'The Syndrome' Investigates the Science–or Lack Thereof–Behind 'Shaken Baby Syndrome'
Many people grew up hearing the horrific media coverage of shaken baby syndrome; the term alone evokes a sense of fear that people abuse their children in such a manner. However, many innocent parents or guardians are wrongly accused of abusing their children due to head trauma caused by something they did not do. Meryl Goldsmith’s new documentary The Syndrome, which played last night at the Newport Beach Film Festival, is an exposé that shows that the concept of SBS is false and "outdated science" proven in a court of law, yet still has caused thousands of people to be convicted as homicidal killers. The trouble is that centers with specialized knowledge on the syndrome (and receive millions of dollars annually to conduct research) have a lot to lose if the world finds out how inaccurate their science truly is.
The film begins with repetitive news clips demonstrating just how much this is publicized. The most haunting images are those of the so-called experts violently shaking dummy babies, allegedly to show the effects it can have on the child, but it comes across as a twisted expression of anger. Early on it is made very clear that not all is right when it comes down to diagnosing this syndrome.
This controversial subject serves as a microcosm for other sensationalist media stories shown on news stations today. The trouble is just how many doctors back these accusations, even though many of their scientific claims are not based on a proper study. Because of how easy it became to villainize these people, science and actual facts are pushed out of the way.
Unlike other exposé documentaries, the filmmaker’s goal is not to change someone’s habits or lifestyles, but to encourage more critical thinking of experts who claim to have answers, and not be so quick to assume that what we see on the news is undisputed truth. Authority persuasion happens daily in the media, and often only in hindsight do we realize how false it may be. Not surprisingly, none of the opposing doctors agreed to participate in The Syndrome, but thankfully while the film has a clear message of what is not right, it never feels unreliably biased. By the time you’re done watching the film, you’ll have a deeper understanding of how scientific fact still leaves room for debate, and the horrifying realities of claims made not too long ago.
Like any great documentary, The Syndrome will leave audiences permanently informed on an issue that otherwise would not be coming to light.
This review originally ran on May 1st, 2015 during the Newport Beach Film Festival
The Syndrome opens this Friday for a limited theatrical run at the Laemmle Music Hall.
'They Will Have to Kill Us First' Documents Mali Musicians Fighting Against Oppression
Taking us into a story that deserves to be heard worldwide yet most certainly hasn’t been circulated, They Will Have to Kill Us First follows four musicians from Mali as a radical separatist organization called the MNLA (National Movement for the Liberation of Azawad) seized the government and steps in proclaiming jihad and in turn banning music of all forms. In a place where radio, wedding singers and even the strum of a guitar are suddenly illegal and punishable by death, these musicians find themselves as rebels fighting back against oppression. One of the musicians describes living without music as “like cutting off oxygen,” and indeed, it's impossible to imagine what kind of profound effect this would have.
When analyzing a documentary of such important narrative, it’s difficult to separate the technical review from the narrative review. The initial premise outlined above is electric and seems like essential viewing while the film itself simmers much lower than this concept. Juggling between four protagonists, it begins to feel a bit like a documentary that merely follows its subjects rather than asking pertinent questions. Occasionally, the subjects share insights that are truly powerful. For example, one shares the ultimate hypocrisy of the jihad as being a religious struggle when he’s seen soldiers partaking in drugs and alcohol despite their unholy status. This nugget asks the question if these religious “holy wars” may in fact just be masks for obtaining power and control. When 98% of Malian citizens are already Muslim, why does a regime feel the need to claim jihad if not merely for power purposes?
Another powerful moment is when Moussa, a musician that relocates to Burkina Faso to save his life, recognizes that his traditional beard and turban make locals and tourists think he is one of the radicals, and so we see him remove his traditional garb from day-to-day wear. However, every moment as strong as this is accompanied by a series of images that aren’t as insightful or pushing the narrative forward.
With the four protagonists, we get a string of narratives and insights into their lives. Disco shares her unique relationship with her military husband. The Songhoy Blues get put in a conflicted state when they’re able to tour England and make a name for themselves but at the price of leaving their home country that they’re fighting for behind.
These each have their own intriguing pieces and shed light on the situations they find themselves in. Yet the connection of these and the large stakes at hand aren’t always in sync, and sometimes director Johanna Schwartz's They Will Have to Kill Us First falls more in line of documentation and archive rather than a complete arc of a feature. The climactic concert feels like a missed opportunity to make a profound, emotional statement about the situation. This is a case where the film’s importance is worth noting because of how well this film sheds light onto an otherwise overlooked story but leaves behind some of the craft that could elevate the documentary itself as a piece worth commemorating. In the end, there is much gratitude to be had for any film that is telling important stories the mainstream media has not deemed worthy of airtime.
They Will Have to Kill Us First is now playing at the Laemmle Film Center in Santa Monica with additional markets to follow.
Cliff Curtis Of 'The Dark Horse' on the Philosophy of Chess Pieces [LISTEN]
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In "The Dark Horse," New Zealand-born actor Cliff Curtis takes on the role of Genesis, a bipolar chess master who taught Maori children the art of the game while battling a string of mental problems and avoiding homelessness. Pulling from such a detailed true story benefits the film immensely, allowing for Curtis to completely transform into the role (he gained 60 pounds and stayed in character for the entire filming duration) and for us to gain a true exploration of this world. In our exclusive interview with Curtis, we talk about the philosophy of chess, which chess piece he considers himself most like, and his own rough childhood as an orphan. We begin:
For American audiences, or for non-New Zealand audiences, is there anything that we might have missed that New Zealanders would have noticed that we didn’t pick up on?
(Pause) Hmm... I don’t know, that’s an interesting question. I think there’s some sort of things that are from my culture and heritage around mythology, around Maori mythology, that we wove into the narrative. And we looked at the metaphors of the chess pieces, and we wove into that characters from our mythology like Maori, which is a Polynesian version of a Greek God, like Hercules or something. And so, we talked about Maori as like a metaphor for a king. So some of those things might be foreign to US audiences. Except for Hawaiians, they’ll know exactly what we’re talking about.
How long has chess been a part of Maori culture? Is it relatively new?
Oh, yeah. It was very recent. Maybe a hundred years or so, hundred and fifty years or so.
I love the metaphor of the king, the chess piece, and how it can only move one square at a time...
Yeah, so that was really cool, because I got to develop my own philosophies around that, because I didn’t play before the start of the movie. And I started to understand the game, and sort of looked at the metaphors, the sort-of teaching tools that Genesis had developed over his years of teaching chess. And I looked at the mythology, and I started to apply my own sort of like, philosophies around what the pieces represent.
Is there a particular piece that you connect with yourself?
For me, it’s the pawns. It’s that, you’ve got, individually, the least powerful, but if they’re well coordinated, and that they work together, a pawn... metaphorically, looking at the film, you’ve got these disenfranchised kids that have come from gang life, and they don’t feel powerful, they feel helpless. However, if they work together, with the support of the people around them, they can change their lives. And a pawn, if it gets to the other side of the board, can become anything it wants. So, that’s the coolest piece on the board to me. It can become the Queen, it can become a bishop, a rook, a knight... and then you can multiply that. You could have, in theory, you could have nine queens on the board.
I think the pawns, the “humble pawn” is like, my favorite piece – philosophically. But when I’m playing... the idea is to protect the king. And see the king, I discovered, a philosophy of my own, where it was what the king represents, in life, in the game of life, is one’s purpose. Because it’s like, what can you live with, you can have a lot of advantages in life – you might be good looking, you might have a great job, you might have money, and you might have lots of opportunities. But if you don’t have a clear purpose for yourself in your life, you feel lost.
Or, alternatively, in this movie, we have a guy whose got nothing. He’s completely, he’s homeless! He doesn’t have mental stability, he doesn’t have family to support him, but he finds purpose. And so, the king on the board represents our purpose. A nation, a company, a business, if it doesn’t have a clear purpose, a marketing campaign, you know, this article you’re writing... if you don’t find a clear purpose for what you’re doing, you can lose your way. So that’s very interesting, I started to look at the metaphors for the pieces on the board. And therefore, if you lose your purpose, you’re out of the game.
