by the DGA at a time when the industry was in danger of having its most important event canceled
Oscar night. In the end, the writers got their "toe in the door" for digital media, but Julia-Louis Dreyfus said it best
"Without the writers, we are speechless."
Hacksaw Ridge (2016)
respect
Greetings again from the darkness. Why doesn't every high school student learn about Desmond Doss in History class? Beyond that, why isn't Desmond Doss profiled in every Psychology and Philosophy class? It's inexplicable that more Americans aren't familiar with his story, much less failing to honor his legacy with a well deserved tribute. Fortunately director Mel Gibson (Braveheart) and screenwriters Andrew Knight (The Water Diviner) and Robert Schenkkan ("The Pacific") bring us a spirited look at this under-appreciated American war hero.
Andrew Garfield (The Amazing Spider-Man) plays Desmond Doss and perfectly embodies the conviction and dedication of this extraordinary (not hyperbole in this case) man. See, Desmond Doss was one of the first conscientious objectors in the U.S. Army. His religious beliefs (Seventh Day Adventist) prohibited him from using a weapon or killing another person two things that don't go over well with fellow soldiers or commanding officers. Yet, Doss was committed to serving his country as a medic and saving lives, rather than taking them.
Unbelievable may be the best description even though his story is absolutely true. Credited with saving the lives of at least 75 wounded soldiers, Doss and his fellow soldiers are depicted in the film fighting the Battle of Okinawa at Hacksaw Ridge a topographical challenge punctuated by the need to climb a rope wall in order to scale the face of the cliff. Their reward was facing thousands of Japanese hiding in tunnels and bunkers, waiting patiently to kill in mass. There will be no spoilers here on the courageous actions of Doss you should see for yourself.
The early part of the film features a heart-warming first love story involving Desmond Doss and Dorothy Schutte (Teresa Palmer, The Choice). Watching young love bloom is precious and provides a stark contrast to the battle scenes. The two make a lovely couple and we can't help but root for them. Once Doss hits basic training, we find Vince Vaughn in the role of Sergeant Howell, Sam Worthington (failing to hide his Aussie accent) as Captain Glover, and Luke Bracey (Point Break, 2015) as Smitty, one of the soldiers who initially has no interest in serving with Doss. The Army Psychologist is played by Richard Roxburgh, whom movies lovers will recognize as The Duke from Moulin Rouge! (2001).
Some of the best scenes involve Desmond's parents played by screen vets Hugo Weaving and Rachel Griffiths. Both are excellent in roles requiring very different and extreme emotional moments. It's a credit to Gibson's filmmaking expertise that he is able to add depth to all aspects family turmoil, a classic love story, the brutality of war, and the deep religious convictions. There are a few moments of "artistic license" and some of the CGI is inconsistent and even over-produced at times, but the intensity of the battle scenes rival that of Saving Private Ryan and the landing at Omaha Beach. It's a passionate piece of filmmaking centered on a most passionate man. You may disagree with much of what Mel Gibson has said and done in his personal life (and I hope you do), but as a film director he has earned much respect. And speaking of respect
Desmond Doss. Enough said.
Christine (2016)
the latest in blood and guts
Greetings again from the darkness. On July 15, 1974, television news reporter Christine Chubbuck read a prepared statement and then committed suicide on-air by putting a gun to her head and pulling the trigger. You may not recognize her name, but you have likely heard the story it's no urban legend. Director Antonio Campos and writer Craig Shilowich offer up a biopic with some insight into Ms. Chubbuck's personal and professional life so that we might better understand what drove her to such a public and tragic end.
Rebecca Hall takes on the titular role (don't mistake this for the 1983 John Carpenter/Stephen King film), and despite her usual stilted on screen mannerisms, she delivers what is an emotionally raw and nuanced performance that is the best of her career and one that keeps us glued to a story of which we already know the ending. We see a woman dedicated to her vision of the profession, while being maddening to those who know her, love her, and work with her. She has an awkward intensity that compounds her lack of social skills and an ongoing struggle with depression. Somehow, Ms. Hall allows us to understand the personal and professional struggles and how things could have spiraled into hopelessness for Christine.
The commentary on the early days of tabloid journalism ("If it bleeds, it leads") is especially interesting given how the current Presidential campaigns have been covered more than 40 years after the film is set. One might also note the parallels to the character of Howard Beale in Network (1976) though Christine Chubbuck was less vociferous and never took to yelling "I'm mad as hell, and I'm not going to take it anymore" while on camera (though she evidently felt that way).
