Documentary – Page 11 – We Are Movie Geeks

CARTEL LAND – The Review

In the Midwest, we are aware of the illegal immigrant issues. We see it and live among it and have out own opinions about it, whatever they may be. But truly, we are far removed from the drug wars that occur at the US/Mexico borders. We, like any sizable city, see the drug abuse and the lives it tears apart, but that’s the end of the line. Where it starts, where the buck stops (so to speak) is where cultures and countries collide. That’s why films such as CARTEL LAND are crucial to the rest of us not living in the middle of the source of the problem.

Produced, directed, shot and edited and may other credits go to a nearly virtual one-man filmmaking team. Matthew Heineman tossed himself into the heart of darkness to capture a sample of the essence of organized crime in Mexico and it pays off, having risked life and limb in the process. CARTEL LAND is an off the cuff, seat of your pants documentary that at times plays like an action-drama. Intense moments of live gunfights between Mexican vigilantes and drug cartels are broken up by engagingly honest interviews on location and heartfelt, emotional moments of recollection and tearful testimony.

CARTEL LAND is essentially told in two chapters, inter-cut back and forth between the US and Mexican side of the border. Roughly one third of the focus lies on the Arizona Border Recon, a paramilitary group of citizens that patrol the border and track cartel movement and activities, in the hopes of squashing as much of it as then can. The Arizona Border Recon was started by Tim “Nailor” Foley, a veteran and former drug addict whose life changed after an accident which led him end his drug use and fight the cartels, who have increasingly become more bold in crossing into US territory.

The story of Foley and his Arizona Border Recon is weak, admirable on some levels, but little happens and interviews with Foley lead us to have certain doubts about his and others’ motives. His and his groups’ actions prove to have little measurable effect as depicted on screen and he is far less an intriguing character as his Mexican counterpart. Foley’s story often feels self-serving and not so much about the cause as it is about his own personal vendetta. This arc of the film draws away from the overall consistency and quality of the film and I honestly could have done without this portion altogether. I see and I understand the bilateral nature of what Heineman was attempting, but for whatever reasons, it fails to hit its mark.

The other two-thirds of CARTEL LAND focuses on Dr. Jose Mireles, also known to his supporters as “El Doctor,” who honestly deserved to have the entire film centered on his story. Dr. Mireles saw what the drug cartels were doing to his friends, family and neighbors, and saw it eating away at the fabric of his country. He founded the Autodefensas, a paramilitary group of concerned citizens who take up arms and take back what is theirs… land, property, loved ones and control over their towns and their lives. Over time, Dr. Mireles and his Autodefensas enjoy incredible success and respect for their accomplishments. However, as we see repeatedly throughout the world, putting one’s self out there in the world eventually has its price as the underlying corruption that infects society seems always to relapse after a period of remission.

CARTEL LAND flourishes as a bittersweet drama of good deeds rewarded with bad luck brought on by evil men. Dr. Mireles is an extraordinarily fascinating individual with whom we can relate. At the risk of overstating my point, Dr. Mireles for Mexico is like their Ghandi without the penchant for non-violence. He does good work, even is his means are forceful and ride the thin line of what’s lawful, but in the absence of law he brings justice. In this sense, I suppose we could call him the Batman of rural Mexico, but all kidding aside, it’s difficult to watch this film and not feel respect for the man.

This becomes all too unbearable when the tables turn and we realize what fate ultimately has in store for Dr. Mireles, a turn of events that is sickening and all too familiar here at home as well. CARTEL LAND is as much exotic to us as it is deeply personal and relevant too all our lives, even if we don’t feel it personally from day to day. Heineman puts himself out there, on many occasions capturing the chaotic, real-time danger and uncertainty on film as he’s pulled behind a truck for cover during a gunfight or tripped up during pursuits. Remember, this is a man and a camera in the midst of the action and its real life.

CARTEL LAND depicts a side of this ongoing, seemingly never-ending war from an entirely new angle and perspective. The film is not overly graphic, but images of beheading and hanging victims are displayed, as well as shots of dead Mexican citizens caught up in the violence. I commend Heineman for not shying away from this. It is reality and people need to see the truth as it truly exists. Like the westerns of the 1950s when nobody bled gave way to controversial modern depictions such as Peckinpah’s THE WILD BUNCH, violence begets blood and blood is life, so depicting the loss of life means we’re bound to see blood.

Let’s be honest. This is a hot button, political topic. CARTEL LAND is a film that digs into the truth without succumbing to the tabloid, self-serving sensationalist documentary styles of so many contemporary films of this nature. Heineman manages to drop himself right in the middle of the action and stays there till the end, but never turns the camera on himself and somehow remains virtually invisible the entire film, but still makes a powerful statement, the way documentaries should be made.