And then with the queen, for me, became the soul, your soul. It’s like your soul connection, cause you might have a philosophically, or ideologically, or intellectually have an idea, but if you don’t feel a soul connection with it, if you don’t feel spiritually aligned or excited, it sort of just sits there. It seems it doesn’t have any power. And it’s like, you need those combined powers. And so, I really started to appreciate philosophy the way Genesis combined philosophy with the game of chess, and how we taught those principles to children – not just children. He also taught – and we didn’t have time for another movie – he also taught judges and lawyers, he mixed it up with mathematicians and geneticists and philosophers. He was a deep thinker.
So, I love the way how he used the game of chess as a metaphor for how to cope with life, and how to deal with life. How to compartmentalize, how to strategize, how to think things through before you take that move, think about the consequences of your actions. And for young people, and for old people alike, those are really helpful tools in life, to actually step back from the situation you’re in, and to get a clear picture of what is actually going on, to analyze your next best move, and then to secure a position for yourself that’s going to get where you want to go. And to protect your purpose in life.
How did you become familiar with Genesis’ story?
Through the movie. First, I read the script. Then I didn’t really think I was right for the role, I couldn’t understand, I didn’t think I was going to be capable of playing that role, I didn’t really see myself in the role. The size, and chess, and there were a lot of other things in the role I didn’t relate to... I related more to the kids than to Genesis.
And then I talked to the director ,which was really helpful, he really helped me kind of like get to that next stage creatively, like the creative potential of what we could do with the role in the movie. And then I watched the documentary, and when I watched the documentary, I was like, “Wow! (Genesis) is something else.” The role became challenging, moved from being challenging to impossible. And once it became an impossible role, I thought, this is a once in a lifetime opportunity. The director and I agreed that we were either going to succeed or fail spectacularly. And so, we did our best, we really just threw ourselves into it.
Can you talk about working with the kids on set?
I really related to the kids in the story, they are the heart of the movie really. They're so natural, they're not acting, you know, they're just being themselves. They just happen to be in front of the camera. We had a great acting coach who worked with James Rolleston and helped [the kids] become a unit. It was beautiful man, they're really inspiring. I've dedicated the better part of my life to understanding the art and craft of acting and storytelling and it's really weird when you see these kids, non-actors, come in and be better at it than me, haha.
The Dark Horse was released in New Zealand about two years ago and is just now getting its stateside release. How do you keep your excitement going about this project?
CC: Our business is a marathon, there's no sprinting in our game, really. It is kind of an arduous process from development to production to delivery to sales and then distribution and marketing. It's a long run. I'm used to it in some ways but this isn't a hard project to keep enthusiasm up about. This is a once-in-a-lifetime project, this is probably the best work I've done, and quite possibly the best work I'll ever do in my career. To me, it's a privilege to tell stories about these people in our communities that are unsung heroes. People do this work every day, helping the old and the young and the disenfranchised, and they're not getting paid for this work. They do it out of love. They are these angels in our communities. These are beautiful stories and it's a huge privilege to be able to honor those people and they work that they do and the lives that they changed. The cool part is, through this movie, we just got a letter last night from this kid who was in the gang life, saw the movie, and has now left the gang and is turning their life around. Because of the movie! So the work that Genesis did in his real life, now that we've re-imagined it in a movie format, his work continues. As an artist, to have stories that bring people together and helps them realize they can change their personal circumstances by working together, by accepting help and by giving help. It's very easy for me to stay passionate about that.
That ripple effect is so amazing.
CC: Yeah, and that we're here in Hollywood! I'm one of those kids from that movie, literally I am one of those kids. I was a ward of the state with a social worker, I was an orphan for a period of my life. So for me to be one of those kids in real life and to be sitting here in a suit in Hollywood talking about a movie about that, you know, we're already a success. We've already made it. Of course, now we've got to figure out box office and get people to see the movie, but for us, it's a massive accomplishment.
You've taken roles like 'Travis Manawa' in Fear the Walking Dead and 'Porourangi' in Whale Rider, what's it like going back and forth between New Zealand and non-New Zealand roles?
CC: Honestly, it's a blessing. It's hard to make a living doing this in New Zealand, haha! I think a part of what helps me to promote this movie is that fact that I'm on Fear the Walking Dead. It helps me be able to promote these little movies. [In the U.S.] I'm a "gig-ing" actor, I have a little bit of a niche here in Hollywood where I can work, but when I'm back home I get to really cherry pick and choose the projects I think are really going to be significant. Oh, I also got to play 'Jesus' in Risen which was really cool, haha! Genesis was a Christian, he loved Jesus. One of the things that intrigued me about [Genesis] was that he thought he was Christ come back to save all humanity when he was in his high state of mania.
Do you have any advice for indigenous actors that you've experienced that they could benefit from?
CC: It can be really tough when you view yourself as indigenous and other people view you as only ethnic, then straight away you're dealing with the stigma of like bad guys, drug dealers and all that kind of stuff. I think it's important to focus on your craft and the artistry of what you do and to develop your self-awareness and your self-belief to the point where you have something to offer as an artist because that transcends your ethnicity. I never thought I'd get to play Jesus, that was amazing. Fear the Walking Dead changed my character from a white guy to Maori! So in my own, humble career, I've achieved some significant milestones but I think it comes down to grounding yourself and trying to figure out what you are bringing to the game. Being the best craftsperson and artist you can be.
'The Dark Horse' Captures a Piece of the Heart in Maori Chess
Genesis Potini is a figure larger than life: his distinct large body, haircut and lack of teeth make the New Zealander unlike anyone we’ve ever seen. And yet, from the opening scene of The Dark Horse, as we see him wandering around streets wrapped in colorful blankets, he is never intimidating or malicious, but a gentle giant whom we’ll grow to know over time. This true story features New Zealand actor Cliff Curtis playing Genesis, a bipolar chess master who taught Maori children the art of the game while battling a string of mental problems and avoiding homelessness.
Pulling from such a detailed true story benefits the film immensely, allowing for Curtis to completely transform into the role (he gained 60 pounds and stayed in character for the entire filming duration) and for us to gain a true exploration of this world. The worlds of the Maori, the game of chess, and the rough biker culture of Gisbourne all intersect to create something unlike anything we’ve seen.
https://www.youtube.com/watch?v=X3YopiaQ3k8
Initially, the film is a character drama following Genesis through these tribulations. As we reach the conclusion, it falls more in line with a sports drama. It isn't until the end of the film we realize we're watching an underdog sports movie because up until then it has been entirely character driven, making the climactic chess tournament all the more capable of inspiring emotion as we root for the Eastern Knights.
My biggest complaint with last year’s Bobby Fischer biopic, Pawn Sacrifice, was that they made no attempt to engage us into the chess games. With this eye, I watched the chess in this game extra closely. Indeed, the film only gives us a few pieces of information as to what’s going on in the game, but that, paired with how much we care about the characters, allows it to succeed. That, and the numerous times Genesis goes into the metaphorical implications of chess and the pieces, including a very powerful one about the significance of the king, allow this movie to live up to the game.
The Dark Horse is a film that knows which conventions to use in order to best tell an important true story. It keeps the time frame short and impactful rather than trying to display every highlight of a person’s life, a mistake I see too many biopics make. In the end, this is an inspiring and richly distinct independent film that works on every level. It has the potential to stand among the great inspirational movies and be a film to show young people a way out of gang life. Most of all, Curtis’s terrific performance and understanding of the protagonist will ensure that the legacy of Genesis Potini is long remembered.
The Dark Horse opens this Friday. Rated R for language throughout, and drug use. 124 minutes.
SXSW Favorite 'Ktown Cowboys' Takes Bromance to the Streets of LA
It’s clear from the first few minutes that, based on its style, the 2015 SXSW comedy Ktown Cowboys gets its roots from the web series format. We’re introduced to five protagonists, a series of 20-something Korean-American men who are best friends that come together and party regularly in Koreatown (a neighborhood in Los Angeles) to get away from their hectic lives. As one character comically puts it, “We get together and discuss our problems, kind of like AA, except with alcohol.” Each character represents a different facet of the Korean-American first-generation experience in a humorous manner.