Support work comes from Tracy Letts as the frustrated news director, Michael C Hall as the mixed-signals anchorman on whom Christine has a quiet crush, J. Smith-Cameron as her mother and housemate, Maria Dizzia as her friend and co-worker, and Timothy Simons as the misunderstood and ignored weatherman.
The film clearly makes the point that Christine was a misfit in her work and personal life, and though some of the timeline and known specifics are either re-worked or ignored for artistic purposes, Ms. Hall must be commended for highlighting the effects of depression. Even the best meaning friends and family can unintentionally make things worse. We see a clip of Walter Cronkite's actual report of her death, and Christine's own words "The latest in blood and guts" were actually ahead of her time.
Finding Babel (2015)
The Lost Pages
Greetings again from the darkness. Tracing one's roots, or family tree, has become much easier in the internet age, and the process has made for a few interesting documentaries. Andrei Malaev-Babel is an acting teacher at Florida State University, but more importantly, he's the grandson of famed Jewish-Soviet writer Isaac Babel. Director David Novack tracks the grandson's journey in re-tracing the steps of the elder Babel's writings and subsequent arrest/imprisonment/execution.
Isaac Babel is one of the best known post-Russian Revolution writers thanks to his "Odessa Tales" and "Red Cavalry". He was often critical of the post-revolution society and leadership, and it was his play "Maria" that was the final straw that resulted in his arrest, torture and, finally, execution in 1940. His grandson wants to know the full story especially what became of the volumes of unpublished work that was seized and "lost" during Stalin's Great Purge.
Liev Schreiber narrates and reads excerpts of Babel's work throughout the film. It's these passages that Andrei and Novack use to make the subtle comparison of then and now much of today's Russia is not so different from the oppressive Soviet Union of the 20's and 30's. Andrei meets with those who have researched his grandfather, as well as those who have been influenced by his work. There are exceptional clips of a 2003 discussion with Andrei's grandmother Antonina Pirozhkova who provided much insight before her passing at age 101. This is a woman who was brilliant and tough in her own right.
The journey takes us through Ukraine, Paris and Odessa (where a statue is being constructed in his honor). Andrei looks through the criminal file, though once again, the file with writings is conspicuously missing. He also visits the mass grave where his grandfather is supposedly buried, and we learn that Isaac's charge of treason was later reversed
unfortunately many years after his execution. Andrei's journey through Isaac's 1920 diary blends well with the various stops, but we can't help but think that as viewers, we are witnessing personal and emotional times that we should not necessarily be seeing
absolutely fascinating, but so very private.
American Pastoral (2016)
the end of idealism
Greetings again from the darkness. Tackling one of the great American novels is a difficult challenge for even the most seasoned film directors and a dubious undertaking (at best) for a first-timer. Philip Roth won a Pulitzer Prize for his 1997 novel "American Pastoral", and there have been rumblings of a Hollywood production for more than a decade. It's somewhat surprising that the screen version is directed by first time director Ewan McGregor with the Scottish actor also taking on the lead role of local Jersey boy and sports hero Seymour "Swede" Levov.
The story examines the cracks behind the façade of a seemingly perfect family the sports hero marrying the beauty queen. Of course, there is always more going on within a family than most care to admit (at least that was the case in the days prior to Facebook). There's an early scene where Swede has introduced Dawn (Jennifer Connelly) to his father (Peter Riegert), and the philosophical and religious differences perfectly capture the changing times and mores from one generation to the next. Never has this been more true than the late 1960's and early 1970's political and social upheaval were daily occurrences and sometimes quite violent.
The first half of the movie is exceptionally well done and captures the essence of why the second half feels like a total decimation of everything Swede thought he had. He and Dawn's daughter Merry is beautiful and feisty and stutters something that only enhances the anger she expresses and anguish she causes for her parents. Her innocent questions as a young child evolve into radical political beliefs and affiliations as she grows up.
Merry (ironically named) is by far the most interesting character in the story, but with the focus on Swede, Dakota Fanning only has brief moments that are worthy of her talent, and Dawn has only a few emotional moments that allow Ms. Connelly to flash the acting depth she hasn't shown in years. So much time and attention is devoted to Swede that the second half is a bit of a letdown and leaves too many details and questions unanswered.
John Romano's (The Lincoln Lawyer) adaptation of the American classic took a different direction than we might have preferred, but it's a thankless job since so many have considered this as unfilmable. McGregor shows a good eye as a director, though it's obvious this material needed a more experienced filmmaker at the helm. The great Alexandre Desplat provides a classy score
the piano pieces are especially well suited. Supporting work is solid from David Strathairn as narrator Nathan Zuckerman, Rupert Evans as Swede's brother, Molly Parker as Merry's therapist, Uzo Aduba as Swede's employee, and Valorie Curry as a misguided revolutionary. It's a reminder that family dynamics may be the most complex organism, and when blended with the volatile times of the Vietnam War, a generational gap should be expected
even if it's difficult and emotional to accept.
