One of the most solid actors to walk the planet in the last century has just left us. I suspect many of my fellow film bloggers out there are too young to truly know the depths of his work so I would suggest filling NetFlix queues with Newman’s finest. Undisputed classics such as THE HUSTLER, HUD, COOL HAND LUKE, and Sydney Lumet’s THE VERDICT are highly recommended. As are his fun period piece buddy films with Robert Redford - BUTCH CASSIDY AND THE SUNDANCE KID and THE STING.
His comical side has been overlooked in many of the obits I’ve read the last day or so but his appearances on Letterman over the years have been hilarious self-effacing affairs - check out this clip on youtube. It’s fitting that his last role was the voice of a 1951 Hudson Hornet Automobile named Doc Hudson in Pixar’s CARS. Nice that the wee ones will get an intro to Mr. Newman there.
So put some Newman’s Own popcorn in the microwave, fire up the DVD player and pay proper tribute to the man.
“Stream it, download it, burn it now. It’s the first time a major feature-length film is being released for free on the internet. You can be part of this historic moment by logging on now!” – Michael Moore (from an email you’ll get when you sign up for the free download of SLACKER UPRISING).
Watching this new documentary sure doesn’t feel like I’m taking part in an historic moment. It’s a self indulgent infomercial centering on Moore’s tour of colleges in battleground states in the last weeks of the 2004 Bush Vs. Kerry election. Since we all know how that turned out this is supposed to show Moore and fellow liberal Democrats’ failed but noble attempts as inspirational grass roots measures to encourage voters for the current campaign. It doesn’t quite come off that way though as despite some background to the swiftboating of Kerry and touching testimonials from the families of soldiers in Iraq (as well as some by soldiers themselves) this mainly shows what Moore credits as “a cast of millions” screaming and applauding him on stage like a rock star over and over as he does his usual schtick. You know the routine - Bush lied, the war is corrupt, get out and vote, etc. which is all fine but he covered it better, of course, in FAHRENHEIT 9/11 which this film ought to be just a bonus feature on a future Special Edition DVD of.
That’s not to say there aren’t good bits though and not coincidentely they don’t contain Moore’s visage but instead showcase the music on the tour. Steve Earle passionately plays “Rich Man’s War" to a rapt audience, Joan Baez does an acapella version of “Finlandia” and Eddie Vedder, who considers Moore one of “the wonders of the Patriot Act; Michael is a patriot who acts”, does an invigorated solo acoustic version of Cat Steven’s "Don’t Be Shy" *. There is also R.E.M., Tom Morello (of Rage Against the Machine), and singer songwriter Robert Orrall doing his catchy crowd pleaser “Al Gore Lives On My Street”. It’s Moore’s show though and it is commendable that he spends some time dealing with his detractors. Bush supporting students (in small numbers) come to his rallies and even try to get him barred from speaking but Moore has the mike and can yell down any opponent. To examine the valid criticisms and anger of the anti-Michael Moore population would have made the movie worthwhile but we just get the same slogans that by now even the choir is tired of.
* This appears to be what inspired Moore to use Steven's original version (written for HAROLD AND MAUDE) as the end credits music for SiCKO.
Shortly after the results of the 2004 election were in a headline in the satirical newspaper the Onion said it best: “Poll: Youth Totally Meant To Vote In Record Numbers”. This sums up whats wrong and ultimately very depressing about this exercise. This film would only be vital and necessary if the Slacker Uprising strategy worked. Instead we see 99 minutes of a man drunk on his own applause. Patting himself on the back and believing his own hype even when it turns out to be drastically ineffective. It is encouraging that polls are showing that more folks may be getting out and voting in what is likely the most severely important Presidential race in my lifetime but a film like this is hardly going to matter in the grand scheme. SLACKER UPRISING is for Michael Moore completists only (if there are such people) and it should have remained with its original title “Captain Mike Across America” as a sideline film, like I said before, only added as an extra on a future DVD re-release. It seems though, as smart and savvy as he is, that he knows this hence its asking price. Yep, that’s right - at least it’s free.
Postnote #1: Actually it’s not completely free - just the download for American and Canadians. DVDs are being sold for $9.95 at Moore’s website.