The style feels so comfortably short-form at first, one wonders if this is a natural fit for a full-length movie. Fortunately, the dynamic between the variety of characters and a few overarching plot points that develop make the story work as a movie, but most of all, the film succeeds because it is fun. By jabbing the Korean stereotypes while also embracing them, these Cowboys feel as authentic as any film protagonists. At times, Peter (Peter Jae) is a little too one-dimensional, and stand-up comedian character Danny (Danny Cho) never gets fully developed (or just doesn’t have enough lines), but the overall sync is something that works, and by the end we have five distinct personas that we’ve laughed with and enjoyed their company.
The film occasionally breaks the fourth wall (similar to The Big Short) to introduce us to various Korean terminology (slang and serious) which presumably is pulled from the web series and, in this case, gives the film a distinct identity. What makes this work so well is once the term is introduced (example: “Oppa” is what a girl calls an older brother figure) we hear it get used throughout the remainder of the runtime, and begin to connect with the characters from the inside. That and a series of well-placed jokes help us feel like we’re buddies with the characters at the end simply by viewing their film. Well-placed minor roles and cameos by well-known actors Ken Jeong (also executive producer), Daniel Dae Kim (aka Jin from Lost), and Eric Roberts (the guy who’s in 500+ movies) add a layer of credibility and production value to the end result.
A fair criticism stems from the film’s female characters: none are developed at all and the closest we get falls into the biggest Korean stereotype onscreen. While of course the film is all about the bromance between the ensemble, this detractor weakens the authenticity that Ktown Cowboys is so exceptional at. For any film that is debunking stereotypes (even comedy), it should be regarded with extra attention that it isn’t continuing any.
Overall, Ktown Cowboys has such a fun set of characters that I would gladly watch more adventures of this motley crew, and that is perhaps the best compliment one can ask for. In the aftermath of Chris Rock’s Oscars perpetuating Asian stereotypes, and their extreme lack of visibility in American cinema, this is a prime example of how within one culture so many stories can be told, so many actors can thrive, and many fun times can be had.
'Ktown Cowboys' opens this Friday, March 18th, at CGV Cinemas in Los Angeles and on VOD March 25th.
Ancient and Modern Worlds Clash in 'Embrace of the Serpent'
The festival darling turned foreign film Oscar contender, Colombian adventure drama Embrace of the Serpent, is undoubtedly one-of-a-kind. Borrowing from the distinctive black & white photography style of early 20th century South American visitors and neo-colonialists, the entire film paints the Colombian jungles with a distinctly colorless palette, giving every image a natural depth and mystery.
Two storylines follow the same protagonist Karamakate, an Amazonian shaman and only survivor of his kind, guiding two different white men to search for a rare plant deep in the Colombian jungle. It is better to know going into the film that these are the same character roughly 30 years apart because it isn’t immediately clear and much can be deciphered from watching his differences as a young man (played by Nilbio Torres) vs. an old man (played by Antonio Bolivar). The inherent conflict remains the same in the parallel storylines: the world of the ancients clashing with the modern. Considering the time period the film covers is roughly 1909 and 1940, few differences can be made between the two time periods: this is deliberate, because in comparison to the ancient legacy of the native people, this is merely a blip. The parallels between the journeys become the most compelling part of the story.
At a dense two hours, Serpent can feel long at times because there is so much focused on the mood and the subtlety it doesn’t always leave the viewer with as much to grasp. Similarly, some details pass by quickly that need to be noted in order to comprehend later sections of the film. A few distinct languages are spoken, primarily Spanish and an indigenous language, but for non-speakers it can be hard to distinguish the subtle differences that carry thematic weight. Viewing becomes easier as the film unfolds and reaches more narrative moments. The film is more focused on the protagonist grappling with his place in the changing world. We never see the ‘civilized’ world that all viewers of the film are a product of, but its weight is felt in profound contrast to the images of this ancient jungle, and the stories told by the indigenous peoples.
That being said, the photography is a true innovation and feels unlike anything we’ve ever seen in a narrative film. Press images may have you fooled into thinking this is a documentary because of the intentionally shot images that feel like archival work even though everything was shot for this film. This is a prime example of using elements to capture the essence of what message the film is trying to convey.
Overall, Serpent isn’t as emotionally moving as some of its fellow foreign-language nominees, like last week’s Danish drama A War, but it makes its mark in how unique of a look it has compared to any other recent release. Those who prefer a more clear narrative may not gravitate toward this film as it meanders like the rivers the characters follow, but audiences who love mood and thematic displays will undoubtedly embrace every picture that comes on screen during this film’s runtime.
"Embrace of the Serpent" is now playing at the Nuart Theatre and is not rated.
Jobs, Jobs, Jobs, Jobs: A look at the many interpretations of one man’s life
Prior to seeing Danny Boyle’s Steve Jobs at Telluride, I similarly felt indifferent to the life of Apple’s CEO. I knew the vague elements, but other than benefitting from the technology, I had no need to look further. After the electrifying experience of Boyle’s movie, I was intrigued enough to ask two questions: why were there so many high-profile Steve Jobs projects, and what made each of them different?
In the months since Telluride, I have seen Boyle’s movie one more time, watched the two other Steve Jobs movies, and even tackled Walter Isaacson’s official biography, a tome that’s over 500 pages. I’ve spent more time on Steve Jobs than I ever care to do again. It is now time to reflect on each individually, and how the four unique iterations intersect.
Steve Jobs (2015) - The Sorkin/Boyle Extravaganza
An officially recognized adaptation of Walter Isaacson’s book would indicate it is approved, but Tim Cook criticized it for being ‘opportunistic.’ You can read my full review here. There are certainly criticisms to be had of this unconventional biography, yet when all is said and done it was this movie that inspired me to dive into the rest of these versions. I am not sure the same would be true of any of the others. There is something so energized about the whole endeavor; Sorkin takes the complexities of Jobs and distills it into three 40-minute sequences. More specifically, each sequence features a confrontation between Jobs and a few of the important people in his life.
After reading Isaacson’s book, I saw the movie again and noticed the subtle moments taken from the book sprinkled throughout the movie. Jobs mocks Woz for looking at food in the vending machine. He washes his feet in the toilet. Little details in dialogue and character moments are taken from the book that pass by viewers who don’t know to look for it, displaying how well thought-out every detail is here. Because of the condensed timeline, this version takes the most artistic liberties. For example, Scully and Jobs never talked again after 1985, yet here they are shown meeting 3 times: hypothetical conversations to reflect their feelings in the years gone by.
Similar to The Social Network, I believe that this is more an attempt to capture essence and mood rather than an exact replication of the reality. Take the casting for example- Fassbender barely looks like Jobs, nor does he ever imitate him, but somehow he becomes him simply by bringing the intensity and mood of the character. Unfortunately, Steve Jobs was not successful commercially and, therefore, may miss out on being widely viewed. For the experience of watching these talented artists perform at the top of their abilities, I encourage everyone to find a way to check it out.
Steve Jobs (2011) – Walter Isaacson’s Definitive Biography
Despite its length, the stories within this massive book are compelling enough to always want to read another chapter. A book has the luxury of not having to pick and choose nearly as much as a two-hour movie. Therefore, there is an all-encompassing feeling in Isaacson’s book. Here we not only get the same story that we see in the other books, but we also hear about his work at Pixar, his relationships at home, his parents and sister, and in the final section we get to learn about each and every product’s creation in the post-iPod era. This is compelling because the history and transformation of Apple is something that affected consumers everywhere.
Despite being compelling, I don’t know how many people actually sat down and read this book despite its bestseller status because it was so darn long. Even though I felt like I flew through it, it still took me a month to finish.
The biggest message Jobs attempted to instill in his work was the intersection of art and technology. Computers prior to Apple did not have an emphasis on design, or more importantly, user experience. This hallmark set Jobs apart and helped Apple to evolve to where it is today.
Ultimately, the book is the most definitive of the adaptations due to its vast scope. Reading the book in the context of all these other pieces helped me come to terms with the complexity of human beings in general. The jury is out on whether he was a genius or not, and there is too much contradiction to know if he was a man of his values. Regardless, Isaacson’s book allows you to see enough of Jobs that you can decipher an opinion for yourself more than any individual film adaptation.
