Tag: Politics

TURN EVERY PAGE – Review

Robert Caro and Robert Gottlieb, in TURN EVERY PAGE. Photo credit: Claudia Raschke. Courtesy of Wild Surmise Productions, LLC / Sony Pictures Classics

What a delightful documentary is TURN EVERY PAGE – THE ADVENTURES OF ROBERT CARO AND ROBERT GOTTLIEB. This witty, warm and insightful documentary is like a double biography of two literary giants, legendary author Robert Caro and his long-time editor, the equally legendary Robert Gottlieb.

Robert Caro is the author of “The Power Broker,” an examination of the career of New York power broker Robert Moses, considered one of the most definitive non-fiction books on political power behind the scenes, and the award-winning four volume history of Lyndon B. Johnson. Robert Gottlieb is the editor-in-chief of prestigious publishing house Knopf and heads up the renown New Yorker magazine, and has edited an astonishing list of great authors and great books, including Joseph Heller’s Catch 22 (and Gottlieb came up with that number), John Le Carre, Salmon Rushdie, Toni Morrison, and so many more greats that it looks like a list of the best writers and books of the 20th century.

TURN EVERY PAGE is a delight especially if you are a reader, but even if you have an interest in politics and history or you just like meeting intelligent, charming people who have led interesting lives. The two Bobs are significant literary figures but this winning documentary surprises us with their personal stories and their quirky, appealing personalities.

These two men are among the most influential figures in publishing in the 20th century but TURN EVERY PAGE is filled with wit and affection, the personal side of two people with massive talent. Both are shy and charming, but with their prickly side and quirks. Their professional partnership yielded great writing and insightful history but telling their story also tells the story of publishing in a vanishing era.

The director is Gottlieb’s daughter, Lizzie, realized she was in a unique position to tell this story. Her closeness to both subjects is a big help in many ways, including because she knows both these men so well and therefore knows the right questions to ask, and where to find hidden gold for this documentary.

Robert Caro, 87, and Robert Gottlieb, 91, have worked together for 50 years, as partnership that continues as Caro now is working on his last volume on LBJ (which he describes as “volume 5 of a 3 volume biography”), while Gottlieb waits to edit it. But, as he has always done. Gottlieb does not ask when it will be finished, content to wait until Caro knows it is finished, despite the sense that both men are racing against time.

Not that Gottlieb is doing nothing as he waits. In fact he is impressively busy, as the documentary makes clear. He is editing other works, continues to lead the New Yorker, and helps manage a Miami ballet company! And he reads voraciously – everything.

The two Bobs are brilliant but definitely have their quirks. For one thing, they both had to be cajoled in this project. Secondly, they refused to be interviewed together, to even be in the same room. Rather a strange thing for two men who have worked together for so long. Part of the reason was they both felt what they did together, their discussions while editing a book, was too personal to share.

The title comes from something Caro’s editor at Newsday said to him, as he was just getting started as an investigative reporter -“turn every page,” meaning overlook nothing, do not assume, be diligent – you never know what will be revealed on the next page. It is a good description for both this documentary and the way these men have lived. Thorough, sincere, diligent, they both are deeply committed to achieving the highest level in their work. That goal is something that the many authors and readers featured in this documentary attest they have achieved.

The two men are charming but also very different. Gottlieb seems more sociable and funny, while Caro is more reserved and intensely private. Director Lizzie describes growing up in a house filled with literary figures, frequently gathered around the table for dinners. Everyone except Robert Caro. Caro was the distant enigma, the one who held himself apart, someone Lizzie Gottlieb describes as her “white whale.” One might expect such a figure to be cool, unpleasant, maybe curmudgeonly. Yet Caro is nothing like that. Instead he is polite, personable, smiling, but clearly a quiet, serious person who thinks deeply about his work and strives to make it as perfect as it can be. Still turning every page.

Then there was the debate over semicolons. Caro loves them, Gottlieb not so much. No really, this is serious stuff for these professionals who makes their living on words, but director Lizzie Gottlieb gives this debate a light comic touch, which makes us laugh a little, and uses it to bring out their personalities. Listening to the two of them verbally sparring over punctuation is amusing but surprisingly heartwarming.

The documentary delves into both men’s professional process and recaps some parts of Caro’s “The Power Broker,” on New York mover-and-shaker Robert Moses and his Lyndon Baines Johnson books, which reveal how the books reveal the inner workings of politics through these powerful men’s story. If you have read Caro’s books, the film gives insights on the author’s research, For those that have not, the documentary gives a taste of the kind of shocking revelations the books contain. Another thing the documentary spotlights is Caro’s equal devotion to the quality of the writing, something that makes his books a joy to read in themselves.