Postnote #2: For a worthwhile look at criticisms from Moore detractors check out Rick Caine & Debbie Melnyk’s MANUFACTURING DISSENT (Reviewed here November 13th, 2007)
Though he is based in New York these days, Godfrey Cheshire is fairly well known in my whereabouts (the Triangle Area in North Carolina) because, well, he was born in this area and the movie reviews he has written for the Independent Weekly for a long time (well, since the 80’s) and his extensive film historian reputation. When he learned that a plantation house (the Midway of the title) that has long been in his family was to be relocated away from the strip-mall sprawl of outer Raleigh he decided to finally pick up a camera himself and document the event. Along the way he finds that his family is a lot bigger than he thought it was with descendants of the slaves that worked on the house grounds revealing connections that stack up as revelations with further study. Robert Hinton, a African American Historian who has done his own research into the family Midway matters accompanies Cheshire on many of his trips and provides a sober (and sobering) viewpoint far removed from the romanticized South of GONE WITH THE WIND(which we see many vivid clips of).
Ghosts of the past are thought to be haunting Midway and may not be happy about the move but professor Hinton is, speaking about the plans to construct a shopping center with a Target he remarks: “I have the pleasure of knowing that what used to be Midway Plantation will soon be covered with concrete and asphalt” to Cheshire’s somewhat bemused reaction. Viewing the massive operation it takes to move such a bulky historical house Cheshire notes that the draped pieces remind him of a film set. This is apt because the filter through which American media milestones like BIRTH OF A NATION, “Uncle Tom’s Cabin”, Alex Haley’s “Roots” (the book and TV miniseries), the before mentioned GONE WITH THE WIND, and even a clip of the infamous Uncle Remus from the roundly considered racist SONG OF THE SOUTH pour through what could have just been an overly ambitious home movie could only be devised by someone with such a refined but passionate love of pop culture.
MOVING MIDWAY is as funny and touchingly thoughtful as it is educational and intensely interesting. Despite that I have viciously disagreed with many of Cheshire’s opinions of mostly mainstream movies in the pages of a local paper over the years, I still returned to reading his reviews time and again because of the emotion and debate it would stir up in me. This labor of love stirred up a lot of feelings as well and as a small independent documentary by a first time film maker that hasn’t gotten a MPAA rating yet or much distribution, I strongly urge folks to seek it out.
Shannon Elizabeth is an American actress, poker player, and former fashion model. Elizabeth came to prominence in the 1999 comedy film American Pie.she born September 7, 1973.
To celebrate this being my 200th post (which I know in the bloggosphere is no biggie - my prolific pals at The Playlist have had 1471 posts this year alone!) I decided to re-post a quiz from my 80th post (May 6th, 2007) that didn’t get a very satisfactory response first time out. I’ve had a lot more hits since then and I’ve added a new EXTRA EXTRA CREDIT question so I hope film freak folks will roll up their sleeves, get their #2 pencils, and tackle:
Film Babble Blog's Movie & TV Mind Teasers!
The major unanswered questions in the realm of modern pop-culture in a quick ’n easy pop-quiz format.
Seems somewhat pointless to try to recount the plot but I’ll still have a go at it. Malkovich is a boozing low level CIA agent whose files and memoirs are copied onto a disc by his wife (Swinton) after he is fired and she plans to divorce him. The disc is found at the gym Hardbodies where McDormand and Pitt work who, the money-grubbing schemers that they are, plan to blackmail Malkovich with. Meanwhile Clooney (also an idiot) who is having an affair with Swinton meets McDormand on one of his many misadventures with online dating. Misadventures is the right word for all of this as we see these pathetic people go through a series of sloppily handled escapades. The disc is, of course, a MacGuffin as its contents are unimportant and, as anyone in the film who studies it confirms, worthless. The conviction of McDormand, who wants the money to have extesive cosmetic surgery (“I’ve gone just about as far as I can go with this body”) coupled with Pitt's badly bleached blundering makes for a lot of laughs while Clooney’s wide eyed doltish womanizing brings his fair share of funny too. Malkovich's jaded jerk of a foul mouthed (his most repeated phrase throughout is “what the fuck?!!?” I think) failed spy won’t win him any awards but it’s among the finest comic acting of his career or at least since BEING JOHN MALKOVICH. Swinton seems to be the only one that is ill at ease with the material though that's probably because her character is so ill at ease with these situations. “We don’t really know what anyone is after” J.K. Simmons as Malkovich’s former superior says in an indifferent ‘whatever’ manner at one point and I bet many critics will say the same about BURN AFTER READING. After the powerfully astute NO COUNTRY... this may seem merely a funny throw-away. A high class but trivial piece that treads water between more ambitious efforts I’m sure some will remark but I believe there is a lot more going for it than that. Sure, it would be easy to conclude that this is a silly statement on our current technology driven paranoia and that everybody is stupid, glib, and completely out for themselves but I think that would be dumbing it down considerably. With their patented low angles, wide interior shots, and the overall free for all spirit that they appear to instill in all the films participants, the offbeat world we are presented could only be Coen created - this is a view of their private sector, to use some Washington D.C. jargon. Like many Coen Brothers movies this will take repeat viewings to fully appreciate and to formulate more of a take on where it stands in their canon. Right now I can only say that BURN AFTER READING is consistently hilarious with a host of A-listers at the top of their game and I’m looking forward to seeing it again. It’s an enjoyable and extremely silly sector that I’m glad they don't keep so private.
