You're Next
Film Review by Kam Williams
Masked Maniacs Wreak Havoc at Family Reunion in Harrowing Horror Flick
Paul Davison (Rob Moran) recently retired after receiving a generous golden parachute from KPG, the defense contractor with which he’d enjoyed a long career as an executive. Hoping to spend their golden years in the country, he and his wife Aubrey (Barbara Crampton) purchased a sprawling Tudor mansion in need of a little TLC.
The couple moves into the mammoth fixer-upper on their 35th anniversary with plans to celebrate by hosting a family reunion that very same weekend. Their arriving guests include son Crispian (AJ Bowen) and his girlfriend Erin (Sharni Vinson); son Drake (Joe Swanberg) and his wife Kelly (Margaret Laney); son Felix (Nicholas Tucci) and his girlfriend Zee (Wendy Glenn); and daughter Aimee (Amy Seimetz) and boyfriend Tariq (Ti West).
But the revelers at the rural retreat are initially blissfully unaware that their only neighbors (Kate Lyn Sheil and Larry Fessenden) for miles around have just been murdered in a brutal home invasion by an ax-wielding maniac. This means Erin is in for the shock of her life when Mrs. Davison innocently asks her to run next-door to borrow some milk. What she finds is the aftermath of the slaughter, and the words “You’re Next” written in blood on a sliding glass door.
Then, as night falls, the Davisons, find their phones inoperable as they come under attack by a masked madman armed with a crossbow. They immediately begin to barricade the premises and to take precautionary measures while trying to figure out who would want them dead and why.
Thus unfolds You’re Next, a high attrition-rate horror flick directed by wunderkind Adam Wingard (A Horrible Way to Die). The Mumblecore maven tapped a talented cast featuring several actors associated with the genre, including Joe Swanberg, Amy Seimetz and Lane Hughes.
This tautly-edited, harrowing adventure that kept this critic on the edge of my seat and constantly reminding myself that “It’s only a movie.” It even had me shrieking at the top of my lungs in reaction to a number of shocking developments, precisely as the best in fright fare ought to do.
Rather than risk spoiling a cleverly-concealed mindbender one iota, suffice to say that the summer of 2013 has been a great season for horror fare, from The Purge to The Conjuring to this spine-tingling scare fest not for the squeamish.
Excellent (4 stars)
Rated R for profanity, sexuality, nudity and graphic violence
Running time: 96 minutes
Distributor: Lionsgate Films
To see a trailer for You're Next, visit: http://lionsgatepublicity.com/theatrical/yourenext/
Kick-Ass 2
Film Review by Kam Williams
Shocking Splatterflick Ups the Ante on Original’s Gratuitous Gore
It’s very rare indeed for a matinee idol to trash his or her own picture prior to its release, no matter how horrible the film is. Instead, they tend to just bite the bullet and participate in the press junket praising it to high heaven. For that reason, audiences should have considered themselves warned when Jim Carrey decided to distance himself from Kick-Ass 2, going so far as to apologize to his fans for the splatterflick’s shocking “level of violence.”
But upping the ante on gratuitous gore is just one of a host of this sorry vigilante sequel’s fatal flaws. Another is that the rubber-faced comedian was not only crippled by a script with no funny lines for him but also required to keep his most valuable asset covered with a mask for most of the movie.
Replacement director Jeff Wadlow takes the hit here for miscasting Carrey in a dramatic role in a comedy. What’s wrong with playing to a thespian’s strengths, especially when you have at your disposal one of the funniest comics to ever grace the silver screen?
If you remember Kick-Ass 1, what really made the movie magical was Hit-Girl (Chole Moretz) and Big Daddy’s (Nicolas Cage) bizarre but tender father-daughter relationship. Unfortunately, Big Daddy bit the dust in the original, and the title role of Kick-Ass (Aaron Taylor-Johnson) has been expanded this go-round, mostly at the expense of Hit-Girl’s screen time.
In fact, as the film unfolds, we learn that Hit-Girl has hung up her mask and stretchy pants to focus on her freshman year at Millard Fillmore high school as alter ego Mindy McCready. Senior David Lizewski, however, still moonlights as Kick-Ass and soon joins Justice Forever, a ragtag team of self-proclaimed superheroes led by Colonel Stars and Stripes (Carrey).
Their evil nemesis is The Mother [expletive] (Christopher Mintz-Plasse), the richest kid in all of New York. This diabolical orphan has inherited the bucks to assemble the best bloodthirsty, band of villains money can buy.
The ensuing epic battle between good and evil for the fate of the city eventually forces Hit-Girl out of retirement, and just in the nick of time to turn the tide. Too bad the picture’s pathetic attempts at humor fall flat, its special f/x are cheesy, its characters never generate any chemistry, its preposterous plot fails to engage, and it features a morally-reprehensible “level of violence,” most of it involving teenagers.
Oh, but the ending does set up the franchise’s next installment, for folks who get their kicks vicariously, via the observation of explicit vivisection. A relentlessly-gruesome bloodfest of no redeeming value that at least Jim Carrey had the decency to ‘fess up about.
Fair (1 star)
Rated R for sexuality, graphic violence, crude humor, pervasive profanity, and brief nudity
In English, Mandarin and Russian with subtitles
Running Time: 103 minutes
Distributor: Universal Pictures
To see a trailer for Kick-Ass 2, visit: http://www.youtube.com/watch?v=nje6dcArZrI
The Happy Sad
Film Review by Kam Williams
Couples’ Lives Serendipitously Intertwine in Bifurcated Brooklyn Drama
Stan (Cameron Scoggins) and Annie (Sorel Carradine) are a young couple in crisis. She recently informed him over brunch in a Brooklyn bistro that she wanted to take a break “to figure things out.”
Flabbergasted Stan pressured her for an explanation, so she lied and said that she was already sleeping with a fellow schoolteacher, Mandy (Maria Dizzia). Believing the fib, he decided on the spot to end the relationship.
The bitter breakup frees Stan to explore his own curiosity about bisexuality, so he makes the online acquaintance of a tall, dark and handsome stranger (LeRoy McClain). The two agree to meet, and end up mating on the first date. Only after Stan has given away his gay virginity does he learn that that Marcus has a live-in boyfriend.
What makes the situation even messier, his life mate, Aaron (Charlie Barnett), just happens to be a waiter Stan and Annie know from their favorite restaurant. Marcus and Aaron do have an open relationship that’s lasted six years. Trouble is, their only rule is you’re not allowed to develop feelings for anybody you cheat with.
That’s a problem since Marcus falls in love at first sight with Aaron. However, Stan isn’t quite inclined to reciprocate. He’s not even sure that he’s bi, let alone ready to come out of the closet to be in an interracial homosexual relationship.
Not one to give up easily, Aaron informs Marcus that “I want to take my jaw, unhinge it, and swallow your head whole.” Meanwhile, odd woman out Annie does seduce her cute colleague Mandy, but when lesbianism doesn’t work out proceeds to lick her wounds at a local watering hole where she turns the head of a two-bit comedian.
So unfolds The Happy Sad, a gender-bending romantic romp directed by Rodney Evans (Brother to Brother). You almost need a score card to keep track of all the coupling, uncoupling, and re-coupling, but the out-of-the-closet antics are amusing enough to intrigue.
Who will end up with whom? The possibilities are endless when the players are this open-minded and so confused about their identities!
Very Good (3 stars)
Unrated
Running time: 86 minutes
Distributor: Miasma Films
To see a trailer for The Happy Sad, visit: http://www.youtube.com/watch?v=GKp_fZ4M-zE
Spark: A Burning Man Story
Film Review by Kam Williams
Visually-Captivating Documentary Chronicles Annual Bohemian Gathering
Every summer, about 60,000 free-spirited fugitives of civilization descend on an empty spot in the Nevada desert and dub it Black Rock City to participate in an annual ritual known as Burning Man. The gathering basically affords a horde of artistic, ex-hippie hedonists a week of fun in the sun free from the dictates of otherwise humdrum lives divided between being stuck in stultifying suburbia and commuting to boring, corporate desk jobs.
Braving nightly windstorms and sweltering 100+ degree days, these would-be bohemians are mostly aging flower children looking to recreate the magic they once enjoyed at counter-cultural concerts like Woodstock before finally making major concessions to conformity. Here, they make the most of the opportunity to shed their societal facades (and maybe even their clothes) and to get in touch once again with their primal selves.
Not that absolutely anything goes at Burning Man. The event does have ten guidelines encouraging: “Radical Expression,” “Communal Effort” and “Gifting,” to name a few. And “Participation” is mandatory, since no spectators are allowed.
Co-directed by Steve Brown and Jessie Deeter, Spark: A Burning Man Story is a visually-captivating documentary which chronicles the goings-on at last year’s gathering. We learn that the love fest is called Burning Man because the climax of the conclave involves setting on fire a 35 foot-tall, 3,000 pound effigy of a guy.
Many attendees work on their costumes, floats and/or constructions for months prior to their arrival, much like participants in New Orleans Mardi Gras or Philly’s Mummers’ Parade. But Burning Man seems to have a distinctly anti-establishment agenda, evidenced by the torching of 70 foot-tall models of skyscrapers called “Merrill Lynched,” “Goldman Sucks” and Bank of Un-America.”
Why Occupy Wall Street when you can occupy the desert?
Excellent (4 stars)
Unrated
Running time: 90 minutes
Distributor: Paladin Films
To see a trailer for Spark: A Burning Man Story, visit: http://www.youtube.com/watch?v=x0XGiOnuxO8
The Speech
The Story behind Dr. Martin Luther King Jr.’s Dream
by Gary Younge
Book Review by Kam Williams
Haymarket Books
Paperback, $19.95
192 pages
ISBN: 978-1-60846-356-5
“A great speech is both timely and timeless. First and foremost, it must touch and move its immediate audience… But it must also simultaneously reach over the heads of the assembled to posterity.
The ‘I Have a Dream’ speech qualified on both counts. It was delivered in a year that started with Alabama Governor George Wallace, standing on the steps of the state capitol, declaring ‘Segregation now! Segregation tomorrow! Segregation forever!’
The speech starts, both literally and metaphorically, in the shadow of Lincoln, ends with a quote from a Negro spiritual, and in between quotes the song ‘America the Beautiful’ while evoking ‘a dream rooted in the American dream’ and drawing references from the bible and Constitution…
Fifty years later, the speech endures as a defining moment in the Civil Rights Movement… This gripping book unearths the fascinating chronicle behind ‘The speech’ and the revealing events surrounding The March on Washington.”
-- Excerpted from Introduction
On August 28, 1963, Dr. Martin Luther King, Jr. delivered his ‘I Have a Dream’ speech, an unapologetically poetic appeal for the elusive equal rights long denied African-Americans. Unfortunately, over the years, the late martyr’s historic address has all but been reduced to his wish that “my four children will one day live in a nation where they will not be judged the color of their skin but by the content of their character.”
A half-century later we find that “content of character” phrase being appropriated, quoted out of context and willfully misrepresented by arch-conservatives from Glenn Beck to Herman Cain in service of a right-wing agenda. For this reason, it is rather refreshing to find an opus like this being published on the 50th anniversary to remind us of the true meaning of Dr. King’s moving remarks.
The author of the book is Gary Younge, a broadcaster and columnist based in Chicago. Here, the award-winning journalist does a masterful job of not only dissecting Dr. King’s words, but of filling in much of the back story to the events leading up to his taking the podium.
We learn that “I Have a Dream” was not the planned focus of the speech, in fact, that divinely-inspired, emotional crescendo was substantially improvised on the spot as an afterthought. King’s intended theme merely revolved around an earnest explanation that blacks had descended on the District of Columbia “to cash a promissory note for life, liberty and the pursuit of happiness.”
For, while preparing his speech on the eve of the march, King had been advised by a colleague to cut out the lines about his having a dream. “It’s trite… It’s cliché,” Reverend Wyatt Tee Walker warned.
But, the next day on the National Mall, as Dr. King came close to finishing reading from his prepared text, gospel great Mahalia Jackson started prompting him to go off script. “Tell them about the dream, Martin!” she shouted repeatedly, referring to a familiar refrain she’d heard her dear friend eloquently riff about in sermons several times before.
Fortunately, Martin did indeed heed Mahalia, and began waxing romantic about his prophetic vision. “Aw, sh*t, he’s using the dream,” Reverend Walker moaned. Yet, as Coretta Scott King would recall, “At that moment, it seemed as if the Kingdom of God appeared.”
And the rest, as they say, is history.
To order a copy of The Speech, visit: http://www.amazon.com/exec/obidos/ASIN/1608463222/ref%3dnosim/thslfofire-20
Lee Daniels’ The Butler
Film Review by Kam Williams
Forest Whitaker Delivers Oscar-Quality Performance in Emotionally-Searing Civil Rights Saga
Eugene Allen (1919-2010) served eight presidents over the course of an enduring career in the White House during which he rose from the position of Pantry Man to Head Butler by the time he retired in 1986. In that capacity, the African-American son of a sharecropper felt privileged to be an eyewitness to history, since his tenure coincided with the implementation of most of the landmark pieces of legislation dismantling the Jim Crow system of racial segregation.
Directed by two-time Oscar-nominee Lee Daniels, The Butler is a father-son biopic relating events in Allen’s life as they unfolded against the backdrop of the Civil Rights Movement. This fictionalized account features Academy Award-winner Forest Whitaker in the title role as Cecil Gaines, and his A-list supporting cast includes fellow Oscar-winners Cuba Gooding, Jr., Jane Fonda, Vanessa Redgrave, Robin Williams and Melissa Leo, as well as nominees Terrence Howard and Oprah Winfrey.
The point of departure is a plantation in the Deep South, where Cecil witnesses his father’s (David Banner) murder on the cotton field for protesting his mother’s (Mariah Carey) rape at the hand of an overseer. Because the perpetrator was never brought to justice, the youngster gets the message at an early age that “Any white man could kill us at any time and not be punished for it.”
Therefore, eager to avoid the same fate as his dad, he skips town as a teenager, settling in Washington, DC where he lands steady work as a bartender in a hotel catering to an upscale clientele. There he also meets Gloria (Winfrey), the maid he would one day marry and start a family with.
Cecil’s sterling reputation as a polite and deferential black man eventually reaches the White House, where he takes a position on the express understanding that “You hear nothing. You see nothing. You only serve.” Although he manages to maintain an inscrutably apolitical façade on the job, the same can’t be said for the home front, where current events are freely debated.
There, Cecil finds himself increasingly at odds with his elder son, Louis (David Oyelowo), a civil rights activist inclined to participate in voter registration marches, sit-ins at segregated lunch counters and freedom bus rides. The simmering tension between the two builds over the years to the boiling point when Louis derisively refers to his as father an Uncle Tom.
At that juncture, Cecil’s protective spouse intervenes to slap her son before uttering the moving line likely to land Oprah Winfrey another Academy Award nomination: “Everything you have, and everything you are, is because of that butler.” However, Forest Whitaker is even more deserving of accolades, delivering a nonpareil performance as a humble provider understandably reluctant to rock the boat.
Kudos to Lee Daniels for crafting such a gut-wrenching tour de force which never hits a false note while chronicling critical moments in the African-American fight for equality.
Excellent (4 stars)
Rated PG-13 for violence, sexuality, smoking, profanity, ethnic slurs, disturbing images and mature themes
Running time: 132 minutes
Distributor: The Weinstein Company
To see a trailer for Lee Daniels’ The Butler, visit:
Elysium
Film Review by Kam Williams
Sick Seek Help at Utopian Space Station in Futuristic Sci-Fi Thriller
It’s 2154, a time when the Earth has become so polluted and overpopulated that all of the idle rich have abandoned the planet to loll in the lap of luxury on a state-of-the-art space station. Their decadent enclave, Elysium, looks suspiciously similar to Beverly Hills, being dotted with palm trees, mansions and built-in swimming pools.
Down below, the teeming masses of poor people struggle to survive, with escape to Elysium being their only hope for a decent existence. Of course, that’s easier said than done, since you have to be able to afford a ride aboard an expensive rocket ship just to get there. And, even after arriving, you have to provide the authorities proof of citizenship in order to stay.
The job of preventing illegal immigrants from entering Elysium falls to its steely Secretary of Defense Jessica Delacourt (Jodie Foster), a heartless ice princess who has no qualms about shooting unauthorized space shuttles right out of the sky. She ostensibly does the bidding of John Carlyle (William Fitchner), the nefarious CEO of Armadyne Corporation, much to the chagrin of the orbiting outpost’s president (Faran Tahir).
For, it’s impossible for any politician to reign in the powerful defense contractor, a fact which humble everyman Max Da Costa (Matt Damon) is about to learn the hard way. He only has five days to live after being exposed to a lethal dose of radiation in an industrial accident.
After his request for medical treatment readily available on Elysium is summarily denied, he becomes determined to breach the border of the remote oasis by hook or by crook. He also wants to bring along his childhood friend, Frey (Alice Braga), and her young daughter (Emma Tremblay) who is suffering from acute leukemia. Standing in their way, however, is Kruger (Sharlto Copley), a blood-thirsty, heavily-armed mercenary deputized by Delacourt to patrol Los Angeles make sure no unworthy earthlings ascend to her exclusive abode.
Directed by Neill Blomkamp, Elysium is a distinctly disappointing sophomore effort from the South African wunderkind who‘d made such a spectacular splash in 2009 with the sleeper hit District 9. This film feels like he’s all out of ideas, between the exploration of similar themes revolving and a cliché-ridden script filled with hack, action flick lines like: “That’s what I’m talking about,” “You have no idea,” and “I’m just getting started.”
An underwhelming, sci-fi adventure more akin to After Earth than District 9.
Fair (1.5 stars)
Rated R for pervasive profanity and graphic violence
Running time: 109 minutes
Distributor: Tri-Star Pictures
To see a trailer for Elysium, visit:
When Comedy Went to School
Film Review by Kam Williams
Borscht Belt Documentary Revisits the Rise of Legendary Jewish Comics
What do such legendary comics as Danny Kaye, Jerry Stiller, Sid Caesar, Jackie Mason, Don Rickles, David Brenner, Buddy Hackett, Henny Youngman, Lenny Bruce, Mort Sahl, Woody Allen, Jerry Lewis, Mel Brooks, Joan Rivers, Alan King and Rodney Dangerfield have in common? They all got their start in showbiz doing stand-up in the Catskill Mountains at any number of the lush farm region’s hundreds of hotel resorts.
Starting in the late Thirties, the so-called Borscht Belt began catering to a clientele predominantly comprised of Jewish immigrants in need of a summer retreat where they could get a break from the sweltering tenements of Manhattan’s Lower East Side. After all, they had little interest in vacationing in Europe, a place most were lucky to have escaped.
So, they instead made an annual exodus to upstate New York for fresh air, good food and some fun in the sun. Each establishment there also had a nightly stage show where aspiring entertainers could ply their trade, including the aforementioned icons.
What made working the Catskills unique was that it served as a proving ground allowing a comedian to hone his or her skills en route to the big time, namely, movies and TV. As narrator Robert Klein puts it, “It was a laboratory. Comics had a place to be bad.”
This slice of Jewish history is the focus of When Comedy Went to School, an alternately informative and hilarious documentary co-directed by Mevlut Akkaya and Ron Frank. The film features reflections by surviving greats, as well as the insights of some members of the next generation, most notably, Jerry Seinfeld.
Sprinkled in amidst the enlightening history lessons are lots of one-liners preserved on vintage footage of yesteryear’s stars of tomorrow. To wit, Alan King: “My wife takes 40 minutes to lipstick her face because she has a big mouth.” And Joan Rivers: “I was the last girl in Larchmont to get married. My mom had to put up a sign saying, ‘Last girl before freeway.’” And Woody Allen: “This watch I’m wearing is a family heirloom. My grandfather, on his death bed, sold me this watch.”
Priceless!
Excellent (4 stars)
Unrated
Running time: 77 minutes
Distributor: International Film Circuit
To see a trailer for When Comedy Went to School, visit: http://www.youtube.com/watch?v=Rwr-U1z1F60
Race, Philosophy, and Film
Edited by Mary K. Bloodsworth-Lugo and Dan Flory
Book Review by Kam Williams
Routledge, Taylor & Francis Group
Hardcover, $125.00
250 pages, Illustrated
ISBN: 978-0-415-62445-9
“This collection of original essays investigates one of the least-explored topics in the philosophy of film and the philosophy of race: the nexus of our ideas and attitudes toward race and how they arise in cinematic narrative and viewership… As the first anthology to focus on this intersection of topics, its chapters explore issues in epistemology, aesthetics, moral philosophy, social and political philosophy, and technology and the body.
The essays… aim to illuminate not only the philosophical perspectives employed but also the cinematic examples analyzed. This anthology offers a timely… consideration of race, including ethnicity and whiteness and their connections to sex, gender, and the body, through a variety of film genres.”
-- Excerpted from Foreword (pg. i)
Would the Batman trilogy have been as popular with mainstream audiences had the title character been portrayed by a black man instead of a Caucasian? In Monster’s Ball, Halle Berry played a wanton woman so desperate for sex and affection that she slept with her husband’s executioner. Why was that performance the first ever by a black female to win an Oscar in the Best Lead Actress category? Did it have anything to do with the role’s feeding the patriarchal fantasies of the Academy’s predominantly white male membership?
These are the sort of intriguing questions tackled in Race, Philosophy, and Film, a fascinating collection of essays compiled by Mary K. Bloodsworth-Lugo and Dan Flory, professors at Washington State and Montana State Universities, respectively. The other fourteen contributors to this enlightening opus are also professors, whether teaching film studies, philosophy, literature, critical culture, gender and race studies, or other disciplines.
The timely tome arrives on shelves at a propitious moment, for 2013 has proven to be a banner year in African-American cinema, with historical dramas like 42, Fruitvale Station, Big Words and Lee Daniels’ The Butler already garnering critical acclaim for avoiding stereotypes in favor of fresh perspectives of the black experience.
But this book focuses on how Hollywood has handled race in the past.
For instance, in a chapter entitled “What’s So Bad about Blackface?” the author explains that the problem with that outmoded practice is that it has a tendency to misinform audiences by reinforcing false beliefs about race that are only true in a fictional world.
By contrast, in a chapter called “Hardly Black and White,” the movies Manderlay and Black Snake Moan are assailed for embodying every last racial cliché, from black men embodying sexuality, to all blacks looking alike to whites, to black Southerners singing the blues, to white Southerners being beer-drinking rednecks.
Other pictures analyzed include Avatar, The Help, The Matrix, The Princess and the Frog, Twilight, and Trading Places, to name a few. Because the writers are all academics, the sophisticated material might have you reaching for the dictionary occasionally. Still, making the effort will be richly rewarded since it’s in service of an in-depth analysis of the images disseminated by a very powerful, belief-shaping medium.
To order a copy of Race, Philosophy, and Film, visit: http://www.amazon.com/exec/obidos/ASIN/0415624452/ref%3dnosim/thslfofire-20
We're the Millers
Film Review by Kam Williams
David (Jason Sudeikis) is a small-time pot dealer with a big problem. He’s just been robbed of all of his cash and stash, leaving him indebted to an impatient drug kingpin (Ed Helms) to the tune of $44,000.
Now, David’s only hope of wiping the slate clean rests with accepting a proverbial “offer you can’t refuse” from skeptical Brad, namely, to smuggle a couple of tons of marijuana across the Mexican border. Figuring a family in an RV would look a lot less suspicious trying to get through customs than a single guy with a panel truck, he starts looking for folks down on their luck willing to pose for a few bucks as his wife and kids.
All he can find on such short notice are Kenny (Will Poulter), a naïve, home alone kid who lives down the hall; Rose (Jennifer Aniston), a struggling stripper at the local gentlemen’s club; and Casey (Emma Roberts), a streetwise teen runaway. But will the faking foursome be able to pass themselves off as a typical suburban family over the course of their 4th of July weekend jaunt?
That is the intriguing premise of We’re the Millers, a raunchy road comedy directed by Rawson Marshall Thurber (Dodgeball). Of course, the faux family has a really hard time maintaining their cover, such as when supposed mother and daughter are spotted making out by a DEA Agent (Nick Offerman) they unwittingly befriend en route.
While certifiably funny in spots, consider this a fair warning: much of the movie relies on a coarse brand of humor apt to shock fans of co-stars Jennifer Aniston and Jason Sudeikis, given the relatively-tame, TV fare they’re known for. For instance, there’s the hilarious, if graphic, sight gag featuring a swollen testicle that’s been bitten by a tarantula.
The dialogue can be crude, too, especially when characters discuss their sexuality and bodily functions. But betwixt and between the bottom-feeding jokes, director Thurber continues to ratchet up the tension as we watch the Millers do their best to deliver the weed despite alarming the authorities and being trailed by a vicious mobster (Tomer Sisley) with a claim on the contraband.
Picture Cheech & Chong on a National Lampoon Vacation!
Very Good (3 stars)
Rated R for pervasive profanity, crude sexuality, drug use and full-frontal male nudity
Running time: 110 minutes
Distributor: New Line Cinema
Rising from Ashes
Film Review by Kam Williams
Bike Racing Documentary Chronicles Rise of Rwanda Cycling Team
Over the course of a hundred days in 1994, the East African nation of Rwanda experienced an ethnic cleansing which consumed the lives of nearly a fifth of the population. The mass slaughter came as a consequence of a revolt by the majority tribe, the Hutus, against the Tutsis, a minority which, with the help of the country’s European colonizers, had enjoyed a higher social and economic status for centuries.
A few years after the cessation of the civil war, American bike racing legend Jock Boyer was looking for a chance at redemption in the wake of being paroled after serving time in prison for lewd behavior. He found that opportunity he needed upon moving to Rwanda at the suggestion of a friend.
There, he took on the unenviable challenge of coaching the national cycling team. And over the next six years he trained them while teaching them how to compete on the level of World-Class athletes with the hope of one day qualifying for the Olympics.
That seemingly impossible quest is the subject of Rising from Ashes, an uplifting, overcoming-the-odds documentary directed by T.C. Johnstone. Narrated by Forest Whitaker, the film introduces us to the ragtag crew of raw recruits, including prima donna Abraham, mischievous Nathan and strongman Nyandwi, that Jock had to try to whip into fighting shape.
But besides athleticism, the intrepid coach had to worry about his young protégés equipment, since they were riding on quarter century-old, brakeless, wooden bikes ordinarily employed as taxis or to deliver huge sacks of produce. An even bigger hurdle had to do with the fact that each was also still suffering from deep, psychological turmoil caused by the mass slaughter they’d witnessed of a million fellow citizens.
For instance, the team’s star, Adrien, had lost sixty members of his family, including six brothers and everyone on his mother’s side of the clan. For that reason, besides salaries, health care and education, some of the squad’s funds were devoted to addressing daunting mental health issues.
An inspirational illustration of how the Olympics came to serve as a unifying step in terms of exorcising the demons ever haunting Rwanda’s grisly killing fields.
Very Good (3 stars)
Unrated
In English and Kinyarwanda with subtitles
Running time: 80 minutes
Distributor: First Run Features
To see a trailer for Rising from Ashes, visit:
The Wolverine
Film Review by Kam Williams
Jackman Journeys to Japan for Latest Adventure as Metal-Clawed Mutant
Logan, aka Wolverine (Hugh Jackman), is a mutant with retractable claws and a self-healing, metal skeleton. As a member of Marvel Comics’ X-Men, he has appeared in all five of the franchise’s prior screen adaptations, most notably, the eponymous installment exploring his origin.
At this episode’s point of departure, we find him in Alaska and awaking from the clever cinematic contrivance of a nightmare within a nightmare. In the haunting dream, he’d been confronted by Jean Grey, aka Phoenix (Famke Janssen), the lover/colleague gone bad he’d been forced to stab to death in X-Men: The Last Stand.
Here, she makes him feel so guilty about gutting her belly and aborting their baby that he promises never to hurt anyone ever again. Trouble is, Logan has anger management issues which cause him to morph into feral Wolverine whenever he loses his temper, and he proceeds to break the vow the very next day in a bar fight with a bunch of inconsiderate local yokels.
However, the film’s setting changes from the Yukon to the Orient soon after the arrival in town of bottle red-head Yukio (Rila Fukushima), a capable bodyguard sent by Ichiro Yashida (Haruchiko Yamanouchi), the terminally-ill CEO of Japan’s biggest corporation. Since Logan saved Ichiro’s life when the atomic bomb was dropped on Nagasaki, you’d think he was being summoned for a grateful, fond farewell. Think again.
The old man suddenly wants to live forever and has hatched a plan to steal Wolverine’s secret to immortality. And he’s assisted in this diabolical endeavor by and army of ninjas as well as by Viper (Svetlana Khodchenkova), an evil temptress with an immunity to toxins.
Meanwhile, Logan is lucky that Yukio has decided to shift loyalties from her boss to him. At this juncture, the picture launches into a ballet-like display of non-stop martial arts fare, the highlight being a breathtaking Kabuki dance to the death atop a careening locomotive.
When the dust settles, Logan of course not only emerges victorious but will have to choose whether to ride off into the Land of the Rising Sun’s proverbial sunset with two-fisted, tomboy Yukio or with gorgeous Mariko (Tao Okamoto), Ichiro’s granddaughter. Provided you’re not suffering from blockbuster fatigue in this summer of sequels, this engaging and enchanting Asian adventure definitely deserves to be added to your “Must See” list.
Crouching Viper, Hidden Wolverine!
Excellent (4 stars)
Rated PG-13 for sexuality, profanity and intense violence
In English and Japanese with subtitles
Running time: 126 minutes
Distributor: 20th Century Fox
The Big Picture: Rethinking Dyslexia
Film Review by Kam Williams
Some of the most brilliant people I’ve ever interviewed have been dyslexic, including film directors like Bryan Singer (The Usual Suspects), Joe Wright (Anna Karenina) and Guy Ritchie (Snatch), as well as matinee idol Channing Tatum, who opened up to me about the pain he felt about his grades in school until he found fulfillment in a number of artistic pursuits such as dance, sculpting, painting, photography, and of course, acting.
Each of the aforementioned is a nonconformist with a knack for thinking out of the box, a trait also shared by most of the subjects of The Big Picture: Rethinking Dyslexia. Among the icons who appear in this enlightening documentary directed by James Redford are self-made, billionaire Richard Branson, investment house CEO Charles Schwab, California Lieutenant Governor Gavin Newsom, and A-list attorney David Boies.
After hearing them weigh-in about their supposed affliction, one can’t help but wonder whether dyslexia might actually be considered by some to be a blessing. Boies points out his learning disability’s positive correlation with creativity, which helps explain why so many born with it have blossomed in unique fashion in their respective fields. Branson says dyslexics are trustworthy because “We say what we mean,” while Newsom believes their brains enjoy the advantage of being able to see “The Big Picture.”
Besides the rich and famous, the film focuses on youngsters (in grammar school, junior high, high school and college) and their parents as they share what life is like after a diagnosis of dyslexia. What’s abundantly clear is that each has managed to overcome the combination of low expectations and frustrations with spelling and reading to prove themselves capable of competing with classmates on the highest level, so long as some slight accommodations are made which take their condition into consideration.
An admirably informative and empathetic effort clearing up common misconceptions, essentially explaining that dyslexia is not a character flaw but merely a neurological issue affecting as many as one out of five individuals.
Excellent (4 stars)
Unrated
Running time: 60 minutes
Distributor: Shadow Creek Films / HBO Films
To see a trailer for The Big Picture, visit
R.I.P.D.