As much as the author and editor may battle over punctuation or Caro’s love of the word “loom,” the admiration both men have for each other comes through clearly. The documentary also captures a sense of a passing era, as these long-time collaborators reach the ends of their careers. In the end, the two Bobs finally agree to be filmed together as they work but only with the sound off, keeping what they say private. But that sense of an era gone by is captured poignantly as the two of them scour the Knopf offices in search of a number 2 pencil. It is a perfect moment with which to end this warm and insightful film.

TURN EVERY PAGE – THE ADVENTURES OF ROBERT CARO AND ROBERT GOTTLIEB opens Friday, Feb. 10, at Landmark’s Plaza Frontenac Cinemas and other theaters.

RATING: 4 out of 4 stars

THE LOST LEONARDO – Review

Dianne Modestini and Ashok Roy inspecting the Naples copy of the Salvator Mundi (2019).
Copyright THE LOST LEONARDO – Photo by ADAM JANDRUP. Courtesy of Sony Pictures Classics.

“This is the most improbable story that has ever happened in the art world,” is how the subject of the documentary THE LOST LEONARDO is described by one of its expert interviewees. Few artworks as valuable as those by Leonardo DaVinci, so the possibility that a known but long lost painting by the great master has been found generates headlines far beyond the art world. But an interest in art is not needed to be fascinated by the twisty, shocking tale told by THE LOST LEONARDO, a tale more about money and power than art. This top-notch documentary documentary takes us deep into the murky, hidden world of Old Masters art, a story involving extreme wealth, shady financial dealing, greedy institutions, ambition academics, clever auction houses, and basic human foibles, all sparked when a painting that might or might not be DaVinci’s long-lost Salvator Mundi (Savior of the World) surfaces.

It is a wild tale but director Andreas Koefoed’s well-structured documentary keeps everything clear, while giving us the depth needed to understand the background and the various worlds involved. Those worlds are the art world, academics, museums and galleries, auction houses, art dealers and the wealthy clients who buy this most expensive art.

The photography is outstanding and, along with a bouncy score, lends a caper-film vibe to this fascinating, often jaw-dropping true story. Koefoed brings in many of the principle figures in this story, along with experts on art and the art world, one of the most opaque in existence, to help us keep track. The documentary offers an array of opinions on what this art work really is and the events swirling around it. It features some real characters on screen including the outspoken art critic Jerry Saltz, and insightful art collector Kenny Schachter, whose incisive comments often cut straight to the heart of the matter. Investigative journalists also weigh in, and even an ex-CIA agent.

Evan Beard, global art services executive at Bank of America, a major financer of high-value art purchases, serves as a kind of narrator of THE LOST LEONARDO’s crazy tale, which keeps everything clear and ordered. Beard, who supplied the quote at the start of this article, is a good choice as a narrator, with one foot each in the art world and financial one.

The painting at the center of this crazy story surfaced in an unlikely place, in New Orleans, at an art auction where “sleeper hunter” Alexander Parish spots it. A “sleeper,” as Parish tells us, is a painting that is clearly by a much better artist than the auction house thinks it is. There are many known copies of DaVinci’s Salvator Mundi but the original has not been seen for about 400 years. The painting in New Orleans is labeled as “after DaVinci” but it catches Parish’s eye, and after consulting with Old Masters art dealer Robert Simon, the pair buy the painting for less than $2000 and have it shipped to New York. They immediately see that the work has been extensively repainted, so they send it to perhaps the world’s top art restorer, Dianne Modestini, who cleans the painting of its coats of vanish and poor re-touching. Modestini’s work reveal a heavily-damaged painting with the most of the paint loss in the area of the face. But the less-damaged lower part of the painting is intriguingly like DaVinci. As she restores the painting, this renowned expert becomes convinced it is a genuine Leonardo.

“Everyone wanted it to be a Leonardo,” says Alison Cole, editor of an art periodical, near the film’s start. Her remark helps explain some of the frenzy and madness that ensues, not just among art experts but with wealthy buyers of art. Some of these billionaire see art more as an investment and a way to convert assets into a portable form and are motivated more by that than any real interest in art. But the extensive damage makes it impossible to say with certainty if this painting is an actual Leonardo.