Before the Flood (2016)
Leo dons the climate change crown
Greetings again from the darkness. Ten years ago Al Gore became a climate-change icon thanks to the Oscar-winning documentary An Convenient Truth (from director Davis Guggenheim). With this updated warning, the climate change crown is passed to Leonardo DiCaprio, and rather than just speak to the topic, he takes us on a worldwide journey to show us the effects.
The film is bookended by DiCaprio's speech to the UN general assembly after he was named UN Messenger of Peace on Climate Change. It's a reminder that the mega movie star has long been an environmental activist and yes, before you scoff, he does acknowledge that his carbon footprint is probably larger than ours (an obvious understatement unless you also travel by yacht and private jets, and own multiple mansions).
DiCaprio's personal story about Bosch's "The Garden of Earthly Delights" hanging above his crib (seriously, how many parents think this is acceptable artwork for a toddler?) acts as a visual to his message that we are on the path of virtual destruction to the earth that we now know.
The power of celebrity in on full display as DiCaprio scores interviews with such luminaries as UN Secretary General Ban Ki-moon, President Obama, Elon Musk, John Kerry, and even Pope Francis. There is also a clip of his long-ago interview with then President Clinton (Bill, not Hillary). However, it's not the talking heads that have the most impact here. Rather, it's the first-hand look at the Canadian Arctic, the disappearing glaciers of Greenland, the sunny day street flooding in Miami, the destruction of Indonesian Rain Forest to capitalize on the palm oil market, and the eroding coral reefs. The film plays like a Tim Burton Travel Channel series each stop more nightmarish than the previous.
His passion is obvious, though his knowledge less so. DiCaprio understands the power his celebrity brings, and he joins with director Fisher Stevens (known mostly for his acting, but also an Oscar winning director for The Cove, 2009) in this attempt to bring the urgent message to the masses. As they state, we are beyond simply changing lightbulbs, and the key is a shift from fossil fuels to renewable energy a shift that China (not the U.S.) has taken seriously.
With generic solutions like "consume less" and "vote better", the film mostly avoids controversy
though it does acknowledge the slick and well-funded 'campaign of denial' by those who profit mightily from a fossil-fuel dependent world. We see an impressive map/video screen tracking ocean currents, temperatures, etc. and there is a chart comparing electricity usage by U.S. citizens vs other countries (we are energy hogs, in case you weren't sure). The ending message hasn't changed much in the past 10 years
"It is all up to us".
Keeping Up with the Joneses (2016)
Mr and Mrs Jones
Greetings again from the darkness. Dozens of movies through the years make up the Spy Action-Comedy segment. Most of these lean heavily on either action (Mr. and Mrs. Smith, Red, Knight and Day) or comedy (Austin Powers, Get Smart, Date Night). The latest entry from director Greg Mottola and writer Michael LeSieur offers a more balanced approach while being somewhat grounded in familiar suburbia. Perfect casting certainly helps.
Comedies are the toughest genre to review because the only thing that matters does it cause you to laugh? depends on the sense of humor of each viewer and even their frame of mind while watching. So what I can report is that the full theatre at my screening was filled with enthusiastic laughter multiple times, along with a pretty steady stream of chuckles and giggling. This will undoubtedly vary from the accounts of uppity film critics who will discount the basic plot and obvious laughs (which is the whole point).
A James Bond-type opening credit sequence sets the tone as we abruptly shift to watching Jeff and Karen Gaffney (Zach Galifianakias, Isla Fisher) sending off their two sons to summer camp before returning home to their idealistic cul-de-sac suburban home. Things pick up when the new neighbors, Tim and Natalie Jones, arrive a seemingly perfect couple played by Jon Hamm and Gal Gadot. They are the type of couple who are beautiful to look at, stylishly dressed, and even show up with a blown-glass sculpture as a gift for their new neighbors.
Of course, this perfect couple is really married spies seeking information from the military weapons contractor where Jeff works as a Human Resources associate. It's Karen who senses something is off about the perfect couple, which leads to her stalking Natalie all the way to a dressing room where she is comically intimidated by Wonder Woman in black lingerie. On a side note, Ms. Fisher does have a later sequence where she proves to be anything but a homely housewife, despite how that dressing room scene is presented.