CARTEL LAND opens in theaters on Friday, July 17th, 2015.

Overall rating: 3.5 out of 5 stars

WINNING: THE RACING LIFE OF PAUL NEWMAN – The Review

I’m not normally the type to voluntarily offer up my time to watch sports documentaries, but WINNING:THE RACING LIFE OF PAUL NEWMAN is one of those rare exceptions. Here’s the catch, it’s really not a sports film, but a look into another, lesser known side of the life of Paul Newman, one of the greatest American actors of all-time, and as it turns out, one of the greatest American men of all-time as well.

When you define what makes the perfect man, the perfect American citizen, or even the perfect human being, what comes to mind? The answer to that question will vary greatly, depending on who you ask, and the truth is, it’s a trick question. There is no perfection when it comes to humanity. However, what I discovered from watching this film, co-directed by Adam Carolla and Nate Adams, is that Paul Newman damn near comes close, if anyone does, by my standards.

WINNING: THE RACING LIFE OF PAUL NEWMAN is not a racing film. Its a film about a man racing to make the most of his life in the areas in which he enjoys and excels. The film starts off slow, taking its time to build up speed and find its mojo, but once it does, this little 83-minute documentary gem reveals some truly amazing content. Just on the surface, WINNING is well worth the watch just for the archival footage, most of which I — and certainly most others — have never seen or knew existed. We come to learn that, despite his accomplishments and fame as an Academy Award-winning actor, his heart really belonged to racing. This, despite the fact he did not start racing until in his forties.

Witnessing the drive and commitment of Paul Newman toward something other than what made him a household name was truly inspiring. We see how a man so publicly in the spotlight as an entertainer can somehow maintain a private life as an average Joe, an everyman with dreams and aspirations outside of Hollywood. We see how he embraces a lower profile, but does not succumb to the trappings of ego and elitism. We see as well his heart and compassion for his fellow man in the charitable work he and wife Joanne Woodward pursue, and even a glimpse into his passion for making salad dressings. Yes, Newman’s Own began as a personal passion of making the salad condiment for friends and family.

WINNING is not a flashy, well-polished film, but where it lacks glitz and glamor it excels at sincerity. Archival footage and photographs are interlaced with a multitude of honest, off the cuff interviews with colleagues, friends and family. The film features recollections and antidotes from the likes of Robert Wagner, Patrick Dempsey, Jay Leno, Robert Redford, Mario and Michael Andretti — amongst countless other racing stars — his wife Joanne Woodward, John Lasseter and more.

Coincidentally, about the only person of note mentioned in the film who is absent in the interviews is Tom Cruise, which is disappointing but also not terribly surprising. The film does, however, delve into the influence Newman had on Cruise early in his stardom, how he was something of a mentor, introduced Cruise to racing and ultimately led to his spending two years pursuing the sport as Newman himself had, before backing out due to safety concerns. Parallel to this, WINNING also conveys a sense of bravery and determination revealed about Newman’s character. I mean, the man continued racing professionally into his early eighties… who else does that?!?

The previously mentioned interview segments with John Lasseter, director of Disney/Pixar’s CARS, was a wonderful addition with which to end the film, as he discussed how crucial Newman was in his role as Doc in providing a sense of authenticity and racing credibility to the film that helped make it such a success. This further illustrates the multiple layers of legacy left behind by the surprisingly humble man and the life he chose to lead.

WINNING: THE RACING LIFE OF PAUL NEWMAN is a film with a title longer than its running time, but this short nugget of American history is likely to stick with you for years to come and possibly even inspire and influence a few viewers to greatness of their own, in some form or another. This film only increased my respect and admiration for the iconic Paul Newman.