An attempt to establish its provenance, to trace it back to the last known owner, proves incomplete. What really starts the ball rolling is when the painting is sent to a prestigious gallery in London, where top Leonardo experts are supposed to view it. Their opinions are unclear but the curator decides to put the painting in the gallery’s upcoming DaVinci exhibit, and labels it as by Leonardo anyway. The exhibit draws record crowds.

Finding a lost DaVinci would be a coup for any art academic and exhibiting newly-discovered one is a lucrative event for any museum and gallery, so greed and ambition emerge as drivers of events early on. It is easy to imagine this will be a story about greedy owners over-selling the authenticity of a dodgy painting to making a financial killing but, in fact, that is not the case here The real wheeler-dealers and shady dealings are far further up the ladder, and the original owners are small potatoes, as well as the most honest, in this murky high-stakes finance tale. The real sketchy dealings are at the wealthy top, with a Russian oligarch, an unscrupulous Swiss art dealer who also owns Geneva storage facilities the rich use to store valuables to evade taxes, an opportunistic auction house and a Saudi Prince linked to international scandal.

This is hot stuff indeed, filled with twisty, complicated dealings worthy of a thriller and characters who seem like something out of fiction too. There are several very sketchy characters but appealing ones too. Among the most charming and sympathetic figures in the film are the art restorer Dianne Modestini, who becomes overwhelmed by the media frenzy that ensues, peaking when the painting is re-sold at auction for a record breaking 450 million.

It is a wild ride stranger-than-fiction tale, like something out of James Bond but true, and director Koefoed takes us on a outstanding, insightful tour of it. THE LOST LEONARDO opens Friday, Sept. 3, at Landmark’s Plaza Frontenac Cinema.

RATING: 3 1/2 out of 4 stars

LONG SHOT – Review

So, you’re looking for a different kind of film this weekend, maybe a light snack about the glorious super-powered feast that most of the world devoured (and is still savoring) just a few days ago. Perhaps a “rom-com” may be just the thing, maybe featuring an Oscar winner? So, who’s her co-star? How about a “hook-up” with today’s unofficial “stoner” comedy star? Why am I asking so many questions (okay, just one more)? But just where would this unlikely duo connect? The world of global politics, of course! Still, most folks would consider the chance of these two “getting busy” a very LONG SHOT But hey, anything can happen at the movies.

We first meet one half of the romantic duo, Fred Flarsky (Seth Rogen) as he finishes up some truly dangerous undercover research on an expose he’s writing for a scrappy, almost underground weekly newspaper. Ah, but his journalistic triumph is cut short when he’s informed that his paper has been bought out by right-wing media mogul Parker Wembley. Well, Fred has his integrity so he resigns despite his boss’s pleas to fire him (so he can collect unemployment). Upon hearing of this, Fred’s BFF Lance (O’Shea Jackson Jr.) insists that he treat him to a day of indulgence. Said day caps off with a performance by their fave R & B group at a fancy charity cocktail party. At that same party is the other half of said duo, Secretary of State Charlotte Field (Charlize Theron), who’s had quite a day herself. Her boss, President Chambers (Bob Odenkirk) informed her that he will not be seeking a second term. With the prodding of her aides Maggie (June Diane Raphael) and Tom (Ravi Patel), she decides to make a run at the Oval Office. Back on that fateful evening Charlotte and Fred lock eyes across the big party. She can’t place him, but he recalls her as his ideal back when she was his babysitter. She was his big unrequited “crush”. After her secret service agents bring him over, the two enjoy a reunion that’s cut short by the overbearing Wembley himself (Andy Serkis). This leads to a “viral video” moment and the two part. But Fred’s in the back of her mind, especially when Maggie and Tom tell her that the public doesn’t think she’s got much of a sense of humor. Charlotte’s read and enjoyed Fred’s articles and he’s outta’ work, so why not hire him to “punch up” her speeches? But she has to convince Fred that she will stick to her principals and not back down. She succeeds and Fred is joining them on the pre-campaign trail. Soon that long-ago attraction is rekindled. They try to keep it on the “down low”, but for how long? And can the voters possibly accept her with him?