Steve Jobs: Man in the Machine (2015) - Alex Gibney Documentary
There is far more that makes this entry unique other than it being a documentary. It is the only film that reaches into the 21st Century while the others end when he returns to Apple. Steve Jobs: Man in the Machine is the only one to focus on his legacy, including footage of how much his death moved people worldwide.
Gibney is the most critical of any of the Jobs interpretations. Fortunately, none of the interpretations sugarcoat Jobs or attempt to hide his not-so-positive behavioral traits. It’s hard to ignore the irony that despite being so frustrated with being abandoned by his birth parents, he attempted to do the same thing with his own daughter. At times, Gibney’s documentary seems intent on simply uncovering all of Steve Jobs' negative, beginning with ripping off his best friend Steve ‘Woz’ Wozniak and ending with his maniacal approach toward finding a missing iPhone prototype in 2011. It definitely doesn’t help that all of the interviews seem to be people that he wronged in his lifetime, notably the mother of his estranged daughter.
Ultimately, the documentary’s biggest revelation is the irony that despite being a man who always proudly stood against the system, in the end, he became the system. As CEO of Apple, he was wealthy beyond imagination and yet made no attempt to be philanthropic. He proudly touted having a $1 salary, yet was involved in back-end stocks in a blatant attempt to make himself and other head honchos at Apple much richer. These are mentioned in Isaacson’s biography but not with the level of punch that Gibney gives them here. Again, we see the clunkiness in his quick life transition as discussed above. Despite his reputation as a tech god, we see in this film a lot of the corporate side of Jobs that isn’t pretty at all, nor does it align with the neat story of his earlier life. One thing missing from all of the interpretations is how Jobs transformed from being a rebellious young start-up creator to the mega-powerful CEO that he became (with both good and bad). None of the movies or the book smoothly transfer from these two distinct personas we saw in Jobs. Indeed, it is my belief that this was a rapid transition: upon retaking the position of Apple’s CEO in the late 90s, he burnt himself out trying to put everything in place (and was still CEO of Pixar for the beginning years), and this caused him to age, both in looks and attitude, drastically. None of these adaptations seem to recognize how distinctly different Jobs was in these stages: I would be interested to see a piece that dissects this transition.
From a crafts perspective, Gibney’s documentary is master-class non-fiction filmmaking, pulling out all the best tricks in the book and much more. It’s extremely persuasive and undoubtedly has impact.
The message is less about Steve Jobs and more a cautionary tale of what he created. The products we use daily have had a profound impact on the way society interacts, in many ways for the worse. Gibney goes as far as to compare our constant use of the iPhone to Frodo and the Ring. There’s a profound notion that perhaps Steve Jobs couldn’t interact the way most humans could, so he invented a new way to do so with technology. While every other adaptation of Steve Jobs ends on a positive, sometimes saccharine note, this one is a reality check that at the end of the day, Apple today is a mega corporation exactly like the ones Jobs initially hated. It’s easy to romanticize the legacy and products, but always remember to keep this in mind when viewing these stories.
Jobs (2013) The Straight Shooting Ashton Kutcher Biopic
Perhaps one fascinating observation of watching three movies is that each one chooses a different set of supporting characters to be the essential players. Of course, Woz is always one of the choices. But in this film, the most prominent supporting role is in early Apple investor Mark Markkula, a figure who barely appears in Boyle’s movie! Similarly, Steve’s daughter Lisa Brennan-Jobs is the focal point of Boyle’s film yet now reduced to a tiny supporting role. Joanna Hoffman makes no appearance here but is essential to Boyle’s film (played by Kate Winslet). The list goes on. We see that because of the complexity of the character, it is only possible to choose a few of his interactions needed to tell his story. Each one produces a different side of the coin: imagine choosing three or four people in your life to star in your life’s movie, then choosing a different set for another movie! In the case of the documentary, this makes it easy to be biased as all of the interviews were people who had primarily negative interactions with Jobs.
The primary criticism this film receives in comparison to the others is that it is too conventional. It plays like many biopics before it as a “greatest hits” story going from one big moment after the other, although still is primarily the same story arc ending in his return to Apple. What’s interesting is how viewers have wisened up to this conventional approach, and now prefer for biographies to take an unconventional route, most often when it comes to someone’s life story who we’re all familiar with.
Being conventional isn’t the only issue causing the film to feel mediocre. Many ideas or sequences are left unfinished. A conflict of Jobs lying to Woz about how much money they earned is established early on but never gets a payoff. In fact, their relationship never has a proper conclusion. An opening scene of Jobs unveiling the iPod introduces the film as a flashback: because we never return to Jobs this late in his life, it feels extremely tacked on and a mere excuse to show Kutcher dressed as the Jobs most of us knew. The film’s ending catches the viewer off guard because it doesn’t feel like the movie has been building to it. This feels like a situation where the focus was clearly on capturing these specific moments of Jobs instead of the overall picture.
Ashton Kutcher seemed like an odd choice for Steve Jobs, yet bears a striking resemblance at times. What Kutcher adds that none of the others express is Jobs’ famous stare, which is perfectly displayed throughout the movie. However, unlike Fassbender, he never seems like a man after control, and his moments of anger don’t have the same sincerity that Fassbender’s do. Admittedly I can’t judge the film as a viewer would without having read the book: despite not being an official adaptation, it takes out so much from the book that you wonder if they did any other type of research in writing the screenplay. Like Boyle’s Jobs, this one also attempts to layer in bits and pieces of Job’s life into the dialogue to cram in as much as possible. In Sorkin’s screenplay, they are subtle, here they’re a little more on the nose. There are lines of dialogue such as “What should we name our company?” Often times real stories with mediocre movies made about them are left as such. Perhaps all the Steve Jobs stories prove that even if the first attempt isn’t fantastic, there still may be room to try again.
Wrapping them all together
What is it that is so compelling about Steve Jobs? There is a clear narrative arc in his life that makes him perfect fodder for writers. Sorkin’s screenplay and Boyle’s stylistic choices make no attempt to hide the 3-act structure: a character who begins to rise to the top, is pushed all the way to the bottom, and then climbs to even higher heights than ever before. Even Isaacson addresses this in his book on page 219: “What prepared him [Jobs] for the great success he would have in Act III was not his ouster from his Act I at Apple but his brilliant failures in Act II.”
His story is appealing to businessmen, who can salivate at how he redefined so many types of business practice and achieved billion-dollar success. Artists can relish in his love for calligraphy and product design. Actors, as we’ve seen, can tackle just how brutal of a guy he was and his intense moments of conflict with everyone in his life. Tech geeks need no explanation. Jobs frequently references his love of the intersection of art and technology. Perhaps the sense that there is something for everyone intersecting within Jobs life has spawned so many imaginings.
Yet if I have taken away anything from this case study, it is that so often in the media we try to distill the lives of famous human beings into easily understood stories, as if 56 years of someone’s life can be understood in 2 hours. Steve Jobs can be viewed as a monster but also as a tortured soul and a genius. What I’ve found is that in looking at how many times I’ve seen Jobs be portrayed, I realize how impossible it is to try and summarize any person’s life. When it comes to the people you know, it is hard to find simple adjectives (especially negative ones) that wholly explain the person. The same is even harder when looking at oneself. Yet so often with icons and celebrities, we try and view them as characters in a story with simplified mannerisms and human desires. The complexity of Steve Jobs asks us to re-examine the way we’ve simplified historic figures as 100% good or evil, brilliant or insane, influential or ordinary. I am forever challenged to accept all people as complicated and impossible to define in broad strokes. I invite others to do the same, no matter how many versions of Steve Jobs' life you care to sit through.
'Spa Night' Shows Universality in the Culturally Specific
Considering how many festival attendees arrive from LA, it is rare to find a movie in the competition that is entirely based there, in large part due to the emphasis on finding new voices of cinema from elsewhere. And yet, there are so many untold stories to be discovered in LA: here is one of them.