WINNING: THE RACING LIFE OF PAUL NEWMAN
is available on
Video on Demand now

Overall Rating: 3.5 out of 5 stars

I AM BIG BIRD: THE CAROLL SPINNEY STORY – The Review

If you were to compile a list of iconic children’s TV characters, who would occupy a slot near the very top, say in the top five (to quote a recent Chris Rock flick)? Oh, we’re not talking about those denizens of “Toon-town”, so no Scooby Doo or Spongebob Squarepants. Well, at the dawn of the tube there was the freckle-faced marionette Howdy Doody and his pal/handler “Buffalo Bob” Smith. Then, as Mr. Doody hung up his strings, Bob Keeshan (a vet of that former show) arrived as Captain Kangaroo along with his real-life buddies (Mr. Green Jeans) and more puppet and costumed cast mates (Bunny Rabbit, Mr. Moose, and Dancing Bear). He was a TV mainstay for decades along with that gentle, soothing-voiced Fred Rogers and his puppet-filled neighborhood. Just a few years after his debut on PBS, a most influential classic educational kids’ program premiered on a very “sunny” day in 1969. O f course I’m talking about “Sesame Street” which continues on to this day, every,well,weekday. Of the countless live actors and actresses and puppet (er, Muppet) performers, he was the very first breakout star, a pre-schooler superstar actually. He was on that first show and he’s still there, nearly half a century later eclipsing all the previously mentioned icons. Now a new documentary celebrates the man behind the feathers as Caroll Spinney loudly and proudly tells the world I AM BIG BIRD.

Just like George Bailey, Mr. Spinney has had a pretty wonderful life. A shy, quiet child (like many similar performers), he gravitated toward puppets as a way of breaking out of his shell (foretelling his future role). His parents (particularly his father) didn’t understand their son’s obsession, but Carroll continued on. Soon he was part of a local TV kids show n Boston that lead to that area’s version of the Bozo the Clown show (most major TV markets had their own licensed pie-throwing, manic, red-headed harlequin). There Caroll came up with new puppets and characters. Eventually he ended up performing a disastrous set at a puppet festival. But his creativity sparked the interest of a future mentor who was in that audience. Backstage, Carrol was stunned by the kind words and encouragement from Muppet mastermind Jim Henson. A few years later, Henson thought of Carroll when he needed more performers for a public television project. Originally, the gangly, loose-limbed yellow bird was a silly, a wacky goofball. But with the behind-the-scenes tinkering, he evolved into the quizzical, child-like creature that became a surrogate for the pre-school audience. Kids worldwide fell in love with him and Big Bird became a staple of the most honored children’s TV show ever (over 150 Emmys!!), “Sesame Street” and continues to educate and entertain new generations.

Co-directors David LaMattina (who also wrote the screenplay) and Chad N. Walker utilize several film-making techniques to tell Carroll’s fascinating story. There’s fairly simplistic 2-D hand-drawn cell animation (looking much like cartoon segments from the early days of “Sesame”) that’s employed to illustrate many pivotal anecdotes (meeting Henson, etc.). Much, more engaging and whimsical than actor re-creations, it’s perhaps best used to give an X-ray view inside of the title star itself, giving us a peek of how Spinney suffers for his art (now, there’s some claustrophobia). We see lots of home movie footage of the Spinney family along with early art and photographs (he was quite a cartoonist/animator). Of course, there are lots of testimonials from Spinney’s friends and co-workers like Muppet vet Frank Oz plus “Street-mates” including Bob McGrath (another performer there from the beginning) and Loretta “Susan” Long. And though the bird gets most of the screen time and title, the film makers also show the development of Spinney’s other signature character Oscar the Grouch, the sour to Big Bird’s sweet (you know, he started off as a caramel-brown color?). There’s engaging sequences on two specials produced in China (with a tearful on-camera reunion with Caroll’s young co-star) and Carroll’s romance and partnership with second wife Debra (unfortunately his first wife is never interviewed, and is cast in a somewhat negative light). And there are his grown children interviewed in addition. Plus Spinney tells of his eventually reconciliation with his folks.

But his life is not all peaches and cream (or birdseed milk shakes). Cast members tell tales of Spinney suffering much verbal abuse from a veteran director. Plus there’s the sudden death of genius/mentor Henson and show sidekick Will Lee AKA Mr. Hooper (the loss made for quite a memorable episode). The biggest stunner may be the story of how Spinney was almost a casuality of a national tragedy. And Spinney reflects on the changing times as the show now targets a much younger audience reflected by the ascension of a certain ticklish red fuzzball, while he trains an eventual successor (he does some stunt work already). Oh, and then there’s the humorously horrific tale of the star getting “plucked’ during a campus appearance. Plus we’re reminded of the last big presidential election when the yellow guy became a campaign issue. Aside from an overly cloying music track, I AM BIG BIRD is a fascinating profile of the gifted man who’s been a sweet, fine feathered hero to children for seven decades now. Rest, and nest, well Mr. Spinney.

4 out of 5

I AM BIG BIRD is playing in theatres and is available through video on demand

LAMBERT & STAMP – The Review

And now for yet another documentary feature set in the world of art. Nope, we’re not following another globe-trotting photo-journalist. This is in the world of music, rock n’ roll, to be precise. We’re heading back over fifty years, when the Beatles ruled the pop charts. Seems that another quartet were becoming pop icons beside the “fab four”. As the years have passed, both groups have been whittled down to duos. I’m referring to The Who, but this film’s title doesn’t profile anybody at the footlights, smashing up their instruments. No, it’s about the unlikely pair behind the pandemonium. They might sound like an old vaudeville team to rival Bud and Lou, but those rock standards might never have become a part of our lives without LAMBERT & STAMP.