Film Review by Kam Williams
Veteran detective Nick Walker (Ryan Reynolds) is very content between his 15-year career with the Boston Police Department and being happily-married to the love of his life, Julia (Stefanie Szostak). However, his American Dream is irreversibly ruined the fateful day he is assigned to bring down a drug cartel conducting business out of an abandoned factory along the waterfront.
For, greed gets the best of his partner, Bobby Hayes (Kevin Bacon), after the ensuing shootout, when they discover a stash of gold artifacts. And instead of taking the antique ingots back to headquarters, he decides to shoot Nick dead and blame the murder on the bad guys. To add insult to injury, Bobby consoles Julia and even has the temerity to put the moves on the grieving widow.
Meanwhile, Nick finds himself neither in Heaven nor Hell, but in a police purgatory where a proctor (Mary-Louise Parker) offers him a chance to return to Earth as a member of a squad of zombie cops called the Rest in Peace Department (R.I.P.D.). He leaps at the opportunity, and is immediately paired with a late, Old West lawman, a salty cowboy named Roycephus Pulsipher (Jeff Bridges).
The grizzled gunslinger grudgingly agrees to work with a partner for the first time, and in the blink of an eye the two are teleported back to Beantown to round up renegade dead souls who have somehow evaded the afterlife. There, Nick conveniently also has an opportunity to check in on Julia and plot his revenge on Bobby.
Like a poor man’s version of Men in Black, R.I.P.D. is a disappointing action comedy both in terms of action and comedy. Think “ghost” instead of “alien” adversaries and you have the basic idea of what director Robert Schwentke is going for.
Unfortunately, the obsolete special f/x leave a lot to be desired, and the corny jokes fall flat. Another major structural flaw is the lack of chemistry between the protagonists, a no-no in any unlikely-buddies adventure. Ryan Reynolds looks lost opposite the drawling, generally unintelligible Jeff Bridges who behaves like he’s still on the set of True Grit.
R.I.P.D. is D.O.A.!
Fair (1 star)
Rated PG-13 for violence, profanity, sensuality and sexual references
Running Time: 96 minutes
Distributor: Universal Pictures
Israel: A Home Movie
Film Review by Kam Williams
Most people’s general impressions of Israel come as a result of watching news stories prepared by professional journalists. If you’re interested in getting a more intimate feeling of the country untainted by politics, you might want to check out this documentary by Eliav Lilti.
The movie is basically a collage of home movies shot by amateur shutterbugs on Super 8 film between the Thirties and the Seventies. Besides reminding us of mundane fare like birthdays and bar mitzvahs, it covers subject-matter ranging from euphoric Romanian refugees dancing on the deck of a boat as they arrive in Israel, to a nurse comforting a wounded private who has just lost three limbs in battle, to settlers building in the occupied territories.
Together, these assorted images prove fascinating, since they paint the melancholy, collective psyche of a haunted homeland hopelessly caught in cycles of conflict where the next crisis might lurk just around the corner. For, here, we see a Jewish family grieving a young man murdered in a terrorist attack. And there, we hear a shell-shocked soldier declare, “God bless morphine!”
The tableau that perhaps says it all unfolds at a Yom Kippur beach party whose festivities are suddenly disrupted when a jet fighter is shot down over the sea. Israel captured through the eyes of ordinary citizens as a vulnerable refuge where tragedy has become the norm, and where peace invariably leads back to war.
Very Good (3 stars)
Unrated
In Hebrew with subtitles
Running time: 94 minutes
Distributor: Film Forum
Big Words
Film Review by Kam Williams
It’s November 4, 2008, and Brooklyn is bristling with anticipation about the impending election returns to see whether or not Barack Obama will be the nation’s first African-American president. But the magic of the moment is pretty much lost on John aka MC Wordsmith (Dorian Missick), James aka Jay-V (Gbenga Akinnagbe) and Terry aka DJ Malik (Darien Sills-Evans), despite the fact that they’re black and hail from the ‘hood.
Back in the early Nineties, the three shared a brief promising career as the Down Low Poets, a fledgling hip-hop group which produced a video, two singles and an unreleased album before disappearing from the record-biz radar. The band disbanded, went their separate ways and lost touch entirely.
Today, with Obama poised to make history, we find each consumed by a personal crisis. John has just been laid off from his job as an IT technician. James is now a book publicist in a stagnant relationship and considering seducing his handsome, young intern (Zachary Booth). Only Terry is still an aspiring rap star, and stubbornly refuses to see the handwriting on the wall after a couple of decades squandered desperately trying to make it in the music business.
By a twist of fate, their paths cross at an election night party where Obama’s achievement only serves as a distracting backdrop. Proving far more compelling are the personal questions being raised. What are John’s chances with the stripper (Yaya Alafia) he just picked up at a go-go bar?
Will out-of-the-closet James’ once-hidden homosexuality remain a block to repairing relationships with his former pals, especially his cousin, John? Will Terry drop the hip-hop moniker, pull up his pants, and get a real job?
Written and directed by Neil Drumming, Big Words is a perfectly plausible, character-driven drama with only one glaring flaw. Why bother to set an African-American tale on Election Night 2008, if you plan to give Obama’s triumph such short shrift?
A poignant portrait of a very eventful day in the lives of a trio too self-absorbed to care about who was about to win the White House.
Very Good (3 stars)
Unrated
Running time: 94 minutes
Distributor: AFFRM / Twice Told Films
The Conjuring
Film Review by Kam Williams
In 1952, Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) founded the New England Society for Psychic Research. Back then, the couple also began devoting a wing of their home to a museum of occult artifacts they would collect over the course of their long career.
Lorraine was a celebrated clairvoyant and medium while her World War II veteran husband was the only non-ordained demonologist recognized by the Catholic Church. As a team, they would investigate thousands of reports of haunted houses over the years, most notably, The Amityville Horror.
The Conjuring, directed by James Wan (Saw), revisits one of the Warrens’ lesser-known cases. Set in 1971, the film unfolds in Harrisville, Rhode Island where they were summoned to the secluded, lakefront home of Roger (Ron Livingston) and Carolyn Perron (Lily Taylor).
The Perrons had recently moved into the old farmhouse with their five young daughters (Mackenzie Foy, Joey King, Hayley McFarland, Shanley Caswell and Kyla Deaver), initially ignoring several, telltale signs that the place had bad energy, such as their pet pooch’s refusal to enter the premises. In addition, the smell of rotting meat would periodically permeate the air, and they would awaken every morning to discover that their clocks had stopped running at precisely 3:07 AM.
Nevertheless, as optimistic new owners, the Perrons did their best to adjust to the disconcerting disturbances, only to have the supernatural spirit gradually up the ante. Before long, it was shaking paintings off the wall, toying with an antique music box, and knocking loudly three times in the middle of the night, an ostensible insult to the Holy Trinity.
Mr. Perron was particularly frustrated by these developments, given that as a truck driver he often had to be away from his family for as long as a week at a stretch. The straw that broke the proverbial camel’s back arrived when the evil escalated from annoyances to the demonic possession of a loved one.
And when the Vatican dragged its feet about sending an exorcist to the scene, the Perrons enlisted the assistance of the Warrens out of sheer desperation. What ensues is a classic battle between God and the devil heavily laden with lots of Christian symbolism.
Provided you aren't offended by an obvious, faith-based agenda suggested by exchanges like “Are you baptized?” “No.” “You might want to rethink that.” this film otherwise proves to be a deceptively-frightening, old-fashioned screamer which does a masterful job of ever so slowly ratcheting up the terror. The most spine-tingling exorcist flick since, well, since The Exorcist!
Excellent (4 stars)
Rated R for disturbing violence and scenes of terror
Running time: 112 minutes
Distributor: Warner Brothers
To see a trailer for The Conjuring, visit
Turbo
Film Review by Kam Williams
Theo (Ryan Reynolds) is routinely ridiculed by his friends for entertaining what they see as the impossible dream of one day competing in the Indianapolis 500. Even his brother, Chet (Paul Giamatti), suggests that, “The sooner you accept the reality of your existence, the happier you’ll be.”
After all, Theo is just your garden variety, suburban snail and thus so slow he can barely get out of the way of a lawnmower or a kid on a tricycle. But that hasn’t stopped him from permanently painting the number “5” and racing stripes right on his shell.
Theo whiles away his days dining on tomatoes that have ripened on the vine and fallen to the ground. At night, however, he retreats to his lair to watch TV and see drivers like his hero, Guy Gagne (Bill Hader), fly around racetracks at over 200 miles per hour.
Everything changes the day Theo is inadvertently sucked into the engine of a passing automobile and accidentally injected with nitrous oxide. By the time he is deposited back on the ground somewhere in the inner city, the slowpoke slug has been transformed into the speed demon, Turbo, thanks to the luminescent laughing gas now coursing through his veins.
Soon, the motoring mollusk becomes the latest internet sensation and is welcomed to the ‘hood by a posse of streetwise slugs led by mellow Smoove Move (Snoop Dogg), trash-talking Whiplash (Samuel L. Jackson) and seductively sultry Burn (Maya Rudolph). He also finds human benefactors in the kindly co-owners of Dos Bros Tacos, a mobile Mexican restaurant.
Not surprisingly, all of the above, including the food cart, make their way from L.A. to Indiana, with altruistic Angelo (Luis Guzman) and Tito’s (Michael Pena) life savings covering the Indy 500 entrance fee. At the track, it’s no surprise that the race ultimately morphs into an exciting showdown between Turbo and his idol, Gagne.
Marking the masterful directorial debut of David Soren, Turbo is a visually- captivating and inspirational modern parable guaranteed to keep the tykes perched on the edge of their seats for the duration. For, besides its uplifting, overcoming the odds message, the movie fills the screen with a memorable menagerie of colorful characters who keep the laughs coming en route to the satisfying resolution.
A hilarious, high-octane variation of Aesop’s fable about The Tortoise and the Hare!
Excellent (4 stars)
Rated PG for mild action and mature themes
Running time: 96 minutes
Distributor: 20th Century Fox
To see a trailer for Turbo, visit
Ain't Nothing Like Freedom
by Cynthia McKinney
Book Review by Kam Williams
Clarity Press
Paperback, $19.95
290 pages, Illustrated
ISBN: 978-0-9853353-1
“Elected six times to the House from the state of Georgia, Cynthia McKinney cut a trail through Congressional deceit like a hot ember through ash. She discovered legislators who passed laws without reading them… [and] black-skinned individuals shilling for the white status quo.
She excoriated government lassitude over Hurricane Katrina… [and] held the only critical Congressional briefing on 9/11… She read truth into the Congressional Record, held town hall and hearings, led protests, showed up while others played along to get along…
This is the Cynthia McKinney saga as it stands to date—what she saw, what she learned, and how she fought for change.”
--Excerpted from the book jacket
Former Congresswoman Cynthia McKinney is a fearless firebrand who always seemed to be sitting in the middle of controversy, both during her tenure in the House of Representatives, and since. Whether it’s questioning the legitimacy of the 2000 Presidential Election, suggesting that the U.S. had advance knowledge of the 9/11 terror attack, punching a Capitol police officer who asked to see her I.D., blaming a failed reelection bid on the Israel lobby, insinuating that there might be more to the murder of gangsta’ rapper Tupac Shakur than an East-Coast-West Coast turf battle, running for the Presidency against Barack Obama in 2008 as the Green Party candidate, being aboard a boat torpedoed by Israel as it tried to run a blockade of Gaza or, most recently, intimating that the Boston Marathon bombings might have been an inside job on the part of the local police, she’s never been one afraid to speak her mind.
Dismissed by some, present company included, as simply too nutty to take seriously, Cynthia has languished lately at the lunatic fringe of American politics. Frankly, I’d long since written her off as a hopelessly-paranoid conspiracy theorist in the wake of her staff’s treatment of an innocuous journalist like me as suspicious when I innocently asked for an interview.
Here, the marginalized iconoclast makes a decent attempt at resurrecting her terribly-tarnished image with this self-serving autobiography, Ain’t Nothing Like Freedom. The book doesn’t touch much on her personal life beyond several sincere expressions of affection for her parents and son, Coy.
Instead, the author focuses squarely on her checkered career, conveniently putting a positive spin on many of its dubious and debatable highlights. For example, in a 20-page chapter on her presidential campaign, not once does she mention the fact that she rubbed a lot of people the wrong way by potentially spoiling Obama’s historic bid, the same way that 3rd party candidate Ralph Nader had done to Gore in 2000.
Basically, McKinney paints herself as a woman of the people and a tireless advocate of such causes as Hurricane Katrina victims, reparations for African-Americans, and the preservation of the planet. Along the way, she repeatedly indicts her fellow black politicians as sellouts, including the President, predicting that folks will tire of his speeches and symbolic gestures if they remain “unattached to real gains and material change in the community’s conditions.”
Among her advocates is anti-war activist Cindy Sheehan, who asserts that Cynthia was more deserving of the Nobel Peace Prize than just-elected President Obama. McKinney, wacky or wise? You be the judge.
A classic case of revisionist history walking a fine line between inspired and insanity.
To order a copy of Ain’t Nothing Like Freedom, visit:
http://www.amazon.com/exec/obidos/ASIN/0985335319/ref%3dnosim/thslfofire-20
Pacific Rim
Film Review by Kam Williams
It’s Giant Robots vs. Subterranean Sea Monsters in Apocalyptic Sci-Fi Showdown
When an undersea earthquake ripped a massive fissure along a fault line beneath the Pacific Ocean, it left a crevice wide enough for a race of subterranean sea monsters to escape and rise to the surface. Dubbed Kaiju, these Godzilla-looking creatures quickly launched a series of assaults on cities all across the planet.
With millions of lives lost and many major metropolitan areas devastated, we find civilization teetering on the brink of oblivion as the world’s decimated nations decide to pool their dwindling military resources. That desperate collaboration leads to the creation of giant robots known as Jaegers.
Each of these high-powered weapons is simultaneously operated by two pilots whose minds are connected by a neural bond enabling them to share their every thought and emotion. The only problem with these state-of-the-art killing machines is that they’re soon being lost in battle faster than more replacements can be built.
The challenge of figuring a way to turn the tide in the war falls to Stacker Pentecost (Idris Elba), Commanding Officer of the Pan Pacific Defense Corps. “We’re not an army anymore,” he laments, looking at the depleted, ragtag team of soldiers and scientists representing the last hope of humanity. “We’re a resistance.”
Foremost among his intrepid crew members are Raleigh Becket (Charlie Hunnam), a grizzled, American vet recently coaxed back into the cockpit. He’d retired after his co-pilot brother (Diego Klattenhoff) perished at the hands of a bloodthirsty Kaiju.
At the other extreme, we have Mako Mori (Rinko Kinkuchi), an inexperienced trainee who has proven herself on a fight simulator but is yet to see any real combat. However, as the sole survivor of a Kaiju ambush that leveled her hometown and claimed the lives of her entire family, the revenge-minded rookie is more then ready to confront the enemy. And so forth.
After establishing the motivations of each of the simplistically-drawn characters, Pacific Rim morphs dramatically into a spectacular, special f/x showdown. Written and directed by Oscar-nominee Guillermo del Toro (for Pan’s Labyrinth), the visually-captivating sci-fi is most likely to be compared, and favorably, to the Transformers franchise for, here, it proves far easier to keep the good guys (robots) and bad guys (monsters) straight.
A mesmerizing, if mindless, apocalyptic adventure that doesn’t ask anything more of an audience than to enjoy the action and root heartily for the heroes while consuming a copious amount of popcorn.
Excellent (4 stars)
Rated PG-13 for pervasive violence and brief profanity
In English and Japanese with subtitles
Running time: 131 minutes
Distributor: Warner Brothers
To see a trailer for Pacific Rim, visit: http://www.youtube.com/watch?v=rkOy1C8eX6o
Despicable Me 2
Film Review by Kam Williams
Action-Packed Animated Sequel Finds Reformed Gru Joining Forces with Anti-Villain League
When we last saw Gru (Steve Carell), the diabolical bad guy had abandoned his plan to steal the moon and turned over a new leaf, settling in suburbia to raise the three adorable orphans he had decided to adopt. At this action-packed adventure’s point of departure, we find the new family man content to dote on his demanding daughters, Margo (Miranda Cosgrove), Edith (Dana Gaier) and Agnes (Elsie Kate Fisher) with the help of his loyal army of minions.
But while in the midst of throwing toddler Agnes a medieval-themed birthday party, he is asked to come out of retirement by Agent Lucy Wilde (Kristen Wiig) of the Anti-Villain League (AVL). It seems that a research lab has totally vanished where scientists had been developing a top secret transmutation potion.
Lucy further explains that the substance, PX-41, could be the most devastating weapon on Earth, should it fall into the wrong hands. And since it takes a villain to catch a villain, it is her hope that Gru will spearhead AVL’s effort to track down the serum-snatching scoundrel.
First, he must weigh his fatherly duties against the urgent call to apprehend a ne’er-do-well bent on world domination. Another consideration is the fact that he’s quickly developing a crush on the cute spy seeking his assistance.
So, it’s not long before the two are on the trail of El Macho (Benjamin Bratt), a Mexican madman intent on morphing Gru’s own minions into man-eating monsters. Complications ensue when the mendacious outlaw’s handsome son, Antonio (Moises Arias), starts seducing Margo after meeting her in the mall.
Therefore, Gru’s challenging mission involves not only retrieving the vials of PX-41 but protecting his teenager’s virtue and wooing the love of his life to boot.
Again directed by Pierre Coffin and Chris Renaud, Despicable Me 2 is as inspired a sequel as one might have hoped for. Far from a mere rehash of the winning elements which made the animated original such a hit, this episode features enough fresh ideas and funny moments to stand on its own and warrant a further extension of the franchise.
Sure, the pat Hollywood ending is a foregone conclusion, but nobody’s complaining when the roller coaster ride is so thoroughly enjoyable!
Excellent (3.5 stars)
Rated PG for crude humor and mild action
Running time: 98 minutes
Distributor: Universal Pictures
To see a trailer for Despicable Me 2, visit:
http://www.youtube.com/watch?v=HwXbtZXjbVE
What Money Can’t Buy
The Moral Limits of Markets
by Michael J. Sandel
Book Review by Kam Williams
Farrar, Straus and Giroux
Paperback, $15.00
254 pages
ISBN: 978-0-374-53365-6
“We live at a time when almost everything can be bought and sold... Over the past three decades, markets—and market values—have come to govern our lives as never before… As the Cold War ended, markets and market thinking enjoyed unrivaled prestige.
And yet, even as growing numbers of countries around the world embraced market mechanisms in the operation of their economies, something else was happening. Market values were coming to play a greater and greater role in social life…
Today, the logic of buying and selling no longer applies to material goods alone but increasingly governs the whole of life. It is time to ask whether we want to live this way.”
-- Excerpted from the Introduction (pages 5-6)
Economists have been referred to by cynics as emotional cripples who know the price of everything but appreciate the value of nothing. Increasingly, the same might be said of people in general as we’ve come to embrace the commodification of virtually every aspect of human existence.
For example, nowadays, you can pay an East Indian woman to serve as a surrogate mom for $6,250. Or you can shoot a rhinoceros on the endangered species list for $150,0000; or rent out the space on your forehead as corporate ad space for $777.
In Europe, the cost to pollute is $18 per metric ton. In California, you can upgrade your prison cell for $82 a night. And a mercenary soldier of fortune collects $1,000 a day to fight in Afghanistan.
Do you find this state of affairs unsettling, or are you so jaded that you accept the notion that everything has a price. If that is the case, where does it end? Will we soon not only be hiring strangers as friends and lovers, but even to be our spouses?
This is the dire dystopia contemplated by Michael J. Sandel in What Money Can’t Buy: The Moral Limits of Markets, a thoughtful opus examining a cornucopia of ethical questions touching areas ranging from medicine to law education to personal relations. Should society intervene and, for instance, prevent a fertile female from renting out her womb to another who is barren? Or does everything have its price as suggested by Red Foxx ages ago in an off-color skit on a Laff Record lp.
How we answer that question collectively will determine whether there’s any hope of reversing capitalism’s runaway exploitation of the human condition.
To order a copy of What Money Can’t Buy, visit: http://www.amazon.com/exec/obidos/ASIN/0374533652/ref%3dnosim/thslfofire-20
The Heat
Film Review by Kam Williams
Bullock and McCarthy Paired as Unlikely Partners in Good Cop-Bad Cop Comedy
FBI Agent Sarah Ashburn (Sandra Bullock) has been dispatched to Boston where she’s assigned to apprehend a ruthless drug kingpin. However, her boss is concerned about the uptight, 12-year veteran’s horrible habit of rubbing her relatively-relaxed colleagues the wrong way.
Sure enough, upon arriving in Beantown, the proper Yale grad manages to irritate her new partner even before they’re formally introduced, when the two have a spat over a spot in a police precinct parking lot. Sarah subsequently meets foul-mouthed Shannon Mullins (Melissa McCarthy), a hard-nosed city cop working a beat on a rough side of town.
They still grudgingly agree to investigate the narcotics case together, and it doesn’t take long for their contrasting law enforcement styles to generate a lot of friction. Nerdy Sarah tends to play it by the book while Dirty Harry-like Shannon could care less about following the rules or respecting suspects’ rights. Nevertheless, they’re soon following a trail of clues that takes them from a seedy nightclub to a rundown tenement to an abandoned warehouse along the waterfront.
Thus unfolds The Heat, a good cop-bad cop comedy reuniting director Paul Feig with Melissa McCarthy, the relentlessly-raunchy scene-stealer who upstaged the rest of the ensemble in his equally-hilarious Bridesmaids. Here, McCarthy holds her own in a lead role opposite Sandra Bullock, with the pair generating just the right chemistry as terminally-mismatched partners.
Though the talented supporting cast includes Marlon Wayans, Michael Rapaport and Jane Curtin, make no mistake, this flick is all about the witty repartee between the protagonists. Typical is this salty exchange coming in close quarters, where Sarah’s complaint “Your breast is invading my space.” is met by Shannon’s fair warning to “Keep your finger off my areola.”
In another scene, Sarah blushes while Shannon plays a game of Russian roulette with a pistol pointed directly at a perp’s gonads. Despite all the bawdy jokes, The Heat is grounded by a sensitive storyline that actually has you investing emotionally in the characters.
So, don’t be surprised to shed a few tears as the curtain comes down on this two-fisted tale of female empowerment about a pair of polar-opposite lady lawmen who eventually set aside their differences to get their man while forging an enduring friendship worthy of a sequel.
Excellent (4 stars)
Rated R for violence, crude humor and pervasive profanity
Running time: 117 minutes
Distributor: 20th Century Fox
To see a trailer for The Heat, visit:
Kevin Hart: Let Me Explain
Film Review by Kam Williams
Hottest Stand-Up Comic Wows Sold-Out Garden in Concert Tour Finale
Move over Chris Rock, Eddie Murphy, Steve Harvey and Katt Williams, the hottest black comic around right now is Kevin Hart. The diminutive, 5’ 2” funnyman has skyrocketed to the heights of showbiz ladder lately, making myriad memorable performances on both TV and film.
This year on TV alone, he’s hosted Saturday Night Live and launched a sitcom spoofing reality shows called Real Husbands of Hollywood. On the big screen, he can currently be caught in the ensemble comedy This Is the End, which comes close on the heels of hits like Think Like a Man and The Five-Year Engagement.
Kevin Hart: Let Me Explain is a concert flick featuring the best of his recent concert tour across North America and Europe, with stops at ports-of-call as far afield as Vancouver, Toronto, Oslo, Copenhagen and Amsterdam and Birmingham, England. The film opens at a Mix and Mingle party where a frustrated Kevin finds himself accused of letting success go to his head.
That confrontation eventually dissolves into a series of post concert shots all over the world of fawning foreign fans with thick accents gushing about how much they enjoyed his performance. But the bulk of the material was captured on camera in front of a standing room only crowd at a sold-out Madison Square Garden, the final stop on the circuit.
Kevin’s irreverent brand of observational humor involves opening up his private life for public scrutiny. Employing the recurring theme, “Don’t judge me, let me explain,” he reflects upon subjects ranging from being happily-divorced (“I cheated. Do I regret it? No!”), to whether he likes dark-skinned girls (Yes), to humping a bean bag while on Ecstasy, to dating advice (“The only thing you don’t want in your house is a female who doesn’t trust you.”).
Be forewarned, Kevin curses liberally and gratuitously sprinkles in the N-word occasionally for further dramatic effect. The personal anecdotes he relates are routinely engaging with satisfying payoffs, the only disappointment being that the picture only lasts less than an hour if you subtract all the time devoted to audience reaction shots.
Nevertheless, you know a comedian has indeed arrived when his punch lines are periodically punctuated by pyrotechnics on stage. And you know he’s still humble enough to remember where he came from when tears can be seen streaming down his face as he takes bows at Madison Square Garden.
Very Good (3 stars)
Rated R for sexuality, ethnic slurs and pervasive profanity
Running time: 75 minutes
Distributor: Summit Entertainment
To see a trailer for Kevin Hart: Let Me Explain, visit:
Who Owns the Future?
by Jaron Lanier
Book Review by Kam Williams
Simon & Schuster
Hardcover, $28.00
416 pages, Illustrated
ISBN: 978-1-4516-5496-7
“The rise of digital networks led our economy into recession and decimated the middle class. Now, as technology flattens more and more industries—from media to medicine to manufacturing—we are facing even greater challenges to employment and personal wealth.
But there is an alternative to allowing technology to own our future. In this ambitious and deeply humane book, [Jaron] Lanier charts the path toward a new information economy that will stabilize the middle class and allow it to grow.”
Excerpted from the inside dust jacket
How do you explain the nagging, unusually-high unemployment rate in the United States? Is it merely that millions of manufacturing and white-collar positions have been outsourced overseas, or might there be another explanation? According to author Jaron Lanier, automation is a big part of the problem.
He points out, for example that Kodak, which once employed 145,000 people, went bankrupt and has ostensibly been replaced by Instagram, a billion-dollar company with an operating staff of just 13. He argues that “technology is making jobs obsolete—but not replacing them,” a trend which does not bode well for humanity’s prospects.
We would do well to heed the words of this sage visionary, a Renaissance Man in the truest sense of the term. For besides being a philosopher, he’s a musician, composer and, perhaps most notably for these purposes, the computer scientist credited with coining the term “Virtual Reality” back in the Eighties.
As an architect of the internet, Lanier co-created start-ups now better known as Oracle, Adobe and Google, accomplishments for which he was named one of the 100 Most Influential People in the World by Time Magazine in 2010.
But like a latter-day Dr. Frankenstein, he has come to regret how the fruits of his and fellow innovators’ labors have been appropriated by corporate America in a way which is making most of us extinct.
In this groundbreaking book, Lanier describes in detail how digital networks like Google and Facebook are destroying the middle class while simultaneously concentrating wealth and power in the hands of a few. Furthermore, he lays out a viable blueprint for reversing that frightening trend, a solution revolving around the novel notion that everyone deserves to be compensated with royalties for sharing their personal information online.
After all, “the value of companies like Instagram and Facebook comes… from the millions of unpaid users who contribute their… creativity to them.” Food for thought, for the next time you tune in to the latest Youtube sensation generating millions of hits for nothing more than 15 minutes of fame.
To order a copy of Who Owns the Future?, visit: http://www.amazon.com/exec/obidos/ASIN/1451654960/ref%3dnosim/thslfofire-20
A Band Called Death
Film Review by Kam Williams
Reverential Rockumentary Amounts to a Very Good Movie about a Very Bad Band
After hearing some heavy metal in the early Seventies, Dannis, Bobby and David Hackney decided to make a big change in the type of music they were performing. Up until then, the African-American siblings from Detroit had been playing a blend of R&B and rock as the Rock Fire Funk Express.
Then, the guys came up with a new name, Death, and a new sound perhaps best described as an atonal precursor of punk, although the genre hadn’t yet come into existence as of yet. They signed a record deal with a prominent local promoter (not Motown), but the album was deep-sixed before it ever got pressed into vinyl. No surprise to this listener, judging by the demos.
Searching for a viable alternative career path in music, the trio eventually moved to Vermont where they did get to release a couple of gospel albums as The 4th Movement. But when that dream of superstardom failed to materialize, David moved back home, while Dannis and Bobby remade themselves as a reggae group, Lambsbread, with Bobbie Duncan replacing their brother on guitar.
Lambsbread failed to capture the fans’ imagination, too. In 2000, chain-smoker David passed away of lung cancer, and that might’ve been the end of the story, given that Hackneys had barely registered a bleep on Rock & Roll’s radar.
However, Death is now belatedly being put on the map with the help of such rock icons as Henry Rollins, Alice Cooper, Kid Rock, Questlove along with actor Elijah Wood. Are you a big fan of punk? Neither am I. Nor was I during my formative years when the atonal genre came of age.
Listen, the personal anecdotes in A Band Called Death are extremely entertaining, and often touching, especially when Dannis and Bobby express their irrepressible fondness for their dearly departed sibling. I suppose music is in the ear of the behearer, but as for the suggestion that this average garage band were somehow visionaries ahead of their time, I just don’t think so.
Very Good (3 stars)
Unrated
Running time: 98 minutes
Distributor: Drafthouse Films
To see a trailer for A Band Called Death, visit:
How to Make Money Selling Drugs
Film Review by Kam Williams
Tongue-in-Cheek Documentary Offers Tips on Dope Dealing
“Are you unemployed or stuck in a dead-end job? Don’t worry, we have an answer!” That is the dubious proposition made by How to Make Money Selling Drugs, a tongue-in-cheek (I pray) documentary about the art of dope dealing. The film arrives accompanied by proven provenance, as it features appearances by celebs with street cred like 50 Cent, Eminem, Rick Ross and Russell Simmons.
This fairly thorough training guide focuses on marijuana and cocaine, although its advice undoubtedly could be applied to heroin, ecstasy and numerous other narcotics as well. However, we learn that pot is probably the easiest way to get started, given that it’s a weed that all you need is water, lamps and electricity to grow. In fact, it is now the most profitable farm product in the U.S., easily outstripping tobacco, cotton and even corn as the country’s top cash crop.
According to one former kingpin, the possibility of jail time is actually worth the risk, provided you’re Caucasian, since 90% of the million Americans arrested annually for drugs are black or Latino. So, this illicit profession isn’t highly recommended for minorities, since the authorities not only target their communities, but employ tactics like profile stops which make apprehension all the more likely.
As hip-hop mogul Simmons explains it, “If you’re a blonde fashion model, you’re not going to jail. But if you’re a black kid from the ‘hood, you’ll go away for twenty years.” He is a big advocate of an overhaul of the laws implemented as part of the War on Drugs which has really been waged in the ghetto while lily-white suburbia has benefitted from a pass, by and large.
If you do decide to traffic in narcotics, and land behind bars, the picture has a chapter on “How to Beat an Arrest.” But, permit me in closing to urge any viewers of How to Make Money Selling Drugs to resist the temptation to attempt anything illegal you see here and to watch the flick strictly for entertainment purposes.
A step-by-step instruction video I fear might inadvertently influence some impressionable young minds to try an ill-advised line of work that will only land them in a lot of trouble.
Very Good (3 stars)
Unrated
Running time: 94 minutes
Distributor: TriBeCa Film
To see a trailer for How to Make Money Selling Drugs, visit: http://www.youtube.com/watch?v=AxRVhgbVN9o
World War Z
Film Review by Kam Williams
Harrowing Horror Flick Pits Pitt vs. Zombies in Dire Planetary Scenario
After a career spent risking his life on location in international hotspots like Bosnia and Liberia, Gerry Lane (Brad Pitt) recently resigned from a dangerous post at the United Nations to devote himself to his family. As the story unfolds, we find him assuring his wife (Mireille Enos) and young daughters (Sterling Jerins and Abigail Hargrove) that he quit his job to spend more quality time with them as a stay-at-home husband and father.