Spa Night is billed as being a movie about a Korean teenager discovering his sexuality at the titular Koreatown spas, but it is actually a broader story of being a first-generation Korean-American and the trials that come with it. Joe Seo plays David, an only child to two Korean immigrants who are struggling to make ends meet as he prepares to apply to college and live up to his parents wishes. The film is much more about the unique and loving relationship David has with his parents, which is why the film flourishes. The truth is David’s sense of insecurity and strong desire to live up to his parents is relatable to anyone, so this movie encapsulates what director Ang Lee calls “Universality in the culturally specific.”
Spa Night director Andrew Ahn aims for ultimate authenticity and hits his mark. His characters and situations feel painfully accurate all throughout the movie, and I would imagine even more so for Korean-Americans. The film's alternation between social situations with the protagonists and private moments with the family allow for the audience to see the numerous ways these characters interact and portray themselves. As an insight into this world, this is a very eye-opening film.
The strength of authenticity also proves to be a weakness. Forgoing a musical score and shooting at a more muted pace means that at times it doesn’t feel like it’s moving forward at all. That isn’t to say individual scenes aren’t engaging, but based on the initial premise, it is expected that movement may happen faster than it does. Perhaps knowing that this film remains at a simmer for the duration will help viewers more thoroughly enjoy the artistic work.
Overall, Spa Night is a success and an artistic breakthrough, despite the fact that its pacing and restrained style may hinder it from general viewer interest. The city of Los Angeles has so many movies in production yet so few try to tell stories that are new discoveries, so for this alone Spa Night deserves recognition. Its attention to characters, environment, and reality are top-tier for a directorial debut, and my hope is that Andrew Ahn’s next work can elevate the overall story elements that are not as strong as the individual scenes.
Unflinching 'The Birth of a Nation' Reclaims Power From History
Sundance’s hottest ticket has arrived, and I managed to attend the World Premiere. The true story of slave-turned-preacher Nat Turner and his eventual uprising has been a passion project for actor Nate Parker for 7 years, and he finally quit acting 2 years ago to write, direct, produce, and star in The Birth of a Nation. The amount of love for this man and his work was palpable before the movie even began: it was clear there is something very special here and this was an audience ready for it.
The title is a reclaiming of the same title associated with the 1915 D.W. Griffith silent film. Griffith’s movie was the first epic of its kind but is a blatant and spooky glorification of the Klu Klux Klan from today’s lens. It’s been a blemish that can’t be concealed in cinematic history since its release. Nate Parker’s story repurposes the title as a symbol of how this country was built on the backbones of enslaved Africans and their unavoidable connection to a country founded on the pursuit of freedom. It’s a brilliant way to shelve Griffith’s film, which is an important movie for historical and cinematic study but like the Confederate Flag has no place in today’s world. Parker’s 2016 film most certainly does.
Turner was born a slave but early on was unusually taught to read from the Bible, and would grow up to become a preacher. Through studying the Bible while living in the midst of slavery (which as Parker put it, “allowed nobody to go to sleep without a guilty conscience”), Turner reaches a point where he can no longer stay silent about the cruel injustice that, in this world, is a daily routine. At a certain point, he is tired of the slave owners abusing scripture passages to make their slaves submissive and moves toward radical action as the only path to freedom.
Given the subject matter and time period of history, there is an unavoidable comparison to 2013’s 12 Years A Slave that anyone who has seen both films will feel. 12 Years director Steve McQueen is a masterful visual storyteller and his Best Picture winner is one worthy of all the praise it received. This may mean the impact of Nation is not as visceral, yet there is certainly great value in telling both stories. Interestingly, between the two films combined, 60 years of history are shown, further emphasizing the enormity of America’s slave epidemic. Parker is not as focused on visual thematics as McQueen was, but certainly has a knack for numerous storytelling devices. The music of this film distinctly divides up the scenarios at hand, hopping between three genres that each cue the audience when used. There is some great symbolism that comes into play connecting African history and culture with the slavery, as these slaves were only a few generations removed from their African ancestors. Undoubtedly, the film is in touch with numerous themes related to its religious and historical premise and utilizes them well to tell the story, a part of history that does not have a massive legacy. Compared to the general Sundance lineup, the scale of this film feels like a step above the rest; much of that is due to budget, but a significant amount has to be the intention of the craft.
One area where Parker shines is his depiction of the women in this world. I would advocate for calling this a feminist piece, which will get overlooked given its a movie where race is the forefront of the conversation. A slew of strong women play pivotal roles in the cast: Turner’s grandmother, mother, eventual wife, along with Mistress Turner, the white baroness of the plantation Nat lives on (Aunjanue Ellis, Aja Naomi King, and Penelope Ann Miller). Multiple other women are essential to the story as well. These women play a massive role in his life and are never reduced to bit roles. It’s a rarity for a male director to make so much room for prominent female roles (not to mention especially in a historical film).
Overall, The Birth of a Nation strikes a chord that the industry needs to feel right now and that the audience will experience upon its release. In the wake of #OscarsSoWhite and the lack of media representation, Parker’s unflinching telling of history invites the public to experience a part of this nation’s formation and legacy that may not be well known to the general public, and as Parker emphasizes, reflect on why it matters today.
'Belgica' Review: Raging Belgian Fun With Slamming Comedowns
While I haven’t seen previous work from Belgian/Dutch filmmaker Felix van Groeningen, whose last film, "The Broken Circle Breakdown," received an Oscar nomination, there is rich enough texture in his new film, "Belgica," to truly marvel at the craft and storytelling. A festival programmer introduced this film, one of Sundance’s opening night selections, with the following statement: “For the last few years, we have been trying to get the World Dramatic category as top-tier as our US Dramatic. This year, thanks in part to this film, I think we finally reached that.”
The title comes from the bar in which the film takes place. Two brothers come together to expand what was previously a hole-in-the-wall bar into a full-on destination with a massive remodel. As their dream version of Belgica comes to fruition, so do added layers of conflict that arise with the massive growth: trouble with the new crowds, women, drugs, and differences in opinion on the bar’s future. The standout is the photography, which utilizes a broad variety of motifs and themes to display the strife that the two brothers are experiencing. At the beginning when the bar is small, the film carries a red hue with intimacy and fun themes, and as the bar expands beyond their control the color schemes shift toward a harsh and cold blue. That may be the largest visual shift but throughout there are numerous deliberate lighting decisions made to subtly enhance the viewer’s understanding of these characters. At the beginning working at Belgica seems like the best thing in the world, and as we go on we see that it comes with a lot of baggage and pain, paralleling a heavy night of partying and drinking.
The film feels a bit long at two hours, especially as the experiences get less jovial. A few of the side stories don’t entirely pay off, and most of the bar characters don’t have enough time to get fully realized. At the end of the day, this story is about two brothers in different stages of life figuring out how to handle it in the face of their own personal troubles. a very watchable story in that they are each so compelling and realized. No matter how frustrating some of their choices are, we want them to succeed and find what’s best. It’s this type of character development that lets the film fly.
The characters in "Belgica" are each so compelling and realized that no matter how frustrating some of their choices are, we want them to succeed. It’s this type of character development that lets the film fly. As someone who loves locations as characters, the titular Belgica is, of course, a prominent character of its own- morphing and developing as the plot progresses just like any of the actor’s characters. For the experience of vicariously owning and living at a bar, which includes both raging fun and slamming comedowns, "Belgica" is a compelling piece that visually stands above the crowd.
Sundance Review: 'Life, Animated'
Director Roger Ross Williams shed light on the African evangelical invasion in God Loves Uganda. Openly admitting he needed to do something a little more light-hearted for his next film, his latest documentary, Life, Animated, is an entirely different project.
At the age of 3, Owen Suskind completely shut off from the world and became unable to communicate. His parents soon discovered that he had autism and may never be able to speak again, heartbroken at the thought of how the relationship with their son they had dreamed of may never fully exist. After trying many tactics with professional help, suddenly Owen became able to communicate through using Disney animated movies. The exaggerated character movements and expressions became a tool for Owen to learn his language skills and be able to communicate his emotions. Through the trials of growing up, Owen used scenes and moments from Disney movies, such as Aladdin, The Jungle Book, and The Little Mermaid to gain an understanding of how to express himself in situations he will experience. It’s a touching and at times comedic success story.