In swinging mod, mad London of the early 1960’s, two fledging film makers had a unique plan to break into the cinema scene. Kit Lambert and Chris Stamp decided to find and develop a music group with the idea of eventually making a film about them (kind of like Richard Lester with A HARD DAY’S NIGHT). The partners seemed a most unlikely team. Kit was the Oxford-educated son of celebrated classical music composer Constant Lambert. He was also a closeted gay man at a time when it could get you thrown in jail. Chris was the hard-drinkin’, skirt-chasing son of a tug boat captain. After seeing the band, the High Numbers, at the hottest club in town, the men became their managers and agents. Slowly they began molding an image for the foursome, exploiting current fashion trends, and eventually changing the band’s name. In order to keep the fellows signed, Kit and Chris guaranteed them a salary. Often the two would work on the crews of Hollywood films based in Europe, then send their wages back to the band. For the next ten years, the group is celebrated throughout the world as their managers begin their own label, Track Records, that would sign Jimi Hendrix and Arthur Brown. But when the Who’s Pete Townsend completes the first rock opera “Tommy”. Kit and Chris are pushed aside when the movie adaptation is produced. The duo eventually pursue other projects, while battling personal demons, as the Who continues on, despite disputes and devastating deaths.

Happily director James D Cooper was able to make use of extensive interviews with Stamp, recorded before his 2012 passing. He seemed a man who was most comfortable with his place in pop culture history, full of self-deprecating humor and recollections of those wild days and nights. Plus we get to talk with his much more famous elder sibling, film star Terence (yeah, General Zod himself!). Lambert, having passed on decades ago, is a bit more mysterious since his story is mostly told though Chris and other friends and colleagues. Fortunately Kit became the face and voice of the duo, so there’s plenty of vintage TV news footage of the man. Like many of his contemporaries, he seems to be a victim of the period’s over-indulgences as the film chronicles his 70’s descent into the disco scene.

And, of course, there’s the band itself. In one of the film’s funniest moments, Chris recalls one girlfriend’s reaction to his signing the then “High Numbers” calling them, in less polite terms, unattractive. They probably didn’t adorn the walls of many teen bedrooms then (Daltry did go on to heavy metal heart-throb status eventually) but their incredible talents and charisma made them an enduring musical force. Like Kit, drummer Keith Moon left us long ago, so we can hear retellings of his legendary antics along with lots of performance and home movie footage which reminds us that he was likely the inspiration for the Muppets’ “Animal”. Aside from the film of his stage work, founding member John Entwistle is often a hovering enigma as we unfortunately don’t really get to know him. Thankfully there’s enthralling interviews with the still-rockin’ survivors. Roger Daltry reflects modestly about his time as front man. There’s more time spent with The Who’s creative force Townsend who pulls no punches about slights and conflicts, never letting the glow of nostalgia erase the tough times.

But, oh that “go go” mod sixties footage (we almost expect Austin Powers to pop up), sweeping us up in that swinging, free-wheeling time. This film is a terrific overview of the career of a remarkable duo and the band they helped turn into superstars, but more importantly, it’s a trippy time machine back to a seemingly simpler time. Hey nice goin’, LAMBERT & STAMP! Ga-rooovey!

4 Out of 5

LAMBERT & STAMP opens everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre

THE SALT OF THE EARTH – The Review

Last year’s bumper crop of engrossing art documentary feature films included one set in the world of photography called FINDING VIVIAN MAIER which went on to earn an Oscar nomination. It showcased the Chicago-area pictures taken by a nanny/ caregiver in the 1950’s to the 70’s which were discovered recently by a modern-day photog. In a way, the film was a mystery movie, investigating the largely unknown life of this hidden artist, In the new film THE SALT OF THE EARTH (also an Oscar nominee), there’s no such mystery, as its main subject has been known and celebrated for the past 40 years: Brazilian photojournalist Sebastião Salgado. Plus, he never limited himself to his native land as he spans the globe in search of the drama of life.