Meanwhile, that same morning on TV, network news anchors are busily downplaying rumors of a rapidly-spreading rabies outbreak overseas. Eventually, all hell starts to breaks loose in the U.S., too, where the president perishes and the vice president goes missing.
By the time the Emergency Broadcast System finally takes over the airwaves, the escalating zombie scourge can no longer be covered-up or contained. And the pandemic which started in Taiwan has already overrun a dozen countries and counting.
Given the utterly desperate state of affairs, Gerry has no choice but to answer the call when he is begged by U.N. Deputy Secretary General Thierry Umutoni (Fana Mokoena) to come out of retirement. He agrees to join a crack team of researchers whose mission is to find Patient Zero and develop a vaccine.
But first, he secures berths for his family aboard a quarantined Navy ship sitting safely in the middle of the Atlantic Ocean. Our intrepid protagonist then boards a plane headed for parts unknown, and what ensues is a harrowing, high body-count adventure making “Pitt”-stops in South Korea, Jerusalem and Wales.
At each exotic port of call, Gerry and company encounter wave after wave of voracious zombies, which in accordance with age-old cinematic lore, can only be destroyed by burning or headshots. Of course, they ultimately figure out how to turn the tide, though the resolution conveniently leaves a loophole setting up the sequel in a planned trilogy.
Directed by Marc Forster (Monster’s Ball), World War Z is a bona fide summer blockbuster any way you slice it. From hordes of man-eating creatures, to mob scenes of panicked citizens, to tension-maximizing editing, to captivating special f/x, to breathtaking panoramas of the collapse of civilization, to a buff matinee idol as the hero, the film features all the fixin’s to assure any audience its money’s worth of viewing pleasure and excitement.
Excellent (4 stars)
Rated PG-13 for disturbing images and pervasive horror violence
Running time: 115 minutes
Distributor: Paramount Pictures
To see a trailer for World War Z, visit: http://www.youtube.com/watch?v=Md6Dvxdr0AQ
This Is the End
Film Review by Kam Williams
Celebrities Play Themselves in Zany Apocalyptic Comedy
When Jay Baruchel was picked up at L.A. airport by his close friend and fellow Canadian Seth Rogen, he was disappointed to learn that, instead of unwinding, the plan was to attend a housewarming party at James Franco’s mansion where a lot of A-list celebrities would be in attendance. For, despite having achieved his own measure of success, low-key Jay still lives in Montreal, in part to avoid the trappings of such shallow Tinseltown gatherings.
Upon their arrival, Jay awkwardly exchanges pleasantries with the host and Jonah Hill, both of whom he secretly suspects hate him. Furthermore, he’s overwhelmed to find himself surrounded by so many famous faces he’s never seen in person before, icons like including Kevin Hart, Channing Tatum, Jason Segel, Emma Watson and Mindy Kaling, to name a few.
Jay also feels uncomfortable about the booze, drugs and bawdy behavior typified by Michael Cera’s playfully slapping Rihanna on the rump only to get smacked in the face by the pop diva. Then there’s Craig Robinson who sits down at the piano to sing a tune called “Take Your Panties Off,” while sporting a T-shirt emblazoned with the same phrase.
However, all of the above is irreversibly rendered irrelevant when an earthquake registering 9.7 on the Richter scale rocks the city and rips a giant fissure right in front of Franco’s place. The guests scatter in all directions as a widening sinkhole starts to swallow some of the revelers at the same time that blue beams of light lift others heavenward.
Meanwhile, James, Jay, Seth, Emily, Craig and Jonah beat a hasty retreat and barricade themselves inside to await rescue. Eventually it dawns on them that the cavalry might never be coming, since what’s unfolding all across Los Angeles looks more like Judgment Day than the fallout from a momentary shift in tectonic plates.
Thus unfolds This Is the End, a zany apocalyptic comedy marking the directorial debut of Seth Rogen and Evan Goldberg, the writing team previously responsible for Superbad and Pineapple Express. This novel adventure proves to be every bit as side-splitting as their earlier offerings, with much of the inspired humor coming courtesy of actors willing to be the butt of the joke despite playing themselves.
Armageddon never looked like so much fun!
Excellent (4 stars)
R for crude humor, coarse sexuality, graphic nudity, drug use, violence and pervasive profanity
Running time: 107 minutes
Distributor: Columbia Pictures
To see a trailer for This Is the End, visit: http://www.youtube.com/watch?v=CYlQOutbjZA
Twenty Feet from Stardom
Film Review by Kam Williams
Do the names Merry Clayton, Lisa Fischer, Darlene Love, Claudia Lennear, Tata Vega or Lynn Mabry ring a bell? Probably not, yet you are undoubtedly very familiar with their stellar work as backup singers for a variety of musical icons.
For example, it’s Merry’s powerful voice which adds a memorable touch of soul to the Rolling Stones’ classic “Gimme Shelter” in the brief interlude where she makes the most of the opportunity to belt out the bizarre lyrics “Rape! Murder! It’s just a shot away!” The same can be said of Darlene who not only handled backup duties on hundreds of hits by everyone from Elvis Presley to The Beach Boys to Tom Jones to Sonny & Cher, but even anonymously ghost recorded the lead vocals on such Sixties anthems as “Da Doo Ron Ron,” “He’s a Rebel” and “It’s in His Kiss,” without getting credit or decent compensation.
Sadly, despite their amazing talents, folks pursuing this profession generally have precious little to show financially for their considerable contributions to the annals of rock, soul and other genres. For most of the backups are black and female with gospel backgrounds, and have stories to share about being underpaid, underappreciated and/or outright exploited. In fact, Darlene confesses to having to clean houses as a maid between gigs in order to survive at a low point in her career.
Most backup singers are frustrated artists who spend years helping others shine while waiting for that big break that might never come that could catapult them into the limelight. Finally, thanks to Twenty Feet from Stardom, these neglected sisters are finally getting their props, if not the fortune and mega fame that has eluded them for so long.
Directed by Morgan Neville, this very entertaining and illuminating documentary includes testimonials by the likes of Sting, Springsteen, Bette Midler, Sheryl Crow and other greats freely paying tribute. A reverential retrospective representing the first tip of the cap to backups I can remember since Lou Reed warbled “And the colored girls go!” on the gritty ditty “Walk on the Wild Side.”
Excellent (4 stars)
Rated PG-13 for profanity and sexuality
Running time: 91 minutes
Distributor: Radius-TWC
To see a trailer for Twenty Feet from Stardom, visit
Man of Steel
Film Review by Kam Williams
To my generation, Superman was just “a strange visitor from another planet” who was “faster than a speeding bullet, more powerful than a locomotive and able to leap tall buildings in a single bound“ in “a never-ending battle for truth, justice, and the American way.” But in this age of information, audiences want to know a lot more about a superhero’s backstory.
Furthermore, what passed for special f/x on the original TV show were cheesy flying sequences in which support wires were plainly visible to the naked eye. And the underwhelming fight scenes generally ended when the bumbling villain with little imagination ran out of bullets and threw his pistol at the Man of Steel’s chest in sheer frustration.
Over the intervening years, Superman has been revived twice on television (Lois & Clark and Smallville) and five times on the big screen. This sixth film version stars Henry Cavill in the title role opposite Amy Adams as Lois Lane, Russell Crowe as Jor-El, Laurence Fishburne as a black Perry White, and Rebecca Buller as a gender-bent Jenny, not Jimmy, Olsen.
Director Zack Snyder (Dawn of the Dead) has ostensibly envisioned Man of Steel as a reboot of the storied franchise, given that plans are already in the works for the character to reappear in an adaptation of DC Comics’ Justice League slated for 2015. Thus, like a lot of other origins tales, this episode devotes considerable attention to an explanation of Superman’s roots.
The picture’s point of departure is Krypton where we find the parents (Crowe and Ayelet Zurer) of the planet’s first naturally-conceived child in centuries secretly sending their newborn on an otherwise unmanned spaceship headed to Earth. This development doesn’t sit well with genetic engineer General Zod (Michael Shannon), a megalomaniac in charge of deciding which of Krypton’s bloodlines are allowed to continue, and this renegade’s definitely isn’t one of them.
The rocket crash lands in the cornfields of Jonathan (Kevin Costner) and Martha Kent (Diane Lane), a kindly couple who proceed to raise the baby as their own. Of course, Clark isn’t like other boys, and he does his best to harness and hide his superpowers, although they occasionally come in handy like when he rescues a school bus full of students that’s sinking in a river.
The plot thickens when aliens arrive from Krypton with annihilation in mind. Not surprisingly, they’re led by none other than the diabolical Zod, who commandeers the mass media, spouting typical invasion malarkey warning the “People of Earth” that resistance is futile. Not if Superman has something to say about it.
At this juncture, the action the kids have been waiting for finally kicks into high gear, with a spectacular battle royal replete with dizzying technical wizardry and acrobatic dexterity mercifully replacing the pretentious dialogue laced with lots of pseudo-scientific babble. Ultimately, good triumphs over evil, ala the American way, and Superman survives to defend truth and justice in upcoming sequels and spinoffs.
A righteous, riveting relaunch leaving no doubt that, even after 80 years, you still don’t tug on Superman’s cape!
Very Good (3 stars)
Rated PG-13 for profanity, sci-fi violence and intense action sequences
Running time: 143 minutes
Distributor: Warner Brothers
Hannah Arendt
Film Review by Kam Williams
I’m not sure whether there’s a term for the Jewish equivalent of an Uncle Tom but, if there is, it would probably be applicable to Hannah Arendt (Barbara Sukowa). Born in Germany in 1906, Hannah studied philosophy at the University of Marburg, where she became both the protégé and the mistress of Professor Martin Heiddegger (Klaus Pohl), “the greatest love of her life,” a Nazi who went to his grave without ever apologizing for his support of Hitler.
In response to the rise of anti-Semitism across Deutschland, Arendt fled first to France in search of sanctuary, and later escaped to the United States with her mother and husband, Heinrich (Axel Milberg), on illegal visas secured from an American diplomat. She became a citizen in 1950 and subsequently made history as the first female lecturer at Princeton University.
However, as Shakespeare suggested in Julius Caesar, “The evil that men do lives after them: The good is oft interred in their bones.” Such is apparently the case with women, too, as Hannah appears fated to be forever remembered for a series of articles she wrote for the New Yorker magazine while covering the trial of Adolf Eichmann in Jerusalem.
Like one of those weirdoes who falls for an inmate, she inexplicably sided with Eichmann, the architect of the Holocaust, buying hook, line and sinker his “I only followed orders” defense. Her coverage created a huge uproar as soon as it started hitting the news stands.
This is understandable because instead of calling Eichmann a monster, she merely referred to him as “a clown, a foolish little servant of Hitler who didn’t have a mind of his own.” The blowback from this “banality of evil” theory was deservedly severe since Hannah simultaneously had the temerity to indict Jewish leaders for supposedly cooperating with the Nazis.
A fascinating character study of an arrogant, cold-hearted, self-hating Jew who had the nerve to blame 6,000,000 of her own people for their extermination in concentration camps.
Excellent (4 stars)
Unrated
In English, French, Hebrew, Latin and German with subtitles
Running time: 113 minutes
Distributor: Zeitgeist Films
Man Up!
Tales of My Delusional Self-Confidence
by Ross Mathews
Foreword by Gwyneth Paltrow
Afterword by Chelsea Handler
Grand Central Publishing
Hardcover, $25.00
238 pages
ISBN: 978-1-455-50180-9
Book Review by Kam Williams
“This is how I define ‘man up’: you are what you are and the sooner
you stop hating what makes you unique, and start celebrating it and
using it to make you stand out from the crowd, the better your life will
be. For some reason, I was lucky enough to figure that out at an early
age…
This book, like my life, will be a bit of a roller coaster—you’ll
experience ups and downs, fits of laughter—and who knows, you
might even throw up! So keep your arms and legs inside the ride
at all times and, for goodness sake, stay seated until we come to
a complete stop.”
-- Excerpted from Prologue and Epilogue (pages xvi and 204)
In 2001, Ross Mathews was working as an unpaid intern for The Tonight Show when he was plucked from obscurity by Jay Leno and brought onstage as a last-minute fill-in for a no-show guest. The flamboyant ham made the most of the opportunity, instantly ingratiating himself with folks all across the country as bubbly, over-the-top “Ross the Intern.”
A natural in front of the camera, he’s been entertaining audiences ever since, whether on special assignment for The Tonight Show, guest-hosting for Chelsea Handler on Chelsea Lately, or interviewing celebrities on the red carpet for the E! Entertainment Network. And Ross recently landed his own talk show, Hello Ross, which is set to debut in the fall.
Now, he’s has published Man Up! Tales of My Delusional Self-Confidence, a laugh riot about his meteoric rise to fame. Inter alia, he recounts how he got the shock of his life when Gwyneth Paltrow said “Yes” when he asked her to be his best friend. They’ve remained close ever since.
Besides gushing about the celebrities he’s met, star struck Ross is fond of delivering heartfelt pep talks to youngsters who might be social outcasts. For he recalls having been the butt of teasing and homophobic slurs growing up in a tiny, rural town as a chubby, effeminate kid with a voice that squeaked.
But he relocated to the more tolerant environs of L.A. where he not only found the strength to come out of the closet but combined his Rubenesque figure and nasal whine into the recognizable trademark that’s endeared him to millions. The pages of this delightful tome are filled with plenty of personal anecdotes fleshing out Ross that will really leave fans feeling like they know him.
The revealing autobiography covers its subject’s love life in fairly intimate fashion, from his first girlfriend, Becky, a fifth grade classmate who “didn’t seem to mind my physical deformities,” to his longtime companion, Salvador, with whom he’s been in a committed relationship for the last five years.
An inspirational opus about a “boy least likely” who has achieved the American Dream without a makeover or having to compromise his integrity one iota.
To order a copy of Man Up!, visit
Evocateur: The Morton Downey, Jr. Movie
Film Review by Kam Williams
Warts and All Biopic Revisits Rise and Flameout of Controversial Flash in the Pan
Morton Downey, Sr. was a wealthy, well-connected film and recording star who settled down with his family on Cape Cod in a lavish mansion located right next-door to the Kennedys. Although son Morton, Jr. was raised a liberal in the lap of luxury and tried for years to make it as a rock musician, in 1987 he made himself over as an arch-conservative populist presuming to be the voice of angry white males.
Over the next two years, he would enjoy a meteoric rise as the host of an eponymous, nationally-syndicated, TV talk show. However, because the chain-smoking conservative-come-lately was an obnoxious loudmouth who cared more about ratings than an honest discussion of political issues, his hate-spewing, in your face interviewing style would grow tiresome just as fast as it brought him to the top of the Hollywood food chain.
The stunt that proved to be Mort’s downfall transpired in a San Francisco airport bathroom where he cut his hair and his shirt with scissors and drew a swastika on his face in a bathroom before claiming to have been attacked by a gang of neo-Nazi skinheads. What’s ironic about the incident is the fact that a frequent guest on his show was Reverend Al Sharpton, a staunch defender of Tawana Brawley, who was similarly disgraced after being exposed as a fraud for falsely fingering a white district attorney for rape.
Directed by Seth Kramer, Daniel A. Miller and Jeremy Newberger, Evocateur is a mix of archival footage and reflections by family, friends, fans and folks who made appearances on the program like Pat Buchanan and Gloria Allred. The old videos of Mort, who succumbed to lung cancer in 2001, remain every bit as compelling today as they were in his heyday.
A riveting biopic about a rich kid-turned-rabid bully and pathological liar desperate enough for the limelight to sell his soul to the devil.
Excellent (4 stars)
Rated R for profanity and nudity
Running time: 90 minutes
Distributor: Magnolia Pictures
To see a trailer for Evocateur, visit: http://www.youtube.com/watch?v=Sw0cbBQrnDk
The Kings of Summer
Film Review by Kam Williams
Freshman year of high school has just ended for Patrick (Gabriel Basso) who isn’t looking forward to spending the summer under the same roof as his helicopter parents (Megan Mullally and Marc Evan Jackson), given their monitoring his every move and their merciless teasing about his raging hormones. The situation’s even worse for Joe (Nick Robinson) whose widowed father’s (Nick Offerman) way of grieving involves belittling and grounding him at the drop of a hat.
One night at a keg party, the best friends come up with a viable solution to their predicament when they discover a clearing in the middle of the forest. Why not build themselves a house out in the woods where they will finally be free from the abuse and control of meddling adults?
Swearing each other to secrecy, the malcontents hatch an impromptu plan to live off the land. And they are joined in the clandestine endeavor by classmate Biaggio (Moises Arias), a mysterious weirdo wiling to tag along and utter an occasional, odd non sequitur.
Next thing you know, they’re building a shack out of materials found on a construction lot, and also foraging for food by diving into a dumpster behind a restaurant. Meanwhile, their worried folks are calling the cops, convinced the missing boys must have been kidnapped.
That is the absorbing point of departure of The Kings of Summer, a quirky, coming-of-age comedy marking the magnificent directorial debut of Jordan Vogt-Roberts. His laugh-a-minute adventure is reminiscent of some the best of the rebellious adolescent genre, ala Stand by Me (1986), Superbad (2007), Ghost World (2001), Super 8 (2011) and Ferris Bueller’s Day Off (1986).
The picture’s clever script by first-timer Chris Galletta is laced with lots of hilarious scenes like when Biaggio attempts to throw the police off their trail with a ransom note from the fictitious “Jamal Colorado” inspired by a combining a black first name with one of the fifty states. But human oddity Biaggio is basically around to provide intermittent comic relief.
At heart, the movie is about the intrepid trio’s struggle to survive while eluding the frantic search party. The plot thickens upon the sudden arrival of Kelly (Erin Moriarty) at the lad’s lair, a cutie pie Joe’s interested in dating.
Will the fetching femme fatale prove to be the boys’ undoing? Or will their bond remain intact? No spoilers here. Suffice to say that between a host of memorable performances by a cast of relative newcomers, and a haunting, grungy score by Ryan Miller, The Kings of Summer is a bona fide sleeper not to be missed.
Excellent (4 stars)
Rated R for profanity and underage alcohol consumption
In English and Italian with subtitles
Running time: 95 minutes
Distributor: CBS Films
To see a trailer for The Kings of Summer, visit
After Earth
Film Review by Kam Williams
In recent years, the name M. Night Shyamalan has become synonymous with mediocre movies with a humdinger of a twist tacked on at the very end. Meanwhile, Will Smith has been so successful as the perennial star of a string of summer blockbusters, that he’s been crowned “Mr. July.”
Thus, when the two former Philadelphians decide to collaborate on a film project, something ostensibly has to give. Will Shyamalan stem his decade-long decline or will Will’s winning streak come to an abrupt end?
Looking a little more like a Shyamalan than a Smith production, this cheapo, post-apocalyptic adventure suffers from a combination of miscasting and cheesy special f/x (reminiscent of Lost in Space, the Sixties TV series). Consequently, After Earth pales in comparison with a couple of other sci-fi pictures presently in theaters, specifically, Star Trek 12 and Iron Man 3.
At least this futuristic, Shyamalan offering doesn’t turn on rabbit-out-a-hat resolution. In fact, quite to the contrary, the predictable ending of this stranded and I want to go home saga is an exercise in the obvious established by the premise.
As for the acting, Will Smith is normally good for a little comic relief even in his dramatic outings. Here, however, that trademark flair for the flamboyant he regularly exhibited on TV as The Fresh Prince of Bel-Air is nowhere in sight.
Instead, he displays a sober stoicism from start to finish as General Cypher Raige, the forbidding father of Kitai (Jaden Smith), an aspiring ranger eager to prove his worth as a soldier. He gets his chance when they are the only survivors of an intergalactic expedition crash-landing on Earth, a planet abandoned by humanity a millennium earlier.
With the General wounded and the spaceship crippled, it is up to Kitai to embark on a hundred-kilometer trip through the jungle alone to retrieve the emergency beacon from the detached tail section. This proves to be no mean feat, since the forest is covered with a variety of voracious, man-eating creatures.
Will Smith proceeds to spend the balance of the movie sitting in the damaged fuselage surrounded by unspooled reams of what looks like toilet paper. Unbudgeted scenery aside, this film is really designed as a vehicle for his real-life son, Jaden, whose performance in front of the blue screen is tarnished a tad by a high-pitched voice yet to crack.
They say, there comes a time in every black comedian’s career when he’s asked to put on a dress. Well, it seems the same can be said about appearing in a campy sci-fi as demonstrated by Billy Cosby in Leonard Part 6, Eddie Murphy in The Adventures of Pluto Nash and John Witherspoon in Cosmic Slop.
A simplistic, father-son morality play strictly for little kids and diehard Will and Jaden Smith fans. Destined to be added to the pantheon of inadvertently-funny blaxploitation flicks with a devoted cult following.
Good (2 stars)
PG-13 for action violence and disturbing images
Running time: 100 minutes
Distributor: Columbia Pictures
To see a trailer for After Earth, visit
Fast & Furious 6
Film Review by Kam Williams
It’s important to note that this edition of Fast & Furious is every bit as funny as it is adrenaline-fueled. Most of the laughs come courtesy of comic relief provided by Tyrese, who is back in an expanded role as trash-talking Roman Pearce, a card-carrying member of the fugitive gang of auto thieves led by macho Dominic Toretto (Vin Diesel).
Like a latter-day Stepin Fetchit, Roman revives a slew of offensive African-American stereotypes, behaving in an alternately shallow, jive, flamboyant, lecherous, felonious and cowardly manner, doing everything but put on a dress to make a joke work. To Tyrese’s credit, the campy performance somehow works, either because the character is so ingratiating, or because of the presence of several respectable other blacks in the principal cast.
Whether entertaining a bevy of scantily-clad beauties on his personal jet (with “It’s Roman, bitches!” emblazoned on the fuselage) or making money literally rain out of an ATM to the delight of a crowd of appreciative strangers picking the bills up off the ground, the scene-stealing cynosure is always the center of attention. Well, except during the action, chase and fight scenes when the muscle cars and muscle heads take charge.
Other than Tyrese’s, the acting is uniformly wooden and unconvincing. Not to worry, this stunt driven-spectacular is all about the eye-popping special effects, and boy does it deliver in terms of the wow factor!
The plot of F&F 6 is little more than a lame excuse to pit an army of bad guys against an army of worse guys, both as simplistically-drawn as tag teams of opposing professional wrestlers. Here’s the storyline in 25 words or more. Dominic coaxes his cohorts (Tyrese, Paul Walker, Ludacris, Sung Kang and Gal Gadot) out of retirement for one last adventure, after rumors surface that his late-ex, Letty (Michelle Rodriguez), might miraculously still be alive.
They hatch a plan to rescue the damsel in distress who’s suffering from amnesia and currently in the clutches of Owen Shaw (Luke Evans), a worthy adversary specializing in vehicular warfare. His posse’s recent attack on a Russian military convoy explains why Diplomatic Security Service agent Hobbs (Dwayne Johnson) is desperately seeking the assistance of Dominic’s crew.
They agree on the condition that, should this mission succeed, they’ll be granted clemency for the host of crimes committed in F&F episodes 1-5. Hobbs okays the deal, and soon, a dogfight featuring fisticuffs, pyrotechnics and plenty of cartoon physics unfolds all over London, involving not only souped-up autos and state-of-the-art gadgetry, but a tank and a plane, to boot.
The epitome of a summer blockbuster, complete with a post-credits set-up of F&F 7 (already slated to be released in July of 2014). Just remember to check your brain at the box office, and you won’t be disappointed.
Excellent (4 stars)
PG-13 for sexuality, profanity, mayhem, violence and intense action
Running time: 130 minutes
Distributor: Universal Pictures
To see a trailer for Fast & Furious 6, visit
The Hangover Part III
Film Review by Kam Williams
When we last left the wolfpack, the boys were over in Thailand for the wedding of Stu (Ed Helms) and Lauren (Jamie Chung).Of course, before the bride and groom could tie the knot (Justin Bartha), the men found themselves separated from Doug and suffering from amnesia following a wild night of partying on the seedy side of Bangkok.
But that was two years ago and now everybody has settled down safely into humdrum, uneventful lives in suburban Los Angeles. Everybody except Alan (Zach Galifiniakis), that is. He went off his meds recently which might explain such bizarre behavior as driving down the freeway with a giraffe in a trailer.
Since the 42 year-old goofball is unlikely to get hitched any time soon, another bawdy bachelor party is not on the horizon. However, when Alan takes a turn for the worse after his father (Jeffrey Tambor) passes away suddenly, his pals stage an intervention and decide to drive him to a mental health facility in Arizona for the help he desperately needs.
But before they arrive, their car is run off the road and Doug is kidnapped for ransom by Chow (Ken Jeong), the modestly-endowed, trash-talking mobster you should remember from Hangover episodes I and II. He and his henchman (Mike Epps) demand that the wolfpack retrieve $21 million in gold stolen from them by Marshall (John Goodman), a ruthless rival who stashed the bars of bullion in the walls of a mansion located somewhere in Tijuana.
That is wacky point of departure of The Hangover Part III, a supposed trilogy finale which is an improvement over the decidedly derivative prior installment yet still pales in comparison to the zany original. At least you don’t develop a nagging sense of déjà vu watching this screwball adventure, even if it isn’t exactly laugh out loud funny.
The madcap antics take Phil (People Magazine’s reigning Sexiest Man Alive Bradley Cooper) and the rest of the road warriors south of the border and then on to Las Vegas, the place where it all started, for another round of raunchy male-bonding rituals. Stu stumbles upon his ex (Heather Graham) and Alan crosses paths with the woman of his dreams (Melissa McCarthy), a big hint that the trilogy is destined to be stretched into a fourple.
A nutty kitchen sink comedy ending on a cliffhanger designed to keep diehard fans of the depraved franchise in suspense about whether yetta nudder sequel might be in the works.
Very Good (3 stars)
Rated R for sexuality, drug use, violence, brief nudity and pervasive profanity
Running time: 100 minutes
Distributor: Warner Brothers
To see a trailer for The Hangover III, visit
Mel Brooks: Make a Noise
TV Review by Kam Williams
Melvin James Kaminsky was born in Williamsburg, Brooklyn on June 28, 1926, but found fame under the stage name you know him by, Mel Brooks. He started out in showbiz as a jazz drummer while still in his early teens, but encountered more success on stage alone upon trying his hand at stand-up at the urging of the owner desperately in need of a fill-in comedian at a resort up in the Catskills.
After a stint serving the country in the army during World War II, he returned home and eventually found work as a writer for Sid Caesar’s TV series “Your Show of Shows” alongside such future greats as Carl Reiner, Woody Allen and Neil Simon. Mild-mannered Simon remembers how “He drove some of us crazy,” and even Mel confesses to having been “an arrogant, obnoxious, little [beep]-head who had patience for nothing but his own thoughts” back then.
So, it’s no surprise that after almost a decade in that capacity, he struck out on his own, thus launching a phenomenal career which would ultimately land him on the short list of the eleven entertainers (including Rita Moreno, Whoopi Goldberg, Sir John Gielgud and Audrey Hepburn) in history to win an Oscar, a Tony, an Emmy and a Grammy. Mel Brooks: Make a Noise captures the 86 year-young genius in all his irrepressible glory as he reminisces about his many impressive accomplishments as a writer/director/actor/lyricist/composer/producer, ranging from Get Smart to The Producers to Blazing Saddles to Young Frankenstein to High Anxiety and beyond.
Besides the larger-than-life public persona, this engaging documentary devotes equal attention to intimate aspects of Mel’s private life, such as revelations like “I was never religious but always very Jewish.” He also talks about how he met his late wife, actress Anne Bancroft, and how they enlisted a black stranger, Samuel Boone, to be the best man at their City Hall wedding on August 5, 1964.
As for Mel’s more introspective side, he concedes that having his father die when he was still a toddler “was a brushstroke of depression that never left me.” And he shows a surprising vulnerability to criticism in admitting, “Every bad review is a like a knife plunging through your heart,” concluding “I don’t even know if I’m talented. I’m not sure.”
A poignant profile of a bona fide Renaissance Man’s six decades and counting on the cutting edge of show business.
Excellent (4 stars)
Rated TV: G
Running time: 90 minutes
Distributor: PBS
Mel Brooks: Make a Noise an American Masters profile is set to premiere nationwide on PBS on Monday, May 20, 2013 at 9 pm (ET/PT). [Check local listings]
To see a trailer for Mel Brooks: Make a Noise, visit
To order a copy of The Incredible Mel Brooks: An Irresistible Collection of Unhinged Comedy on DVD, visit
Star Trek into Darkness
Film Review by Kam Williams
Star date: 2259. Captain James T. Kirk (Chris Pine) has just been called on the carpet following an expedition to a primitive planet where, in the course of saving Spock’s (Zachary Quinto) life, he violated the Starfleet’s strict sanction against interfering with alien civilizations. Consequently, he is demoted in rank and summarily stripped of the command of the USS Enterprise.
He is replaced by his predecessor, Rear Admiral Pike (Bruce Greenwood) who reminds his headstrong protégé about the importance of following the rules. Soon thereafter, however, Pike is slain by friendly fire in a gunship attack launched by John Harrison (Benedict Cumberbatch), a fellow officer ostensibly gone rogue.
The tragedy affords Kirk a second chance in the captain’s chair, as well as an opportunity to track down the intergalactic menace and to exact a measure of retribution for his late mentor. As it turns out, Harrison isn’t really a disgruntled colleague but, lo and behold, the reincarnation of Khan, a recurring villain who has appeared before in both television and movie Star Trek episodes.
Here, the slightly tweaked character is the recently-defrosted leader of a race of genetically-enhanced super-beings who’ve been cryogenically frozen for a few hundred years. The pseudo-scientific explanation of his dormancy and revival is of less import than the fact that he’s just fled to Kronos, home of the Klingons, another regular nemesis of Captain Kirk and his crew.
Thus unfolds Star Trek into Darkness, the twelfth big screen adaptation inspired by the classic, Sixties TV show originally starring William Shatner. It’s also the second installment directed by J.J. Abrams, who oversaw the reboot of the sci-fi series in 2009. Truth be told, Abrams’ semi-autobiographical thriller Super 8, which he shot between Star Treks 11 and 12, proved to be a far more scintillating summer blockbuster than either of those.
At least he did reunite the principal cast, including the aforementioned Chris Pine as Kirk and Zachary Quinto as Spock, along with Zoe Saldana as Uhura, Simon Pegg as Scotty John Cho and Sulu and Karl Urban as Bones. Are the special f/x dazzling? Yes. However, the film’s fairly formulaic plot is apt to capture the imagination only of young’uns totally unfamiliar with Khan and the Klingons.
Still, Diehard Trekkies will probably appreciate all the inside jokes sporadically sprinkled into the dialogue for the benefit of loyal longtime fans. Overall, this safe sequel is certainly engaging and entertaining enough to recommend, though it fails to live up to the franchise’s daring, appointed mission “to explore strange new worlds” and “to boldly go where no man has gone before.”
Very Good (3 stars)
Rated PG-13 for intense violence
Running time: 132 minutes
Distributor: Paramount Pictures
To see a trailer for Star Trek into Darkness, visit
Bidder 70
Film Review by Kam Williams
The Bush administration’s announcement in 2008 of its intention to auction-off the mining rights to many square miles of virgin land located in national forests ignited waves of protests by environmental activists. But when picketing, petitioning and the lobbying of politicians failed, the government proceeded with its plan to grant oil and gas mega-corporations access to the pristine parcels.