Now at the age of 23, Owen is an incredible human being and a banner example of someone who has gone far beyond what people expect from a person with a severe disability. While the film does take a little long to get the momentum going, Owen’s story quickly becomes extremely compelling. What makes his story so interesting is that as a 23-year-old he is going through a lot of the same situations that anyone experiences: finishing school, moving away from home, relationships, etc. How he goes about it is entirely different, and takes a few more steps, but the general trajectory is entirely universal.
The Disney element of the story serves as a gateway for us to gain a better understanding of autism and those affected by it, similar to how Disney has helped Owen to understand the rest of the world. The filmmakers follow Owen through numerous obstacles he faces in life which serve as the primary source of drama. Fortunately, he is such an engaging and charismatic protagonist that his life events are heart-warming and at times hilarious as well. The film successfully widens the understanding of an often mysterious mental state that so many people are affected by. Occasionally, top-tier documentaries can forgo the need to deliver a major message or inspire societal change in exchange for telling us a great human story, and giving us a broader understanding of the human condition: Life, Animated is such a film.
Life, Animated is screening today at the Redstone Cinema 7 at 3:00. For more showtimes, click here.
Sundance Review: 'Viva'
While the film is Ireland’s official Oscar submission due to director Paddy Breathnach’s home country (and source of financing), Viva is a film set entirely in Havana, Cuba, and serves as a window into the unique world of Cuban drag performers at a local nightclub.
Our protagonist, Jesus (Héctor Medina), barely survives off meager wages and temporary work, but dreams of being a drag star like his mentor Mama (Luis Alberto García). His road to local stardom starts out extremely well as he has plenty of potential, but hits a major hurdle when his father, a convict, comes home unexpectedly from prison. As a former boxer, it isn’t surprising to hear that his father does not care for his son's chosen career path (or his sexuality). The resulting drama is about being true to yourself and following your passions while keeping relationships in your life.
Every character is so distinctly different from the others, and this colorful group gives Viva the necessary stakes to be fully invested in, and truly sell, the movie. Jesus’s father, Angel (Jorge Perugorría), starts out as a one-dimensional brute, but it quickly becomes clear he is much more than that. The machismo culture that is present in this world in direct contrast to its flamboyant opposition in drag queens is a compelling world to occupy.
While the film meanders at times, it thankfully finds enough of a storyline to finish extremely strong and leave the audience emotionally moved. Each of the drag performances is spellbinding thanks to a fantastic soundtrack and outstanding emotional vulnerability from the various entertainers. These performances will be the film’s calling card and what makes it so memorable. As a father-son drama, and as an introduction into a world foreign to many of us (especially here in the U.S., where Cuba just recently opened its doors to foreign tourism), Viva is a success all around. The title stems from the protagonist’s stage name, which is a perfect message for a movie about living life the way you want to against all odds, and stepping out of your comfort zone in pursuit of success.
Viva will be screening 1/23 at the Sundance Mountain Resort Screening Room and 1/25 at the Library Center Theatre.
10 Films To Watch Before the Sundance Film Festival
CINEMACY is excited to be returning to Park City, Utah to cover the 2016 Sundance Film Festival, kicking off a new year in cinema. Realizing that many of the movies seen here won’t get a release until later in the year, here’s a compiled list of 10 related movies from the directors you love that we recommend you watch while you wait. The titles in bold are the ones to watch (or re-watch) while the titles in parentheses are their corresponding Sundance releases!
Fed Up (2014) (Under the Gun, Stephanie Soechtig)
Soechtig returns to Sundance this year with an evocative gun control documentary Under the Gun. Prior to this, she teamed up with Katie Couric to produce Fed Up, an expose on the food we consume and the mega corporations responsible for directing the way we eat. The biggest culprit of them all is sugar, but her documentary offers insight on all kinds of food matters: cheese, diet beverages, and other harmful processed foods. Anyone who eats food in America (that probably means you) can benefit from seeing this insightful documentary.
Fed Up is currently streaming on Netflix
Blue Ruin (2013) (Green Room, Jeremy Saulnier)
Blue Ruin is a straightforward thriller, a genre that sees a handful of entries a year, but in terms of effectiveness, this is one of the absolute best. The first 15 minutes are all about setting up the intrigue and mystery of what exactly happened, but by 20 minutes in the stakes are raised significantly, and from there they keep getting higher and higher until reaching a breaking point. Newcomer Macon Blair plays the lead role of the film, and because he’s a new face he continually surprises us along the way. One of the highlights is the state of Virginia as the setting: we get to see all kinds of elements of the state, and it’s a beautiful, haunting backdrop for this movie. The director and lead actor have re-teamed for another movie at Sundance this year: here’s hoping they keep the streak alive.
Blue Ruin is currently streaming on Netflix
Amy (2015) (Ali and Nino, Asif Kapadia)
One of Morgan’s Top 10 of 2015, Amy, is a haunting cautionary tale of the tragic life that singer Amy Winehouse lived. Told entirely through archival footage, rare for a modern documentary, master documentarian Asif Kapadia captures both the brilliance and tragedy of the pop star. While his next film is a departure from the documentary genre, we hope he can duplicate his craft on full display here in the world of narrative film.
Amy is available to rent on iTunes
What We Do in the Shadows (2014) (Hunt for the Wilderpeople, Taika Waititi)
Included in Jasper’s Top 10 list for 2015, this zany mockumentary perfectly satires the world of vampires through a handful of memorable and hilarious characters. No vampire trope is left untouched, yet there isn’t any bit of this movie that feels unoriginal. The resulting laughter that ensues from watching this movie speaks for itself. Before director Taika Waititi tackles the third Thor movie, he’s playing his next movie, Hunt for the Wilderpeople, at Sundance. Regardless of how his next movies turn out, his last film stands as a must-see.
What We Do in the Shadows is available to rent on iTunes
Once (2007) (Sing Street, John Carney)
This 2007 musical drama took the independent film world by storm upon its release and introduced the world to the beautiful music of these Irish artists. The film went on to win an Oscar for Original Song and has remained an indie classic. Director John Carney returns to his indie roots for another outing at this year’s festival.
Once is available to rent on iTunes
Into the Abyss (2011) (Lo and Behold, Reveries of a Connected World, Werner Herzog)
It’s always a treat to have a new documentary by legendary filmmaker Werner Herzog, so before you see Lo and Behold, Reveries of a Connected World, check out one of the most affecting documentaries he created, Into the Abyss. Not one to shy away from tough subject matter, Herzog opens the curtain on the mass incarceration of the United States. While there is an abundance of Herzog documentaries to choose from, we recommend this one due to its availability and topical material.
Into the Abyss is currently streaming on Netflix
What Happened, Miss Simone? (2015) (Nothing Left Unsaid, Liz Garbus)
A contender for this year’s Documentary Oscar and alumni of Sundance from 2015, the Nina Simone documentary reviewed by Jasper this summer is a compelling insight into one of the most influential performers of the 20thCentury. While her name may not ring as iconic as her contemporaries, hearing the soundtrack of this documentary makes a viewer realize just how well-known and transcending her soulful music stands. Director Liz Garbus has a new documentary focused on Anderson Cooper and his mother this year, making her one of the few directors to debut movies at Sundance in two consecutive years.
What Happened, Miss Simone is currently streaming on Netflix
Beyond the Lights (2014) (The Birth of a Nation, Nate Parker)
A perfect companion piece to watch with Miss Simone, Beyond the Lights is a fictional story of a pop star whose career parallels the musicians in today’s world. This movie may come across to casual viewers as a straightforward love story, but filmmaker and Sundance alumni Gina Prince-Bythewood tells a layered story with themes of media representation, feminism, black masculinity, and so much more. Critically acclaimed but largely overlooked by moviegoers, Beyond the Lights is a highly recommended watch. The film’s star, Nate Parker, is following in the footsteps of his director and will release his directorial debut, The Birth of a Nation (if you’re thinking that’s a reference to another film you’re right on track) at Sundance this year.
