All posts by maddwolf

Outtakes

Outtakes: Hippies, Chickens, Sobbing Women and Iron Giants

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I somehow missed The Iron Giant when it was originally released. I’m not sure how. My son Riley, pictured here as a hippie, was a 6-year-old in ’99 – clearly the film’s target audience.

rileytoby

 

In a nutshell, director Brad Bird (who’d go on to win two Oscars with Pixar) puts Vin Diesel’s voice inside a weapons-grade robot from space.

 

At the height of the Cold War, lonely Hogarth befriends the monster, teams with a beatnik (Harry Connick, Jr.), and tries to hide the innocent metal heap from the US government that seeks to destroy it.

 

And yet, I neglected to get the boy to this film, and never saw it myself until years later when I was babysitting for my niece Ruby (pictured here as a chicken).

Chicken Ruby

 

She owned the book and had seen the film once already, but Iron Giant was her Netflix streaming choice one rainy afternoon. From her comfy spot on my lap, her head just beneath my chin, she kept me abreast of the plot: he’s really a bad guy; he makes crazy stuff with metal scraps; he’s a really very bad guy.

And then, the next thing you know, I am bawling. Just gulping and sobbing, tears rolling off my cheek and slapping the top of Ruby’s little head.

My God that movie broke my heart.

This is the Superman movie you want to see.

If you get the chance, check out this surprisingly powerful animated gem. It screens this week as part of the Gateway Film Center’s From Book to Film series. Catch it Saturday, 7/13 at 1:30 PM; Monday, 7/15 at 7 PM; or Wednesday, 7/17 at 1:30 PM. Go to http://www.gatewayfilmcenter.com/  for tickets and details.

Bring a hanky.

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In Search of a Nail

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Dirty Wars

by Hope Madden

In 2006, Jeremy Scahill’s articles on Blackwater exposed the privatization of American military force. Seven years later, the national security correspondent for The Nation magazine sees peril in another kind of American military power, a topic he uncovers in director Rick Rowley’s documentary Dirty Wars.

Sort of a less reverent counterpart to Zero Dark Thirty, Dirty Wars traces the rise in power of the Joint Special Operations Command, the covert military arm that brought down Osama bin Laden.

Dirty Wars makes some scary predictions due to the operational style and military philosophies of JSOC. Specifically, Scahill and company foresee sprawling and endless war. They base the theory on things like kill lists that eliminate ever more vaguely articulated threats, and a constantly widening circle of acceptable collateral damage – or what some call martyrdom.

In short, they see a war on terror transformed into a self-fulfilling prophesy.

Rowley keeps an impressive pace, pausing between revelations long enough for the information to sink in without stooping to obvious pronouncements or condescending reiterations. Unfortunately, not all of his choices are wise.

The documentarian falls on gimmicky cinematic clichés to suggest clandestine research, a journalist quietly consumed by what he’s finding, struggling with the unfolding mystery.  It’s a manipulative effort to keep attention, and Rowley’s Hollywood thriller sensibilities are needless, since his content is so bewilderingly, bleakly fascinating.

Are targeted assassinations just obvious military streamlining – the natural evolution of war?

Rowley’s film exposes a military machine that distances even the military itself from the act of war. Sure, drones help, but to the JSOC, war is a business and business practices are employed. They even outsource our kill lists to Somali war lords.

Scahill’s investigation wags a bi-partisan finger. It may have been Bush who created the JSOC, he points out, but Obama’s been more than willing to utilize this military arm.

They “created one hell of a hammer,” says an unnamed former JSOC member. “And they are continually searching for a nail.”

 

Verdict-3-5-Stars

http://www.youtube.com/watch?v=CWnrk35qYMs

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The Story of Her Life (and Ours)

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by George Wolf

In Stories We Tell, director Sarah Polley lets the secrets in her own family history speak to all families, eloquently questioning truths in which we often take comfort.

She already had an extensive list of acting credits when 2006’s Away From Her established Polley’s additional skills as a writer and director. Her instincts are just as true in the documentary genre, perhaps more so, as a story that has intensely private beginnings becomes universal, entertaining and genuinely moving.

Normally, we include a film’s trailer when posting a review, but not in this case. Avoid it if you can, as knowing absolutely nothing about Polley’s family dynamics before seeing Stories We Tell adds a wonderful element of discovery.