Crashing the auction was Tim DeChristopher, a frustrated college student who had participated in the pro-nature preservation demonstrations. He impulsively joined in the bidding and by the end of the day had purchased the rights to 22,000 acres of real estate in the Utah wilderness for $1.7 million with the hope of somehow saving some soil from fracking.
Trouble is, he had neither funds nor the wherewithal to extract any minerals, which was a technical violation of federal law. And since the energy industry doesn’t cotton to tree-huggers interfering its their profit margins and inclination to “Drill, baby drill!” it prevailed upon the government to throw the book at Mr. DeChristopher.
By the time the dust settled several years later, the outspoken economics major was convicted and carted off to prison to serve a two-year sentence. While Tim’s trials and tribulations are the front story of Bidder 70, this eye-opening documentary co-directed by Beth and George Gage simultaneously issues an urgent call for non-violent civil disobedience on the part of citizens truly concerned about global warming and the unchecked consumption of non-renewable carbon.
A powerful, empathetic portrait of a selfless, planetary patriot willing to sacrifice his liberty for the sake of Mother Earth‘s long-term prospects.
Excellent (4 stars)
Unrated
Running time: 73 minutes
Distributor: First Run Features
To see a trailer for Bidder 70, visit
Venus & Serena
Film Review by Kam Williams
Richard Williams was born and raised in Shreveport, Louisiana where he was left traumatized by having a railroad spike driven through his leg for refusing to behave deferentially towards a gang of white racists. Understandably, that experience played a significant role in shaping the youngster into the highly-ambitious and fiercely-overprotective father he would later become.
In fact, well before his daughters Venus and Serena were even born, he hand wrote a 78-page game plan for their lives. Its foundation was laid in childhood, where they would not only be homeschooled but forged into professional tennis players.
Achieving that dream would be no small feat, given that the girls were to grow up poor in Compton, an L.A. ghetto far removed from the privileged background considered necessary to compete on the championship level. Sadly, upon turning pro, rather than being immediately embraced by California crowds, elder sister Venus was called the “N-word” by local fans who preferred to root for her European counterparts.
Nevertheless, having been prepared by their dad for just such a reaction to the presence on center court, both young ladies miraculously managed to rise in stature on the circuit. All of the above is chronicled in captivating fashion in Venus and Serena, an intimate biopic co-directed by Michelle Major and Maiken Baird who were allowed to follow the pair around with a camera for over a year.
Besides detailing the ups-and-downs of the turbulent, 2011 tennis season, this riveting and revealing documentary treats the audience to an intimate look at the close-knit sisters with the help of home movies from their adolescence. Featuring appearances by Chris Rock, Bill Clinton and Serena’s ex-boyfriend Common, this flick is at its best when Richard Williams is given the floor in archival footage to make audacious predictions about turning not one but two of his daughters into world-class tennis players.
Excellent (4 stars)
Unrated
Running time: 99 minutes
Distributor: Magnolia Pictures
To see a trailer for Venus and Serena, visit
The Great Gatsby
Film Review by Kam Williams
F. Scott Fitzgerald’s The Great Gatsby is an era-defining, literary masterpiece convincingly capturing the decadence, debauchery and self-destruction of privileged elites living in the lap of luxury at the height of the Roaring Twenties. Set out on Long Island over the course of a very eventful summer, the tragic tale of love and betrayal unfolds from the point-of-view of social-climber Nick Carraway (Tobey Maguire), a nondescript bond salesman who fancies himself a celebrated writer someday.
At the point of departure, we find him renting a modest cottage sitting in the shadow of a sprawling waterfront mansion owned by Jay Gatsby (Leonardo DiCaprio), a self-made man given to throwing extravagant parties for fellow members of high society. Despite having his pick of a glittery litter of gold-digging flappers, the mysterious millionaire remains obsessed with Daisy (Carey Mulligan), an attractive young woman he had dated as a soldier before leaving the country to fight in World War I.
While he was overseas, she met and married Tom Buchanan (Joel Edgerton), an abusive adulterer from an old money family whose own mammoth estate is located on the other side of the bay. Nick comes to play a critical role in the proceedings once Gatsby learns that he just happens to be a distant cousin of Daisy’s.
Soon, the lovelorn tycoon prevails upon his new, next-door neighbor to serve as a go-between by inviting her over for what she doesn’t know is a secret rendezvous with an ex-boyfriend. Sparks fly afresh, and it’s not long before all the morally-corrupted central characters end up taking a ride aboard an ill-fated, emotional roller coaster.
Perhaps more pertinent than recounting further the familiar plotline of a novel we all remember from high school is addressing its reimagining as a visually-captivating, ethereal fantasy by Baz Luhrmann (Moulin Rouge). The bodacious director not only shot the New York story in his native Australia, but infused the soundtrack with hip-hop tunes by the film’s executive producer, Jay-Z, and wife, Beyonce’.
Before you join the rush to indict the anachronistic inclusion of rap as blasphemous in a movie supposedly recreating the Jazz Age, consider the fact that historical costume dramas generally tend to tell us more about the period in which they were made than about the one in which they transpire. Why else would anyone see fit to mount a fifth version of Gatsby?
Reflecting the influences of both its producer and director, this riveting reinterpretation for the Hip-Hop Generation is apt to be best appreciated by fans of mind-numbing gangsta’ rap weaned on shallow videos featuring materialistic misogynists enjoying free-flowing champagne while surrounded by a bevy of gyrating beauties. Bravo to Baz for effectively lending his trademark lush and lurid touch to a cautionary classic chronicling the downside of the American Dream!
Excellent (4 stars)
Rated PG-13 for sexuality, smoking, violent images, partying and brief profanity
Running time: 143 minutes
Distributor: Warner Brothers
To see a trailer for The Great Gatsby, visit
Iron Man 3
Film Review by Kam Williams
This film represents the seventh installment in the Marvel Cinematic Universe series kickstarted by Iron Man 1 in 2008, and since followed in succession by The Incredible Hulk, Iron Man 2, Thor, Captain America and The Avengers. The sensible question I suppose you’re probably interested in having answered is whether the franchise is showing any signs of running out of steam or if it’s worth investing in yet another episode.
Great news! The movie more than lives up to its billing as the first blockbuster of this summer season. Yes, the plot remains true to the basic comic book adaptation formula in that it pits a superhero against a diabolical villain bent on world domination.
However, Iron Man adds a little more to the trademark mix of derring-do and visually-captivating special f/x thanks to Robert Downey, Jr.’s bringing so much charm to the title character. Downey again delights, delivering a plethora of pithy comments, whether playing bon vivant billionaire Tony Stark or his intrepid alter ego.
Also reprising their roles are People Magazine’s reigning Most Beautiful Woman in the World Gwyneth Paltrow as Iron Man’s love interest Pepper Potts, Don Cheadle as his best friend Rhodey, and Jon Favreau (the director of episodes 1 and 2) as chauffeur-turned-obsessive chief of security Happy Hogan. And critical additions include Ty Simpkins as Harley, Iron Man’s prepubescent, new sidekick and Sir Ben Kingsley as The Mandarin, the maniacal spokesman for an international terrorist organization.
The point of departure is Bern, Switzerland on New Year’s 2000 which is where we find Tony Stark declining an offer to go into business being made by Aldrich Killian (Guy Pearce), a disabled scientist who ostensibly covets an experimental drug being developed by Stark Industries botanist Dr. Maya Hansen (Rebecca Hall). The storyline immediately fast-forwards from Y2K to the present as a string of bombings are being ostensibly orchestrated by The Mandarin.
Against his better judgment, Tony dares the madman to a fight, and no sooner is his oceanfront home leveled by a barrage of incoming rockets. Fortunately, a number of Iron Man outfits were left unscathed and, with the help of precocious Harley and pal Rhodey (aka Iron Patriot), he proceeds to get to the bottom of who is really behind the attacks bombings.
Far be it from me to spoil the surprising developments which ensue en route to the big showdown, suffice to say brace yourself for an array of visually-captivating stunt work interrupted intermittently by comical, tongue-in-cheek comments courtesy of our smart aleck protagonist. Patient audience members willing to sit through the long (and I mean long) closing credits will be duly rewarded with a brief session of Iron Man decompressing on the shrink’s couch with Dr. Bruce Banner (Mark Ruffalo).
In sum, a worthy addition to the vaunted Marvel franchise.
Excellent (4 stars)
Rated PG-13 for intense violence and brief sensuality.
Running time: 130 minutes
Distributor: Walt Disney Studios
To see a trailer for Iron Man 3, visit
Peeples
Film Review by Kam Williams
After dating for over a year, Wade Walker (Craig Robinson) is head-over-heels in love with his girlfriend, Grace (Kerry Washington). He’s ready to pop the question, and has even purchased a ring, but there’s a slight problem: he still hasn’t met her parents yet.
Because of her background, Grace is a little ashamed of her beau’s modest background. After all, she’s a high-powered Manhattan attorney with a proven pedigree, while he hails from the ‘hood and makes a living by performing at children’s birthday parties.
Concern about their class differences has Grace taking off alone to the tip of Long Island for a weekend getaway at her family’s waterfront mansion. Rather than sit at home licking his wounds, Wade decides to force the issue by crashing the gathering.
His unexplained presence gets under the skin of Grace’s father, Judge Virgil Peeples (David Alan Grier), an overbearing patriarch with a need to control. Furthermore, Grace is afraid to tell him the truth about the nature of her relationship with Wade, which serves to establish the familiar, sitcom scenario revolving around a big lie that must be kept hidden at all costs.
Written and directed by Tyler Perry protégé Tina Gordon Chism, Peeples is a fish-out-of-water comedy whose stock-in-trade is making fun of the contrast between po’ and bourgie black folks. Ala popular Perry TV programs like House of Payne and Meet the Browns, the production is littered with colorful, two-dimensional characters bordering on caricatures.
There’s Wade’s embarrassingly-ghetto brother (Malcolm Barrett) who also shows up announced. He’s an oaf who puts his foot in his own mouth by suggesting that Grace’s lipstick lesbian sister (Kali Kawk) “looks too good to be gay.” Wade conveniently loses his wallet upon arriving which means he looks like a total loser when he can’t pay for anything.
You get the idea. Is it funny? I suppose, provided you’re in the target demo and haven’t seen Jumping the Broom, another comedy set at a beachfront estate (on Martha’s Vineyard in that case) and pitting crass blacks from the wrong side of the tracks against the others with their noses in the air. From shoplifting to lip-synching to skinny-dipping to a sweat lodge to skeletons-in-the-closet, Peeples throws everything at the screen but the kitchen sink, and just enough sticks.
An amusing, if not exactly side-splitting, African-American-oriented variation on Meet the Parents.
Good (2 stars)
Rated PG-13 for profanity, sexuality and drug use)
Running time: 95 minutes
Distributor: Lionsgate Films
To see a trailer for Peeples, visit
Unmade in China
Film Review by Kam Williams
Inspired by a Youtube video that went viral, Gil Kofman decided to make a movie about a lonely girl trapped in a basement. The L.A. director subsequently contracted to shoot the thriller, Case Sensitive, in China, the nation now with the third largest film industry behind the United States and India.
Unfortunately, Gil forgot to factor into the equation that not only is the government there thoroughly corrupt, but dissent is not allowed. Consequently, the production would be plagued by delays due to bureaucratic red tape and the presence on the set of government censors who demanded everything from seven, politically and cultural-correct rewrites of the script to the replacement of cast members with actors approved by the Communist Party.
Worse, Gil’s complaints about any of the above only fell on deaf ears, and he was even warned that he would lose should he try to assert any legal rights. The frustrated filmmaker failed to find any sympathetic shoulder among the locals since, as he puts it, “The whole country has been benevolently brainwashed.”
In the end, however, the picture was a hit, at least in China, where it was released on 2,000 screens. But Gil never saw a dime of that money. And to add insult to injury, bootleg copies of the film were being sold in Asian bodegas all over the U.S. within a few months, rendering it worthless theatrically upon his return to the States.
His anguish as a result of the extended nightmare is carefully captured in Unmade in China, a flick which is a horrible advertisement for entering any business enterprise with the Communists. Still, while watching this gullible American get rolled for his work product, you can’t help but wonder why he didn’t cut his losses and give up after the first week of being given so much grief.
A comical account of a year-long, money-burning party which ought to serve as a sobering warning for any equally-naïve entrepreneur considering investing in China.
Excellent (3.5 stars)
Unrated
In English and Mandarin with subtitles
Running time: 90 minutes
Distributor: 7th Art Releasing / Antidote Films
To see a trailer for Unmade in China, visit
Aroused
Film Review by Kam Williams
Have you ever been curious about how a woman became a porn star? Was it because of a drug habit? Or maybe out of desperation for money? How did she pick her stage name? Does she feel any shame about such a taboo line of work?
Is she really a nymphomaniac, or just a bad actress? Does she enjoy having sex with total strangers in front of the camera? Is there a stigma attached to her profession, or is she able to enjoy a normal romantic relationship in her private life? Is she worried about STDs? What does she think of her fans? Does she have an exit plan, or is she just winging it?
These are among the topics discussed by 16 of the most successful porn stars in Aroused, an intimate biopic directed by Deborah Anderson. Don’t be surprised if none of their sultry sobriquets rings a bell, since one of the fascinating factoids shared here is that their careers are of terribly short duration.
“The porn stars of 2005 are already gone,” one remarks. “They’re shot out,” which is how industry insiders refer to over the hill performers.
But the bevy of curvaceous beauties interviewed in Aroused represents the current cream of the crop. That includes Misty Stone, Ash Hollywood, Asphyxia Noir, Belladonna, Kayden Kross, Lisa Ann, Katsuni, Lexi Belle, Brooklyn Lee, Allie Haze, April O’Neil, Jesse Jane, Alexis Texas, Francesca Le, Tanya Tate and Teagan Presley.
The film is far from explicit, though it does feature each subject in a state of undress as she prepares for a still photo shoot for a relatively-tasteful coffee table book, clad in nothing but a pair of high heels by shoe designer Jimmy Choo. What proves far more compelling than seeing a little skin is hearing what makes each of them tick.
Money seems to be the common motivation, although they admit that once you go XXX you can’t go back, because being in pornography leaves a scarlet letter on you socially. It’s also interesting that most of these females crave attention more than casual carnality, with an absentee father during childhood being credited as a contributor factor.
They generally don’t date “civilians,” meaning people outside the porn industry, since ordinary people tend to be prudes about promiscuity, even when their mate explains that it’s just a job. By film’s end, you feel sorry for these females in denial, despite defensive-sounding statements like, “I get paid to have sex. Why doesn’t everybody do that?” Maybe because some of you admit to needing a steady flow of narcotics to mask the shame and the pain.
An eye-opening expose about the surprisingly-conventional concerns of some of the most hyper-sexualized women in the world.
Very Good (3 stars)
Unrated
In English and French with subtitles
Running time: 73 minutes
Distributor: Ketchup Entertainment
To see a trailer for Aroused, visit
The Big Wedding
Film Review by Kam Williams
This picture is such a wholesale disaster that it’s hard to decide where to start in critiquing it. I could talk about how it is just the latest case of Hollywood remaking a French farce (Mon Frère se Marie) which somehow lost all of its charm in the translation into English. Or I could point out how it’s a slight variation of Meet the Parents and even has Robert De Niro reprising his role as a macho father-in-law less inclined to reason than to threaten to bust a kneecap or tweeze a guy’s gonads off.
Or I could focus on how the production squandered the services of a talented cast including a quartet of Oscar-winners in De Niro, Susan Sarandon, Robin Williams and Diane Keaton, as well as that of such seasoned comedians as Topher Grace, Katherine Heigl, Amanda Seyfried and SNL alum Christine Ebersole. Or I might mention the telling fact that the movie sat on the shelf for over a year before the studio made the ill-advised decision to pump up the marketing and dump it on the gullible public.
Then there’s the homophobia and racism, reflected in disparaging offhand, remarks about lesbian and Colombian characters. Equally-objectionable is the picture’s frequent resort to sophomoric sight gags ranging from projectile vomiting to sucker punches to the face.
Perhaps most offensive of all is the film’s coarse, off-color humor featuring a life-size sculpture of a nude woman masturbating, a seductive wedding guest pleasuring her seatmate under the table during the reception, and a relentlessly-lurid script laced with salacious lines like “I can’t believe I’m being cock-blocked by my own mom,” “Go [expletive] a yak!” and “My father had his penis in your mom.”
All of the above amounts to a bitter disappointment, especially given the pedigree of the elite ensemble. Blame for this fiasco rests squarely on the shoulders of writer/director/producer Justin Zackham, who ostensibly was trying to replicate the lowbrow nature of his only other feature-length offering, Going Greek, a raunchy teensploitation flick released back in 2001.
As for the storyline, Mr. Zackham lazy relies on “The Big Lie” cliché, a hackneyed plot device popular on TV sitcoms since the Golden Age of Television. It basically revolves around characters going to increasingly great lengths to hide an embarrassing fact from someone until the ruse blows up in their faces and the truth comes out anyway.
Here, we have Missy (Amanda Seyfried) and Alejandro (Ben Barnes) on the verge of tying the knot in Connecticut, when they learn that his birth mother, Madonna (Patricia Rae), is unexpectedly flying in from Colombia to attend the wedding. Because she’s a devout Catholic, they don’t want her to know that the adoptive parents (De Niro and Keaton) have been divorced for a decade.
So, instead of simply explaining the changed state of affairs to Madonna, everybody agrees to participate in an elaborate cover-up to make it appear that Don and Ellie are still together, even though he’s currently in a committed, long-term relationship with Bebe (Sarandon). What a patently-preposterous premise!
The escalating concatenation of calamities adds-up less to a sidesplitting, screwball comedy than to an incoherent string of crude skits, the crudest being a scene where an undignified De Niro sheepishly sports a substance-eating grin after getting caught in the act of performing cunnilingus between a widespread pair of naked legs.
Look! A falling star! Make a wish!
Poor (0 stars)
Rated R for profanity, sexuality and brief nudity
In English and Spanish with subtitles
Running time: 90 minutes
Distributor: Lionsgate Films
To see a trailer for The Big Wedding, visit
King's Faith
Film Review by Kam Williams
Brendan King (Crawford Wilson), a kid raised in the foster care system, was sent away at the age of 15 after being caught dealing drugs and running guns as a member of a notorious gang known as Avenue D. Upon parole a few years later, the juvenile offender was released to the custody of Vanessa (Lynn Whitfield) and Mike Stubbs (James McDaniel), a couple still struggling with the loss of their police officer son in a senseless act of violence while he was on duty.
The emotionally-wounded foster parents see taking Brendan in as an opportunity to not only help rehabilitate an at-risk youth but to perhaps restore their faith in humanity, too. Because the boy became Born Again behind bars, the prospects for his future are very bright indeed, despite a checkered past marked by 18 different foster home placements, 9 felony and 11 misdemeanor arrests, and 4 convictions.
After all, he’s now settling into a new school, Northside High, and living in a relatively-upscale suburban enclave located a safe distance from the bad influences rampant around the ‘hood. Furthermore, to keep Brendan on the straight and narrow, the Stubbs give him a curfew, find him a part-time job, and even encourage him to join The Seekers, a Christian community service group for teenagers.
Everything goes well until the fateful day he rescues a classmate from a car wreck. Natalie (Kayla Compton), a girl most likely-type, happens to be president of the school’s student council. However, she ends up in trouble when the police find drugs in the car at the scene of the accident.
But Brendan’s role as the hero lands him in the limelight, which has the unfortunate side effect of notifying his former partners in crime of his present whereabouts. Soon, they show up looking for the fruit of the valuable contraband he’d hidden before being sent up the river, and they threaten to put a hurtin’ on him if he doesn’t deliver or rejoin their ranks.
Will Brendan revert to his old outlaw ways? Or will the convert put his trust in the Lord and avoid temptation this time around? Thus unfolds King’s Faith, a very relevant morality play written and directed by Nicholas DiBella.
Carefully crafted with Evangelicals in mind, this modern parable will certainly resonate with the faith-based demographic as well as secular individuals interested in an entertaining, wholesome family flick with a sobering message. The cinematic equivalent of a thought-provoking Bible study likely to ignite further discussion about a variety of real-life challenges folks face today.
Very Good (3 stars)
Rated PG-13 for violence, drug use and mature themes
Running time: 107 minutes
Distributor: Faith Street Film Partners
To see a trailer for King's Faith, visit
Single-Mom Develops Jungle Fever in Kenya in Initial Installment of Incendiary TrilogyParadise: Love
(Paradies: Liebe)
Film Review by Kam Williams
Paradise: Love is the initial offering in a trilogy of incendiary dramas from the Austria-born director Ulrich Seidl. Each of the three installments focuses on a different female from the same family.
This episode revolves around Teresa (Magarete Tiesel), an unremarkable single-mom whom we find tired of her Vienna existence at the point of departure. The jaded 50 year-old divides her time between raising an adolescent (Melanie Lenz) and working with the mentally-handicapped.
Needing a break from that humdrum routine, Teresa leaves her daughter in the care of a sister (Maria Hofstaetter) before flying alone to Kenya for a much-needed vacation. However, she’s planning for a little more than fun in the sun, since her destination is a resort that caters to the carnal desires of European sex tourists.
Specifically, it’s older white women looking to get their groove back, so to speak, with help of African men, the younger and better endowed the better. The goal, obviously, is less to find romance than to mate with any hunks who find them attractive.
Upon arriving, Teresa checks into the hotel where she makes the acquaintance of several fellow Austrians with the same goal in mind. What soon unfolds is a series of lusty liaisons approached by the consenting parties with a compatible set of competing expectations.
The women want to be wined and dined a bit prior to seduction, while the local lads are more than happy to oblige with the unspoken understanding that they will be tipped generously for providing stud service. Given the language, age and cultural differences, it is no surprise that complications still ensue for first-timer Teresa as she awkwardly attempts to negotiate her way with fellows with hidden agendas.
Will her cravings be satiated? Will she be respected in the morning? Will she be fleeced out of every last pfennig by the local Romeos? Those are the basic questions raised over the course of this intriguing character study, a female empowerment flick which harks back to Heading South (2005), a similarly-themed film set in Haiti starring Charlotte Rambling.
Fair warning: the film does feature graphic nudity and indiscriminate coupling, as the ladies sensuously sample a veritable smorgasbord of native cuisine. When all is said and done, Teresa returns home revitalized enough to resume her unfulfilling life, but ostensibly having to keep her assorted sexual conquests a secret.
After all, as the saying goes: What happens in Nairobi, stays in Nairobi!
Excellent (4 stars)
Unrated R for violence, profanity, graphic sexuality and frontal nudity
In German, Swahili and English with subtitles
Running time: 120 minutes
Distributor: Strand Releasing
To see a trailer for Paradise: Love, visit
Pain & Gain
Film Review by Kam Williams
Michael Bay is a director whose name has mostly come to be associated with mindless, stunt-driven action flicks such as Armageddon, Bad Boys and the Transformers franchise. His latest offering, however, Pain & Gain, represents a relatively-cerebral departure in that it tones down the special effects and pyrotechnics in favor of credible plot and character development.
Based on a true tale that transpired in Florida back in the Nineties, the alternately comical and gruesome crime caper revolves around the felonious exploits of a trio of bodybuilders who hatched a kidnap for ransom plot that went terribly awry. The mastermind of the ill-fated scheme was Daniel Lugo (Mark Wahlberg), an ex-con employed as a personal trainer at Sun Gym in Miami.
A regular there was Victor Kershaw (Tony Shalhoub), an arrogant businessman from Colombia with an oversized ego and a temper to match. That condescending attitude makes it easy for Daniel to consider extorting cash from his client, especially given how rich the guy is.
So, he enlists the assistance of couple of equally-buff cronies, recently-paroled Paul (Dwayne Johnson) and steroid-addicted Adrian (Anthony Mackie).
But the seat-of-the-pants plan has little chance of success, despite the pea brains of the operation’s assurances that “I know what I’m doing” because “I’ve watched a lot of movies.”
One complication is Born Again Paul’s reservations, since he’s turned his life over to Jesus. Meanwhile, Adrian himself is very distracted himself by a case of juice-induced erectile dysfunction.
Nevertheless, the three still proceed with the conspiracy, abducting Victor and taking him to an abandoned warehouse where they torture him mercilessly to figure out where his fortune is hidden. The grisly goings-on are repeatedly presented as humorous onscreen, effectively masking the fact that the participants in truth landed stiff prison sentences for their evil deeds.
Credit the convincing performances by the leads, especially Dwayne Johnson (cast against type here as a fairly sensitive soul), for actually inducing the audience to empathize and laugh at the wacky antics of some despicable miscreants. Ditto Tony Shalhoub who plays such a dislikable victim that he makes it easy to roots for his captors.
A reminder ripped right out of the tabloids that while crime does not pay, it sometimes serves as fodder for lurid headlines and hilarious hijinks.
Very Good (3 stars)
Rated R for graphic nudity, bloody violence, crude sexuality, drug use and pervasive profanity
Running time: 129 minutes
Distributor: Paramount Pictures
To see a trailer for Pain & Gain, visit
An Oversimplification of Her Beauty
Film Review by Kam Williams
Annoying Narration Ruins Jay-Z Produced Romantic Romp
When a gangsta rapper like Jay-Z decides to dabble in filmmaking, it only makes sense that the flick might remind you more of his genre of popular music than a typical movie. That’s precisely the case with An Oversimplification of Her Beauty, an unorthodox romance drama produced by the incomparable hip-hop icon.
Written, directed, edited, scored, narrated by and animated by Terrence Nance (How Would You Feel?), the surreal adventure co-stars Renaissance Man Nance opposite Namik Minter as friends in a platonic relationship on the verge of turning venereal. The ambitious, multi-media undertaking not only mixes cartoon and live-action images, but it also walks a fine line between drama and documentary.
While the protagonists try to sort out their feelings, the picture poses some thought-provoking questions, such as, “How do you balance logic and emotions?” Unfortunately, the film is afflicted with a fatal flaw, namely, a virtually non-stop narration of the play-by-play which starts to get on your nerves after about five minutes.
Granted, this could just be an age thing, since the Hip-Hop Generation is already used to hearing incessant, mindless, staccato-style chatter in their favorite songs. So, it might not be that big a jump for them to have to listen to a non-stop voiceover for the duration of a movie. Nevertheless, the slick poetry slam approach definitely didn’t do it for this critic.
Another annoying aspect of the experience was how the audience is addressed directly by the disembodied voice, as in “You arrive at your home,” “You empty your pockets,” “You have no bed and no money,” “You possess no means of personal transportation,” and so forth. Granted, Jay McInerney effectively employed the 2nd person in his best-selling novel “Bright Lights, Big City,” but it simply fails to work here as a cinematic device.
Ghetto psychobabble strictly for the attention-deficit, Jay-Z demographic.
Fair (1 star)
Unrated
Running time: 93 minutes
Distributor: Variance Films
To see a trailer for An Oversimplification of Her Beauty, visit:
Norwegian Anthropologist Replicates Polynesia Settlers’ Migration in Oscar-Nominated Seafaring Epic Kon-Tiki
Film Review by Kam Williams
At the beginning of the 20th Century, the conventional wisdom was that Polynesia had been settled by Asians arriving from the Far East. But it’s one thing for a pompous professor to simply sit in an ivory tower and speculate about who might have discovered the island group some 1,500 years ago, and quite another to go about proving a theory correct by attempting to replicate the putative pioneers’ perilous feat.
While doing research in the Marquesas on the Isle of Fatu Hiva in the mid-Thirties, a Norwegian anthropologist named Thor Heyerdahl (Pal Sverre Hagen) came up with a novel idea about the roots of the natives. After studying the local fauna and flora, watching the flow of the tides, and listening to aborigine folklore about their ancestors’ arduous trek towards the setting sun, he reasoned that the region must have been settled by tribes migrating there from South America.
Then, when his iconoclastic notion was roundly ridiculed by scholarly colleagues back in academia, Thor decided to prove his detractors wrong by mounting a 5,000-mile expedition from Peru to Polynesia. And although he knew nothing about sailing and couldn’t even swim, he did have the sense to assemble a team capable of assisting him in the dangerous endeavor.
The plan was to build a balsa wood raft identical to the type used by indigenous people in pre-Columbian times, painstakingly following their methods of construction down to the smallest detail. And since they would not be able to steer this vessel christened the Kon-Tiki, Thor estimated it would take about three months for the currents and winds to take them to their destination.
His intrepid crew was comprised of four fellow Norwegians and a Swede, including childhood friend, Erik Hesselberg (Odd Magnus Williamson), the navigator; radioman Knut Haugland (Tobias Santelmann), a decorated World War II veteran; Torstein Raaby (Jakob Oftebro), another radio expert; Herman Watzinger (Anders Baasmo Christiansen), an engineer; and Bengt Danielsson (Gustaf Skarsgard), the Swedish steward.
Co-directed by Joachim Ronning and Espen Sandberg, Kon-Tiki faithfully chronicles their historic, transoceanic voyage. Despite the fact that most of the picture’s dialogue is English, it somehow earned a well-deserved Oscar nomination in the Best Foreign Language Film category earlier this year.
The men set sail in the spring of 1947, encountering storms, shark attacks, ship rot, insubordination and a host of other challenges en route. The deliberately-paced production repeatedly harks back to a bygone era when much of the Earth’s surface was yet to be explored.
Replete with breathtaking Pacific panoramas shot on location, Kon-Tiki is worth watching for the captivating visuals alone. However, the storytelling is solid, too, with all adding up to a fitting tribute to the enviable exploits of the legendary Thor Heyerdahl.
Excellent (4 stars)
Rated PG-13 for violence
In English, Norwegian, Swedish and French with subtitles
Running time: 118 minutes
Distributor: The Weinstein Company
To see a trailer for Kon-Tiki, visit
Scary Movie 5
Film Review by Kam Williams
What do Charlie Sheen, Lindsay Lohan, Mike Tyson, Katt Williams and Snoop Dogg have in common? They’re all celebrities whose names have been splashed across the tabloids in connection with controversy. But in a macabre gesture ostensibly intended to exploit their notoriety, this motley collection of the craziest people currently in the public eye was tapped to make cameo appearances in Scary Movie 5.
The picture was directed by Malcolm Lee (Undercover Brother) who opted for an overhaul of the series with a fresh set of characters rather than a sequel. That shouldn’t be a problem for purists, since each of the earlier installments has basically been a string of disconnected skits spoofing the latest horror movies.
Among the fright flicks lampooned here are Paranormal Activity, The Black Swan, Evil Dead, Sinister and Mama. However, this equal opportunity offender also takes potshots at offerings from other genres like The Help, Tyler Perry’s Madea’s Witness Protection, Planet of the Apes and 127 Hours.
Unfortunately, the disappointing production is little more than a crummy appeal to the lowest common denominator employing generous helpings of scatological humor. Worse, none of the sketches elicited even a perfunctory pity laugh from the audience I watched the movie with.
The point of departure is a sex scene in which Charlie Sheen and Lindsay Lohan are joined in bed by a colorful menagerie of oddballs, animals and objects. The kinky copulating is sped-up in corny fashion ala a typical Benny Hill episode, and the action’s even underscored by the familiar strains of that frenetic melody routinely employed on the classic British comedy show.