The men head off for some male bonding at a highly unusual specialty restaurant, leading to one of the more manic sequences in the movie. The four leads are all excellent, but it's Gal Gadot who is the real surprise and her scenes with Ms. Fisher are the film's best. Both are allowed to shine, while the men are a bit more one dimensional. Galifianakias is the all-trusting good guy just happy to have some excitement in his life, while Hamm is the super cool spy (who wishes he wasn't). Both men seem to enjoy the chance to make friends, while the women are a bit more focused on tasks at hand.
Director Mottola is known for his films Adventureland and Superbad, and writer LeSieur is best known for Me, You and Dupree. The impressive thing about this latest is that the comedy mostly derives from character and situational interactions, and the expected steady stream of punchlines never materializes. There is even some insight into marriages that have become a bit too predictable, and the challenges of making new friends when all available energy is devoted to parenting and making ends meet.
In addition to the four leads, there are some funny moments for Maribeth Monroe, Matt Walsh and Kevin Dunn. The brilliant Patton Oswalt is cast as the self-nicknamed villain, and is responsible for one of the film's biggest laughs.
Of course, this is not subtle or high-brow humor, and the story line is predictable throughout. The laughs stem from the contrast of a subdued, comfy suburban life versus the sophisticated, over-accomplished jet-setting couple
laughs clearly enhanced by the talented leads. So while this seems like the kind of movie I would usually ignore, perhaps it arrives at a time when laughing is simply preferable to the daily grind of an embarrassing and humiliating Presidential race. So go ahead and give laughter a chance
it works even better than a stress ball.
American Honey (2016)
take a van ride
Greetings again from the darkness. Movies are often classified according to genre: comedy, thriller, romance, drama, etc. Writer/director Andrea Arnold (Wuthering Heights, 2011) pays little attention to such labels, and seems to take immense pleasure in spotlighting a segment of society that rarely gets the silver screen treatment. Rather than bring us yet another lawyer, cop, teacher or writer, Ms. Arnold demands we pay attention to a group of misfits.
Our introduction to Star (Sasha Lane) comes from inside a dumpster as she and her young siblings are diving for food behind a grocery store, and afterwards hitchhiking for a ride back home. A chance parking lot meeting with an energetic young man named Jake (Shia LeBeouf) leads Star to take some drastic actions including joining Jake and his traveling troupe of free-spirited cohorts as they drive around the country selling magazine subscriptions and staying in cheap hotels. In between fabricated sales pitches, there is much alcohol, drugs, hip hop, and sex.
Jake is the top salesperson, but it's Krystal (Riley Keough) who supervises the group with threats, punishment and insults. She understands this is a captive audience with few options even asking Star "Will anyone miss you?" That question is at the core of what keeps this group together. The van gang is the only community to which they belong the closest thing to family they have. The handbook's stated purpose may be to "make money", but fundamentally, these folks just want to fit in somewhere.
Director Arnold takes a quasi-documentary approach (similar to last year's Tangerine) that delivers a realistic feel to a world most of us have little knowledge of. Seeing these scam artists bounce through suburbs and rural areas, willing to take advantage of most anyone along the way, generates both empathy and disgust. By design, it's Star with whom we most relate. She clearly has a conscience, but is as naïve to the world as she is sensitive to her own desires. A simple question (used twice) is a kick in the gut to viewers, and the dreams and hopes of these misfits are most puzzling of all.
The use of music is exceptionally well done, leaning heavily on hip-hop and Rihanna (twice). The titular Lady Antebellum song has its moment, as does Darth Vader philosophy and a few flying creatures. Though the run time is entirely too long for an indie that really doesn't follow a traditional narrative, we don't mind too much since we are watching the birth of a new star. Sasha Lane makes an incredible debut, and though the director "discovered" her on spring break in Florida, the natural talent here runs deep. I'm not sure of the market for this film, but it seems obvious Ms. Lane has a much brighter future than her character or any of the others riding along in the van.
Certain Women (2016)
the power of stillness
Greetings again from the darkness. This is surely one of the most intriguing movies of the year that is about women and by a woman. Writer/director Kelly Reichardt (Wendy and Lucy, 2008) has adapted the short stories from Maile Meloy into a film with 3 segments focusing on the daily perseverance of three women in small town Montana (including a rare Wyoming joke).
The first segment has lawyer Laura Dern returning to the office after an umm "long lunch meeting". Waiting for her is her client played by Jared Harris ("Mad Men"). The frustration between the two is palpable. Things take a turn for the worse as the sheriff calls Dern to the scene where Harris has taken a hostage at gunpoint. The issues on display here include the lack of respect for a female attorney, her unsatisfying personal life, and the one-way trust that can happen in times of desperation.