In much the same manner Bart Layton structured his incredible documentary The Imposter last year, Polley moves the story along with the best possible pace, releasing new bits of information at the exact moment they will have the most impact. This holds true even halfway through the end credits, when she drops a bombshell that gives the entire saga a new perspective.

Though some of the family members involved are not shy about wanting the film anchored from their perspective, Polley is having none of it. Her film, personal as it may be, is crafted so well that a reexamination of your own family is almost inevitable. And yet, it unfolds in such an engrossing fashion, you may forget it’s not an adaptation of the latest best-selling novel.

It is a testament to Polley’s own storytelling skill that she can turn the focus inward, and still prompt you to look at your own world in a different way.

Stories We Tell is, so far, the best film of the year.

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Of Sea Monsters and Men

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Pacific Rim

by Hope Madden

We’re on the edge of an apocalypse and Raleigh Becket (Charlie Hunnam) needs to let go of the past if he wants to save our future.

It was from the sensory-overload seats this week that I took in the IMAX 3D extravaganza that is Pacific Rim – the story of a boy, a robot, and a lot of clichés. Who’d have thought wretched excess could be so dull?

Director Guillermo del Toro tackles his biggest project to date, dropping $200 million on yet another monster movie. Whether a vampire, a mutating alien, a ghost, another vampire, a Hellboy or a labyrinth full of creatures, del Toro does have a preoccupation with monsters. (And Ron Perlman.)

This time the beasties are sort of sea creatures from another dimension in a film that amounts to Godzilla meets the Transformers. The generally capable, sometimes spectacular director doesn’t stop cribbing ideas there. You can find Aliens, Real Steel, maybe some Top Gun, even a little Being John Malkovich in there if you really try.

Indeed, there’s nary a single truly unique idea in the picture. Instead, del Toro relies on the abundance – glut, even – of cinematic clichés to free himself up to focus on more technical stuff, and technically speaking, the film’s pretty impressive. But not overly so.

Del Toro’s real passion seems always to have been in the creation of monsters – dude loves him some tentacles – but too few of these creatures are visually articulate enough to be really memorable or impressive. Without that, the visceral impact he’s after never fully materializes.

Sure, the concussive sound editing and even more abusive score take the experience up a sonic notch, but that’s not necessarily a good thing.

Combined with sloppy scripting and performance that are – well –  bad, the self indulgent Pacific Rim manages to be the least impressive blockbuster yet this summer. And it’s been a pretty weak summer.

Verdict-2-0-Stars





For Your Queue, Slider

For Your Queue: Princesses Gone Wild

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We may be deep into summer vacation, but this week’s DVD releases include a great chance to revisit Spring Break!

With Spring Breakers, gonzo writer/director Harmony Korine gives us his most mainstream film to date.  Okay, it’s no Nicholas Sparks schmaltz-fest, but mainstream compared to Korine’s usual fare (Gummo, Trash Humpers). Four wild teenage girls (including former Disney princesses Selena Gomez and Vanessa Hudgens) head south for Spring Break, and soon meet up with rapper/gangsta “Alien” (a terrifically unhinged James Franco). From there, there is little law-abiding.

Korine has something to say here, and he says it pretty well. Outrageous, courageous, and often very funny, Spring Breakers is worth your time.

When Wednesday Addams decided she was through with family fare, she wasn’t kidding. Christina Ricci followed That Darn Cat – the last of her Disney work – with a slew of riveting, gritty indies including 1998’s Buffalo ’66. She plays Layla, a small town teen willingly abducted by parolee Billy (creepy as ever Vincent Gallo). Another tale of road trips, questionable male influences and the corruption of youth, Buffalo ’66 is a gripping surprise overflowing with fantastic performances. Plus there’s bowling!

http://www.youtube.com/watch?v=PiXxJa0Zd1o





Outtakes

Weekend Countdown: Best films..so far..in 2013

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The year’s half over. What were the  best films so far? Well, #1 opens this week at the Gateway. Have a look!

 

5. Evil Dead

Fede Alvarez remakes Sam Raimi’s beloved indie splatter fest with the right amount of respect (to the original), humor, and more than enough gore. This infectious bloodletting surprises even the most ardent fan of the original with ingenious twists, solid performances, and a script doctored brilliantly by Oscar winner Diablo  Cody.

 

4. This Is The End

Seth Rogan’s posse gathers for an end of the world party to lampoon their own images and spin a hilarious yarn about celebrity, the rapture, and Michael Cera’s cocaine habit. Jonah Hill’s demon possession is inspired comedy, but the film’s a clever, weirdly good-natured laugh riot from start to finish.