But Charlie fails to survive the session, leaving his three orphaned children to be raised by his brother (Simon Rex) and girlfriend (Ashley Tisdale), and their hairy-armed housekeeper (Lidia Porto). The bodily function fare that ensues around the premises includes sight gags involving farting, projectile vomiting, poop disguised as a banana, a monkey tossing feces at a mirror, a woman putting a urine-soaked cell phone to her face, a dog with a toothbrush stuck in its tush, a child playing with a vibrator, a dog licking his own gonads, and a gay man with the hots for a fifth grader.
This vapid, vulgar insult to the intelligence couldn’t possibly have been tested on any focus groups. Can we all now agree that we’ve reached the cinematic saturation point with this rapidly-expiring franchise?
Poor (0 stars)
Rated PG-13 for profanity, sexuality, gore, drug use, nudity, ethnic slurs, cartoon violence and crude humor
Running time: 85 minutes
Distributor: Dimension Films
To see a trailer for Scary Movie 5, visit
Herman's House
Film Review by Kam Williams
72 year-old Herman Wallace has been imprisoned at Louisiana’s infamous Angola penitentiary since he was found guilty of committing bank robbery back in 1967. His sentence was later lengthened to life after he was convicted of stabbing a prison guard to death solely on the testimony of a fellow inmate.
Was he a political prisoner who’d been railroaded on account of his membership in the Black Panther Party, or had he actually committed the murder? Unfortunately, that question is not the focus of Herman’s House, an unlikely-couple documentary directed by Angad Singh Bhalia.
Mr. Singh instead devotes his attention to the friendship forged between Herman and a woman half his age. “Jailbirds and the naïve girls who love them” has served as the theme of many a TV talk show, but rarely have any gangsters’ molls had the pedigree, sophistication or undying dedication of Jackie Sumell.
Sumell, an activist who once presented anti-abortion President Bush a quilt woven from hundreds of pro-choice feminist’s pubic hair, was a grad student in the Art Department at Stanford when she took an interest in Herman. What really rankled her was the fact that he held the record for solitary confinement in the country, currently at 40+ years and counting.
Over that period, he’s been cooped up in a 6 x 9 foot cell, which Jackie felt was a violation of the 8th Amendment’s sanction against cruel and unusual punishment. So, she struck up a long-distance correspondence with Herman via a combination of letters and phone calls.
And that led to a decision to draw attention to his plight by mounting an art exhibition featuring a full-scale replica of his prison cell. But this is where it gets weird. She also asked Herman what his dream home would look like, prior to then moving down to New Orleans, buying some land, and consulting architects to draw up plans for a place the two would ostensibly share should he ever be paroled.
Listen, this biopic basically revolves around Jackie’s earnest effort to turn Herman into a cause célèbre, but it carefully tiptoes around the more compelling elephant in the tiny cell, namely, whether there’s a romantic aspect to their relationship? A fascinating flick as much about a possible miscarriage of justice as about a case of arrested development who looks like a little girl playing house with an imaginary mate.
Very Good (3 stars)
Unrated
Running time: 81 minutes
Distributor: First Run Features
To see a trailer for Herman's House, visit
Lucky Bastard
Film Review by Kam Williams
Dave (Jay Paulson) thought he’d died and gone to heaven when he learned that he’d won the monthly “Lucky Bastard” contest run by the adult entertainment website. He was informed by the site’s owner, Mike (Don McManus), that his name had been picked from all the entries to sleep with his favorite porn star, Ashley Saint (Betsy Rue).
However, the prize came with just one hitch, namely, that he’d have to sign a release so that the lusty liaison could be videotaped from every angle. After all, the promotion was designed to give the site’s subscribers a chance to see an Average Joe enjoying a roll in the hay with a gorgeous goddess who would never normally give him the time of day.
Bespectacled Dave definitely fit the bill in that regard, between his awkwardness and anxiety attempting to perform on cue on camera, even with the woman of his wet dreams. However, the skin flick’s director (Chris Wylde) obviously had a lot more to worry about than a limp nerd in need of Viagra.
For, something else would go horribly wrong after Dave’s arrival and by the time the police arrived, they would find the dead bodies of numerous males and females slain either by gunshot or blunt force trauma. The investigating officer (Lukas Kendall) was grateful to discover that the walls had been outfitted with 18 cameras which not only recorded Dave and Ashley’s fondling, foreplay and frustrated fornication, but the ensuing slaughter which subsequently turned the den of debauchery into a bloody crime scene.
So, cracking the case simply involved rewinding the tapes, and watching what transpired from start to finish. And that’s precisely the point-of-view shared with the audience in Lucky Bastard, a found-footage flick which puts a salacious spin on the “no surviving witnesses” cinematic device first effectively employed by The Blair Witch Project back in 1999.
The movie marks the impressive directorial debut of Robert Nathan, who also co-wrote the cleverly-constructed script with Lukas Kendall. Their novel storyline unfolds like your typical horror film, except instead of taking place inside a Gothic haunted house it unfolds on a sleazy set inside the bedroom of a nondescript suburban home rented for the day from a realtor (Deborah Zoe) out to make a quick buck.
Besides Dave and Ashley, the suspects include director Kris, cameraman Nico (Lanny Joon), Ashley’s regular co-star, Josh (Lee Kholafai), producer Mike and his considerably-younger girlfriend, Casey (Catherine Annette), an aspiring porn star. However, the perpetrator might not be a cast or crew member, since Mike also has issues with the alarmed real estate agent as well as with his estranged ex-wife.
It’s no surprise Lucky Bastard landed an NC-17 rating, given the fairly-explicit displays of carnality, though the production is as much a riveting murder mystery as it is a raunchy sex romp. A compelling, high body-count whodunit for folks willing to watch a lot of kinky cavorting while trying to unravel clues leading to the killer.
Very Good (3 stars)
NC-17 for violence, profanity, full frontal nudity and explicit sexuality.
Running time: 94 minutes
Distributor: Vineyard Haven Films
To see a trailer for Lucky Bastard, visit
Not Today
Film Review by Kam Williams
Lucky enough to be born into a wealthy family, Caden Welles (Cody Longo) is living the American Dream. With money to burn at his disposal, the spoiled 20 year-old took off on a whim for a vacation in Hyderabad, India, along with some of his equally-irresponsible friends.
Before Caden left, his mom (Shari Rigby) packed a Bible in his suitcase with a note tucked in the pages asking God to help her son appreciate his blessings while on the subcontinent. Fortunately, it doesn’t take long for that prayer to be answered.
For, upon landing, Caden experiences quite a cultural shock when he finds himself in the midst of abject poverty he never knew existed. And instead of being able to participate in the non-stop partying they’d planned, he ends up feeling guilty about all the suffering he’s surrounded by.
He specifically regrets having cynically refused to help a beggar with a little girl claiming to be starving. In fact, he becomes so haunted that he goes back to look for them, only to learn that Kiran (Walid Amini) had reluctantly sold Annika (Persis Karen) into slavery to survive.
Determined to reunite father and daughter, Caden decides to try to track down the 7 year-old, a search which leads to the ugly underworld of sex trafficking. There, he discovers that Annika’s freedom will come at considerable cost, since the pimp who had purchased her expects to make a tidy profit to part with her.
Thanks to cell phone technology, Caden can both cry on the shoulder of his empathetic girlfriend (Cassie Scerbo) back home and ask his dad (John Schneider) to wire him $20,000 fast. There’s no hesitation, when the request is for such a worthy cause, as opposed to underwriting another one of the reformed slacker’s trademark self-indulgences.
Thus unfolds Not Today, a compelling, modern morality play marking the noteworthy directorial debut of Jon Van Dyke. Without getting too heavy-handed, the faith-based cautionary tale does a decent job of delivering its sobering message about a widespread form of exploitation of millions which no one ever talks about.
A searing indictment of India’s shameful caste system as a means of enslaving females based on the color of their skin.
Very Good (3 stars)
Rated PG-13 for mature themes
Running time: 103 minutes
Distributor: Lionsgate Films
To see a trailer for Not Today, visit
Eddie: The Sleepwalking Cannibal
Film Review by Kam Williams
Once the darling of the art world, Lars Olafssen (Thure Lindhardt) is down on his luck after developing the painter’s equivalent of writer’s block. He’s been reduced to taking a teaching position at a college in rural Koda Lake, Canada, a mythical town located outside Ottawa.
There, he shares an apartment with Eddie (Dylan Smith), a mentally-challenged mute. Lars quickly learns that his untalented student obviously only gained admission to the school because he’s the relative of a generous alum.
However, Eddie has bigger issues than being utterly unqualified, for he not only sleepwalks at night, but attacks and devours humans while in that somnambulant state. But rather than have the cannibal arrested, Lars lets his roommate embark on a reign of terror, since the bloodletting has simultaneously provided the spark of inspiration he’s been missing as a painter.
Soon, with his popularity restored, Lars even finds himself pursued by an attractive colleague (Georgina Reilly). Will he ever help the police (Paul Braunstein) crack the case, or does his man-eating muse merely mean too much to his revitalized career?
That is the question at the heart of Eddie: The Sleepwalking Cannibal, a dark comedy written and directed by Boris Rodriguez. While a tad too understated and perverted to make this critic laugh, the film’s tongue-in-cheek brand of humor is nevertheless likely to resonate with cerebral types blessed with a taste for the droll and the bizarre.
An unlikely-buddy horror flick which figured a viable way of walking a fine line between the sadistic and the sublime.
Good (2 stars)
Unrated
Running time: 90 minutes
Distributor: Music Box Films
To see a trailer for Eddie: The Sleepwalking Cannibal, visit
Temptation
Film Review by Kam Williams
I’ll be honest, when I heard that Lionsgate wasn’t screening Temptation for critics, I really expected it to be a dreadful mess. But after entering the theater with very low expectations, I was pleasantly surprised by the latest morality play from Tyler Perry.
No advance peek meant I had to wait until opening day to see the melodramatic soap opera, which in my case was in a sold-out house with a crowd that was about 90% black and female. As far as what the sisters thought of the picture, all I needed to hear was the chorus of Amen’s and the robust round of applause during the closing credits.
Still, it’s debatable whether the Christian-themed cautionary tale’s simplistic sermonizing will attract a broader audience beyond that loyal demographic, but I’d guess that it very well might resonate with Evangelicals in general. Plus, don’t discount the box office appeal of reality show sensation Kim Kardashian who holds her own here in a quite comical supporting role as an opinionated fashionista.
Loosely based on Perry’s 2008 stage production “The Marriage Counselor,” Temptation is a flashback flick revolving around 26 year-old Judith (Jurnee Smollett-Bell), a naïve country bumpkin employed in Washington, D.C. by Janice (Vanessa Williams), a crafty love guru with a bad French accent but a thriving matchmaking service.
Judith’s been married for six long years to loyal but boring Brice (Lance Gross), her childhood sweetheart and the only man she’s ever slept with. He runs a modest pharmacy in the city that never seems to have any customers. Nevertheless, the place’s atmosphere is kept pretty lively between comic relief coming courtesy of his gossipy, sticky-fingered cashier (Renee Taylor) and the ominous air created by a new employee (Brandy) hiding a big (and I mean BIG!) secret.
College educated Judith dreams of opening her own psychotherapy practice someday, but doesn’t have sufficient funds to do so, presently. That predicament makes her all the more vulnerable to Harley (Robbie Jones), an unscrupulous, dot.com billionaire with money to burn and sexual conquests to make.
The predatory home wrecker zeroes in on Judith while deciding whether to acquire her boss’ business. And before you can say “Mark Zuckerberg” she’s got dollar signs in her eyes and decides to leave her husband for a life of drugs and debauchery with suave Mr. Moneybags.
Brice offers to pay more attention to his wife and to spice up their love life, but is it too late? Can this marriage be saved? A present-day parable preaching to the choir with sobering warnings about the love of money and taking your mate for granted.
The Gospel according to Tyler Perry!
Very Good (3 stars)
Rated PG-13 for violence, sexuality and drug use
Running time: 112 minutes
Distributor: Lionsgate Films
To see a trailer for Temptation, visit
Disgraced Presidential Bodyguard Gets Shot at Redemption in High-Octane Action ThrillerOlympus Has Fallen
Film Review by Kam Williams
While serving as the President’s (Aaron Eckhart) personal bodyguard, Mike Banning (Gerard Butler) grew very close to the First Family. During his tenure at the White House, the dedicated, detail-oriented Secret Service agent also familiarized himself with every aspect of the building’s layout.
Nevertheless, Banning was reassigned to a desk job after failing to rescue the First Lady (Ashley Judd) before the presidential limo plunged off a bridge into an icy river en route to a Christmas party. Although the accident wasn’t his fault, he was left agonizing over a snap decision that might have been the difference between her living and dying.
A year and a half later, we find Banning still riddled with guilt despite receiving assurances from the Secret Service Director (Angela Banning) that there was nothing he could have done. However, he soon gets that sorely needed shot at redemption when a swarm of ninjas from North Korea attack the White House, taking the President and his Cabinet hostage.
With the President and Vice President (Phil Austin) abducted, the line of succession dictates that the Speaker of the House (Morgan Freeman) assume power from a well-fortified bunker. Meanwhile, the maniacal leader (Rick Yune) of the bloodthirsty terrorists proceeds to torture his hostages, hoping to learn the codes controlling America’s nuclear arsenal.
The unfolding crisis is not lost on Banning who observes the slaughter of his former colleagues from an office window across the street. The disgraced agent springs into action and surreptitiously enters the White House armed only with a handgun and a walkie-talkie. But he still enjoys the advantage over an army of heavily-armed intruders by virtue of his knowledge of the premises’ every nook and cranny.
Directed by Antoine Fuqua, Olympus Has Fallen is a derivative action flick which might be best described as a cross of Die Hard (1988) and In the Line of Fire (1993), except that instead of Bruce Willis or Clint Eastwood, we have Gerard Butler playing the invincible, two-fisted protagonist. The fast-paced film is engaging and entertaining enough to come recommended provided you’re willing to put your brain on hold and not question any of the picture’s implausible plot developments.
Featuring pyrotechnics worthy of a 4th of July fireworks display, Olympus Has Fallen is an eye-popping, patriotic, high-octane adventure that leaves no doubt about who’s the vindicated hero that kept the world safe for democracy. The Butler did it! Gerard Butler, that is.
Very Good (3 stars)
Rated R for graphic violence and pervasive profanity
In English and Korean with subtitles
Running time: 120 minutes
Distributor: Film District
To see a trailer for Olympus Has Fallen, visit
Princeton Provides Setting for Adaptation of Best Seller about College Application ProcessAdmission
Film Review by Kam Williams
Portia Nathan (Tina Fey) has worked for 16 years in the admissions office at Princeton, the college regularly rated the best in the country by experts. Because of her pivotal role in picking prospective students for the highly-selective Ivy League institution, the highly-principled administrator often finds herself approached by pushy, helicopter parents seeking preferential treatment for their children.
That’s why she prides herself on never having compromised the integrity of the application process, a commitment also appreciated by the outgoing Dean of Admissions (Wallace Shawn). In fact, he’s recently indicated that upon his impending retirement, he’s prepared to recommend either her or the equally-dedicated Corinne (Gloria Reuben) as his replacement.
That announcement jumpstarts a fierce competition between the two colleagues which soon has Portia venturing to New Hampshire in search of qualified candidates. There, she visits an alternative high school whose handsome principal, John Pressman (Paul Rudd) had been a classmate of hers at Dartmouth. Sparks fly, but nothing transpires, because she’s in a committed relationship.
Instead, John just pressures Portia to interview Jeremiah (Nat Wolff), a bright but underachieving student with a woeful academic transcript. She has no problem dismissing the kid out of hand until the headmaster slips her a birth certificate showing that he’s the son she surrendered for adoption as a baby.
Suddenly, Portia’s maternal instincts kick in and she finds herself on the horns of a dilemma. Should reject this candidate who is clearly not Princeton material, or should she bend the rules for her own flesh and blood? After all, it’s the least she could do, since she played no part in raising him.
That is the conundrum at the heart of Admission a delightful, romantic dramedy directed by Paul Weitz (American Pie). Based on Jean Hanff Korelitz’s best seller of the same name, the film offers a very revealing peek at the cutthroat, college entrance process from the gatekeepers’ point of view.
Besides the temptation of nepotism, the film revolves around the tender romance between Portia and John which conveniently has a chance to blossom when she’s abandoned by her philandering boyfriend (Michael Shannon) upon returning home from New Hampshire. Meanwhile, intriguing subplots abound involving a cornucopia of colorful support characters.
For instance, itinerant bachelor John has an adopted African son (Travaris Spears) who craves the sort of predictability his settling down with a stable woman might provide. And Portia needs to mend fences with her estranged mother (Lily Tomlin), a breast cancer survivor who in turn might benefit from the attention of an ardent admirer (Olek Krupa). Additional sidebars feature memorable cameos by Roby Sobieski (Leelee’s little brother), Asher Muldoon (author Korelitz’s son) and an emerging ingénue in Nadia Alexander.
An alternately comical and thought-provoking cautionary tale that’s every bit as hilarious as it is sobering.
Excellent (4 stars)
Rated PG-13 for profanity and some sexuality
Running time: 117 minutes
Distributor: Focus Features
To see a trailer for Admission, visit
The Croods
Film Review by Kam Williams
Are you better off than you were four million years ago? That’s the evolutionary question playfully posed by The Croods, a visually-captivating, action-oriented cartoon revolving around an agoraphobic clan of cave dwellers that summons up the courage to abandon their home in the face of impending climate change.
The enchanting message movie was co-directed by Kirk De Micco (Space Chimps) and Chris Sanders (How to Train Your Dragon) who assembled an ensemble featuring Nicolas Cage, Emma Stone, Ryan Reynolds and Cloris Leachman to breathe life into a colorful array of prehistoric characters. Besides the talented voice cast, the film makes a most effective use of 3-D technology guaranteed to keep the tykes enthralled for the duration, whether they’re ducking projectiles aimed directly at their heads or trying to touch objects dangling just out of reach.
At the point of departure we find the Croods huddled inside their dank, dark cave where they sleep in a pile to keep warm at night. The family is presided over by Grug (Cage), an overprotective patriarch whose mantra is the double-negative “Never not be afraid!”
The other members of his primitive brood include naggy mother-in-law Gran (Leachman), long-suffering wife Ugga (Catherine Keener) and their three kids: feral baby Sandy (Randy Thom), man-child Thunk (Clark Duke) and rebellious teen Eep (Stone). Grug feels it is his duty to remind them on a daily basis of the many dangers lurking just beyond the entrance of their boulder-fortified abode.
That’s why he’s so fond of telling bedtime stories in which any curiosity about the outside world invariably proves fatal. Grug’s scare tactics work until the fateful day Eep sneaks off to explore on her own only to encounter a boy (Reynolds) about her own age.
Not only has handsome Guy figured out how to harness fire to keep hungry creatures at bay but he forecasts imminent doom for any humans who fail to move to higher ground. When Eep brings word of this frightening development to her Neanderthal of a dad, it becomes abundantly clear that it’s going to take more than a little convincing to get him to lead the family out of the cave on a perilous trek to safety.
Mother Nature plays a part in nudging him to grudgingly join forces with Guy, and the ensuing sojourn across a vast wasteland to Shangri-La allows for a priceless lesson about risk-taking as relevant in the 21st Century as it must have been back in the Stone Age. A side-splitting, thrill-a-minute adventure reminiscent of the best of The Flintstones. Wilma!
Excellent (4 stars)
Rated PG for scenes of peril
Running time: 98 minutes
Studio: Dreamworks Animation
Distributor: 20th Century Fox
To see a trailer for The Croods, visit
"This three-hour record of Martin Luther King, Jr.,’s work in the civil-rights movement is a genuine spiritual epic—a chronicle of public action that’s suffused with passion, reason, and understanding. The movie brilliantly orchestrates extraordinary footage of marches, rallies, and church services and complements these precious pieces of history with poetic readings by artists and entertainers—including Harry Belafonte and, yes, Charlton Heston—who marched with King."
The New Yorker
Download FilmThe Incredible Burt Wonderstone
Film Review by Kam Williams
Back in 2003, Jim Carrey was upstaged as the title character of Bruce Almighty by a scene-stealing Steve Carell as motor-mouthed, TV newscaster Evan Baxter. Consequently, Carrey wasn’t even around for the sequel, Evan Almighty, a spinoff which completely revolved around Carell’s expanded role.
Well, turnabout is fair play, and a decade later we find his titular performance overshadowed here by an inspired one on the part of a rejuvenated Carrey. Regardless, of far more import than which one’s funnier is the fact that the two have reunited and they’re better than ever as magicians competing to outdo each other in an escalating game of one-upmanship.
Directed by Don Scardino (NBC-TV’s 30 Rock), The Incredible Burt Wonderstone also features a stellar supporting cast comprised of Alan Arkin, Steve Buscemi, Olivia Wilde, James Gandolfini, Brad Garrett and Jay Mohr, as well as the legendary David Copperfield, CNN’s Erin Burnett and MSNBC’s Richard Wolffe in amusing cameo appearances.
The picture’s engaging premise is fairly easy to follow. Burt Wonderstone (Carell) and Anton Marvelton (Buscemi) have been doing magic tricks together since childhood, when they first teamed up to entertain their classmates. After thirty years, they’re raking in millions at Bally’s in Las Vegas where they share top billing on the marquee as “Burt & Anton: A Magical Friendship.”
Truth be told, they’ve come to despise each other, primarily because of Burt’s massive ego. As a result, the pair’s act has grown stale, giving street performer Steve Gray (Carrey) a chance to steal a little of their thunder via bizarre stunts like not blinking and not urinating for days on end.
When the newcomer captures the public’s imagination, attendance at Burt and Anton’s shows declines, and it’s not long before they feel the pressure to match Gray in outrageousness. But after Anton breaks his ankles and some ribs during their first dangerous stunt, Burt is forced to go mano-a-mano against Gray solo.
More than magic, the ensuing illusion competition contrasts Carrey’s over-the-top antics with Carell’s relatively-droll, tongue-in-cheek sense of humor, with the former’s sight gags bowling me over way more than the latter’s dry wit. A battle of competing comedy styles won hands-down by the rambunctious, rubber-faced run-a-muck!
Excellent (3.5 stars)
Rated PG-13 for profanity, sexuality, dangerous stunts and a drug-related incident.
Running time: 100 minutes
Distributor: Warner Brothers
To see a trailer for The Incredible Burt Wonderstone, visit
Dead Man Down
Film Review by Kam Williams
Grief-stricken Lazlo Kerick (Colin Farrell) never recovered from the gruesome murder of his wife (Beata Dalton). It came on orders from a vicious mob boss intent on preventing her from testifying in court. Amoral Alphonse Hoyt (Terrence Howard) also had the couple’s only child (Accalia Quintana) slain in her sleep, which left the disconsolate widower with nothing to live for except sweet revenge.
So, Lazlo changed his name to Victor, assumed a new identity, and infiltrated the ranks of the ruthless gangster’s crime syndicate. But rather than pouncing at the first opportunity, he opts to toy with his prey by playing a mind-bending game of cat and mouse. He starts by killing one of Hoyt’s favorite henchmen (Aaron Vexler), stuffing the corpse in the gangster’s freezer with a cryptic message (“719, now you realize”) clutched in its hand.
The plot thickens when Victor’s felonious activities are observed by a neighbor (Noomi Rapace) whose high-rise, Manhattan apartment sits directly across the courtyard from his. Instead of calling the cops, embittered Beatrice blackmails him into helping her even the score with the drunk driver responsible for her badly-disfigured face.
The two terminally-haunted anti-heroes proceed to forge an unholy alliance in the name of the God of retribution prior to dispensing a particularly grisly brand of vengeance all around a New York City that looks more like Philadelphia. I’ve lived in both cities, so it was a little weird to see Philly being passed off as The Big Apple.
Because he’s from Sweden, director Niels Arden Oplev must have naively figured that nobody would notice the urban switcheroo. But misattributed locales aside, Dead Man Down is a decent payback flick featuring all of the staples of the gruesome, high body-count genre.
Opley certainly knew what he was doing in tapping Noomi Rapace to play Beatrice, since he had already cast her as a similarly-tortured soul in The Girl with the Dragon Tattoo. Though the wheels gradually come off the increasingly-preposterous production, all is forgiven on account of the convoluted adventure’s compelling storyline, arresting special f/x, and satisfying, if farfetched resolution.
The Girl with the Vigilante Agenda!
Very Good (3 stars)
Rated R for sexuality, violence and pervasive profanity
In English, French, Albanian and Spanish with subtitles
Running time: 110 minutes
Distributor: Film District
To see a trailer for Dead Man Down, visit
Rust and Bone
(De Rouille et D’os)
Film Review by Kam Williams
Alain (Matthias Schoenaerts) is a homeless street hustler barely eking out a living in his native Belgium when he is suddenly handed custody of a 5 year-old son, Sam (Armand Verdure). Overwhelmed by the unanticipated extra responsibility, the single-dad moves to Antibes in the South of France to dump the boy he barely knows on his obliging sister, Anna (Corinne Masiero).
Buff, imposing and blessed with formidable strength, Alain soon lands part-time work as a bouncer in a trendy nightclub. And he also starts leveraging his good looks into lustful liaisons of brief duration with attractive habitués of the haunt.
Meanwhile, elsewhere in the seaside resort town, an attractive lass named Stephanie (Marion Cotillard) is gainfully employed at an aquarium as a trainer of Killer whales. She meets Alain one evening after he rescues her from a nasty brawl inside his cabaret.
The very grateful damsel-in-distress takes his phone number, but before she has a chance to call, she loses both of her legs in an unfortunate accident when she he is crushed against the side of the pool by a runaway Orca. So, by the time the two finally do rendezvous, she is confined to a wheelchair, and terribly depressed by her diminished life prospects.
Will this roaming Romeo befriend the blemished beauty, or will his roving eye have him right back out on the dating circuit where he invariably has his pick of the litter? That is the crux of the question at the heart of the deceptively-endearing Rust and Bone, a romance drama written and directed by Jacques Audiard (Read My Lips).
This piercingly-evocative love story ultimately proves far more poignant than one might expect of a picture that starts out with such a limited Neanderthal as a protagonist. Fortunately, his character definitely benefits from considerable development over the course of the engaging adventure.
For, he gradually gets in touch with his sensitive side to the point where he’s ready not only to abandon his womanizing ways but to spend some quality time with his neglected young offspring. Besides unfolding against an array of visually-stimulating backdrops, Rust and Bone is blessed by a couple of tour de force performances coming courtesy of Matthias Schoenaerts and Marion Cotillard as the unlikeliest of lovers.
A “Salt of the Earth” saga plumbing the depths of the human soul.
Excellent (4 stars)
Rated R for violence, profanity, graphic sexuality and frontal nudity
In French and English with subtitles
Running time: 120 minutes
Distributor: Sony Pictures Classics
To see a trailer for Rust and Bone, visit
Hava Nagila: The Movie
Film Review by Kam Williams
To most Gentiles, Hava Nagila is just a catchy ditty you get to sing along with at a lot of sporting events. But who wrote the words and the music of this staple of Jewish weddings and bar mitzvahs, and what is the cultural significance of the timeless tune?
These are the questions tackled in Hava Nagila: The Movie, a very entertaining and informative documentary directed by Roberta Grossman. The film features performances of the festive folksong by everyone from Connie Francis to Danny Kaye to Harry Belafonte to Chubby Checker. Also included are humorous renditions by comedians Allan Sherman and Jo Anne Worley and rock icon Bob Dylan.
But first, considerable attention is devoted to Hava Nagila’s derivation. Composed in Jerusalem in the early 20th Century, there is debate to this day whether the lyrics, ostensibly inspired by Psalm 118 Verse 24 of the Hebrew Bible, were written by choir director Abraham Zevi Idelsohn or by his 12 year-old protégé, Moshe Nathanson. At least there is no dispute about the melody, which can readily be traced from Palestine back to the Balkans.
Of far more consequence than the question of authorship is what Hava Nagila has meant to different generations of Jews. Initially, its upbeat message marked a distinct departure from the general tenor of their folk music, which had mostly been nostalgic and sad.
After World War II, the relatively-euphoric Hava Nagila spearheaded a virtual cultural reboot that was sorely needed in the wake of The Holocaust. Thus, for the postwar survivors, it came to represent the existence and resurrection of the Jewish people.
However, the picture points out that Hava Nagila lost some of its luster with the one step removed Baby Boomers who came to see the song less as a visceral reclamation of their roots than as a nostalgic reminder of an imagined past. And its being lampooned on TV shows like Laugh-In, The Simpsons and Curb Your Enthusiasm as well as on countless Youtube clips has left sage Jewish elders of today wondering whether the song still has a soul or if it has been reduced to a symbol of assimilation into the American mainstream.
Regardless, this once-sacred anthem seems destined to be forever revered as a song that, at a critical moment in Jewish history, provided joy in the face of loss and hope in the face of fear. Everything you ever wanted to know about Hava Nagila but were afraid to ask except, “What’s the deal with the ritual of raising a chair in the air like you don’t care?”
Excellent (4 stars)
Unrated
Running time: 75 minutes
Distributor: Katahdin Productions
To see a trailer for Hava Nagila, visit
The Battle of Pussy Willow Creek
Film Review by Kam Williams
Over the years, Ken Burns has shot numerous historical documentaries covering such slices of Americana as Baseball as The Civil War. The latter is the subject of satire in this irreverent mockumentary mimicking the tone of the Emmy Award-winning director’s typical production.
The plot revolves around The Battle of Pussy Willow Creek, a mythical engagement said to have turned the tide in favor of the North. The film focuses on the roles played by four unlikely heroes that fateful day: a gay colonel (Matthew Ludwinski), a nerdy fugitive slave (Barron A. Myers), a geriatric Chinese launderer (Scooter MacRae) and a one-armed prostitute passing as a drummer boy (Mara Kassin).
Ala Burns, the picture features a profusion of talking heads, self-impressed experts who wax romantic while weighing-in about what transpired 150 years ago. Unfortunately, this one-trick pony isn’t very funny, as its running joke wears out its welcome after a half-hour or so.
It might have helped if the flick had a deeper message to deliver beyond one advocating inclusion regardless of age, gender, color or sexual preference. By comparison, the similarly-themed C.S.A. (The Confederate States of America) was a spoof which proved far more thought-provoking because it created an alternate universe where slavery still existed because the South won the war.
Even though the overambitious The Battle of Pussy Willow Creek misses the mark, first-time writer/director Wendy Jo Cohen exhibits sufficient potential to make me curious about her next venture. What’s next, a Glee-inspired, musical lampoon of World War II with black GIs serving alongside openly-gay GIs in an already integrated military?
Fair (1 star)
Unrated
Running time: 96 minutes
Distributor: Wide Sphere Films
To see a trailer for The Battle of Pussy Willow Creek, visit
Jack the Giant Slayer
Film Review by Kam Williams
When Jack (Nicholas Hoult) was a little boy, his imagination was whetted by a bedtime story about a mythical war waged ages ago against a fearsome race of giants that had descended from the sky. Before his mother (Caroline Hayes) died soon thereafter, she suggested that he might even be related to Erik the Great (Craig Salisbury), the brave monarch who had led the valiant defense of Earth against the gargantuan invaders.
Meanwhile, on the other side of the peaceable kingdom’ proverbial tracks, young Princess Isabelle (Eleanor Tomlinson) was being spoon-fed a similar tale about an epic showdown between good and evil. But she was read to at night by her doting father, King Brahmwell (Ian McShane), due to her mother’s (Tandi Wright) untimely demise.