A David Mamet Martial arts movie, well, how about that! Actually, since Mamet’s films usually offer double-talking con artists scoring a scam, the seedy world of strong armed prize-competitions is a perfect fit. Chiwetel Ejiofor, working his worry-lines particularly this one popping vein on his forehead, is a jujitsu master and self defense instructor who lives by a moral code and has perfected a new strategy. Which is, to determine the fight, Ejiofor explains with three marbles: “Each fighter has a two-in-three odds of chosing a white marble. White marble's a pass” and that the “black marble is a handicap” meaning the fighter loses the use of his arms. He considers this his training method trademark despite its historical precedent and it is grifted from him by the business that is show - a movie star (a gruff thick Tim Allen) and his film production cronies and a big league televised championship. Other pressures mount with his nagging wife (Alice Braca) bitchin’‘bout huge debts, a frazzled lawyer (Emily Mortimer) who accidentely shoots out the window of Ejiofor’s studio with a cop’s gun, a hot wrist-watch that competes with the marble method to be the film’s meta-MacGuffin. “There is always an escape” Ejiofor often states though it gets so dicey you doubt whether he believes it.
Mamet’s trusty regulars Joe Montegna, Ricky Jay (stiffer than usual but still effective), and Rebecca Pidgeon (Mamet’s wife) all do their wicked best with the barbed wordings while curiously crafted fight choreography marks the set pieces. Along with the surpisingly deft Tim Allen (atoning for WILD HOGS I hope) the always affable David Paymer has a brief bit as a loan shark and look for Jennifer Grey (DIRTY DANCING) in a nothing part as Montegna’s lady-friend. Ejiofor is the one to watch though; he carries every scene with a gravitas only hinted at in previous works like DIRTY PRETTY THINGS and AMERICAN GANGSTER. His sparring both with his fellow thespians in tense talks and in the ring is engrossing. REDBELT isn’t Mamet’s best film (that’s GLENGARRY GLEN ROSS IMHO) but it is meticulous and gloriously manipulative in many pleasurable ways. It's a thinking man’s Martial arts movie that, for all the abrasiveness of its characters plans, has a careful respectful grace that so much modern drama is missing.
“Sometimes you win, sometimes you lose. And then there’s that little known third category”. - Al Gore
This HBO telefilm tells an all too familliar tale - the maddening election result fiasco that was the Bush/Gore Presidential campaign of 2000. No need to worry about any Spoilers here - everyone knows how this turned out but what makes this compelling and essential is the devil in the details. A solid cast staffs both sides of the debate - Kevin Spacey, Dennis Leary, and Ed Begley Jr. in the Democratic corner facing off Tom Wilkinson, Bob Babalan, and Bruce McGill as the rebuking Republicans. Laura Dern as Florida Secretary of State Katherine Harris is the icing on an already very tast cake. As Warren Christopher, John Hurt makes a much more striking note (described by Leary as “so tight he probably eats his M&Ms with a knife and fork”) than he did in the whole of that last Indiana Jones flick.