 3. Much Ado about Nothing

Thank God for nerds. Joss Whedon turns his considerable skill to breathing new life to Shakespeare, with the second big party on the list. Mining the Bard’s comedy for actual laughs, Whedon stacks his cast with hyper-talented buddies, and a scene-stealing Nathan Fillian alone is worth the price of admission.

 

2. Mud

Writer/director Jeff Nichols follows up his flawless (and criminally underseen Take Shelter) with another exquisite film. This coming of age tale about a boy, a disappearing way of life, and a fugitive named Mud charms and surprises.

http://www.youtube.com/watch?v=Pv30J05U2nI

 

1. Stories We Tell

A fascinating, thoroughly entertaining documentary from Sarah Polley.  While laying bare the secrets in her own family history, Polley expertly speaks to all families, and the questionable truths in which we often take comfort.

 

Runners up: Star Trek Into Darkness, Before Midnight, Frances Ha, World War Z, To the Wonder, The Bling Ring, How to Make Money Selling Drugs  and The Iceman. Happy viewing!





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Self Help Documentary

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How to Make Money Selling Drugs

by Hope Madden

While securing a screener and finalizing info on opening dates, the phrase How to Make Money Selling Drugs found its way into many of my email subject lines. Hopefully the NSA and DEA don’t come calling, but if they do, I have a fascinating movie to recommend.

Matthew Cooke’s documentary on the cost of America’s War on Drugs is not the smug expose the title suggests. Cooke expertly molds his impressive pool of data into this sardonic shell, offering lessons to lead you to the success the title offers.

He approaches the lessons as one would approach a video game. There are levels to ascend – from street corner dealer all the way to cartel drug lord. Each stop offers background information (where to start, how much you can earn), as well as hints and tips galore. (Tips for basic smuggling – hire an ex-DEA officer to watch your back.)

What he’s actually done with all these clearly labeled nuggets embedded in well-defined categories is outline a comprehensive look at our drug culture.

Data-dense and expansive, How To quickly separates itself from the recent glut of drug-related docs. Cooke does not simply recommend legalization, noting the tax benefit and lessening crime that came from striking down Prohibition. Indeed, Cooke does not do anything simply.

He emphasizes the genuine danger of drug use as one of many related crises being improperly addressed because of the nation’s crime and punishment attitude. There’s the underlying racism in the basis and execution of the laws. Don’t forget the enforcement incentivizing, which creates an overzealous police force. And of course, there’s the simplicity in the facts of supply and demand. Cooke covers it all, and does so with richly textured, strangely entertaining narratives.

We hear from nearly every type of stakeholder: dealers, kingpins, police officers, informants, ex-DEA, politicians, lawyers, academics, and that guy who wrote The Wire (David Simon – disturbingly informative). While they may not all agree on the nuance of the issues, they paint a picture of a dangerously wrong-minded approach to the problem.

And Cooke is not satisfied to simply provide anecdotal evidence and opinion. This is not Fox News, after all. Rather, he populates his brisk 90 minutes with enough clarity, data and statistics on every imaginable front that it’s hard to believe his film is as engaging and entertaining as it is.

Thank the candor of Cooke’s subjects, and his own directorial skill.

Verdict-4-0-Stars

http://www.youtube.com/watch?v=THu4E99uvYw





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One Sequel, Extra Minions

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by George Wolf

 

Three years ago Despicable Me scored at the box office, thanks mainly to a funny bunch of yellow creatures who speak nothing but gibberish.

These “minions” made the film, which was fairly average otherwise, easy to like. It should come as no surprise, then, that Despicable Me 2 trots them out early and often.

At the end of part one, evil genius Gru (Steve Carell) wasn’t despicable any longer, his heart inevitably melted by three incredibly cute kids (yes I realize they’re animated but they remind me of my nieces so whatsittoya?)

This time out, Gru is recruited by special agent Lucy (Kristen Wiig) to help the good guys, in hopes that his bad guy instincts will help ferret out a villain in hiding.  

Everybody – writers, directors, most of the cast – returns from the original, but an important piece is missing. Being despicable is what made Gru a character, and taking that trait away also discards much of what makes him interesting. The love story with Lucy isn’t developed enough to fill the gap, so it’s up to the little Twinkie-looking things!