A decade later, we find the lowly farmhand’s path crossing with that of the future queen the day the headstrong teenager sneaks out of the castle to rub shoulders with the hoi polloi. At a puppet show, Jack rushes to her assistance the moment she finds herself being accosted by a menacing gang of ruffians.
The damsel-in-distress becomes so smitten with the gallant lad that she informs her father of a desire to break off her arranged engagement to the insufferable Roderick (Stanley Tucci), an effete lout twice her age. Nonetheless, King Brahmwell would rather have his daughter marry a blue-blooded member of the Royal Court she doesn’t love than tie the knot with a mere commoner.
Before the moment of truth arrives, however, fate intervenes in the form of a monk (Simon Lowe) who hands Jack a few mysterious beans. During a secret visit from Isabelle, one slips through the floorboards, takes seed under his house, and starts to grow rapidly, sweeping the humble abode and the Princess way up into the heavens.
Soon, both of her suitors join the search party, scaling the mile-high beanstalk to an otherworldly realm in the clouds. Jack has no idea that the mammoth plant has also inadvertently reopened a gateway to the ground for an army of gigantic adversaries. And it’s not long before ancient hostilities are reignited over Isabelle and the fate of the planet below.
Directed by Bryan Singer, Jack the Giant Slayer is an alternately enchanting and eyepopping adventure which must be seen in 3-D to be appreciated fully. Between the breathtaking panoramas and the daring derring-do on display, the picture amounts to a captivating, cinematic treat guaranteed to enthrall tykes, ‘tweeners, and just about anyone interested in seeing a classic fairytale brought to life.
Fee! Fye! Foe! Fumm! I smell a hit with the little ones!
Excellent (4 stars)
Rated PG-13 for frightening images, brief profanity and intense violence
Running time: 114 minutes
Distributor: Warner Brothers
To see a trailer for Jack the Giant Slayer, visit
War Witch
Film Review by Kam Williams
Komona’s (Rachel Mwanza) life was irreversibly altered at the tender age of 12 when rebel forces led by the Great Tiger (Mizinga Mwinga) rampaged through her tiny African village. The unfortunate girl was forced at gunpoint to kill her own parents (Starlette Mathata and Alex Herabo) before being abducted and brainwashed into joining the cause.
Deep in the jungle, she was befriended by other kids orphaned by the conflict before being trained to use a weapon against government soldiers. However, more valuable than marksmanship, Komona developed an uncanny knack for sensing enemy positions, a skill which proved handy during encounters with deadly snipers and machine gun nests.
This supernatural ability came to the attention of her superiors, and by the time she turned 13, the so-called “War Witch” was appointed a personal advisor of General Tiger. In that capacity, Komona also had to work closely with Magician (Serge Kanyinda), an albino boy with extra sensory perception.
It’s been said that there are no atheists in foxholes. Apparently there aren’t any celibates in foxholes either. For, it’s not long before the two seers fall madly in love. Magician proposes, they go AWOL, and Komona ends up pregnant by her 14th birthday.
Thus unfolds War Witch, a haunting drama chronicling an adolescent’s coming-of-age under the most trying of circumstances. Written and directed by Canadian Kim Nguyen who shot on location in the Congo, the moving character study was nominated for an Oscar in the Best Foreign Film category.
The picture is cleverly constructed as a series of vivid flashbacks narrated by Komona directly addressing the unborn baby growing in her belly. While the plucky protagonist easily earns our admiration for maintaining her sanity in the midst of the madness, there is still something slightly unsettling about a production so matter-of-fact about the endless atrocities providing the backdrop for such a touching front story.
21st Century Africa presented as a godforsaken wasteland conjuring up primitive images reminiscent of the ghoulish dystopia chronicled by Conrad in Heart of Darkness.
Very Good (3 stars)
Unrated
In French and Lingala with subtitles
Running time: 90 minutes
Distributor: TriBeCa Film
To see a trailer for War Witch, visit
A Good Day to Die Hard
Film Review by Kam Williams
When his wayward son lands in legal trouble in Russia, John McClane (Bruce Willis) makes his way to Moscow to spring Jack (Jai Courtney) from jail. But because the two have been estranged for a few years, the fretting father has no idea his ne‘er-do-well offspring has cleaned up his act and is now working undercover as a CIA Agent.
In fact, Jack has a very good reason for being in Eastern Europe, namely, to thwart a terrorist cell bent on world domination from getting its mitts on a stash of enriched uranium. And, once the truth comes out, father and son grudgingly join forces to keep the Free World safe for democracy.
That’s about all the plot you need to know to follow A Good Day to Die Hard, the fifth installment in the storied franchise starring Bruce Willis. Unfortunately, the movie is basically a brainless indulgence in pyrotechnics, stunts and special f/x, marked by endless explosions, gun fights, car chases and death-defying leaps.
Diehard Die Hard fans will undoubtedly appreciate Willis’ trademark resort to smirking and sarcasm as effective weapons against evil adversaries whenever he’s faced with overwhelming odds. Plus, there’s the comical badinage between John and junior whenever embittered Jack belatedly endeavors to work out his childhood abandonment issues.
Macho John might muster up enough empathy to offer a hug, only to have the Kodak moment undermined by another wave of Soviet assassins armed to the teeth. So, don’t expect sophisticated dialogue and you won’t be disappointed. The best this simplistic script has to offer is professional wrestler-like villains asking: “Do you know what I hate about Americans? Everything!”
An implausible, action adventure featuring a couple of bomb and bulletproof protagonists more resilient than Wile E. Coyote, thanks to the miracle of cartoon physics!
Fair (1 star)
Rated R for profanity and violence
In English and Russian with subtitles
Running time: 98 minutes
Distributor: 20th Century Fox
To see a trailer for A Good Day to Die Hard, visit
Beautiful Creatures
Film Review by Kam Williams
Ethan (Alden Ehrenreich) has lived his whole life in Gatlin, South Carolina, a tiny town in denial about the fact that the South lost the Civil War. The community is so backwards that it has banned books as seemingly innocuous as “To Kill a Mockingbird.”
This frustrating state of affairs has left the curious sophomore determined to attend a college far, far away from the Bible Belt. In the meantime, however, he is secretly reading any of the censored titles he can get his hands on.
For months, Ethan has also been haunted by a recurring nightmare in which he attempts to approach a gorgeous ghost, only to die right before reaching her. Consequently, he wakes up in a cold sweat every morning with a crush on an apparent apparition he thinks doesn’t really exist.
But, as luck would have it, a new transfer student who’s the spitting image of the girl of his dreams shows up in Ethan’s class on the first day of the fall semester. Recently-orphaned Lena (Alice Englert) has just been taken in by her Uncle Macon Ravenwood (Jeremy Irons), the wealthy neighborhood weirdo whose family founded Gatlin generations ago.
Most of the locals know better than to trespass onto the unwelcoming, Gothic Ravenwood Estate, but not Ethan, who’s too smitten with Lena to care. It’s not long before he and Lena are an item, although the flirty 15 year-old does her best to warn her new beau that she’s nothing but trouble.
If only Ethan bothered to consult librarian/seer Amma Treadeau (Viola Davis), he’d know to steer clear of the entire Ravenwood clan. For, truth be told, they’re “Casters,” meaning otherworldly beings whose supernatural powers kick in when they turn 16. And with Lena’s impending 16th birthday just over the horizon, the burning question is whether she’ll be a good witch or drawn to the dark side by her cousin (Emmy Rossum) and late mother (Emma Thompson).
Thus unfolds Beautiful Creatures, a deliciously naughty adaptation of Kami Garcia and Margaret Stohl’s young adult novel of the same name. Directed by Richard LaGravenese, the picture’s plotline is a bit reminiscent of the vampire/human series Twilight, except with the human and non-human protagonists’ genders switched.
Between a talented cast and a compelling script, Beautiful Creatures is bound to do well with the targeted tweener/teen demo with which such cross-species romances seem to resonate nowadays. A viable jumpstart of yetta nudder escapist fantasy franchise.
Very Good (3 stars)
Rated PG-13 for violence, sexuality and scary images
Running time: 118 minutes
Distributor: Warner Brothers
To see a trailer for Beautiful Creatures, visit
Buddy Biopic Chronicles Lincoln’s Long-Term Relationship with Close Confidant and BodyguardSaving Lincoln
Film Review by Kam Williams
A bodyguard doesn’t have the luxury of making a single slip in the process of protecting the President, since a would-be assassin needs but one opportunity to succeed in his deadly mission. Ward Hill Lamon (Lea Coco) learned that lesson the hard way when John Wilkes Booth shot Abraham Lincoln in the back of the head on April 14, 1865.
Ironically, that was the very same day on which Honest Abe created the U.S. Secret Service. For, up until then, Lincoln’s security detail essentially consisted of just one person, the self-appointed Lamon.
In fact, the former law partner was the only pal Lincoln had brought with him from Illinois to Washington, D.C. As a banjo-playing, joke-telling confidant, he not only served as a sounding board but periodically provided the President with some well-needed comic and musical relief from the strains of the taxing job.
After all, The Railsplitter had been in the White House but a month when the Civil War erupted. Thus, he was burdened his entire tenure in office by the stresses associated with the conflict. And while he was trying to preserve the Union, he narrowly survived numerous attempts on his life (including a bullet passing through his stovepipe hat), the first of which was thwarted before his inauguration early in 1861.
Written and directed by Salvador Litvak, Saving Lincoln is an intimate buddy biopic chronicling the pair’s enduring friendship. The film unfolds from the perspective of narrator Lamon, who ominously concedes that, “I never could be at ease when absent from Lincoln’s side.”
Among the many plots the ever-vigilant escort managed to foil was a Rebel kidnapping scheme to hold the President ransom for 200,000 Confederate POWs. Sadly, Lamon was conspicuously absent the fateful night of the cowardly ambush in the box at Ford theater during the Third Act of the performance of a farce called “Our American Cousin.”
Having previously dispatched his trusted bodyguard to Richmond, Virginia, Lincoln ill-advisedly ignored the warning, “Do not go out, particularly to the theater.” A grieving Lamon later waxed philosophical about the tragedy, concluding, “I did not save Mr. Lincoln, because he did not wish to be saved. He completed his work and earned his rest.”
A fresh take on The Great Emancipator from the point-of-view of a constant companion who had been at the President’s side at Gettysburg and many an historical moment except the day he died.
Very Good (3 stars)
Unrated
Running time: 101 minutes
Distributor: Quad Cinema
To see a trailer for Saving Lincoln, visit
Bittersweet Biopic Paints Evenhanded Post Mortem on Life and Times of Late NYC MayorKoch
Film Review by Kam Williams
Ed Koch (1924-2013) was the mayor of New York from 1978 to 1989, a three-term tenure over the course of which the city was beset by everything from racial strife to urban decay to the AIDS epidemic. To some, a feisty leader like Koch was precisely the right remedy for that mix of urban maladies. To others, he was simply too divisive a figure to forge a diverse coalition representative of every ethnicity.
To his credit, Koch did clean up Times Square and bring the city back from the brink of bankruptcy, even if he did irreversibly alienate the black community ab initio by closing Sydenham Hospital in Harlem right after entering office. That controversial move motivated Calvin Butts, pastor of the Abyssinian Baptist Church, to say: “He’s worse than a racist. He’s an opportunist!”
Ever the optimist, Koch was nevertheless fond of always asking his constituents: “How’m I doing?” Although the feedback he received was generally positive, another African-American detractor, Reverend Tim Mitchell was prompted to respond, “You’re not doing well, you’re racist, and the people know it!”
So unfolds Koch, a warts-and-all documentary directed by Neil Barsky.
Overall, the movie might strike the viewer as a bit of a hatchet job, but that’s only because it opened in theaters on the very day he passed away. And when somebody dies, that’s a time for obituaries which tend to focus on the positive, not on “the evil that men do.”
Therefore, fans of the film’s recently-deceased subject might be distressed to see their beloved hero posthumously pilloried. For, the tough-talking politician frequently takes it on the chin here, from the gay slurs “Vote for Cuomo, not the homo!” which surfaced during the 1977 campaign to the allegations of corruption which sank his futile attempt to win a fourth term in office.
At one juncture, when asked his sexual preference, Koch sort of loses it, responding, “It’s none of your [bleeping] business!” To deflect rumors from spreading, especially after a longtime associate, Richard Nathan, claimed to be his spurned lover, he began making plenty of public appearances with Bess Myerson, the first Jewish Miss America on his arm.
Ultimately, the coup de grace was delivered to Koch’s career when many Democratic machine bosses holding powerful positions in his administration were exposed as crooks. This forced the voters to face the fact that the man who had originally run as a reformer on a platform promising to clean up City Hall had himself tragically morphed like the characters in Orwell’s “Animal Farm” into just another hack politician with his hands in the cookie jar.
The rise and fall from grace of a good Jewish boy gone bad who ostensibly sold out the Big Apple but never summoned up the courage to come out of the closet.
Excellent (4 stars)
Rated
Running time: 95 minutes
Distributor: Zeitgeist Films
To see a trailer for Koch, visit
Amour
Film Review by Kam Williams
Undying Love Explored in Poignant, Character-Driven Drama
Retired music teachers Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) have been married for over 60 years. But the frail octogenarians’ love for each other remains as strong as the day they met.
The elderly couple lives in a Paris apartment surrounded by music and art and other indicia of an appreciation of culture. Unfortunately, with Anne’s health in sharp decline, their days are now mostly spent attending to her host of medical issues.
For, she’s basically been bedridden since a stroke that left her right side paralyzed. And the poor woman’s biggest fear is not death but the prospect of returning to the hospital or being moved to a nursing home.
It’s clear that doting Georges is so devoted that he would prefer to abide by his wife’s wishes. However, he’s no spring chicken either, and she’s gradually becoming more than he can handle as her health deteriorates. They do have a daughter, but Eva (Isabelle Huppert) is a travelling musician who can only visit occasionally because of her hectic touring schedule.
So, when it becomes obvious that Anne has passed the point of no return, Georges finds himself on the horns of a dilemma. Does he abide by his life mate’s last request and let her live out her days in the familiar confines of home, or does he resign himself to the fact that he can no longer provide the quality care she so dearly needs to survive?
That is the crux of the critical question explored in Amour, a bittersweet romance drama which just tugs on the heartstrings. Written and directed by Michael Haneke (The Piano Teacher), the flashback flick has deservedly been nominated for five Academy Awards, including Best Picture, Foreign Film, Director, Actress and Original Script.
Paradoxically, Haneke decided to hint at the resolution during an opening tableau during which Georges and Anne’s flat is found on fire. A poignant tale of undying love.
Excellent (4 stars)
Rated PG-13 for mature themes and brief profanity
Running time: 127 minutes
Distributor: Sony Pictures Classics
To see a trailer for Amour, visit: http://www.youtube.com/watch?v=U5Hr3eJc88w
Bullet to the Head
Film Review by Kam Williams
Sylvester Stallone is the only movie star to be #1 at the box-office in five straight decades, a record stretching from Rocky in the Seventies through last summer’s action hit The Expendables 2. And judging by Bullet to the Head, the gracefully-aging matinee idol need not retire to a rocking chair any time soon.
This riveting revenge thriller was directed by the legendary Walter Hill who, back in 1982, brilliantly cast Eddie Murphy in his big screen debut opposite Nick Nolte in 48 Hours. Here, his inspired pairing of Stallone and relative-newcomer Sung Kang as unlikely-buddies proves to be equally entertaining.
Based on Alexis Nolent’s graphic novel of the same name, Bullet to the Head revolves around two tough guys from opposite sides of the law who grudgingly team up to settle a score with a common adversary. Jimmy Bobo (Stallone) is a hit man operating in New Orleans whose protégé (Jon Seda) has just been gutted in a bar by a goon with a Bowie knife (Jason Momoa), while. Taylor Kwon (Kang) is a cop from Washington, DC in town to investigate the murder of his partner (Holt McCallany).
As it turns out, both slayings were ordered by Morel (Adewale Akinnuoye-Agbaje) an ambitious mobster who will stop at nothing in his quest for control of the Crescent City’s crime rackets. Because so many corrupt police and politicians are already in cahoots with Morel, double-crossed Detective Kwon almost ends-up dead when he tries to enlist the assistance of the local authorities in solving his pal’s slaying.
That betrayal leads him to reluctantly forge an unholy alliance with Jimmy. Together, they proceed to embark on a bloody rampage, dispensing a brutal brand of vigilante justice to the henchmen running interference for the ruthless Morel. Besides creating major mayhem, however, the two share many moments of levity during disagreements over about what weapons and tactics to employ.
Streetwise Jimmy repeatedly relies on his instincts and brute force, shooting first and asking questions never, an approach which grates on tech-savvy Kwon dependent on his cell phone and the internet. Kwon also finds time to develop a romantic interest in Jimmy’s estranged daughter (Sarah Shahi), an attractive tattoo artist with a parlor in a seedy neighborhood.
Still, make no mistake, this action-oriented affair is all about exacting vengeance and escalating body counts, and it won’t disappoint diehard Stallone fans in that regard. Vintage Sly in his best outing since Cop Land!
Excellent (4 stars)
Rated R for profanity, nudity, drug use, graphic violence and bloody images
Running time: 91 minutes
Distributor: Warner Brothers
To see a trailer for Bullet to the Head, visit
One Night Stand: Creating a Play in a Day
Film Review by Kam Williams
Anyone who grew up watching The Little Rascals remembers that some of the best episodes were where the kids attempted to put on a show, like the time they did Romeo & Juliet, and Buckwheat had to serve as a last-minute stand-in for Darla as Juliet, much to Alfalfa’s consternation. Well, if you can appreciate that sort of impromptu entertainment, then you are likely to enjoy One Night Stand: Creating a Play in a Day.
Co-directed by Trish Dalton and Elisabeth Sperling, the movie chronicles a Herculean, coordinated effort to write, cast, compose, rehearse and perform four musicals in less than a day. And it’s all for a good cause, too, The Exchange, a charity which supports innovative theater artists.
The movie stars a number of recognizable stage and screen actors, most notably, Richard Kind, Jesse Tyler Ferguson, Cheyenne Jackson, Tracie Toms and SNL alumna Rachel Dratch. And it also prominently features the playwrights and composers operating under pressure to produce scripts and scores, respectively, with little time to revise.
They began working at 8 PM and by 8 AM they handed over a quartet of freshly-minted musicals to the directors and cast members. What ensues is a sort of opening night bedlam, but greatly amplified, since they only have a few hours to memorize lines, lyrics and melodies.
Initially, I was admittedly a little put off by the assorted backstage banter and hysteria, especially since I was more than a little cynical about the ambitious endeavor’s prospects. Yet, all was forgiven when the pieces of the puzzle ultimately came together by show time. I couldn’t believe how polished and professional the final product was.
Rome might not have been built in a day, but One Night Stand proves that a captivating, Broadway-quality musical can be mounted in 24 hours. Who knew?
Very Good (3 stars)
Unrated
Running time: 74 minutes
Distributor: Fathom Events
Studio: Incubation Films
To see a trailer for One Night Stand, visit
Special One-Night Event Nationwide:
One Night Stand will be in theaters on Jan 30, 2013 at 7:30pm local time
Movie 43
Film Review by Kam Williams
Movie 43 is a shallow shocksploitation flick which revels in raunchy lowbrow humor. What is supposed to elevate this terminally-crude comedy above your typical bottom-feeder is its A-list cast topped by Academy Award-winners Halle Berry and Kate Winslet, as well as Oscar-nominees Uma Thurman, Naomi Watts, Hugh Jackman and Terrence Howard.
However, the picture fails miserably in this regard, as it merely ends-up dragging the entire ensemble into the mud. This scatterplot sketch flick features a dozen directors, including Peter Farrelly (There's Something about Mary), Brett Ratner (Rush Hour trilogy), Bob Odenkirk (The Brothers Solomon), to name a few.
The film is essentially a series of skits being pitched by a writer (Dennis Quaid) to a skeptical Hollywood producer (Greg Kinnear). After Charlie sets up each scene, the screen cuts away to an enactment of a fully fleshed-out production of his idea.
For example, the first vignette, "The Catch," revolves around a socialite named Beth's (Winslet) blind date from Hell with Davis (Jackman), a successful, eligible bachelor with a distracting drawback, namely, a hairy scrotum hanging from his neck in place of an Adam's apple. The sight gag serves as fodder for a running joke since Beth, inexplicably, is the only person in the restaurant able to see the deformity.
So, while Davis looks perfectly normal to everybody else, the poor woman finds herself forced to suffer such indignities as posing for a picture with sweaty gonads in her face. The subject matter goes from gross-out fare to incest and pedophilia in the next segment, "Homeschooled," which is about a mother's (Watts) taking her son's (Jeremy Allen White) virginity. Worse, the 13 year-old's perverted dad (Liev Schreiber) comes on to the kid, too.
Halle Berry's breasts co-star in "Truth or Dare," another bit about a blind date. In this tacky tableau, her character first exposes herself after accepting a challenge to make guacamole with her bosom. The oversexed exhibitionist bares her gargantuan mammaries again at the end of the evening, even though she's supposedly not attracted to Asian men.
Dating is also the theme of "Super Hero Speed Dating" where Batman's (Jason Sudeikis) sidekick Robin (Justin Long) attempts to charm both Super Girl (Kristen Bell) and Wonder Woman (Leslie Bibb). And "Middleschool Date" milks its mean-spirited mirth from a 7th grader's (Chloe Moretz) being mercilessly teased about getting her first menstrual period while sharing a kiss with a classmate (Jimmy Bennett) she has a crush on.
More creepy than comical, Movie 43 represents a disgusting, cinematic descent into depravity destined to leave its victims, sitting slack-jawed and speechless in stunned disbelief.
Poor (0 stars)
Rated R for violence, drug use, pervasive profanity, graphic sexuality, frontal nudity, crude humor and coarse dialogue.
Running time: 90 minutes
Distributor: Relativity Media
To see a trailer for Movie 43, visit
Mumia: Long Distance Revolutionary
Film Review by Kam Williams
Wesley Cook, aka Mumia Abu-Jamal, was born on April 24, 1954 in the City of Brotherly Love. There, he founded a branch of the Black Panthers at the age of 15 after being kicked by a cop at a rally for segregationist presidential candidate George Wallace.
After attending college in Vermont, he returned to Philly to pursue a career in journalism. He proceeded to provide a voice for the voiceless as a politically-progressive reporter while simultaneously moonlighting as a cab driver, until the fateful night in 1981 when he and his brother William crossed paths with a police officer named Daniel Faulkner.
The cop was killed during the traffic stop, when the bullets from a gun registered to Mumia were emptied into him at close range. Faulkner managed to get off a few shots, wounding Mumia.
At trial, the jury deliberated only a few hours in what seemed like an open-and-shut case, and the defendant was convicted and subsequently handed a death sentence. However, because of Mumia's previously clean record and his having served as such an articulate mouthpiece for the poor and disenfranchised, he soon became something of an international cause célèbre.
Was he indeed a murderer or had he been railroaded to prison because of his radical views? The left and the right would disagree strongly on the issue. Eventually his sentence was commuted to life with no parole, and the fundamental question of guilt or innocence was essentially left unanswered.
The same can be said after viewing Mumia: Long Distance Revolutionary, a documentary which doesn't seek so much to clear the controversial figure's name as to showcase his intellect and longstanding defiance of The Establishment.
To director Stephen Vittoria's credit, he hauls out a long line of luminaries like Dr. Cornel West, Ruby Dee, Hurricane Carter, Alice Walker, Angela Davis, Dick Gregory and Amy Goodman to take turns heaping praise on his sympathetic subject.
While their heartfelt testimonials leave no doubt about Mumia's commitment to the struggle and considerable talents as a writer, none of them were eyewitnesses to the murder. Thus, this is not a biopic which seeks to poke holes in the prosecution's case or to indict the State of Pennsylvania for a rush to judgment.
Rather, it merely endeavors to highlight the squandered potential of a gifted, if fatally-flawed individual. Love him or hate him, no one watching this inconclusive piece can deny that Mumia has a way with words.
A film that wisely leaves the damning evidence on the back burner in favor of focusing on everything about Mumia Abu-Jamal except for what exactly transpired at the corner of 13th and Locust in the wee hours of December 9, 1981.
Excellent (4 stars)
Unrated
In English and Spanish with subtitles
Running time: 120 minutes
Distributor: First Run Features
To see a trailer for Mumia: Long Distance Revolutionary, visit
Opens February 1st at Cinema Village in New York City, with special appearances by the filmmaker and people appearing in the film.
Les Miserables
Film Review by Kam Williams
Published by Victor Hugo in 1862, Les Miserables is generally recognized as one of the most important novels of the 19th Century. The socially-conscious, 1900-page opus explored a plethora of themes, particularly power, justice, monarchy and religion.
The moving morality play specifically shed light on the plight of the poor, especially women and children, with the hope of raising awareness about the insensitivity of a callous legal system. I digress by way of introduction only to remind readers that Les Mis' source material was a relatively-profound examination of France's prevailing issues of the day.
Directed by Academy Award-winner Tom Hooper (for The King's Speech), the screen adaptation is based on the long-running Broadway production which won 8 Tony Awards back in 1987. The film version has landed just as many Oscar nominations, including Best Picture, Best Actor (Hugh Jackman), Best Supporting Actress (Anne Hathaway) and Best Original Song ("Suddenly").
Understandably, the novel's labyrinthine plot has been simplified considerably into a tale of love and redemption. Unfolding in Paris in 1815, the movie basically revolves around Jean Valjean (Jackman), a recently-paroled ex-con intent on turning a new leaf after serving 19 years in prison for the theft of a loaf of bread.
On the road to redemption, he promises a prostitute on her death bed (Hathaway) to raise her about to be orphaned young daughter (Amanda Seyfried). Meanwhile, he finds himself mercilessly haunted by a ruthless policeman (Russell Crowe) intent on putting him back behind bars. Officer Javert believes once a crook, always a crook, and accordingly devotes his days to a dogged pursuit of Valjean.
Les Mis is a cinematic rarity in that virtually every line of dialogue is sung. Furthermore, I suppose it might mean something to theater purists that the director eschewed dubbing in favor of having the cast sing live on set.
Entertaining enough to garner this critic's stamp of approval, Les Mis nevertheless pales in comparison to so many of those enchanting classics from my childhood like West Side Story, My Fair Lady and Guys & Dolls. I guess they don't make musicals like they used to anymore.
Very Good (3 stars)
Rated PG-13 for violence, mature themes and suggestive material
Running time: 158 minutes
Distributor: Universal Pictures
To see a trailer for Les Miserables, visit
The Pirogue
Film Review by Kam Williams
Senegalese Peasants Set Out for Spain in Seafaring Tale of Survival
You might find the title of this movie a little misleading, since to most people a "pierogi" is a puffy Polish delicacy stuffed with potatoes, sauerkraut and ground meat. However, the similar-sounding "pirogue" is also the name of the flat-bottomed, wooden boat used by West African fishermen for centuries.
Directed by Moussa Toure, the fact-based drama revolves around 30 Senegalese peasants, 29 men and 1 woman (Mame Astou Diallo), who make a break for Spain by sea in search of a better life. Because of their country's bad economy, even the fishing industry is dying, which means some ship owners have turned to using their vessels to smuggle needy refugees to Europe.
The story was inspired by the over 30,000 souls who attempted the transoceanic voyage between 2005 and 2010, and it is dedicated to the 5,000 of them that perished in the financial freedom flotillas. The captain of the pirogue at the center of the adventure is Baye Laye (Souleymane Seye Ndiaye), a married man who requests that his wife be paid his fee of a million Francs before his departure on the dangerous journey.
The boat is outfitted with a radio, a GPS device, 260 gallons of gasoline, 80 gallons of water and 300 pounds of rice. And the passengers have brought along musical instruments like bongos, bells and a kalimba to break up the monotony of what they expect to be long boring days.
Not so fast, kimosabe. After passing the point of no return, they encounter a host of horrifying ordeals ranging from homesickness to madness to sexual tension to infighting to a hurricane to leaks to starvation. Ultimately, their plight becomes so overwhelming that they end up praying to Allah for divine intervention.
A compelling cross of Life of Pi and Lifeboat, a seafaring tale of survival sans the Bengal tiger and Tallulah Bankhead.
Excellent (3.5 stars)
Rated: Unrated
In French with subtitles
Running time: 87 minutes
Distributor: ArtMattan
To see a trailer for The Pirogue, visit
Quartet
Film Review by Kam Williams
Sometimes a gem of a movie slips through the cracks that really has no business getting lost. Such is the case with Quartet, a delightful dramedy directed by Dustin Hoffman and starring Maggie Smith.
Since the film was released in late December by the esteemed Weinstein Company, one would naturally expect it to generate a lot of Academy Award buzz. But it was overlooked entirely, which means moviegoers might now be tempted to pass on the picture in favor of Oscar contenders. I just hope audiences don't dismiss Quartet because it lacks the Academy's stamp of approval.
The story is set at Beecham House, a sprawling estate in England which serves as a retirement home for accomplished classical musicians. At the point of departure, we are introduced to three of its residents Wilfred (Billy Connolly), Cecily (Pauline Collins) and Reginald (Tom Courtenay), opera singers who once shared the limelight as members of a famed quartet.
Melancholy Reggie is rather reserved in contrast to the comic relief coming courtesy of slightly senile Cissy and ladies man Wilf, a frisky codger quick to flirt with anything in a skirt. Otherwise, Beecham House is busy preparing to put on an annual concert, staged each year on Verdi's birthday.
The plot thickens when Jean Horton (Smith), a very demanding, former diva, moves in unannounced. For not only was she responsible for the breakup of the aforementioned quartet, but the adulteress was also to blame for the failure of her brief marriage to Reggie.
Jean is so narcissistic that she's initially oblivious to the effect that her arrival is having on her ex, who ostensibly never fully recovered from their divorce. Instead, she spends her time complaining about having to adjust to the relatively modest circumstances.
Will the two reconcile, let alone be able to even share the same space? And can the quartet be reunited to perform as headliners at the recital, a fundraiser suddenly critical to Beecham's remaining afloat? These are the pivotal concerns that will keep you entertained and engaged every step of the way to the glorious resolution.
A charming, romantic romp revolving around a couple of unexpected encores.
Excellent (4 stars)
Rated PG-13 for suggestive humor and brief profanity
Running time: 98 minutes
Distributor: The Weinstein Company
To see a trailer for Quartet, visit
Gangster Squad
Film Review by Kam Williams
Mickey Cohen (Sean Penn) was born and raised in Brooklyn where he started out as a prizefighter before moving to Chicago during Prohibition to become an enforcer for Al Capone. In the Forties, he was sent by Meyer Lansky to Los Angeles to establish extortion, gambling, prostitution and loan shark operations on behalf of the Jewish Mafia.
Mickey gradually began to make inroads, which didn't sit well with LA Police Chief Bill Parker (Nick Nolte) who was determined to prevent any crime syndicate from gaining a foothold in his city. But that would prove easier said than done since the vicious mobster had already succeeded in bribing and/or intimidating many cops, judges and powerful politicians.
Given the frightening degree of corruption, Parker decided that the only way to bring down Mickey was to behave just as ruthlessly. So, he asked one of his most fearless officers, Sergeant John O'Mara (Josh Brolin), to form a top secret team whose mission would be to enforce the law by breaking it.
For, the so-called Gangster Squad's mission was simply to enter each of Cohen's establishments anonymously in order to break kneecaps and generally trash the place. Of course, if any of O'Mara's goons were killed or captured, the Commissioner would have to disavow any knowledge of their actions.