This new work marks another success in the film career of unique star and, we can now certainly say, movie leading man Rogen. He could have made a safe comfortable living just starring in silly “weed” flicks like PINEAPPLE EXPRESS, but he’s strived to take on projects outside that “comfort zone”. Hey, he was even a superhero (though THE GREEN HORNET didn’t kick off a new franchise), has provided some cartoon voices (the family-friendly KUNG FU PANDA and MONSTERS VS. ALIENS and the not-for-kids SAUSAGE PARTY), and showed us his dramatic chops in STEVE JOBS and TAKE THIS WALTZ. Here’s he’s closer to his characters in KNOCKED UP and the NEIGHBORS flicks with some of the smarts from THE INTERVIEW. Rogen makes Flarsky more than the “doofus snags a hottie” in that he’s a determined investigator, with a strict sense of purpose and ethics that often work against his likability. Despite enjoying a “good time” Fred can be strident and close-minded, and Rogen shows us a guy that has trouble adjusting to the compromises of the “real world”. Luckily his character is guided by Theron’s strong, assured performance as Field who knows that you’ve got to “bend’ a bit, but wonders if she “gives in” too often. With Flarsky, she recalls those younger idealistic days with both joy-filled nostalgia and a touch of regret. Theron’s stunning looks draws us toward her particularly in those diplomatic dinner parties, but, as with Rogen, that can work against her, as many assume she’s doesn’t possess a sharp mind and a razor-sharp wit. And in the final act, Theron shows us how Field has been liberated by her friendship and eventual romance with Fred, generating real “heat’ even as they debate and disagree.

If the chemistry between the two leads weren’t enough, they’re surrounded by a horde of talented comic actors. Jackson is compiling quite a resume, this time giving us a street-savvy media tycoon who still like to “kick it” with his pals, and is the perfect “wing” man. Raphael is a treat as the non-nonsense b#*l-busting aide/campaign manager who tries to become a “living wall” between Fred and Charlotte while hiding her own secrets. Patel scores some chuckles as the put-upon number two in the Field team who could be pals with Fred. Randall Park has a terrific comic cameo as Fred’s understanding editor. The biggest surprise here may be Alexander Skarsgard as the handsome hunky Canadian Prime Minister (how’d they come up with that character). Though they photograph together like a dream (Joe and Jane Q. Public just eat them up like “eye” candy), the pairing of him with Field just doesn’t “click”. Beyond a casual flirt, Skarsgard is endearingly awkward as he fails at “sealing the deal”. The film’s real laugh-generator is Odenkirk whose TV actor turned politico trying to turn movie star is inspired casting. Plus he plays both “boob” (watching ad really enjoying clips of himself as the prez’ on his old TV show) and ruthless deal maker and career breaker when Field doesn’t “play nice” for his backers. The biggest of which is media magnate Wembley played with nasty troll-like glee by a nearly unrecognizable Serkis. Really, I had no idea who it was till the end credits rolled. Whether he’s using “motion capture” or, in this role, old-fashioned make-up and wigs, Serkis is one of our most gifted character actors.

Veteran comedy director Jonathan Levine (he worked with Rogen on THE NIGHT BEFORE and 50/50) keeps the pace bouncing along, avoiding the deadly “lull at the one hour mark” that crashes many comic films. He expertly uses quick edits along with slow motion to punch up the slapstick set-ups, while slowing things down for the intimate sequences that show love blossoming from the respect between the two leads. Of course, none of this would play without the whip-smart script from another comedy vet Dan Sterling (Lotsa’ TV and THE INTERVIEW) and relative newcomer Liz Hannah whose biggest credit is THE POST (this may account for some of the “insider” digs at the media and the “beltway”). They provide some great gags about the devotion to polls and surveys (Field is annoyed that her laugh and her waving”, as in saying “bye bye”, don’t “track” well). And big kudos to them for establishing early on that Charlotte is a few years older than Fred (the painfully funny flashback is a highlight). This sort of thing wouldn’t be permitted just a few years back when leading men had several decades on their romantic co-stars (still happens too much today), so bravo. They’ve combined some of the hilarity of Rogen’s “party” pics with the unlikely pairing love story of KNOCKED UP and the swooning political romance of THE AMERICAN PRESIDENT. If you’re looking for silly slapstick and smart satire then this new flick is truly no LONG SHOT.

4.5 Out of 5

KNOCK DOWN THE HOUSE – Review

Alexandria Ocasio-Cortez in KNOCK DOWN THE HOUSE. Photo courtesy of Netflix.

When director Rachel Lears started following four women candidates in the 2018 congressional primaries, she had no idea one of them would become the focus of national attention. Alexandria Ocasio-Cortez was one of four female political outsiders challenging Democratic incumbents that Lears pick to follow for this political wild ride, as they attempt to knock down the doors to power in the U.S. Congress. The resulting documentary, KNOCK DOWN THE HOUSE, is as thrilling, gripping and inspiring, as it is ground-breaking.