For the most part, they come through. Much like the Madagascar series continues to be  hilariously saved by the supporting lemur and penguin characters, Gru’s minions are able to provide the laughs when things start to drag. Without them, kids would be squirming and parents might be thinking of an early exit.

The sum of unequal parts, DM2 is perfectly pleasant, if unexceptional, family fare.

 

Verdict-3-0-Stars

 

 





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Depp and Hammer at Home on the Range

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The Lone Ranger

by Hope Madden

Back in 1995, I watched Johnny Depp in a Western of sorts that paired a supposedly dead white man with an outcast Indian on a journey through the wild west. There were trains and bad men. Iggy Pop co-starred. I’m not sure what else a person could want in a film.

This was Jim Jarmusch’s wondrous Dead Man, and I was reminded of the film repeatedly as I watched its super-mainstream Disney counterpart The Lone Ranger. In case you’ve missed the typhoon of advertising, Depp plays Tonto to Armie Hammer’s masked do-gooder.

Iggy Pop is nowhere to be seen. Pity.

The  handsome pair (although one is caked in mud the entire running time – if it’s not giant teeth or Eddie Munster make up it’s mud with this one) are flung together quite against either’s will, but a shared desire to bring down Butch Cavendish (William Fichtner) binds them.

This is the Lone Ranger’s origin story, told mostly for laughs, but director Gore Verbinski and his team of writers hope to stir a bit of historical context into the mix.

If you’re going to resurrect the culturally insensitive figure of Tonto for a modern film, it’ll be important to address the racism of the time head on. But, if you’re bringing the Lone Ranger back to life, clip-clopping action and fun are requirements. How to balance?

Well, for the fun and excitement, Verbinski reteams with the writers of his other Depp adventures, the Pirates of the Carribbean franchise (Ted Elliott and Terry Rosio). Indeed, The Lone Ranger has far too much in common with Verbinski’s Pirates series – down to one sparsely blond outlaw sporting a parasol.

For the serious underpinnings of genocide –  a tough topic for a family adventure film – Verbinski nabbed Justin Haythe, who’s penned two pretentious dramas (The Clearing, Revolutionary Road) and a Dwayne “the Rock” Johnson film (Snitch).

The socio-political context is mishandled, is what I’m saying, and the drama feels wildly out of place in a film that puts a hat-wearing horse on a tree limb.

The tonal mishmash hampers everything about the film. In fact, though he tried for a full 2 ½ hours (good lord, Verbinski, give it a break!), the director simply cannot find an acceptable tone. Depp and Hammer generate an immediately likeable odd couple chemistry, buoyed immeasurably by Fichtner’s gleefully unseemly bad guy, but the movie remains a slapped together mess.

Plus, no Iggy Pop.

Verdict-2-5-Stars

 





Outtakes

Weekend Countdown: Top 5 History Lessons from Schoolhouse Rock!

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It’s almost time for every American history teacher’s favorite celebration – Comfest! Filthy hippies! No, wait, I mean Independence Day! Not everybody had Ellen Madden Edeburn to teach them history, so thankfully, there was Schoolhouse Rock. Starting on Saturday morning ABC tv in 1973, these toe-tapping lessons were sandwiched between Scooby’s mystery solving and the athletic antics of the Laff-A-Lympics, teaching us everything we needed to know about adverbs, our hero zero, and the preamble to the constitution.

As we get set to celebrate another 4th, let’s count down the top 5 history lessons from the days of Schoolhouse Rock. Sing along with us!

 

5) Elbow Room

No, not the legendary Spring Break bar in Ft. Lauderdale..SHR covers manifest destiny at it’s most melodious!

http://www.youtube.com/watch?v=FfoQBTPY7gk

 

4) Shot Heard ’round the World

This revolution was televised…and set to music…USA! USA!

 

 

3) Sufferin’ Till Suffrage

“Til the 19th amendment stuck down that restrictive rule…sisters unite!” Preach on, ladies!

http://www.youtube.com/watch?v=-FUSHTo-jF0

 

2) I’m Just a Bill

True, there’s nothing here about lobbyist bribes, pork barrel riders or signing statements, but Bill makes his three minutes count!

 

1) Preamble to the Constitution

If you can’t clearly remember your entire class singing this to themselves during history tests, you were cheated out of a bedrock in education.

 

Now, whose function was “hookin’ up words and phrases and clauses?”