Thus unfolds Gangster Squad, a stylized costume drama with far more charm than one would ordinarily expect to find in an old-fashioned shoot ‘em up. Directed by Ruben Fleisher (Zombieland), the film is based on the clever Paul Lieberman best-seller of the same name.
The production was blessed with an A-list cast which includes Sean Penn, Ryan Gosling, Josh Brolin, Emma Stone, Nick Nolte, Anthony Mackie, Giovanni Ribisi, Michael Pena, Robert Patrick and Mireille Enos. Therefiore, there are no throwaway roles here, with even lesser characters benefitting from development as a consequence of veteran thespians putting their all into their performances.
As a result, you come to care not only about whether or not Mickey will ever be brought to justice, but about surprisingly-engaging subplots involving a lawman (Gosling) going gaga over the gangsta's moll (Stone), and about a pregnant wife's (Enos) worry about whether her gung-ho hubby's (Brolin) will live long enough to witness his baby's birth. Nevertheless, the front story does feature all the staples of the genre, from flashy Zoot suits to Tommy guns to street smart dialogue mixing slang and savoir faire in a manner reminiscent of Damon Runyon.
A high body-count showdown between rogue cops and the Kosher Nostra for the future of Los Angeles!
Excellent (4 stars)
Rated R for profanity and graphic violence
Running time: 113 minutes
Distributor: Warner Brothers
To see a trailer for Gangster Squad, visit
The Impossible
Film Review by Kam Williams
On the day after Christmas in 2004, a magnitude 9.3 earthquake, the third largest ever measured on the Richter scale, triggered a mammoth tsunami in the Indian Ocean which cost a quarter million people their lives. Thanks to the ubiquity of surveillance and cell phone cameras, the world was able to witness much of the tragedy, including tidal waves crashing ashore and creeping deep inland before sweeping humans, cars and everything else in its path back out to sea.
Maria (Naomi Watts) and Henry Belon (Ewan McGregor), a married couple from Spain, had the misfortune to be vacationing in Thailand with their three sons (Tom Holland, Samuel Joslin and Oaklee Pendergast) that fateful day. Because they had rented a ground level cottage at a luxurious beachfront resort, they were engulfed by water and separated from each other the moment disaster struck.
The family's ensuing ordeal is the subject of The Impossible, a harrowing tale of survival directed by Juan Antonia Bayona (The Orphanage). The Belons' nationality has admittedly been changed from Spanish to British for the sake of the film, but one can only assume that the rest of their terrifying experience has been accurately recreated here.
The film opens with a relatively serene tableau covering their uneventful, Christmas Eve flight to Khao Lak as well as their subsequent celebration of the holiday opening presents and snorkeling. Of course, that deceptively idyllic setup is just the quiet before the storm.
When the tsunami hits the following morning, their hotel is engulfed, and from that point forward the picture is presented primarily from Maria's point of view. We first witness her clinging to a palm tree, and then saving eldest son Lucas (Holland).
The kid eventually escorts his profusely bleeding mother through the chaos to a makeshift hospital for some urgently-needed medical attention. While she teeters between life and death, Lucas perambulates the devastated region for any sign, living or dead, of his missing father and siblings.
Did they make it? Sorry, far be it from this critic to spoil the resolution of any edge-of-your-seat thriller, even if based on actual events.
Forget National Lampoon, this flick chronicles the real vacation from Hell!
Very Good (3 stars)
Rated PG-13 for brief nudity, disturbing images and intense disaster sequences
In English and Thai with subtitles
Running time: 114 minutes
Distributor: Summit Entertainment
To see a trailer for The Impossible, visit
Zero Dark Thirty
Film Review by Kam Williams
After 9/11, the United States intensified its efforts in the international manhunt for Osama bin Laden (Ricky Sekhon). Nevertheless, the elusive mastermind of the terrorist attack continued to orchestrate mass murders in Bali, Istanbul, London, Saudi Arabia and elsewhere around the world.
Dismayed by the ever-mounting death toll, the authorities rationalized the use of rough interrogation tactics bordering on torture in the hope of expediting the capture, dead or alive, of the slippery al-Qaida leader. He was ultimately tracked down to a walled compound in Abbottabad, Pakistan where he died on May 2, 2011 during a daring, helicopter raid conducted by Navy SEAL Team Six,
Directed by two-time, Academy Award-winner Kathryn Bigelow (for The Hurt Locker), Zero Dark Thirty (military speak for 12:30 AM) is a riveting, super-realistic account of the decade-long search for bin Laden. Bigelow has again collaborated with Oscar-winning scriptwriter Mark Boal (also for The Hurt Locker), with the pair apparently gaining access to classified materials in preparing the project.
The film is structured as a tale of female empowerment revolving around Maya (Jessica Chastain), a cool, calm and collected CIA agent who manages to keep her head even when so many around her seem to be losing theirs, literally and/or figuratively. She also has an uncanny knack for deciphering which clues might be worth following, cutting a sharp contrast in this regard to bumbling colleagues who fritter away most of their time on wild goose chases.
At the point of departure, we find Maya finally getting her first taste of fieldwork after starting her career boning-up on bin Laden behind a desk in Washington, D.C. She's been reassigned to participate in the questioning of al-Qaida members and sympathizers being detained at secret sites located outside the U.S. where the Geneva Conventions provisions relating to torture presumably don't apply.
Soon, Maya's chasing clues from Pakistan to Kuwait to Afghanistan and back, alongside tone-deaf bosses (Jason Clarke and Kyle Chandler) who could crack the case quickly if they weren't such male chauvinists suffering from Persistent Disbelief Syndrome. That's the shopworn plot device which pits a frustrated, unappreciated protagonist against an army of stubbornly skeptical naysayers.
Whether a convenient, cinematic contrivance or an accurate portrayal of what transpired, Zero Dark Thirty's version of history certainly makes for a very convincing piece of patriotic storytelling. Credit Jessica Chastain for imbuing her character, Maya, with a compelling combination of vulnerability, sagacity and steely resolve in a memorable, Oscar-quality performance.
CIA Agent Strangelove, or how I learned to stop worrying and love waterboarding!
Excellent (4 stars)
Rated R for profanity, disturbing images and graphic violence.
Running time: 157 minutes
Distributor: Columbia Pictures
To see a trailer for Zero Dark Thirty, visit
Promised Land
Film Review by Kam Williams
In 2011, a disturbing documentary called Gasland was nominated for an Academy Award in the Best Documentary category. That eye-opening expose' chronicled how energy companies had duped landowners in Pennsylvania and Colorado into signing over the drilling rights on their property while downplaying the ecological risks.
For hydraulic fracturing, AKA fracking, the process employed to mine natural gas, has contaminated many a community's environment, thereby rendering homes virtually uninhabitable. In that movie, victims demonstrated with a match how their tap water had become flammable, and how their pets had inexplicably turned sickly and started shedding fur in patches.
Ostensibly inspired by Gasland, the Biblically-titled Promised Land is a cautionary tale tackling the same theme. This modern morality play reunites director Gus Van Sant with Matt Damon for their fourth collaboration which began back in 1997 with Good Will Hunting. The pair also worked together on Finding Forrester in 2000 and on Gerry a couple of years later.
Here, Damon stars as Steve Butler, a farm boy-turned-itinerant corporate pitchman employed by a gas conglomerate to fast-talk country folks into turning over their drilling rights. He and his partner's (Frances McDormand) latest assignment takes them to McKinley, a cash-strapped, if otherwise idyllic, rural community that stands to be polluted if tricked into signing on the dotted line.
Steve has a down-home way of insinuating himself with the locals which even turns the head of a pretty schoolmarm (Rosemarie DeWitt). Fortunately, a couple of gadflies in the ointment emerge in a skeptical science teacher (Hal Holbrook) and an outside agitator (John Krasinski) who urge everybody not to be blinded by dollar signs, but to do a little research into the potential fallout from fracking.
A transparent message movie which might deserve to be forgiven for moralizing and politicizing, given the urgency of the underlying environmental issue.
Very Good (3 Stars)
Rated R for profanity.
Running time: 106 minutes
Distributor: Focus Features
To see a trailer for Promised Land, visit
Django Unchained
Film Review by Kam Williams
There's a sensible reason why nobody ever wanted to be an Indian whenever we played Cowboys and Indians as kids. That's because the white man was invariably the hero of the Westerns on which we'd been weaned, while the red man had always been presented as a wild savage dismissed by the dehumanizing affirmation that, "The only good Injun is a dead Injun."
Sure, a few films, such as Apaches (1973), The Sons of Great Bear (1966) and Chingachgook: The Great Snake (1967), flipped the script by portraying Native Americans as the good guys and the European settlers as the bad guys. But those productions were few and far between.
Hollywood has also promoted a set of stereotypes when it comes to the depictions of black-white race relations during slavery, with classics like The Birth of the Nation (1915) and Gone with the Wind (1939) setting the tone. Consequently, most movies have by-and-large suggested that it was a benign institution under which docile African-Americans were well-treated by kindly masters, at least as long as they remained submissive and knew their place.
Leave it to Quentin Tarantino to put a fresh spin on the genre, much as he did in the World War II flick Inglourious Basterds (2009). With Django Unchained, the iconoclast writer/director again rattles the cinematic cage by virtue of an irreverent adventure that audaciously turns the conventional thinking on its head.
Set in the South in 1858, the picture is visually reminiscent of the Spaghetti Westerns popularized in the Sixties by Italian director Sergio Leone, being replete with both big sky panoramas and cartoonish, one-note villains who are the embodiment of evil. But instead of cattle rustlers, it's inveterate racists being slowly tortured or blown away to the delight of the audience.
The movie stars Jamie Foxx in the title role as a slave lucky enough to be liberated by a German dentist-turned-bounty hunter (Christoph Waltz). Abolitionist Dr. Schultz altruistically takes Django on as an apprentice, and proceeds to teach him how to ride a horse and handle a gun.
The grisly business of tracking down outlaws "Wanted Dead-or-Alive" conveniently affords the revenge-minded freedman many an opportunity to even the score with folks responsible for his misery, from the scars on his back, to the "R" for "Runaway" branded on his cheek, to being separated from his wife, Broomhilda (Kerry Washington). As you might guess, the action gets pretty gruesome, as is par for the course for any Tarantino vehicle.
Slavery reimagined as a messy splatterfest where massa gets exactly what he deserves, and then some!
Excellent (4 stars)
Rated R for profanity, nudity, ethnic slurs and graphic violence
Running time: 165 minutes
Distributor: The Weinstein Company
To see a trailer for Django Unchained, visit
Silver Linings Playbook
Film Review by Kam Williams
Pat Solitano (Bradley Cooper) completely lost it the day he came home early from work to find his wife (Brea Bee) naked in the shower with one of her colleagues (Ted Barba). In fact, he proceeded to beat up her lover so badly that the only way he avoided a prison sentence was by agreeing to enter a mental hospital.
That was eight months ago and now that he's being discharged he's eager to reconcile and reunite with Nikki. But that's not gonna happen, because she's so afraid of his temper that she sold their house and got a restraining order issued against him.
And she has good reason to be concerned, since her ex has been diagnosed as bipolar with depression and anger management issues. Consequently, with no wife, job or home to return to, the state releases Pat to the custody of his parents (Robert De Niro and Jacki Weaver), although he considers the move temporary.
While suffering under the delusion that Nikki will come back to him soon, he is introduced to a recently-widowed neighbor (Jennifer Lawrence). As luck would have it, Tiffany happens to afflicted with a very compatible set of weird neuroses.
She confides in him that she's been very promiscuous as of late, and that she was fired for sleeping with just about everybody in her office. A Platonic friendship is gradually forged between the two, with chivalrous Pat protecting rather than further exploiting the vulnerable young woman. Meanwhile, Tiffany agrees to secretly deliver forbidden letters to his estranged wife so long as he promises to be her dance partner in an upcoming ballroom competition.
Adapted from the Matthew Quick novel of the same name, Silver Linings Playbook is a tenderhearted tale about two terribly wounded souls who survive by grudgingly leaning on each other's shoulder. Written and directed by Academy Award-nominee David O. Russell (for The Fighter), this charming little film has already landed four well-deserved Golden Globe nominations in the Best Picture, Screenplay, Lead Actor and Lead Actress nominations.
The protagonists are played by People Magazine's Sexiest Man Alive Bradley Cooper and Oscar-nominee Jennifer Lawrence (For Winter's Bone) who again exhibits an impressive acting range in service of an emotionally-demanding role. The pair's stellar supporting cast is at its best when providing comic relief, especially Anupam Kher as Pat's eccentric shrink, Chris Tucker as his motor-mouthed pal, and Robert De Niro as his obsessive-compulsive father.
Credit director Russell for keeping the audience captivated and in suspense for the duration with the help of a cleverly-concealed script as well as a motley crew of colorful characters. A slice-of-life romantic romp revolving around a couple of unstable misfits who take forever to wake up and realize they've found one another.
Excellent (4 stars)
Rated R for profanity, sexuality and nudity
Running time: 122 minutes
Distributor: The Weinstein Company
To see a trailer for Silver Linings Playbook, visit
The Central Park Five
Film Review by Kam Williams
Around 9 PM on April 19, 1989, a 28 year-old, female jogger was brutally beaten, sexually assaulted and left for dead in a wooded area of Central Park located off the beaten path. Because she was an investment banker with an Ivy League pedigree, the NYPD felt the pressure to apprehend the perpetrators of the heinous crime ASAP.
Within hours, cops had extracted confessions from Anton McCray, Kevin Richardson, Korey Wise, Yusef Salaam and Raymond Santana, Jr., teenagers who had been denied their right to an attorney. Although none of the five had ever been arrested before, they were all convicted of rape and attempted murder on the strength of those incriminating admissions alone.
Part of the explanation for the legal lynching was that the victim was a wealthy white woman while the accused were poor black kids from Harlem. The press was all too willing to exploit the hot button issues of color and class, and the media sensationalized the case's lurid details, coining the term "wilding" to describe the alleged behavior of the defendants.
Real estate magnate Donald Trump even took out full-page ads in every New York City daily newspaper, calling for the death penalty and saying that the boys "should be executed for their crimes." In the face of the vigilante-like demand for vengeance, no one seemed concerned that the suspects' DNA failed to match the only semen found at the scene.
Sadly, they were only exonerated in 2002 after having completely served sentences ranging from 6 to 13 years when Matias Reyes, a serial rapist whose DNA was a match, confessed to the crime because of his guilty conscience. This gross miscarriage of justice is recounted in The Central Park Five, a riveting documentary co-directed by the father-daughter team of Ken and Sarah Burns.
The film features reams of archival footage, including videotapes of the framed quintet's coerced confessions. Mixed in are present-day reflections by them, their lawyers, and relatives, as well as by politicians, prosecutors and other pivotal players.
A heartbreaking expose' about a rush to judgment which ruined five, innocent young lives.
Excellent (4 stars)
Unrated
Running time: 119 minutes
Distributor: Sundance Selects
To see a trailer for The Central Park Five, visit
This Is 40
Film Review by Kam Williams
When we first met Pete (Paul Rudd) and Debbie (Leslie Mann) in Knocked Up (2007), the couple was in crisis, primarily on account of her controlling behavior. She unreasonably suspected her husband of cheating because of the odd hours he kept as a Rock and Roll talent scout.
Their subplot simply provided an amusing diversion from a front story revolving around the farcical plight of a popular TV host who ended-up impregnated by a slacker after a one-night stand. With This Is 40, miserably-married Pete and Debbie have graduated from peripheral characters to the protagonists of their own battle-of-the-sexes comedy.
At the point of departure, we find them both on the verge of turning 40 years-old. She's in denial, still trying to pass for 38, and generally dreading the impending arrival of her birthday.
Meanwhile, he's regressed behaviorally, and routinely undermines any potential romantic mood by flaunting unappetizing bodily functions ranging from flossing to flatulence. So, it comes as no surprise that the spark has gone completely out of their relationship.
This sad state of affairs is established during the picture's opening tableaus when see how, between work and raising two high-maintenance daughters (Maude and Iris Apatow), Pete and Debbie are too drained by the end of the day to even think about lovemaking. In fact, the most passion either exhibits is for their jobs.
He's the CEO of a struggling, retro record company representing obscure has-beens like Gram Parker, and she owns a trendy boutique facing its own financial woes following embezzlement on the part of a trusted employee (Megan Fox or Charlyne Yi). On top of the burning question "Can Pete and Debbie get their groove back?" this raunchy sitcom ratchets up the tension around the prospect of losing their multimillion-dollar McMansion.
It's important to note that This Is 40 was written and directed by Judd Apatow, master of the shocksploitation genre whose gross-out productions have basically glorified profanity, potty humor, graphic sexuality and gratuitous nudity. This offering won't disappoint his diehard fans in that regard, and even has the rudiments of a plot for folks whose IQs have reached room temperature.
A midlife crisis comedy marking the milestone with a tribute to immaturity!
Very Good (2.5 stars)
Rated R for sexuality, nudity, crude humor, drug use and pervasive profanity
Running time: 134 minutes
Distributor: Universal Pictures
To see a trailer for This Is 40, visit
Hitchcock
Film Review by Kam Williams
It wasn't long after the Hollywood premiere of North by Northwest in July of 1959 that Alfred Hitchcock (Anthony Hopkins) was already searching for his next project, since he was at his most content making movies. After passing on all the scripts being pitched by Paramount, the master of suspense became curious about a recently-published novel inspired by the gruesome exploits of a Wisconsin serial killer (Michael Wincott).
Hitchcock found the book "Psycho" captivating, and acquired the rights to the pulpy page-turner over the objections of his agent (Michael Stuhlbarg), accountant (John Rothman), assistant (Toni Collette) and studio's president (Richard Portnow). He even had a hard time convincing his skeptical wife, Alma (Helen Mirren), whose support was always critical as his longtime collaborator and sounding board.
But once the couple decided to finance the picture themselves, they turned their attention to casting. They settled on relatively-unknown Anthony Perkins (James-D'Arcy) in the pivotal role of Norman Bates, while opting for Janet Leigh (Scarlett Johansson) over a fading star (Jessica Biel) as their ill-fated leading lady.
However, pressures continued to mount after the filming got underway, with concerns ranging from the director having to massage actresses' egos to having to figure out how to get the graphic shower scene past the censors. Unfortunately, Albert's flirtatious behavior on the set would take a toll on the relationship with a fed-up Alma disappearing with a friend (Danny Huston) to a beachfront pied-a-terre he hid from his wife.
Will she cheat or choose to reconcile with her rotund hubby, despite his roving eye? That is the real tension at the heart of Hitchcock, since everybody knows that Psycho was completed and went on to be feted as a cinema classic.
Directed by Sacha Gervasi, this delightful docudrama is based on "Alfred Hitchcock and the Making of Psycho" by Stephen Rebello. What makes the movie so compelling is the badinage between Alma and Alfred as capably played by Oscar-winners Helen Mirren (for The Queen) and Anthony Hopkins (for The Silence of the Lambs).
Who knows whether their alternately acerbic and admiring interaction is accurate or pure fabrication? It almost doesn't matter when delivered oh so convincingly, ostensibly allowing the audience a rare "fly on the wall" opportunity to watch a genius and his better half weave movie magic together.
A cinematic treat offering rare peeks behind the scenes and behind the closed doors of a legendary director and the love of his life.
Very Good (3 stars)
Rated PG-13 for sexuality, violent images and mature themes
Running time: 98 minutes
Distributor: Fox Searchlight
To see a trailer for Hitchcock, visit
Civil Rights Documentary Recounts Landmark Supreme Court Decision on Interracial Marriage The Loving Story
Film Review by Kam Williams
Soon after Mildred Jeter and Richard Loving tied the knot in Washington, DC on June 2, 1958, they decided to move back to their tiny hometown of Central Point, Virginia to settle down and start a family. The groom, a bricklayer by trade, even purchased a plot of land where he promised to build his bride a house.
However, Virginia was one of 24 states where interracial marriage was still illegal because of racist laws designed to rob minorities of their dignity and to keep them in a lower social and economic status. Since Richard was white and Mildred was a mix of black and Native-American, it was just a matter of time before the local sheriff would catch wind of their illicit liaison and crack down on the felons like a ton of bricks.
And in the middle of the night, he and a posse broke down the door, dragging the newlyweds off to jail while threatening to rape Mildred. Given that this was Virginia during the disgraceful days of Jim Crow, the Lovings were, of course, ultimately found guilty and each given a one-year sentence for the crime of marrying across the color line.
As their appeal dragged on, Mildred wrote to then Attorney General Bobby Kennedy for help avoiding incarceration. He declined, but suggested she approach the American Civil Liberties Union, which did decide to take the case.
"Just tell the Supreme Court I love my wife," Richard directed the ACLU attorneys as they prepared to argue before Chief Justice Warren and his associates. In the historic Loving v. Virginia decision handed down on June 12, 1967, the Lovings' convictions were overturned and their union finally garnered the blessing and government protection that had so eluded them for almost a decade.
All of the above is recounted in heartbreaking fashion in The Loving Story, a combination biopic and courtroom drama directed by Nancy Buirski. What makes the film so touching are the reams of archival footage of the unfortunate couple at the center of the controversy.
For the lovebirds are so young and so innocent, it's hard to fathom why anyone would even seek to separate let alone imprison them. A moving, must-see documentary about the Lovings' belated vindication and the elimination of one of the last vestiges of segregation.
Could it be more fitting that the litigants in the landmark case eradicating the crime of loving a person of a different color would be named Loving!
Excellent (4 stars)
Unrated
Running time: 77 minutes
Distributor: Icarus Films
To see a trailer for The Loving Story, visit
In NYC, The Loving Story opens 12/10 at the Maysles Cinema.
Anna Karenina
Film Review by Kam Williams
First published in a literary magazine between 1873 and 1877 in a series of installments, Anna Karenina is a 1000+ page opus which chronicles the ill-fated affair between a St. Petersburg socialite and a strapping, young soldier. Despite the salacious soap opera at the heart of the story, the dense novel is actually much deeper, as it explores myriad motifs, ranging from feminism to family to forgiveness to fate.
Leo Tolstoy's tawdry tale of forbidden love has been brought to the screen over 20 times, most notably starring Greta Garbo (1935) and Vivien Leigh (1948) in the title role. Here, Academy Award-nominee Keira Knightley (for Pride & Prejudice) delivers a fresh interpretation of the flawed heroine in a bold adaptation directed by Joe Wright.
The movie marks the pair's third collaboration, along with the critically-acclaimed Pride & Prejudice (2005) and Atonement (2007), costume dramas which together netted a total of 11 Oscar nominations. End of year accolades are likely in store for this offering as well, primarily as a consequence of Knightley's powerful performance and Wright's daring and dazzling reimagining of the Russian classic.
The highly-stylized production has a stagy feel to it rather reminiscent of Moulin Rouge! (2001). In fact, most of the film unfolds in a dingy, dilapidated theater, which might sound at first blush like a disappointing downsizing of the sweeping source material. But this surreal treatment, replete with stampeding horses and a host of other surprises lying in wait in the wings and up in the rafters, proves nothing short of magical without diminishing the Tolstoy epic one iota.
At the point of departure, we find miserably-married Anna selfishly falling in love at first sight with dashing Count Vronsky (Aaron Taylor-Johnson), a bachelor serving in the cavalry. The two proceed to carry on shamelessly, much to the chagrin of her cuckolded, considerably older hubby, Alexei Karenin (Jude Law), a boring government bureaucrat.
Besides that awkward triangle, the picture devotes its attention to a couple of lesser-developed subplots. One involves Anna's brother (Matthew Macfadyen), a womanizer who has been cheating on his wife, Dolly (Kelly Macdonald). The other revolves around wealthy Konstantin Levin's (Domhnall Gleeson) pursuit of Dolly's teenage sister Kitty (Alicia Vikander), a debutante who harbors hopes of being courted by Vronsky.
Ultimately, Anna's mind gradually unravels, being tragically undone by a mix of jealousy, bitterness and assorted social pressures. All of the above transpires against an audacious, visually-arresting backdrop as envisioned and brilliantly executed by the gifted Wright.
A sumptuous cinematic feast!
Excellent (4 stars)
Rated R for sexuality and violence
Running time: 130 minutes
Distributor: Focus Features
To see a trailer for Anna Karenina, visit
Deadfall
Film Review by Kam Williams
Siblings Addison (Eric Bana) and Liza (Olivia Wilde) are in the midst of making a break for Canada after pulling a casino heist, when they encounter a blinding blizzard in Michigan. Their car careens down an embankment and flips over, leaving their getaway driver dead the second his head hits the windshield.
Soon, a state trooper arrives at the scene, unaware that the accident victims are actually felons on the run. Without hesitation, itchy-fingered Addison pulls out a gun and callously kills the unsuspecting officer.
Figuring that the cops might now be looking for a man and a woman, the brother and sister decide it might be wise for them to separate and reunite north of the border. He heads into the forest; she thumbs a ride with an ex-con (Charlie Hunnam) headed home for Thanksgiving.
And while Addison continues to create major mayhem with his every encounter with people he meets in the woods, Liza uses her womanly wiles to wrap Jay around her little finger. By pure coincidence, Addison's bloody trail leads to the humble country home of Jay's parents, June (Sissy Spacek) and Chet (Kris Kristofferson). Of course, Jay and Liza eventually arrive there, too, leading to a big showdown during the turkey dinner with all the trimmings.
Directed by Stefan Ruzowitzky, Deadfall is a high body-count affair that's every bit a grisly splatterflick as it is a psychological thriller. What makes the film fascinating is the contrasting approach taken by the picture's protagonists.
For, Addison is a psychopath inclined to take no prisoners, while his sister's relatively-subtle style is that of a sultry femme fatale. The question is how long can they keep up the "good perp, bad perp" charade before their luck finally runs out?
An intriguing cat-and-mouse caper featuring both bullets and brains.
Very Good (3 stars)
Rated R for profanity, sexuality and graphic violence
Running time: 95 minutes
Distributor: Magnolia Pictures
To see a trailer for Deadfall, visit
Universal Soldier 4: Day of Reckoning
Film Review by Kam Williams
John (Scott Adkins) was sadistically beaten with tire irons and left for dead by three assassins dressed like ninjas during a home invasion. When he came out of his coma nine months later, all he could remember about the attack was how his wife and daughter had been murdered right in front of his eyes by a creep who had the nerve to taunt him.
In fact, their assailant, Luc Deveraux (Jean-Claude Van Damme) even had the temerity to remove his mask and show his face. As he recovered from his wounds, John realizes he doesn't have much to live for with his family gone. So, he decides to take the law into his own hands, rather than wait for the police to bring the perpetrators to justice.
That is the deceptive point of departure of Universal Soldier 4: Day of Reckoning, a high body-count splatterflick ostensibly revolving around an embittered vigilante bent on revenge, ala Charles Bronson in Death Wish. Directed by John Hyams, the film is the fourth in a grisly franchise launched way back in 1992.
The plot thickens while John is searching for Deveraux, when he finds himself being relentlessly hunted by a mysterious figure (Andrei Arlovski).
Furthermore, getting to Deveraux proves easier said than done, since he is protected by an army of rogue Universal Soldiers in his capacity as high priest of the Unisol Church of Eventualism.
Previously, these liberated Unisols had been remote-controlled sleeper agents, operating under the thumb of the government like latter-day Manchurian candidates. But trust me, trying to sort out this complicated storyline isn't worth the time, since just about everybody is about to get gutted or have his head lopped off.
Appreciation of this installment doesn't depend on any knowledge of what's transpired in the earlier episodes, since this bloody free-for-all is designed for that demo of film fans with an insatiable appetite for gratuitous gore. So gruesome, it makes Peckinpah look like Winnie the Pooh.
Very Good (2.5 stars)
Rated R for profanity, graphic sexuality, frontal nudity and pervasive gruesome violence
Running time: 113 minutes
Distributor: Magnet Pictures
To see a trailer for Universal Soldier 4: Day of Reckoning, visit
Rise of the Guardians
Film Review by Kam Williams
When the Boogeyman (Jude Law) hatches a diabolical plan to dash the dreams of sugarplums dancing in tykes' heads and to steal baby teeth left under their pillows at bedtime, it's clear that something must be done. For, if left unchecked, it'll just be a matter of time before the evil schemer will quash kids' belief in the Tooth Fairy (Isla Fisher), Santa Claus (Alec Baldwin), the Easter Bunny (Hugh Jackman) and the Sandman.
Fortunately, these beloved mythical figures have already united to fight their longtime adversary by forming the Guardians, an association dedicated to the preservation of the innocence, imagination and sense of wonder of children all over the world. And at the direction of their sage inspirational leader, the Man in the Moon, they proceed to implore Jack Frost (Chris Pine) to sign-on as an indispensable addition to their ragtag team.
Initially, Jack proves a rather reluctant superhero, between his immaturity and a traumatic feeling of inadequacy resulting from his invisibility. But he ultimately succumbs to his earnest confederates' relentless pressuring that, "You cannot say no!" and "It is destiny!"
With greatness thus thrust upon him, will Jack rise to the occasion to spearhead the charge against the Boogeyman? That is the pivotal question posed by the premise of Rise of the Guardians, an enchanting fairytale loosely based on "The Guardians of Childhood" series of best-sellers by William Joyce.
This action-oriented, animated adventure marks the auspicious directorial debut of veteran storyboard artist Peter Ramsey who makes novel enough use of state-of-the-art 3-D technology here to warrant an investment in goggles for an amplified enjoyment of all the eye-popping, special f/x. Nevertheless, at heart, the picture remains a sweet story with a universal message about the importance of protecting children's innocence.
Although aimed at the very impressionable, still-believing demographic, Rise of the Guardians is apt to resonate with kids of any age with an intact sense of wonder and awe. Yes, Virginia, there is not only a Santa Claus, but a Tooth Fairy, a Jack Frost, an Easter Bunny, and a Sandman, too.
Excellent (3.5 stars)
Rated PG for mature themes and scary action sequences
Running time: 97 minutes
Distributor: Dreamworks Pictures
To see a trailer for Rise of the Guardians, visit
Lincoln
Film Review by Kam Williams
At the beginning of his presidency, Abraham Lincoln invited three of his political opponents to join his Cabinet to form a so-called "Team of Rivals" with the hope of preserving the Union. But the challenges proved to be insurmountable as the Southern states seceded anyway, leading to the outbreak of The Civil War.
By late 1864, much blood had been spilled and the sides seemed as bitterly divided as they had been at the start of the conflict. Even holding the contending factions inside the surviving coalition together came courtesy of compromise, which explains why the Emancipation Proclamation freed the Confederacy's slaves but none in any of the Union's four, remaining slave states.
Based on Harvard historian Doris Kearns Goodwin's 944-page opus "Team of Rivals," Lincoln telescopes tightly on the last five months of the Great Emancipator's life, a period during which he was desperately devoted to both abolishing slavery and reuniting the country by ending the Civil War. The movie was directed by Steven Spielberg, and bears many of the legendary director's trademark visual effects like blowing curtains and light flares.
The production is first rate in terms of cast, from Daniel Day-Lewis in the title role to a stellar supporting ensemble which includes Joseph Gordon-Levitt, Tommy Lee Jones, Sally Field, James Spader, David Strathairn, Gloria Reuben, S. Epatha Merkerson, Hal Holbrook, Tim Blake Nelson, John Hawkes, Jackie Earl Haley and Bruce McGill. Nor did Spielberg scrimp when it came to costuming or set design, which means the film feels authentic and never hits a false note plotwise.