In the next story, we follow Michelle Williams and her husband James LeGros as they meet with a lonely elderly neighbor (Rene Auberjonis) and offer to buy some limestone blocks that have been sitting on his property for decades. The subtlety of the conversation embodies the missing respect and power of Ms. Williams' character.
Emotions are exploding beneath the surface in the third segment featuring horse handler Lily Gladstone as she stumbles into a class being taught by Kristen Stewart, and is immediately captivated by the smart young teacher. Where this attraction leads is further commentary on the challenges faced by those trying to escape the daily drudgery of their lives.
The above recaps don't come close to capturing the extraordinary quiet and stillness that director Reichardt uses in an emotionally powerful manner. These three women are all intelligent and filled with both pride and visceral disappointment each quietly suffering, yet trudging forward with the emptiness each day brings. They each have a feeling of isolation even if they aren't truly alone, and failed or lackluster relationships certainly play a role.
The acting and cinematography (film, not digital!) is as expert as the directing. Ms. Gladstone is truly a standout by saying few words out loud, but speaking volumes with her open and pleading eyes. The nuance of each scene is where the most interest is, and the overall mood of the characters and tone of the stories overcome the fact that we are plopped into these lives with little or no backstory. As each one softly crashes (two figuratively, one literally), we understand these are the faces of strong women who will continue to do what's necessary
even if that's shoveling horse poop. The film is dedicated to Ms. Reichardt's dog Lucy (a key to her personal and professional life).
Doomed: The Untold Story of Roger Corman's the Fantastic Four (2015)
behind the low budget curtain
Greetings again from the darkness. Most people over age 30 remember the release of Tim Burton's Batman Returns, the sequel to his 1989 hit. The film's budget was $80 million, which seems remarkably low compared to the $250 million (or more) budget of today's superhero and comic book film adaptations. Putting all of that in perspective, and providing the best ever look at low budget filmmaking, comes this documentary from director Marty Langford. It's a look back at the ONE million dollar production of Marvel's iconic The Fantastic Four (the same year as Batman Returns), and how backroom negotiations provided a stake to the heart of those involved.
We are shown a quote from Stan Lee: "The movie was never supposed to be shown to anyone." It's a quote that we understand by the end of Langford's story, but still makes little sense. In 1992, producer Bernd Eichinger realized his rights to these famous Marvel characters were expiring at year end. He contacted the master of "B" movies, Roger Corman, who gave his production team one weekend to come up with a workable plan. What followed was the "movie magic" that we rarely glimpse. Even with that low budget, the script was written, the movie was cast and shooting began (with no rehearsal) the ultimate rushed production.
The documentary connects the dots between Eichinger, Corman, Troma Entertainment, Marvel Studios, Neue Constantine Films, and Avi Arad; however, the real heart and soul comes courtesy of the interviews with the actors and production crew who were so involved. Looking back with nostalgia, pride and frustration, these folks clearly represent the "get it done" attitude that is so crucial in low budget filmmaking. Their disappointment in never having the film released is evident a quarter century later in their words and their faces.
In what could be described as a conspiracy though more appropriately as yet another clash in the age old art vs. business battle the cast and crew were manipulated into believing the film would be released. Many made publicity appearances at festivals, and a trailer was cut and shown in many theatres. Unfortunately (for all but a few), the production was merely a ploy to drive up the demand and cost for the rights as Avi Arad envisioned a slick, high-budget version of the franchise (there have been two failed versions in the years since).
Some of those interviewed include director Oley Sassone, editor Glenn Garland, Joseph Culp (Doctor Doom, son of Robert Culp), Jay Underwood (Johnny Storm), Alex Hyde-White (Reed Richards), Rebecca Staab (Sue Storm), Michael Bailey Smith (Ben Grimm), and Carl Ciarfalo (The Thing). We mostly get the viewpoint of those who were so close to the film, though there is a brief clip of Roger Corman claiming he was under the impression that it was a legitimate film project this despite his healthy cash out.
Since a copy of the film was "rescued" by the director and editor, it has become something of an urban legend among the comic book fan base
a cult film that never had its day on the big screen. The best comparison might be a bootleg version of a deep cut of a Springsteen song in the 1970's. Everything gets released today, but in those days, studios had a way to control what was seen (and what wasn't). This is a well made documentary on an unusual topic and a reminder that the artists just want their work seen, while the business side just wants the money.