As the film begins, we’re bombarded by remarkable black and white images of a gold mining dig down in South America. The dirt encrusted fortune seekers swarm the mountain side, often resembling a horde of ants enveloping a crumb. And Salgado is right in the thick of it, even as tempers flare and greed possess them all

And then it’s back to the present day as Salgado braves the harsh elements in order to document a somewhat primitive hidden far away from civilization. He offers the reluctant natives a chance to peer through the camera lens, to their wonder. Salgado himself has been witness to countless wonders over his seventy-plus years. We’re taken to his childhood home, a vast plantation farm land in Brazil and meet his parents, who try to understand their son’s great passions. At one time his main passion was economics and traveled to Paris for an education. But once he picked up a camera, his life changed. He met wife and art-partner Lelia and together they chronicled the student protests in Europe during the late sixties/ early seventies. Then, as the two began a family, they focused on certain subjects worthy , they believed, of world-wide attention. We see through his work the beauty of wildlife, in the frozen tundra, and the dusty trails of Africa. In one sequence we witness Salgado trying to remain calm and quiet as some of said wildlife starts to sniff about his tiny shelter/ photo hut (he almost begs the beasts to get closer to the small windows in order to snap a better pic).

But it’s all not just pretty pictures collected in a swanky coffee table-type book. Salgoda is in the thick of the devastating civil wars in the Sudan. And there’s the horrors of draught and starvation in Ethiopia, as we see countless images of emaciated children. Salgado relates with sadness, the story of a father bringing the corpse of his son to a burial ground, the father casually talking to a neighbor as though they were putting out the morning trash in time for pick-up. For one sequence we see the results of his travels to the Iraq, just after the first Gulf War, when oil refineries were set ablaze. These images of the fire fighters (intercut with news footage) are astounding. We can almost feel the unbearable heat as the sludge-covered warriors face an almost unstoppable foe.

Internationaly famous film maker Wim Wenders (who also co-directed this film) joined Salgado on his excursions several years ago and becomes a narrator and interview subject. Wife Leila also contributes her musings on their long marriage. And we see her helping to co-ordinate his new projects and travels. One of their projects, son Juliano (the film’s other director), tells stories of his father’s long absences (almost a ghost parent) growing up, but all bitterness evaporates as the two men become partners and close confidants. Finally the film comes full circle in its last moments as Salgado returns to the family homestead. After so many images of despair, the story concludes on an upbeat, hopeful note as he helps bring new life to the barren earth. Life will grow and thrive once again. All this is accentuated by the soothing, subtle music score by Laurent Petitgrand. THE SALT OF THE EARTH tells of an amazing life through hundred of unforgettable images. You’ll have much to appreciate as you savor the next collection from this remarkable artist.

4 Out of 5

SEYMOUR: AN INTRODUCTION – The Review

You might assume that music takes center stage given the subject of SEYMOUR, but Ethan Hawke’s look at the reclusive concert pianist is so much more. Composer Seymour Bernstein is the focus of SEYMOUR: AN INTRODUCTION. Like the title would suggest, we briefly get to know the journey of a man who studied piano, went over-seas to war, composed musical arrangements, and then suddenly stopped performing publicly due to crippling stage fright. But that is what’s so great about Hawke’s documentary debut. Like a classically trained pianist who effortlessly can glide his fingers across keys without a single misstep, Hawke guides the film across multiple subjects, bringing into question music’s true purpose, finding true happiness, and the pros and cons of becoming famous for your art.

Seymour Bernstein may be one of the greatest pianists in the world and yet most of us might not have ever heard of him had it not been for Hawke’s discovery. This look into the brilliant mind of Seymour is consistently fascinating due to the central character’s knack for thoughtful musings about life. He comes across as calm as a Buddhist monk – assured and yet direct in his convictions. Seymour’s philosophical beliefs are a result of years living as a reclusive and talented artist in New York City, and his ability to impart lessons or provoke questions is just as fascinating as his musical abilities. His countless hours behind the piano, studying music, and teaching students in both classes and workshops, have shaped Seymour into an introspective but thoughtful zen-like mentor. He seems like a grandfather figure that you immediately feel connected to – someone you could have known your entire life.

Hawke presents the film in an intimate and no-nonsense fashion. His focus is on the words and music of the subject, not on the technical aspects of the film process. Some might confuse this with laziness as a director, but SEYMOUR lends itself to minimalism, not unlike that of Hawke’s friend and frequent collaborator Richard Linklater. There’s not necessarily a restraint to how Hawke approaches his subject as much as there’s room for the conversations to naturally evolve. Personal stories about his time in Korea and comments about Beethoven’s classical compositions flow organically, building to a final performance in front of a small audience introduced by Hawke. Unfortunately both parties feel insecure and out of their element during the final concert, leading one to think that the film might have been better off on a quieter note than staging a forced grand finale.