Two of the four women candidates featured in the documentary, St. Louisan Cori Bush and Nevadan Amy Vilela, will appear at a question-and-answer session after the St. Louis opening of KNOCK DOWN THE HOUSE, at 7:05 PM at the Tivoli Theater, as the film begins its local theatrical run. KNOCK DOWN THE HOUSE was a hot ticket at the True/False Documentary Film Festival this year in Columbia, MO, following its strong debut at the Sundance Film Festival in January.

At the start of Lears’ documentary, Alexandria Ocasio-Cortez is joined by Cori Bush, Amy Vilela, and Paula Jean Swearengin, four women who are not career politicians but driven to run against their Democratic elected officials from the progressive side, mirroring the way libertarian and Tea Party candidates have mounted primary challenges to Republican incumbents from the right in recent years.

Ocasio-Cortez was a Bronx-based bartender when she faced off against Rep. Joe Crowley for New York’s 14th district. Cori Bush, a registered nurse and an ordained pastor, challenged powerful St. Louis incumbent Rep. Lacy Clay for Missouri’s U.S. Congressional 1st District seat. In Nevada, Amy Vilela challenged Rep. Steven Horsford in the 4th District, while Paula Jean Swearengin took on Sen. Joe Manchin (the only one facing a senator) in West Virginia.

Lears directed,wrote, and shot KNOCK DOWN THE HOUSE, her third film, and co-produced it with her husband Robin Blotnik, who edited the documentary. Lears follows each woman by turns, although she ultimately spends more time with Ocasio-Cortez as her campaign started grabbing national media attention. Lears also wisely chose to include diversity in the candidates and to follow campaigns from diverse regions of the country – big city to rural, East Coast, Midwest and West. That decision gives the documentary a national, broad-based feel.

We get to know, and care about, each of the women, with glimpses into their personal lives and reasons for running, as well as following the dramatic ups-and-downs of the campaigns. Each woman is running against a well-funded incumbent, and running against an incumbent is always a long-shot, so you know there will be some heartache by the end. Still, it is inspiring to simply watch these ordinary women give it their best shot, and the effort fills one with admiration and even hope.

KNOCK DOWN THE HOUSE opens Wednesday, May 1, at Landmark’s Tivoli Theater.

RATING: 5 out of 5 stars

THE BRINK – Review

Steve Bannon speaks at a campaign event for Republican voters, in THE BRINK. Courtesy of Magnolia Pictures

To those of us who thought Steve Bannon’s far-right political influence ended when he parted ways with the Trump administration, THE BRINK is a jarring wake-up call. As director Allison Klayman reveals through her fly-on-the-wall documentary, Bannon may have left the White House but he has moved on to advising and promoting far-right Republicans, and more worrying, working with far-right political groups in Europe, in support of an ideology he calls “populist nationalism” that appeals to white-rights anti-immigrant groups and politicians.

In THE BRINK, Bannon proudly brags about being the architect of the Trump administration’s Muslim ban, which succinctly sums up much of Bannon’s mind-set. Since his exit from the White House, Bannon has campaigned for what he calls populist nationalism, both in the U.S. and in Europe, meeting with far-right candidates. Klayman follows Bannon around from Fall 2017 through the mid-term Congressional election in the fall of 2018, in this revealing, startling look at this force for political far right. It is a chilling, alarming peek inside Bannon’s work.

Klayman’s fly-on-the-wall approach is remarkably revealing. Bannon gave Klayman remarkable access, and she seems to follow him everywhere. There is no voice-over, no expert interviews providing analysis, and the documentarian only asks a few questions. Instead, she mostly lets Bannon do all the talking, which makes what’s on screen all the more chilling as well as insightful.

THE BRINK is one of two recent documentaries about far-right political strategist Steve Bannon, who went from running the far-right Breitbart website to working in Trump’s campaign and then the White House. The other documentary is AMERICAN DHARMA, by Errol Morris, the fabled documentarian behind FOG OF WAR. Actually, Morris film gets a mention in this documentary, when Klayman follows him to Venice for a film festival screening. Interestingly, Bannon does not actual go to the screening, instead holding meetings with a stream of right-wing politicians and activists in his hotel room.