Beyond the Lights is currently streaming on Netflix
God Loves Uganda (2013) (Life, Animated, Roger Ross Williams)
One of Sundance’s favorite filmmakers, Roger Ross Williams, has his second feature documentary premiering at the festival this year. Prior to that, he directed the controversial and compelling piece on the missionaries who have successfully invaded Uganda and had a mass impact on its people, with alarming repercussions. Stories like these are eye-opening, compelling, and not to be missed.
God Loves Uganda is currently streaming on Netflix
Me and Earl and the Dying Girl (2015) (last year’s winner)
Lastly, while this movie doesn’t have a corresponding release for this year, it is still worth recognizing just how great last year’s big winner was. Me and Earl not only made my top 10 list, but it also serves as an iconic teen dramedy in a genre that nobody would’ve thought had room for growth and innovation. At last year’s festival, it took audiences by storm and received the festival’s only standing ovation and ultimately won the top two prizes: the "Grand Jury Prize" and "Audience Award". Who knows what this year’s festival movie will be the big winner? In the meanwhile, we’ll cherish last year’s!
Me and Earl and the Dying Girl is available to rent on Amazon Video
Bonus – these ten aren’t enough for you? Here are a few more films in release whose filmmakers have new films at the festival this year:
Senna (2010) - (2016 release: Ali and Nino, Asif Kapadia)
Maria Full of Grace (2004) - (2016 release: Complete Unknown, Joshua Marston)
Cesar Chavez (2014) - (2016 release: Mr. Pig, Diego Luna)
Gasland (2010) - (2016 release: How To Let Go of the World, Josh Fox)
Nelson's Top 10 Films of 2015
"Perhaps more than any other year, 2015 represents the industry facing growing pains with fewer people going to theaters yet more movies being created than ever before. Because I saw more movies this year than I have in the past, this list represents a more unusual curation of cinema".
What we consider to be the best of this year represents a combination of the movies that had the greatest emotional impact on us, matched with movies that felt innovative or groundbreaking. Here are the films Nelson considers to be this year’s best:
Honorable Mentions (alphabetical order)
Carol – A slow-burning romance set amidst a fascinating era of the US
Son of Saul – Exhausting yet essential storytelling utilizing all that film can bring to tell one horrific story that represents the larger Holocaust experience.
Steve Jobs – The Boyle/Sorkin duo created a biopic as innovative as the man himself
Where to Invade Next – Michael Moore’s least controversial movie yet perhaps his most thought-provoking
Wild Tales – Argentina’s raucous anthology of short films perfectly juxtaposed together
10. Cartel Land
2015 is a banner year for documentaries, and I have been fortunate to see more this year than in any years past. Cartel Land is both a display of cinematic bravery and also a master craft in non-fiction storytelling. Director Matthew Heineman gains unprecedented access to numerous facets in the complex war on drugs. He was a firsthand witness to countless firefights and stayed calm by focusing on his camera work and not the mayhem he was witnessing. With each person he follows, he displays characters who blur the artificial line between good and evil. It is an exposé without feeling like a history lesson. I thoroughly enjoyed Sicario, the other high-profile US-Mexico border movie this year, but I found Cartel Land to be even more engrossing and morally ambiguous than its fiction counterpart. This is a documentary that will remain a powerful experience for viewers years after current conflicts dwindle because of the larger themes it displays.
9. We Come As Friends
Every year the Academy narrows down to 15 documentaries before choosing 5 that receive an Oscar nomination. The biggest surprise on this year’s list of 15 (out of roughly 100 eligible) was Herbert Sauper’s South Sudan documentary We Come As Friends, which I first saw at Sundance all the way back in January 2014 before seeing it again when it got a US release in August 2015. Despite Oscar predictors all putting this as the least likely of the 15 to receive a nomination, there is a reason it made it that far amongst bigger players.
Using as little exposition as possible in a genre/medium usually dependent on it, Sauper uses heavily symbolic imagery to depict the chaotic situation in the world’s youngest (and possibly most unstable) nation. The metaphor of alien invasion is pertinent through the film as the subject is less the country’s inhabitants and more about the people invading the country and viewing it as a foreign place incapable of independent survival. What we see is blatant modern colonialism with similar horrific consequences to the past.
The same subject in another filmmaker’s hands could have been a very dry documentary about all that’s bad in the world, but this is a film that achieves discomfort through its symbolism and subtle displays of the situation. South Sudan is not a country at the forefront of the media and, therefore, this film is of utmost importance in showing something we otherwise wouldn’t see. It's rich symbolism and rare method of displaying a conflict make it a cinematic feat worthy of being among the best movies of the year.
8. Love and Mercy
Like Steve Jobs, Love and Mercy turns the biopic on its head and achieves a newfound approach to depicting the life and experience of someone notable, in this case, Beach Boys leader Brian Wilson. Having 2 different actors play Brian Wilson sounded a bit like a gimmick, but Paul Dano and John Cusack both become Brian Wilson without coming across as an imitation. Like a classically great performance, we never forget it's these actors, but we're never distracted by it either.
The fact that their stories never actually cross over and that the characters in the past never make it into the future is brilliant in that it suggests just how disjointed Wilson's life had become in his later years. This is a successful way at capturing a character's life that I've never seen work so well. There is a clear effort toward every aspect of the film in telling this story: costuming, set design, camera movement, blocking, etc. All these elements are so poignantly utilized to elevate the conditions Brian Wilson experiences. And the sound design, fittingly, is wonderfully employed to put us in Wilson's situation.
After I saw the film, I stalked the IMDb of the team that made the film: Bill Pohlad, Oren Moverman, Atticus Ross, Ann Ruark, and many more creatives came together to make a passion project in the best possible way: it isn't indulgent, it is inspiring and emotionally moving. This is a film that can be appreciated by the die-hard fans and the newly initiated. I am thankful that there is still room in the movie business for people to come together and make something special they clearly wanted to share on screen.
7. Me and Earl and the Dying Girl
Surprisingly (I imagine in part due to the morbid title) this festival awards winner didn’t find a large audience in theaters the same way fellow Sundance alums Little Miss Sunshine or Whiplash did. Yet in my experience, this is a film that perfectly walks the line between comedy and drama. It embraces the indie teen genre that’s become a cliché and still squeezes out new material, thanks to some great characters, deliberate and intriguing filmmaking, and most of all emotional depth. Me and Earl brings up the theme of death in a way that isn’t drab nor is it mocking. It is relatable and emotional yet still takes risks and tries new things with cinema. And of course, it’s actually a comedy, despite how the title sounds, and it’s a funny one at that. The result is a film that may seem easy to disregard as a teen dramedy, but, in fact, is layered and unique enough to be worthy of critical acclaim. As an added bonus for film lovers, it has some of the best callbacks and spoofs of classic movies I’ve ever seen.
6. White God
From the opening shot of 300 dogs chasing a girl on a bike, it’s clear this is going to be something unique. White God is essentially Oliver Twist with a protagonist who is a canine. A major chunk of the movie features only dogs on screen, and thanks to some expert trainers, they come across as actual characters instead of glorified props. The fact that this film manages to cross a foray of genres, incite an emotional response from non-human protagonists and on top of that also be an allegory for the lower-class Hungarian experience makes it a complete work of art. It’s graphic depiction of dog fighting is off-putting for some but a reality that needs to be faced. The director is aware that viewers are even more disturbed by animal violence than they are of humans, so he creates empathy through his animal protagonists that symbolize a human condition. On top of this, I acknowledge that there is depth in this film that I haven’t even seen because I don’t know the nuances of Hungarian language and culture. Lastly, the title, an obscure reference to the confusing dynamic between dog owners and their pets, seals this film as one of the most intricate and fascinating cinema experiences of the year.