The real star here is the story though - biased towards the Democrats as one would figure and fudging with some minor facts aside, the topsy turvy twists of the road to the White House turned me inside-out with some of the same feelings I had when the real thing was happening getting stirred up. I got so into the frustrating back and forth that I thought it was again possible for Gore to win only to have to take a big bite of a stale reality sandwich. Sigh. Except for archival footage and some over the shoulder shots we never see Gore or Bush, we just hear their voices on phones or see doubles at a distance and this was a good decision. The meat of the matter was those toiling beneath them epitomized by Spacey’s part as Gore's former Chief Of Staff. Klain was actually fired from his position but still came to work on the campaign and then the recount commitee. Spacey brings his usual slick glide to the role which can be annoying in films like BEYOND THE SEA (actually everything was annoying in that movie) and THE LIFE OF DAVID GALE (ditto) but it works wonders with such lines as "the plural of ‘chad’ is ‘chad’?” Leary pretty much hammers down his standard schtick but his jaded cynical demeanor is definitely necessary considering.
Like many I’ve never really gotten over the 2000 election. It was one of the most disappointing and devastating events of my lifetime. That a lot of the mitigating factors haven’t completely been resolved is very troubling in light of the upcoming election. There’s a lot to recommend about RECOUNT but the most vital message it contains can be summed up by the words of poet George Santayana: “Those who cannot remember the past are condemned to repeat it”. While I don’t think we’ll ever forget this story, I still fear it may be repeated.
Former SNL head writer and currently the star of 30 Rock (which she also created and writes) Tina Fey never appeared to aspire to motion picture leading lady status. “My role model is Harold Ramis” she told Time Magazine in an interview when promoting MEAN GIRLS. She went on: “I want to sneak into movies. I have no pretensions of thinking people will pay to see me”. Well, this was #1 at the box office its opening weekend (I know that doesn't necessarily mean hit - i.e. BANGKOK DANGEROUS) so plenty did pay to see her but I didn’t. Mainly because the lame looking clips on the commercials - I mean, did anyone bits like Fey getting mad at Amy Poehler for sticking gum under her prized coffee table were that funny? Well, nothing here is that funny. This is light comedy - a rom com that was marketed as a crude offensive Farrelly brothers type affair.
Fey is a 37 year old career woman who one day wakes up and wants a baby. She is told by a doctor (John Hodgman - the PC guy from those “get a Mac” ads) that the chances of her getting pregnant are “one in a million” so she looks into adoption but is discouraged by the long waiting list. The idea of employing a surrogate mother pulls her in and before long she is set up with Amy Poehler as a white trash loon. Poehler and Fey have worked together a lot so they have a great clashing chemistry but the tone here is too comfortable to really take off. It does contain a good cast with appearances by SNL folk (Will Forte, Fred Armisen, Siobhan Fallon), a mildly amusing performance by Steve Martin as Fey's pony-tailed new agey boss, Sigourney Weaver being a good sport about aging jokes as the surrogacy firm head who boasts about conceiving naturally, and Greg Kinnear as a smarmy but charming possible love interest for Fey.
The problem is that it's all too light and trivial. Poehler could have really gone somewhere with her crusty character, there are hints of that when she's going into labor and freaking out in a hospital hallway: “It feels like I’m shitting a knife!” but director/writer McCullers (also a former SNL alumni) seems to have decided to play one tone and never vere far from its self imposed sentiment. Still, Fey and Poehler have their moments and it’s nice to see a quasi-smart comedy involving the needs of women protagonists thats not trying to fake sincerity. Its small success will, with hope, give them the chance to try for something that has more teeth and will really leave more of a mark than this.
One of the most solid actors to walk the planet in the last century has just left us. I suspect many of my fellow film bloggers out there are too young to truly know the depths of his work so I would suggest filling NetFlix queues with Newman’s finest. Undisputed classics such as THE HUSTLER, HUD, 
COOL HAND LUKE, and Sydney Lumet’s THE VERDICT are highly recommended. As are his fun period piece buddy films with Robert Redford - BUTCH CASSIDY AND THE SUNDANCE KID and THE STING.
His comical side has been overlooked in many of the obits I’ve read the last day or so but his appearances on Letterman over the years have been hilarious self-effacing affairs - check out this clip on youtube. It’s fitting that his last role was the voice of a 1951 Hudson Hornet Automobile named Doc Hudson in Pixar’s CARS. Nice that the wee ones will get an intro to Mr. Newman there.