Bannon is undeniably slick, surprisingly personable, good-humored and even charming. Bannon speaks in a breezy, relaxed manner, projecting charm and an air of reasonableness, something that is both unexpected and creepy given the extreme viewpoint he is advocating. Bannon is clearly a smooth talker, but it is what he does rather than what he says is the real key to this chilling documentary.

We watch Bannon as he meets with far-right politicians, not just here but in Europe, discussing his opposition to immigration and plans to dismantle the EU. Oddly, Bannon seems more interested in winning and the mechanics of his campaign than the ideas behind it, raising questions about who he works for. While he fires up groups of struggling ordinary people who feel left behind economically, he lives in a posh DC home, travels on private jets and stays in 5-star hotels, even joking about it at one point. Bannon seems to be doing very well financially, but where the money is coming from is largely obscured. At least one of Bannon’s funders is a Chinese businessman we meet in the film but generally Bannon is coy about where the money comes from for his work and lavish lifestyle.

Bannon does a lot of flag-waving and pro-American posturing, although his work is international, and does a lot of dog-whistling to racism ideology without actually saying it. Curiously, Bannon seems indifferent to his split with Trump, still finding Trump’s presidency a useful rallying point. In the run-up to the 2018 mid-terms, Bannon produces and distributes a pro-Trump film to be shown at rallies, a piece Bannon himself calls propaganda. “What would Leni Riefenstahl do?” he wonders with a chuckle, referencing Hilter’s filmmaker. Disturbingly, a group of right-leaning voters praise the film as “not propaganda.”

Klayman’s choice to just follow Bannon closely and let him do the talking makes THE BRINK one chilling ride. Anyone concerned about the rise of the far-right, here and in Europe, should run – not walk – to see this eye-opening documentary. THE BRINK opens Friday, April 19, at Landmark’s Plaza Frontenac Cinema.

RATING: 5 out of 5 stars

VICE – Review

Christian Bale as Dick Cheney in Adam McKay’s VICE, an Annapurna Pictures release. Photo credit : Matt Kennedy / Annapurna Pictures. 2018 © Annapurna Pictures, LLC. All Rights Reserved.

Adam McKay, who brought us THE BIG SHORT, takes on Dick Chaney in the hilariously satiric biopic VICE. The writer/director who made credit default swaps both funny and understandable brings those sharp comic skills to this boldly inventive and pointed examination of career of the former vice president. If you are a fan of former Vice President Cheney, VICE might not be for you, as the humor leans a bit snarky. But for this rest of us, VICE is flat-out hilarious.

As funny as it is, the facts in VICE are accurate, even if McKay presents them in a comic way. McKay brings the same high level of thorough research he brought to THE BIG SHORT to this smart subversive comedy. VICE covers some of the same time period as the George W. Bush biopic drama W, but this film is definitely comedy, with broad humor mixed with the satire.

We first meet Dick Cheney (Christian Bale) in Wyoming, as a young man with a drinking problem and a dim future. Well, dim until future wife Lynne (Amy Adams) gives him a “shape up” dressing down that serves as a wake-up call. We follow Cheney’s evolution as a behind-the-scenes political force from his days as an Congressional intern for his mentor Donald Rumsfeld (Steve Carell) to the present, and we watch him evolve through out. There is a particularly telling scene, where the eager young Cheney, trying to figure out the political strategy, asks his mentor Rumsfeld “what do we believe?” which releases chilling, cackling laughter from Rummy.

The film is narrated by Jesse Plemons, as an ordinary working man whose connection to Cheney becomes clear late in the film. Sam Rockwell plays George W. Bush, Eddie Marsan appears as Paul Wolfowitz, Tyler Perry plays Colin Powell, and other stars pop up throughout.

VICE is on lots of critics’ top ten lists already, and one reason is Christian Bale’s performance as Dick Cheney. Bale, who is leading many lists for a Best Actor Oscar nomination, gained 40 pounds for the role and is virtually unrecognizable. Especially later in the film, as the older Cheney, the resemblance is striking, with Bale mimicking Cheney’s mannerisms and posture with uncanny accuracy, making is easy to forget that is not Dick Cheney himself on screen.

This is no glowing, affectionate portrait of Cheney by any means but McKay treats the former “Vice” fairly and accurately, including honestly showing Cheney’s devotion to his family, as well as his calculated rise as a behind-the-scenes force in politics and government. The person who really comes across as unrelentingly unsavory in this film is Rumsfeld.