5. The Revenant
One of the best parts about seeing an entire director’s filmography is that with the top-tier auteurs, patterns start to emerge in their thematic choices. Alejandro G. Iñarritu has made 6 films in 15 years, and with the exception of Birdman, there is a clear theme of faith and spirituality underlying his work that makes every one of his movies that much more compelling. The Revenant is undoubtedly his most ambitious project to date, and perhaps his biggest departure from his early style, yet it profoundly features the numerous themes that define the director’s palette. Pay extra attention to his portrayal of religion: it elevated my enjoyment of the film immensely. At the surface, it is an action-packed western adventure that engulfs the viewer in the world of the frontiersmen and the constant challenges they endured, but Inarritu’s brilliance comes from the subtle details that are sprinkled all throughout. Leo and Tom Hardy, a perfectly matched protagonist and antagonist, both deliver knockout performances despite very little dialogue. Many film buffs will praise the cinematography and the technical prowess of the project. It’s safe to point out that the behind the scenes work here is flawless, yet it only matters if the story is compelling to watch. Fortunately, it is: this is a rare opportunity to see cinema fire on all cylinders while telling an entertaining narrative. This is a balance of spectacle and entertainment that makes cinema so engaging in the first place.
4. Room
Of the numerous movies circulating Oscars and other awards this year, my favorite is by far and away Room. Best viewed with as little information as possible (the trailer gives away far too much), it is an emotional experience not easily forgotten. Brie Larson, whose work in Short Term 12 prior to this was similar yet equally phenomenal, plays the mother of Jack (Jacob Tremblay) and the two of them live in a room and do not leave. The journey that they go on is grounded in the powerful relationship seen between a mother and son despite the situation they are in. It’s an unconventional narrative split into two distinct parts. When the first part ends it feels like the ending of a movie, yet it then transitions to a more nuanced dramatic exploration in the second half. There isn’t anything particularly flashy, and the craft is all extremely subdued in exchange for focusing on these characters. When your subjects are strong enough, as they are here, you can make a great movie with this style. This is a film that represents the pinnacle of dramatic filmmaking and thankfully is receiving the awards attention it deserves.
3. Grandma
At a brisk 78 minutes, Grandma packs in some of the best movie material from the entire year. Hidden within the deceitfully simple premise is some of the most layered and fun storytelling I’ve seen and plenty of humor and sincere laughter. This is a movie that manages to cover the board in terms of being funny, endearing, and poignant. Much credit is given to writer/director Paul Weitz, who expertly crafts such an efficient and entertaining story. The cast elevates the film to another level: Lily Tomlin weaves in plenty of her actual self and still creates a character so engaging to watch and while landing every single joke in the movie. Her supporting cast is almost entirely all-stars: Sam Elliot, Laverne Cox, John Cho, Judy Greer, and Marcia Gay Haden, who each make the absolute most of their limited screen time and are perfectly cast. These types of comedies are often overlooked for flashier counterparts, yet Grandma is more endearing and thought-provoking than many of the more prestigious awards movies. I wrote an article earlier this year about how the film revitalizes the pregnancy genre and provides a point of view that previously wasn’t seen on screen. With that, it provides the largest wealth of dimensional female characters while mainstream movies notoriously sideline women’s roles. For both its heart and humor, Grandma cannot be missed.
2. Mad Max: Fury Road
Normally, blockbusters are saturated, safe, and meant to be appealing to everyone, but nothing is easy to digest about Fury Road. It is a wild unrestrained ride of non-stop mayhem; in other words, it is an absolute blast. Jumpstarting a franchise that nobody thought needed another entry, and most people born after 1990 have never seen, George Miller reinvigorated his fable to new heights. If every franchise reboot felt as fresh as Fury Road, then I could get behind the industry’s obsession with sequels and reimagining old intellectual properties. Miller lets the action and the nuances inform the viewer of the post-apocalyptic world. Dystopias are all the rage in the wake of The Hunger Games, but none have the level of detail and sophisticated, nasty madness that this movie displays.
The top-tier movies elevate beyond just watching and come across as an experience, and this is one of those films. Every element here hits on all cylinders. Funnily enough, this is the second year in a row where I’ve had a movie on my top 10 list with Tom Hardy driving for the entire movie (last year was Locke) – I would consider him to be my favorite working actor at this point thanks to his versatility and the types of movies he ends up in. I love a great action movie and can’t remember the last time action sequences or chase scenes felt so fresh and alive. Miller used stunt performers from Cirque du Soleil among other places and spent months shooting on multiple cameras in the desert; the results pay off, and he’s created one of the finest action movies of the decade.
1. Victoria
Despite the fact that the biggest selling point on this movie is that the entire film is one uninterrupted shot, Victoria is more than just a movie all in a single take. For the first half of the film, director Sebastian Schipper borrows from the styles of Richard Linklater to introduce us to the film’s protagonists, lonely partier Victoria and four men she encounters on her way out of a club. The film works so well because we’re given a great deal of time with the protagonists in the first half with the authenticity that makes us feel like we’re among them. When the film escalates dramatically in the second half, it is believable (even if it’s an extreme circumstance) because we’ve spent so much time with them and want to root for them. This is a film with thrillingly tense sequences, and also moments where I was laughing the way I might with a group of friends. Schipper told his cinematographer to shoot the film like a war photographer: don’t anticipate what’s going to happen, let the action guide you. The result is more focused on the sum of the film than any particularly special shot while still making room for a few outstanding images amongst the chaos.
The fact that this film has both the most daring cinematography of the year on top of a compelling set of characters and memorable sequences makes it a film that has everything firing on all cylinders. Victoria is not the type of film that garners awards attention at the end of the year, but for me is the cinematic experience that invigorated me more than any other movie I saw this year. For the reasons above and so many more, I consider this to be the best film of 2015.
Review: 'Where To Invade Next'
Let’s start with the title: it’s a complete bait and switch. There is an indication from this title and from the movie’s opening that this is a movie about the US Military and their dominance worldwide. You’d never guess it, but this movie has almost nothing to do with this, a breath of relief as you can imagine there are only so many times we can fathom all the negative elements of the trillion-dollar US war business.
Instead, Moore’s latest film, Where To Invade Next, is actually an optimistic documentary, a bit of a paradox in the world of news related docs. The film is a series of vignettes showing Moore traveling to, or ‘invading’, different countries on a hunt for what they are doing well and for ideas to take back to the United States. While his choice of countries is unfortunately very Euro-centric, the results are surprisingly effective. In every country, Moore chooses a specific topic to dive into. In France, it’s food in schools. In Italy, it’s work vacations. With each country, Moore is trying to show how systematically horrible our current system is and what it has the potential to be. The food in our school cafeterias is what is nourishing young people but is treated as an afterthought and the results are pretty gross. In France, food is seen as part of their education, so eating lunch is given major a level of respect as a way to teach kids how they’ll eat well for the rest of their lives. This is one of the many fantastic examples that Moore finds in each country.
Moore isn’t focused on shaming America though: he’s interested in showing how fantastic these other countries are when in action.
The root of all of these problems comes from the mismanagement of money, the greed of for-profit schools and public buildings such as prisons, and more that many moderately-educated viewers will know about. Moore isn’t focused on shaming America though: he’s interested in showing how fantastic these other countries are when in action. Of course, any documentary has the tendency to be biased and with Where To Invade Next running at only 110 minutes, Moore must paint countries with broader strokes. However, he does a great job of making sure any skepticism is answered. For example, after highlighting one particular school or prison, he often will show a second more extreme example that confirms the point he is making. Moore is a polarizing character, but he’s a master of the craft. He knows how to make his points, funny or serious, using the tools at his disposal.
It’s been a fantastic year for documentary, in large part due to the number of working documentary filmmakers who have new material this year: Alex Gibney (Going Clear and Steve Jobs), Kirby Dick (The Hunting Ground), Davis Guggenheim (Malala) and Moore, among others. Each of these prolific directors has a signature style which they don’t stray far from, but in every case it works to their personality and subject matter. All are in contention for the Best Documentary Oscar. While Michael Moore’s latest isn’t particularly topical compared to some of his other work, it invites Americans to recognize that perhaps we need to look at other countries as models for how to improve our current system. His final revelation not only is fascinating but ties the whole film together. For any American interested in the future of our country, look to this film as a guide to some positive possible directions.
Where To Invade Next opens at ArcLight Hollywood on December 23rd with a national release February 12, 2016. Rated R for language, some violent images, drug use and brief graphic nudity.
https://www.youtube.com/watch?v=r4JJvfrkH3M&feature=youtu.be