Ethan Hawke may be known for balancing arthouse projects like BEFORE MIDNIGHT and BOYHOOD with mainstream fare like THE PURGE and DAYBREAKERS, but in his discussions with Seymour we learn of his desire for something more. He calls into question whether acting is where he’s meant to truly find his own artistic fulfillment. By placing himself in the film Hawke represents many of us who watch Seymour talk about his passion and ask the same question of ourselves. The director isn’t placing himself in the film as way to satiate his own ego – like some might say of director Michael Moore – but to open the conversation to the viewer to discuss further. SEYMOUR: AN INTRODUCTION may serve as exactly that given its succinct 80 minute runtime and its somewhat brief look at the life of Seymour Bernstein, but this intro is more than just a serviceable appetizer – it’s in fact chockfull of juicy material that will nourish those looking for more than just a beginner’s piano lesson.

Overall rating 4 out of 5

SEYMOUR: AN INTRODUCTION opens at Landmark’s Plaza Frontenac Cine on April 10

MERCHANTS OF DOUBT – The Review

In order to cover every big story, the big 24 hour cable news networks need to find experts to debate and discuss this bit of information. This is most often presented in the now standard split screen format with opposing takes to the story, now viewable side by side (sometimes the host or anchor will take up a third portion of the screen). Split screens are almost always used when another report or study is released that concerns climate change or global warming. On one side a researcher or scientist (former staple of kids’ programming Bill Nye “the Science Guy” has now become a news staple) explains the findings while a representative from some organization (“Citizens for…”, “The …Foundation, etc.) dismisses it with the popular mantra “not all the studies are in…”. But, just who are these naysayers, and what are these groups they speak for? Science historians Naomi Oreskes and Erik M. Conway tried to answer these questions in a 2010 book, which inspired the new documentary from director Robert Kenner (FOOD, INC.) and co-screenwriter Kim Roberts, MERCHANTS OF DOUBT.

Oddly, the film really begins over sixty years ago, with a subject fairly far removed from current controversies: the link between tobacco use and cancer. The big cigarette producers were in a quandary. How could they refute the surgeon general’s report? To paraphrase Don Draper from TV’s “Mad Men”, “If you don’t like what they’re saying, change the conversation.”. Public relation firms were hired (the film makers present all the memos and letters), with “experts” casting doubt (hence the title) on the findings, even equated smoking restrictions as an attack on personal freedoms. Two Chicago newspaper reporters were able to connect the dots from tobacco to laws requiring often toxic non-flammable cushions in furniture and bedding. The most compelling sequence concerns a doctor speaking before different committees (always boasting of praise from the Dali Llama) relating the story of a baby’s death in a crib fire, a story he admits was fabricated. These became lessons learned and adapted by “big energy” when stories of climate change began popping up in the early 1980’s (with footage of presidents Reagan and Bush the first addressing “the greenhouse effect”).

This subject comprises most of the film’s running time and features its best sequences. And interviewees. We’re introduced to, perhaps, the film’s real hero: James Hansen, a scientist ringing the alarm concerning global warming for the last several decades. We see how the fight has taken a toll on him over the years while many others have taken up the cause. Unfortunately he and the other researchers aren’t “camara friendly”, and are shouted down by the slick PR flacks and lobbyists, armed with dissenting opinions. But who are they? Many of these institutes and foundations are headed by the developers of the atomic bomb, actual rocket scientists. Seems that they’re fiercely anti-communists and believe that anything critical of big business is un-American, even calling environmentalists “watermelons” (green on the outside, red on the inside). The most compelling naysayer, and the Moriarty to Hansen’s Holmes, may be Marc Morano, an internet agitator, who sees nothing wrong in making Hansen and his colleagues’ private email addresses public and is “shocked” that they would be bombarded with death threats (he thinks himself “witty”). Thankfully there are conversion stories, such as the head of Skeptics magazine along with former GOP congressman from South Carolina Bob Inglis who broke with his party over climate change (hence former), and who continues to spread the warning to those refusing to listen.

Kenner keeps the film moving along at a brisk pace, employing animation against a file storing warehouse that resembles the final moments of RAIDERS OF THE LOST ARK with folders displaying some often unbelievable missives and memos. And there’s the clips, the archival footage of Rush, Glen Beck, and the ole’ Fox News gang. The best ones go even further back when Morton Downey, Jr., on his old nightly screamfest, berating anti-smoking researcher Stanton Glantz with “I smoke three packs a day and look a helluva’ lot better than you!”. Glantz certainly looks better than him now (Mort took his last puff in 2001). MERCHANTS OF DOUBT is informative, entertaining, compelling, funny and infuriating. Most importantly, it’s an indictment against those cable channels for being too quick to give these “experts’ airtime (do your research!) And it should be required viewing for history and political students everywhere. You’ll never watch the news quite the same way again.