The film as a whole does a great job on both casting and make-up, worthy of an Oscar there as well. Steve Carell as wholly convincing as Donald Rumsfeld, as is Sam Rockwell as Dubya. Amy Adams is ruthless and fierce as Lynne Cheney, and the driving force behind her husband’s ambitions and career, echoing the political partnership in “House of Cards.” Among the most striking transformations is Tyler Perry, as Colin Powell. Lisagay Hamilton, who plays Condoleezza Rice, looks so much like the former Secretary of State, that one might do a double-take, thinking that is the real Condie in those scenes.

One example of VICE’s clever comic presentation of facts is the “menu scene,” which takes place after the start of the Iraq War. We see Rumsfeld, Cheney and Wolfowitz in a fancy restaurant where the waiter (played by Alfred Molina) is describing the menu, with choices like “enhanced interrogation” and “Guantanamo Bay.” Another laugh-out-loud moment is when Dick and Lynne Cheney are considering Bush’s offer of the vice presidency, and narrator Jesse Plemons intones “we can’t just switch to a Shakespearean soliloquy” but then the film kinda does, with the couple in bed seeming to recite a scene from “Macbeth.”

There are plentiful other comic gems in this bitingly funny film. The film slyly uses a fly fishing theme throughout, tying (get it? flying tying? sorry, couldn’t resist) in with Wyoming, which fly fishermen know is trout fishing heaven. Fly fishing references are abundant, everything from casting to hooking a trout, with a particularly good scene where Cheney is talking to presidential candidate Dubya about the vice presidency. Remarkably creative fishing flies – tied in the shape of bombs or the World Trade Center twin towers – are shown with the closing credits.

VICE seems a sure thing for Oscar nominations, particularly for Christian Bale’s breathtaking performance and its clever script. Highly entertaining as well as as impressively inventive, VICE is definitely a must-see film, and one of this year’s best.

RATING: 5 out of 5 stars

GRACELAND — The Review

graceland-2013_img

Drafthouse Films does it again, scouring, quite literally, the entire planet for the very best films otherwise virtually unseen by the majority of film goers. In an ongoing effort to bring powerful, hard-hitting films closer to the forefront, GRACELAND caught the attention of savvy film enthusiasts and now has the opportunity to spread its wings amidst a larger audience. Will you be one amidst those many?

GRACELAND tells the story of a working class father, and honest and good young man named Marlon Villar, played by Arnold Reyes. Set in the Philippines, Marlon finds his world thrown into chaos when a kidnapping goes terribly wrong and he finds himself fighting for his daughter’s life. Torn between his love for his own family and the demand placed upon him by his employer, Marlon must juggle a dangerous balance between doing what’s right and doing what he must.

Written and directed by Ron Morales, a filmmaker of respectable technical talent, GRACELAND marks only his second feature film as a director. Having earned his industry chops working on more mainstream Hollywood fare, from SPIDER-MAN 3 to NICK & NORAH’S INFINITE PLAYLIST, its clear that his wide exposure to various styles and genres has allowed him to find his own much more pure artistic vision.

Marlon encounters elements all too familiar, from corruption to class segregation, all of which play into the overall arc of the film that proves not to be a sum greater than its parts, but an experience of which the parts and the sum are of equally high value. GRACELAND catches us off guard, nudging us off the curb into the filthy gutter, drags us through Marlon’s agonizing ordeal, and then just when we thing Morales is going to lift us up out of our shallow grave, instead he throws a few more shovels of dirt on our heads. Why? Because the truth is, real life is rarely about perfect happy endings. Real life is twisted, bent and jaded.

Forget about the flashy, high-action kidnapping films like TAKEN that are short on plot. GRACELAND never sacrifices its heart for a quick and easy adrenaline fix. On second thought, let me retract that statement. Instead, let me say that GRACELAND relies on masterful storytelling and a potent story with more resonant real-world issues to slowly fill the viewers veins with an adrenalized rush. As a suspenseful tale of a man desperate to save his daughter, GRACELAND matches the bar. As an emotional, intelligent case study of life in a world few of us will ever dream of actually stepping foot into, this film will knock you on your ass.

Morales maintains a close and personal vantage point, often uncomfortably so, never allowing the viewer to pull away and remind themselves “hey, this is only a movie.” Even in the films’ opening moments, Morales already has us hating a key character, while empathizing with Marlon and the nauseatingly disgusting situation he is in and must face on what seems a daily basis just to make ends meet. Its this dichotomy of Marlon’s restrained morals and the requirements of his job that give us hope that he will somehow find a way out of this mess.