4 Out of 5

MERCHANTS OF DOUBT opens everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre

DELI MAN – The Review

DELI MAN is not a movie about food. On the surface, it appears to be a documentary about deli food and it’s history, but in truth is much more focused on a passion. This film chronicles the passion of a handful of men passionate about a rapidly dying breed of cultural establishments and their determination to stick it out. This is great because, honestly, we really don’t need more food documentaries. We have plenty.

Much of this lively, often humorous documentary focuses on one man, David “Ziggy” Gruber, a curious kid with an old spirit turned classically trained chef turned deli owner and operator. Directed Erik Greenberg Anjou rightfully spends a lot of time with Ziggy, as he wears his passion on his sleeve and truly knows what he’s doing. Anjou chronicles Ziggy’s formative childhood years, his inspiration and journey to becoming the heart of one of the last great delicatessens to survive through personal interviews with the man himself as well as with friends and family.

DELI MAN maintains a light-hearted tone, incorporating formally staged segments with more candid moments in the deli and in Ziggy’s personal life, which helps tell the big picture of what it takes and what’s at stake, clinging onto a dream that few still share. Ziggy doesn’t just promote himself and his deli, but takes the audience on a tour of the past present and future of the deli life and his neighborhood, on which is what a deli ultimately dives. With neighborhoods changing or even dying, how does a deli survive, or does it adapt? This is a problem with not just one answer, as we see through various deli owner’s experiences.

Anjou adds an element of celebrity credibility, of sorts, sprinkling several interviews with well-known deli patrons throughout the film. Interviews from the likes of Jerry Stiller, Larry King, Fyvush Finkel, and more add levity, humor and an air of notoriety to the film, but when its all said and done, its Ziggy who is the star and who carries the emotional and memorable punch that gives the film its charm.

DELI MAN fully immerses the audience in the deli culture, both in a booth as a customer preparing to savor a juicy pastrami sandwich and behind the counter in the kitchen, lovingly and masterfully preparing the food so crucial to so many patrons daily life. With a history as rich as this, and one which many will find is not exactly what they presumed — courtesy of Anjou’s research and casual approach to covering — its difficult not wanting to run out to the nearest deli and grab a bite after seeing the film. Unfortunately, seeing the film awakens a harsh reality that these true delicatessens are harder to find than ever.

From mouth-watering flavors to fascinating stories, DELI MAN satisfies many cravings for good cultural documentaries. This is a friendly, fun and freely flowing film, not tied down to a traditional sluggish structure like so many documentaries. As Ziggy says in the film, “if only they could smell with their eyes,” referring to the audience of the film, you’ll definitely agree after seeing DELI MAN and catching the deli bug from the film’s central subject.

DELI MAN opens at Landmark Theatres – Plaza Frontenac today, Friday, March 27th, 2015.

Overall Rating: 3.5 out of 5 stars

BALLET 422 – The Review

Last year proved to be an extraordinary one for feature-length documentaries about art and artists. 2014 saw the release of TIM’S VERMEER (a holdover from 2013), FOR NO GOOD REASON, JODOROWSKY’S DUNE, all dealing with masters of pen, ink, and brush while LIFE, ITSELF explored the writing of Roger Ebert and GLEN CAMPBELL: I’LL BE ME offered an intimate portrait of the acclaimed musician. Barely two months into 2015, we’re now treated to an exceptional film which immerses us into the world of classic dance. Now, the ballet has been the backdrop for many classic dramatic films, from the fantasy world of THE RED SHOES to the psychological terror of BLACK SWAN. But there’s little back stage melodrama here. Director Jody Lee Lipes let’s us peek behind the curtain, past the tights and tutus for the sweat, strain, and stress for BALLET 422.

So, what’s with the number? Is this part of a long, long-running film series? I’ll explain shortly. The film’s main focus is 25 year-old Justin Peck, part of Corp de Ballet of the New York City Ballet company. We first meet him working with his dance brothers in the last weeks of 2012. Then we’re informed that he’s been chosen to create and direct the choreography for the company’s 422nd original ballet (aha!), “Paz de La Jolla”, based on a music composition from 1935. Oh, and this will be presented as part of the January winter program, just two months away. The film makers follow Peck as he collaborates with the company’s musicians, costumers, lighting director, and dancers as they race against the clock to bring this new work to the critical NYC audiences.