GRACELAND co-stars Menggie Cobarrubias as the corrupt Congressman Changho and Dido De La Paz as the corrupt detective Ramos. Both men have their flaws, but at varying degrees and with subtly contradicting lines in the sand. Changho represents the “upper class” of the Philippines, fitting as his role takes something of a backseat to that of the detectives, who serves as a sort of intermediary between the very small upper class and the vast lower class. GRACELAND is a gritty, dirty looking film yet also manages to capture a certain untarnished beauty in the way the world looks around Marlon. Morales portrays things as they are, for better or for worse. At times, it even seems perhaps that shots may not have been authorized, perhaps even captured at great risk to the filmmakers themselves. All of this adds to the tension, builds layers upon layers onto the texture of the film. This allows the viewer to get a little dirty. We need to feel some of that to fully appreciate the cinematic environment in which the story is told.

In the end, no one character is quite what they seemed in the beginning. In the end, GRACELAND has us playing everything back in our minds, looking for explanations and justifications. In the end, the truth is that a father will do whatever he must to protect his family and damn anyone that wants to tell him what’s right and wrong in the eyes of those who haven’t walked in his shoes. However, in the end, all actions also have their consequences. GRACELAND is available on VOD/iTunes now and opens in theaters on Friday, April 26, 2013. Be sure to visit the official GRACELAND website for more information and to find a screening near you.

Overall: 4 out of 5 stars

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Reality Reels: Have you met Jonathan ‘The Impaler’ Sharkey?

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I am all about supporting one’s freedom of religion and freedom of speech, but this is one of the most disturbing movies I’ve seen in a long time. ‘The Impaler’ deals directly with the topic of our freedoms in America and how they apply to everyone, for better or for worse. Thus, we get to meet Jonathan “The Impaler” Sharkey and are taken on a tour of his life as a self-proclaimed Satanic Dark Priest, Hecate Witch and Sanguinary Vampire.

‘Impaler’ was directed by W. Tray White. I hadn’t heard of this documentary, released back in 2007, until I was playing around on Hulu recently and stumbled upon what I initially thought was a mockumentary. That is, until I actually started watching the movie and realized it was for real. I immediately found myself fixated on watching the bizarre story unfold, as is often the case with my taste in peculiar and strange documentary subjects.

‘The Impaler’ jumps right in at the beginning and reveals for us Sharkey’s experience running for governor of Minnesota, having successfully achieved getting his name officially on the ballot. Good for him, but it’s not difficult to believe from a state that elected Jesse “The Body” Ventura into the governor’s office and has voted Al Franken into the Senate.

No one in the film wants to take Sharkey seriously, except for himself and the less frightening and oddly tragic character of Julie Sharkey Carpenter, Jonathan’s wife. Julie comes across as a relatively sweet and innocent woman with “alternative” beliefs and ideas who is the unfortunate victim of being with the wrong guy at the wrong time. This is illustrated best when she loses her long-time job as a school bus driver. She was very good at her job and beloved by the kids and parents and teachers alike, until Jonathan revealed in a campaign press conference that she was a Pagan and subsequently was fired. Right or wrong, she was a casualty of Jonathan’s war.

While the first half of ‘Impaler’ focuses on Sharkey’s shot at a professional career in public office, the second half of the movie touches on his checkered past and his time as a professional wrestler. While both of these portions are detailed with fascinating interviews with characters from Sharkey’s past and present, it’s the moments of intimate conversation with Jonathan himself that create the tense and troublesome mood of this movie more than anything else.

Listening to Jonathan Sharkey tell about his beliefs, his lifestyle and attempt to intelligently explain his political ideology is an exercise in tolerance. Even the most open-minded viewer of this film is likely to find themselves questioning whether an individual like Jonathan Sharkey should be allowed to even run for public office. As we learn more about Jonathan and dig deeper into his life, we see him for the person he is and do eventually come to accept him, if not begrudgingly, as a fellow American acting on his rights as an American.

Overall, the movie is not perfect and could have used some additional time in the editing room, but is anything but boring. For some, ‘Impaler’ will have eyes wide with shocking disbelief and some won’t even bother to finish watching, while for others it will likely be a testament for their own life experiences. I enjoyed peering inside Jonathan Sharkey’s mind and his life (from a distance) but the added straight-on to the camera final moral message from Jonathan himself was a pure failure in documentarian filmmaking and ultimately dropped my rating by half a point.

[Overall: Formerly 3.25 stars out of 5, but dropped to 2.75 by the end credits]