Lipes directs in a style rarely seen in most popular doc features today. The film maker is almost…invisible. We don’t hear the director asking questions, we never hear a peep from anyone behind the camera. Unlike many prolific doc directors, we don’t have them or anybody (like Penn Jillette in VERMEER), narrating the action as in the cinema profile style of Errol Morris, Werner Herzog, or Michael Moore. There are only title cards (white letters on black) giving us the bare bones facts and time clock (one month, two weeks, five days, etc.). And the film’s subjects never acknowledge the camera, there’s no confessionals into the lens. Oh, plus there’s no history flashbacks, no period recreations, no faded photos or jittery home movie footage. We’re completely in the moment, experiencing this journey with members of the company. Peck is the main subject, but we see nothing of his personal life. There are two brief sequences set at his home (in one, he listens intently to the dance music, while quickly scribbling stick figures on paper to the tune’s tempo and rhythmic beats), but Peck seems to live at the theatre and rehearsal hall. We witness him conversing with Mark Stanley, the lighting designer, who later plots out the color changes. Then there’s collaborations with the costuming department, who bombard him with color swatches and clipped art and photos from vintage magazines. In one great sequence, we see the clothing getting a “dye job” in the washer with the precision of a lauded chef or a brilliant chemist. But before their task is complete, they must make sure the dancers can move in their creations. Ah, the dancers, the element requiring the bulk of Peck’s attentions. We see him, aided by ballet master Albert Evans, scrutinizing their every move, his eyes darting about in order to take in the entire effect. Fortunately his own superb movement skills can guide them through each complex step (and adds to the film’s very moving, melancholy finale). For those of us unfamiliar with this world, the film makes us appreciate the creativity and concentration of the artists backstage plus it reinforces the fact that those gifted performers at the footlights are extraordinary athletes. And for those who attend these spectacles, BALLET 422 will multiply their awe and fascination. Bravo to all involved, bravo!

4 Out of 5

BALLET 422 opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

SLIFF 2014 Review – THE KINGDOM OF DREAMS AND MADNESS

THE KINGDOM OF DREAMS AND MADNESS screens on Tuesday, November 18 at 7:30 PM at Webster University’s Winifred Moore Auditorium as part of the 23rd Annual Whitaker St. Louis International Film Festival. Get ticket information here

Director Mami Sanuda’s new documentary may have begun as an overview pf Japan’s leading animation company, Studio Ghibli, but it quickly evolves into a fascinating, intimate portrait of legendary director/storyteller Hayao Miyasaki. We first meet him on a typical work day, briskly walking the area adjacent to all the much-younger working artists. No private, plush office for him, though his simple desk and chair are next to a window. Quite a nice view, but the studio structure itself is quite pleasant with bright white walls, massive windows that let the sunlight stream in, and opulent landscaping (even a rooftop garden). But Miyasaki doesn’t spend much time up there. Wearing a bright white butcher’s apron he more likely resembles a cafeteria supervisor (later we get to see a cosplayer in the exact garb at a fan festival!). But with his silver hair and beard surrounding black eyebrows and dark horn-rimed glasses, he could be an ancient shaman or wizard. In fact he is the master sorcerer of cell-vinyl paint. He joins all his workers for the 2 PM excercise lead by an unseen instructor over the studio audio system. Then it’s back to the storyboard for his latest feature, each square of art another brick in a magnificent castle. Said structure is last year’s epic THE WIND RISES. Much time is also spent finding just the right actor to voice that film’s lead, Jiro. Also getting much of the film’s focus is the determined producer Toshio Suzuki as he oversees merchandising (just as in the US, much of the funding comes from toys and clothing) and marketing (posters and trailers) for upcoming releases. We hear much about another Ghibli founder, director Isao Takahata (he was Miyasaki’s mentor) whose next film THE TALE OF PRINCESS KAGUYA may be his screen swan song. But as the work progresses (inspiring some political controversy in the local press over WIND’s subject matter), it becomes clear that indeed this new film will be Miyasaki’s goodbye.

Sanada’s film is a compelling study of a complicated artistic genius. The cameras follow him from the studio to his modest home (often walking, but sometimes taking public transportation, almost like sharing a subway seat with Walt Disney!) where Miyasaki offers heartfelt observations about his life and work (he really believes many of his films will have no legacy). Happily ,we get to see him invigorated and surprised by the results of his hard labor (at the studio everyday but Sunday, including holidays!). Intercut are many clips of glorious sequences from previous films and archival photos and sketches from decades past. The ending may seem a touch sentimental, but it never veers into the maudlin. As long as his health endures, it’s certainly possible that the master will slip on that apron, grab a pencil, and unleash the magic once more.

Overall rating: 3.5 out of 5 stars

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Overall Rating: 3.5 out of 5 stars

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Overall Rating: 3.5 out of 5 stars

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