The picture basically revolves around Lincoln's twisting elbows to get the two-thirds vote in Congress necessary to pass the 13th Amendment ending slavery. This means most of the movie focuses on his exercising his powers of persuasion, promising (sometimes with his fingers crossed) whatever it takes to induce reluctant fellow Republicans and adversaries from across the aisle to support his historic measure.
The President is helped in this regard by his Secretary of State, William Seward (Strathairn) who, in turn, enlists the assistance of Congressmen Bilbo (Spader), Latham (Hawkes) and Schell (Nelson). And already counted on for their votes are longtime liberals like Thaddeus Stevens (Jones) and James Ashley (David Costabile).
This flick doesn't feature any epic battle scenes or even Lincoln's assassination, but simply lots and lots of talk scenes. The conversation-driven docudrama winds what passes for tension around the fait accompli of whether or not the president's bill will pass.
While watching talking heads exchanging dialogue borrowed from "Team of Rivals" might delight history buffs, it's unfortunately likely to test the patience of kids without a 2½ hour attention span unless it involves action and special f/x. Is it still worth the investment? Yes, but not if you're expecting anything more than a poignant portrait of Lincoln's last days, time spent as a marked man making his appointed rounds en route to his rendezvous with destiny.
Very Good (3 stars)
Rated PG-13 for gruesome images, brief profanity, ethnic slurs and an intense scene of war violence.
Running time: 149 minutes
Distributor: DreamWorks Pictures
To see a trailer for Lincoln, visit
Life of Pi
Film Review by Kam Williams
Pi Patel (Suraj Sharma) was raised Hindu before converting to Catholicism and Islam all on his own. The spiritually-promiscuous, 16 year-old's parents reacted differently to the changes in the boy's unorthodox behavior which included going to church and praying facing east five times a day.
His frustrated father (Adil Hussain) warned, "You cannot follow three religions at the same time," while his more tolerant mother (Tabu) conceded that "Science cannot teach what is in here," touching her heart. Both shrug it off as probably just a passing phase, since they're busy planning the big move of the family household and zoo from India to Canada.
Then, tragedy strikes en route, when their cargo ship capsizes and sinks in the middle of the Pacific, leaving sole human survivor Pi in a lifeboat with a zebra, an orangutan, a hyena and a Bengal tiger named Richard Parker. Will the precocious believer remain true to his lofty ideals while having to play the faith-testing hand he's suddenly been dealt?
That's the pressing question posed in Life of Pi, a visually-captivating tale of spirituality and survival. Directed by Oscar-winner Ang Lee (for Brokeback Mountain), the movie was shot against a series of exquisite seascapes that look like glorious, hand-painted, pastel panoramas.
From the point of the shipwreck forward the picture is basically a one-man show, ala Tom Hanks in Cast Away (2000). But instead of talking to a soccer ball, the protagonist here has to figure out how to coexist peacefully in very close quarters with a tiger who'd probably prefer to make him its next meal.
The burden of carrying the film falls on the shoulders of first-time actor Suraj Sharma, who does a magnificent job of conveying the existential angst of the beleaguered, ever-exasperated title character. But given the oceanic endurance theme, the picture still feels more like the Hitchcock classic, Lifeboat (1944), than Cast Away.
As for finding an audience, this remarkably richly-textured adaptation will undoubtedly be a hit with fans of the Yann Martel best-seller upon which it's based, as well as with audience members of any age just looking for an entertaining movie. It might be more important to note that during an opening sequence of this flashback flick, the audience is essentially told that what is about to unfold is a story that will make you believe in God.
For all its religious pretensions, however, the thrust of the production revolves less around any overt attempt to convert disbelievers than around Ang Lee's brilliant use of the screen as a cinematic canvas to narrate a compelling yarn for the ages. A critic and crowd-pleaser impossible to forget come Academy Award season.
Crouching tiger, hidden Siegfried! (sans Roy)
Excellent (4 stars)
Rated PG for mature themes and scary action sequences
In English, French and Japanese with subtitles
Running time: 127 minutes
Distributor: 20th Century Fox
To see a trailer for Life of Pi, visit
A Royal Affair
(En kongelig affaere)
Film Review by Kam Williams
If you are a fan of elaborate costume dramas of Shakespearean proportions, A Royal Affair is likely right up your alley. Nikolaj Arcel, who wrote the script for the Swedish-language version of The Girl with the Dragon Tattoo, does double duty this time around, both directing and adapting Bodil Steensen-Leth's erotic novel, Prinsesse af blodet, to the big screen.
The epic tale revolves around the love triangle which develops when Denmark's 15 year-old Queen Caroline (Alicia Vikander) falls head over heels for a dashing doctor named Johann Friedrich Struensee (Mads Mikkelsen). This only makes sense since her considerably older husband she's just met is not only a clumsy lover but stark raving mad to boot.
She and the Royal physician are not only attracted to each other, but share some lofty ideals for the long-oppressed citizenry. So, casting their fate to the wind, the smitten lovebirds soon set about plotting to overthrow the cuckoo king.
Of course, no monarch takes kindly to a coup d'etat, and complications ensue. It doesn't help matters that the recently-arrived Caroline is a sister of Britain's King George III, and Johann is German, which means the insurgency has the potential to turn into an international incident.
While carrying on their torrid affair, the pair contemplates ushering in the Age of Enlightenment, a cultural movement that had already taken hold elsewhere around Europe. While folks familiar with Danish history might have an idea where this all leads, it was definitely fun for this uninformed critic to witness the intriguing play-by-play in the dark as to what was looming just over the horizon at each tawdry twist and turn.
A lust for power revealing, what else, but something rotten in the State of Denmark.
Very Good (3 stars)
Rated R for sexuality and violent images.
In Danish, French, German and English with subtitles
Running time: 137 minutes
Distributor: Magnolia Pictures
To see a trailer for A Royal Affair, visit
The Sessions
Film Review by Kam Williams
Mark O'Brien (John Hawkes) was left paralyzed from the neck down by the polio he'd contracted as a child. Consequently, he can only breathe with the assistance of an iron lung, although he can use a portable respirator for a few hours at a time.
Nonetheless, the condition has never stopped him from fantasizing, especially about his attractive attendants like Amanda (Annika Marks) who quit when he expressed his desire for her. The sexually-frustrated, 38 year-old decides that the only way he'll probably ever lose his virginity is by paying a woman to sleep with him.
However, this proves easier said than done, between the physical challenges presented by quadriplegia and his having to wrestle with a major moral issue as a devout Catholic. Since his religion forbids fornication outside the sanctity of marriage, Mark consults his parish priest for special dispensation.
Armed with the surprisingly-sympathetic Father Brendan's (William H. Macy) blessing, Mark retains the services of Cheryl (Helen Hunt), a professional sex surrogate with the bedside demeanor, or should I say bedroom demeanor, of a saint. Over the course of a half-dozen, romantic rendezvous, the sensitive therapist gradually helps her patient conquer problems with performance anxiety and premature ejaculation.
En route to consummation, the pair simultaneously forge a friendship in spite her fears that he might develop an attachment to her. After all, she is married. But Mark emerges from the experience, a changed man, as he develops the confidence to flirt with other women and he even ultimately finds a wife (Robin Weigert).
The Sessions' subject-matter might strike some as salacious, given the film's frequent, full-frontal nudity. But the picture actually plays out more as a compassionate tale exploring a variety of themes, including faith, friendship, relationships and the indomitability of the human spirit.
Written and directed by Ben Lewin, himself a polio victim, the movie is based on Mark O'Brien's (1950-1999) life story as chronicled in his autobiography "How I Became a Human Being: A Disabled Man's Quest for Independence." The late author was already the subject of Breathing Lessons, a biopic which won an Academy Award in 1997 in the Best Documentary category.
Rather than resort to manipulative sentimentality, the production resists the temptation to follow a Hollywood formula in favor of a realistic plot that Mark undoubtedly would have appreciated. As a journalist and longtime civil rights advocate, he never looked for pity but lobbied for legislation and equality on behalf of the handicapped.
Co-stars John Hawkes and Helen Hunt generate an endearing chemistry, here, turning in a couple of virtuoso performances deserving of serious consideration come Oscar season. A poignant, character-driven drama depicting the disabled as complicated individuals with a full range of emotions.
Excellent (4 stars)
Rated R for graphic sexuality, frontal nudity and frank dialogue
Running time: 95 minutes
Distributor: Fox Searchlight
To see a trailer for The Sessions, visit
Skyfall
Film Review by Kam Williams
007 Returns for Riveting Roller Coaster Ride
Each new James Bond film is fated to be compared to all the prior installments of the enduring espionage franchise. Directed by Academy Award-winner Sam Mendes (for American Beauty), Skyfall earns high grades in that regard, as it pales in the eyes of this purist only in relation to the standard-setting classics starring Sean Connery.
Daniel Craig returns for a third go-round of savoir faire and derring-do as the legendary, British secret agent with "a license to kill" in order to match wits with a maniacal madman played by Oscar-winner Javier Bardem (for No Country for Old Men). Besides the obligatory villain bent on world domination, this 007 adventure arrives complete with such series trademarks as witty repartee, a bevy of Bond girls (most notably Naomie Harris and Berenice Marlohe), exotic locales and a memorable title song (by Adele) oozing the requisite combination of danger and sensuality.
The movie wastes little time launching into high gear, opening with a daredevil motorcycle chase across roofs high above Istanbul's Grand Bazaar, leading to an even more eye-popping stunt atop a careening freight train approaching the proverbial mountain tunnel. The incident ends with a breathtaking, last-second plunge into a river that ostensibly claims Bond's life.
Back at MI6 headquarters, responsibility for the tragedy is ultimately placed squarely on the shoulders of M (Dame Judi Dench) for failing to find the double-agent in the ranks. Still, she refuses to turn in her resignation when called on the carpet by her unamused boss (Ralph Fiennes).
Of course, 007 isn't really dead, and he soon resurfaces to embark with M's blessing on a revenge-fueled, name-clearing, international manhunt with ports-of-call in Macau and Shanghai en route to a spectacular showdown on an ancestral family estate in Scotland. What makes the roller coaster ride so much fun is a plethora of surprising plot twists it would be a crime to spoil.
Just brace yourself for the best Bond episode in ages, thanks to Daniel Craig's coming of age to make the role his own.
Excellent (4 stars)
Rated PG-13 for profanity, sexuality, smoking, violence and intense action sequences.
Running time: 143 minutes
Studio: Columbia Pictures
To see a trailer for Skyfall, visit
Foreign Parts (directed by the team of Verena Paravel and J.P. Sniadecki) has all the makings of a groan-inducing activist documentary along the lines of Scott Hamilton Kennedy’s The Garden or (worse) a ghoulish voyeur’s-eye-view of extreme poverty in America. Instead, Paravel/Sniadecki have pulled off the rare verite documentary that manages a formal grace and doesn’t patronize or fetishize its subjects.
The film is essentially a field recording of Willet’s Point, Queens, circa 2008 -2009. Also known as the Iron Triangle, Willet’s Point is a little slice of the Third World wedged in between the Van Wyck Expressway and Citi Field. It’s a “neighborhood” only in an abstract sense, consisting of a handful of auto parts warehouses (the area also served as the setting for Ramin Bahrani’s Chop Shop) and inhabited by only one official resident (while playing host to plenty of “unofficial” squatters, vagabonds, and societal outcasts). The area has no infrastructure or city services; heavy rains transform the streets into knee-high rivers of garbage and sewage. Willet’s Point is barely an upgrade from a landfill.
High Ground
Film Review by Kam Williams
Wounded Vets Scale Himalayan Mountain in PTSD Documentary
Of the over two million soldiers who fought in Irag and Afghanistan, hundreds of thousands subsequently developed Post Traumatic Stress Disorder (PTSD). Upon returning to the States, the injured have frequently failed to find an adequate support system, in part due to a Veterans' Administration ill-equipped to address mental health issues.
Unfortunately, even well-meaning family members and old friends seem to keep their distance, often having little more to offer than empty accolades like "Thank you for your service," delivered in a phony tone of voice which simultaneously suggests, "Stay away!" Is it any surprise, then, that so many who have been honorably discharged are having trouble making the adjustment back to civilian life, with some taking their own lives?
Their abandonment, plight and a unique form of therapy is the subject of High Ground, a very moving documentary devoted to chronicling the exploits of a mountain climbing team comprised of wounded warriors plagued by PTSD. Half of them suffered obvious physical wounds from battles or IEDS, while the others were left less-obviously traumatized by fallout from events like a shock wave concussion or being raped by a comrade.
Directed by Michael Brown, the movie divides its time between emotional interviews with its 11 subjects and recounting their perilous trek to the 20,000 foot-high peak of the Himalayas' Mount Lobuche. While the picture certainly serves up its share of visually-captivating panoramas, the real reason to watch is to witness the heartfelt reflections of the soldiers.
For example, Katherine "Rizzo" Ragazzino talks about becoming homeless because her pension didn't kick-in, and Ashley Crandall reveals that she's been suicidal for six years since being sexually assaulted while on a tour of duty overseas. A lot of these vets appear to have memory issues, yet seem to have resigned themselves to the fact that they're never going to be normal again. Perhaps this explains why they prefer the company of others who have also survived combat.
An empathetic portrait which manages to humanize so-called Generation Kill, a group of vets easily dismissed by most of polite society as undeserving of concern since they chose to enlist in an all-volunteer military. After all, they needed a draft to fight the Vietnam War.
Excellent (4 stars)
Unrated
Running time: 92 minutes
Distributor: Red Flag Releasing
To see a trailer for High Ground, visit
Flight
Film Review by Kam Williams
Hero Pilot Participates in Cover-Up in Special F/X-Driven Legal Thriller
Co-pilot Ken Evans (Brian Geraghty) is at the helm of SouthJet Flight 227 from Orlando to Atlanta only because the plane's captain, Whip Whitaker (Denzel Washington), has passed out after a night of debauchery devoted to drinking booze and snorting coke while carousing with one of his stewardesses (Nadine Velazquez). But when the commercial airliner unexpectedly encounters severe turbulence and starts losing altitude, the concerned rookie immediately rouses the senior officer out of a deep sleep for assistance.
Despite a blood alcohol level over twice the legal limit, the veteran aviator assumes control and quickly ascertains that the plane's plunge is due to a complete failure of the hydraulic system. He further surmises that the only hope of pulling out of the precipitous nosedive depends upon his lowering the landing gear prematurely, dumping fuel, and flying the aircraft upside-down.
Against all odds, he executes each step flawlessly, unless you count clipping the top off a church steeple moments before making an emergency landing in an open field. 96 of the 102 souls aboard survive, and Whip's astonishing feat is soon the subject of a national media circus, ala Sully Sullenberger's real-life Miracle on the Hudson.
However, in the course of conducting its routine investigation, the National Transportation Safety Board (NTSB) subsequently uncovers incriminating evidence that the pilot had a blood alcohol level of .24 at the time of the accident. And since a half-dozen people perished in the crash, Captain Whitaker could conceivably be held criminally liable for their deaths.
Will the celebrated hero's image be tarnished by scandal? Not if his defense attorney (Don Cheadle) and union rep (Bruce Greenwood) have anything to say about it. The two hatch a plan to suppress the toxicology report and to sober Whip up by the time of the NTSB hearing.
Directed by Academy Award-winner Bob Zemeckis (for Forest Gump), Flight is a riveting thriller marked by spellbinding special effects and a nonpareil performance on the part of two-time Oscar-winner Denzel Washington (for Glory and Training Day). After the spectacular, stomach-churning, opening scene plane crash, the picture shifts in tone to a character-driven portrait of a self-destructive addict in denial and plagued by demons.
The capable supporting cast features Kelly Reilly as Whip's love interest, John Goodman as his drug dealer, Melissa Leo as a snoopy NTSB bureaucrat, as well as Don Cheadle and Bruce Greenwood. But make no mistake, this is as much a star vehicle as Zemeckis' Cast Away, where Tom Hanks was the only actor on screen for over an hour.
An instant screen classic destined to be deemed among the very best of Zemeckis, alongside Gump, Back to the Future and What Lies Beneath.
Excellent (4 stars)
Rated R for drug and alcohol abuse, nudity, sexuality and an intense action sequence.
Running time: 139 minutes
Distributor: Paramount Pictures
To see a trailer for Flight, visit
"It’s a testament to Alive Mind Cinema that documentaries like Foreign Parts have a home, and continue to have the necessary support to grow, to be seen by more and more people. But it’s also a testament to Foreign Parts that Kino Lorber can see documentaries like this and want to bring them to the public, because curious minds like Paravel’s and Sniadecki’s are rare. Who else would spend all this time at Willets Point, wanting to show people what it’s like, that to some, their cars are more than just cars? They’re life itself."
Rory Aronsky, Movie Gazette Online
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Simon & the Oaks
(Simon och ekarna)
Film Review by Kam Williams
Jewish Boys Come-of-Age in Sweden in Surrealistic WWII Saga
Set in Sweden in 1939, Simon & the Oaks is a surrealistic, coming-of-age saga which unfolds against the backdrop of World War II. The title character, Simon (played by Jonatan S. Wachter, younger, then by Bill Skarsgard) is a youngster who, at the point of departure, has no idea he's half-Jewish.
He was adopted at an early age by a working-class, Swedish couple (Helen Sjoholm and Stefan Godicke) who have not only hidden his roots, but done their best to shield him from the horrors unfolding across Europe. However, despite their love and support, Karin and Erik can't help but notice their son's growing discontent with his lowly lot in life.
Simon gradually evidences an insatiable curiosity that, as farmers, they simply aren't sophisticated enough to address satisfactorily. In fact, he becomes so lonely that he starts talking to an oak tree in the yard and fantasizing about the rest of his natural surroundings.
Finally, his frustrated folks finally decide to enroll him in an upscale grammar school where he is likely to receive the intellectual stimulation he craves. There, he soon meets Isak (played by Karl Martin Eriksson, younger, then by Karl Linnertorp ), a Jewish classmate bullied about his ethnicity whose relatively well-to-do family has recently escaped Nazi Germany.
The boys become fast friends, and their families also make acquaintances, despite the difference in social status. The plot thickens when Simon learns the truth about his ethnic background and proceeds to make the most of the opportunity to pursue an academic path. Isak, meanwhile, disappoints his dad (Jan Josef Leifers) by showing more of a desire to work with his hands than his head.
Directed by Lisa Ohlin (Seeking Temporary Wife) Simon & the Oaks is an ethereal, introspective escapade inspired by the Marianne Fredriksson novel of the same name. Besides the visual capture of some breathtaking cinematography, what makes the film engaging is the stark contrast in the personas of the blossoming, young protagonists.
A sensitive character study chronicling the considerable challenge of coming-of-age Jewish with the specter of the Third Reich lurking just over the horizon.
Very Good (3 stars)
Unrated
In Swedish, German, Hebrew and English with subtitles
Running time: 122 minutes
Distributor: The Film Arcade
To see a trailer for Simon & the Oaks, visit
Cloud Atlas
Film Review by Kam Williams
Halle & Hanks Co-Star in Adaptation of Sci-Fi Best-Seller
Based on David Mitchell's groundbreaking novel of the same name, Cloud Atlas offers an intriguing and visually-captivating cinematic experience that's well worth the investment for its unorthodox narrative alone. Be forewarned, however, that you would be well advised to arrive at the theater already familiar with the cryptic best seller's inscrutable plot structure, if you hope to have a decent idea about what's going on.
Since I hadn't read the British Book Award-winner, I initially found myself quite baffled by the surrealistic saga's elliptical storyline. Still, I was able to enjoy it immensely after gradually discerning the underlying method to the time-shifting madness.
It essentially consists of a half-dozen insular adventures which ultimately interlock despite unfolding over the course of past, present and future eras. They transpire in locales as far afield as a Pacific atoll in the 1840s, Cambridge, England in the 1930s, San Francisco in the 1970s, current-day London, Korea in the 2140s and a post apocalyptic Hawaii in the 2340s. Meanwhile, their equally-diverse themes range from slavery to gay love to corporate mind control.
It took a collaboration by a trio of noted directors, Tom Twyker (Run Lola Run) and Andy and Lana (formerly Larry) Wachowski (The Matrix), to execute this ambitious, $100 million, big screen adaptation. In addition, the principal cast members, including Oscar-winners Tom Hanks (for Philadelphia and Forest Gump), Halle Berry (for Monster's Ball), Susan Sarandon (for Dead Man Walking) and Jim Broadbent (for Iris), each play multiple versions of reincarnated characters.
Nonetheless, Cloud Atlas is as much a morality play about human fears, frailties and failings as it is a mind-bending sci-fi mystery. For, while you're busy deciphering complicated clues, the picture intermittently indulges in pretentious fortune cookie philosophy prompting reflection upon the deeper meaning of life.
Hence, the dialogue is needlessly diminished by preachy poster speak like "Separation is an illusion," "To know yourself is only possible through the eyes of another," and "From womb to tomb we are bound to others" designed to hit you over the head with a simplistic New Age message. Another minor flaw is the film's almost three-hour running time, which can easily be explained by the directors' desire to remain as faithful to the 544-page source material as possible, rather than conflate characters, condense chapters and make other concessions for the sake of a Hollywood formula.
A cleverly-concealed, centuries-spanning headscratcher constructed with fans of the original sextet of stories in mind.
Very Good (3 stars)
Rated R for violence, profanity, sexuality, ethnic slurs, nudity and drug use.
In English and Spanish with subtitles
Running time: 172 minutes
Distributor: Warner Brothers
To see a trailer for Cloud Atlas, visit
Middle of Nowhere
Film Review by Kam Williams
Wife Weighs Absentee Hubby's Worth in Introspective Tale of Female Empowerment
Middle of Nowhere is a cinematic masterpiece reminiscent of those rare treasures that have managed to capture an authentic slice of African-American life, ala such black classics as Love Jones (1997), The Best Man (1999), The Visit (2000) and Brown Sugar (2002). However, this introspective tale of female empowerment simultaneously touches on a number of universal themes apt to resonate with an audience of any demographic.
The picture was written and directed by rising star Ava DuVernay, this year's winner at the Sundance Film Festival in the Best Director category. The story revolves around Roberta "Ruby" Murray (Emayatzy Corinealdi), a med student who's on the brink of becoming a doctor when her husband, Derek (Omari Hardwick), is sentenced to 8 years behind bars for a drug conviction.
Rather than abandon the love of her life, the loyal wife decides to drop out of med school to give her man the emotional and financial support he'll need while in prison. This means she'll have to endure long bus rides just to see him, and also have to pay his legal bills on a nurse's salary.
However, the shame and separation eventually take a toll on the relationship, especially when Derek has a jailhouse romance and sabotages his chances for an early parole with fresh criminal charges for fighting. Suddenly Ruby finds herself questioning the wisdom of her slavish devotion, and she begins entertaining the advances of a bus driver (David Oyewolo) she'd befriended.
To date or to wait, that is the question? Ruby has a couple of confidants to turn to for advice, but neither proves to be of much help. One is her sister, Ruth (Lorraine Toussaint), a single-mom with a bad track record of her own with men. The other is their embittered mother (Edwina Findley) who can only muster up ineffective, if well-meaning, suggestions like "Hold your head up, please."
So, in the end, it's up to Ruby to decide for herself, but only after lingering interludes of reflection and contemplation. A refreshing alternative to the superficial mainstream fare that tends to stereotype sisters as either sassy mammies or compliant sex objects.
Excellent (4 stars)
Rated R for profanity.
Running time: 101 minutes
Distributor: AFFRM
To see a trailer for Middle of Nowhere, visit
Diana Vreeland: The Eye Has to Travel
Film Review by Kam Williams
Diana Vreeland (1903-1989) was lucky enough to enjoy not just a second, but a third act in the public eye. First, the legendary fashion icon had a profound impact on American culture as the fashion editor at Harper's Bazaar.
Then, when she was passed over for a promotion after a quarter-century with the magazine, Vreeland resigned in 1962 to become editor-in-chief of Vogue, a position she held for close to a decade. And finally, in 1971, she began serving as costume consultant to the Metropolitan Museum of Art in Manhattan.
Co-directed by granddaughter-in-law Lisa Immordino Vreeland with Bent-Jorgen Perlmutt and Frederic Tcheng, Diana Vreeland: The Eye Has to Travel is a reverential retrospective which takes an intimate, intriguing and revealing look at a most-fascinating life. For, over the course of her career, the influential Empress of Fashion undeniably ignited innumerable popular trends while simultaneously celebrating the unconventional features of celebrities like Twiggy, Cher and Barbra Streisand.
Vreeland's unorthodox approach was to magnify, rather than hide a subject's supposed flaws, such as when she had photographer Richard Avedon shoot Streisand's proud nose in profile. This appreciation ostensibly emanated from her having been treated as the ugly duckling by a mother who was not above flirting with her boyfriends.
A socialite who hung out in Harlem, Diana did eventually land a loyal life mate in Thomas Vreeland, and the two went on to wed and enjoy an enduring union blessed by the births of two sons. Despite being an intimidating taskmaster at the office, Vreeland is nonetheless remembered just as much for her creativity by former employees like the aforementioned Avedon as well as actress Ali McGraw who landed her first job out of college with the demanding doyenne.
This enlightening documentary paints an indelible picture of a daring visionary who fervently felt that, "You're not supposed to give people what they want, but what they don't yet know they want." That helps explain how towards the end of her life Diana announced, "I shall die young, even at 90."
A poignant portrait of an inveterate iconoclast who couldn't help but push the envelope.
Excellent (4 stars)
Rated PG-13 for nude images.
In English, French and Italian with subtitles
Running time: 86 minutes
Distributor: Samuel Goldwyn Films
To see a trailer for Diana Vreeland: The Eye Has to Travel, visit
Janeane from Des Moines
Film Review by Kam Williams
Iowa Housewife Weighs Options in Presidential Race Docudrama
How do you get the Republicans vying for the presidential nomination to appear in a movie which might not show them in the most flattering light? You might have a nondescript, middle-aged actress pose as a Tea Party conservative during the lead up to the Iowa caucus, a time when the candidates generally make themselves available to valuable voters.
That was the inspired idea of filmmaker Grace Lee, who followed around Janeane Wilson (Jane Edith Wilson) with a camera at the State Fair where it was relatively easy to approach the likes of Michelle Bachmann, Mitt Romney, Herman Cain, New Gingrich, Rick Santorum and Ron Paul. Pretending to be unemployed, uninsured, suffering from breast cancer and in danger of losing her home, the desperate protagonist sobbed while asking each of the Republican hopefuls how they planned to help someone like her.
The upshot is a gotcha docudrama that's a cross of Borat and Michael Moore which captures some of the candidates as plastic, some as somewhat sympathetic. The only problem with Janeane from Des Moines is that it feels a bit dated, as it is arriving in theaters a little late since, at this point, we really care more about Romney's responses than any of the also-rans.
Although his callous "Corporations are people" comment is included here, he proves to be about as patient as one might expect of a polished politician with bigger fish to catch. And even though he knows how to escape the clutches of a very clingy constituent, you come away feeling he's actually acting just as much as Janeane, who becomes disenchanted with the whole lot by film's end.
The futile search for a presidential candidate who cares about the average person's everyday concerns, a quest leading frustrated Janeane to conclude that her only option is to pull the lever for Obama in November.
Very Good (3 stars)
Unrated
Running time: 78 minutes
Distributor: Wilsilu Pictures
To see a trailer for Janeane from Des Moines, visit
Vulgaria
Film Review by Kam Williams
Raunchy Sex Comedy Fails to Live Up to Its Billing
This movie opens with a parental warning giving folks ten seconds to leave the theater because what you're about to watch is wild, raunchy, irreverent and politically-incorrect. Yet nothing could be further from the truth. So much for truth in advertising!
Yes, Vulgaria does revolve around a prurient plotline, but the way in which it is executed is totally tame. In 25 words or less, this picture is about a down-on-his-luck film producer (Chapman To) who decides to try to pay off his debts by shooting a remake of a classic skin flick. And the cash-strapped Wai Cheung even offers an aging porn star (Shaw Yin Yin) the lead role in the project by promising to use special effects to place her head on the body of an attractive, young body double.
Unfortunately, Vulgaria proves to be a dialogue-driven tease which drags on and on with tons of titillating talk without ever getting around to displaying any of the eroticism contemplated by its kinky producer (Ronald Cheng) with a vivid imagination. To make matters worse, unless something gets lost in the translation from Chinese, all of this supposed sex comedy's lame attempts at humor also fall flat.
A transparent, bait-and-switch disappointment strictly for suckers.
Fair (1 star)
Unrated
In Cantonese with subtitles
Running time: 93 minutes
Distributor: China Lion Films
To see a trailer for Vulgaria, visit
Argo
Film Review by Kam Williams
Espionage Thriller Recounts Diplomats' Daring Escape from Iran
On November 4, 1979, Iranian militants stormed the walls of the U.S. Embassy in Teheran, taking 52 Americans hostage with hopes of exchanging them for the recently-deposed Shah. What ensued was a 444-day ordeal which would last long after the despised despot died in exile without standing trial.
While that drawn-out standoff continued to occupy the world's attention as front-page news, almost no one knew that a half-dozen Americans had managed to steal away unnoticed during the assault and taken refuge in the home of the Canadian Ambassador, Ken Taylor (Victor Garber). And the discovery of their whereabouts by the rabidly anti-Western, Khomeini regime would have undoubtedly triggered another international incident.
So, they surreptitiously contacted the CIA which assigned their rescue to Tony Mendez (Ben Affleck), an exfiltration specialist with a perfect record of freeing captives from such perilous predicaments. Agent Mendez proceeded to hatch an attention-grabbing scheme that was the antithesis of the sort of clandestine operation one might expect of a spy.
His high-profile plan involved creating a cover for the stranded diplomats by making a movie that was actually nothing more than a CIA front. First, he enlisted the assistance of a veteran Hollywood executive (Alan Arkin) and an Oscar-winner (John Goodman) sworn to secrecy, to lend an air of authenticity to the ruse by posing as the picture's producer and makeup artist, respectively.
Figuring, "If you want to spread a lie, get the press to sell it for you," they launched the project at an elaborate press conference attended by actors in gaudy costumes. The media fell for it hook, line and sinker, and soon Tinseltown was abuzz about Argo, an upcoming sci-fi set to be shot on location in Iran. Truth be told, Mendez would be the only person venturing on the dangerous mission to Teheran where the film's tone shifts from flip and lighthearted to stone cold sober. Upon arriving at the ambassador's house, the hero hands the six Americans newly-prepared passports with fresh identities as members of a Canadian film crew.
The tension rapidly ratchets-up in intensity as the ever-vigilant Iranian authorities close-in just as the diplomats make their escape to the airport where the slightest slip during an interrogation could mean the difference between life and death. An edge-of-your-seat thriller not to be forgotten at Oscar time!
Excellent (4 stars)
Rated R for profanity and violent images.
Running time: 120 minutes
Distributor: Warner Brothers
To see a trailer for Argo, visit
Here Comes the Boom
Film Review by Kam Williams
Teacher Moonlights as MMA Prizefighter to Save School's Music Program
Scott Voss (Kevin James) is a bored biology teacher at mythical Wilkinson High in Massachusetts, a cash-strapped school suffering from low morale. The apathetic slacker is part of the problem, as he sets a horrible example for his students, between stealing candy from vending machines and always arriving late for class.
During recess, the bored, 42 year-old bachelor makes a habit of flirting with the beautiful school nurse, Bella (Salma Hayek). However, she just as routinely rebuffs his advances with gentle reminders of how often she's rejected each of his requests for a date.
The plot thickens the day Principal Betcher (Gregg German) assembles the faculty in the auditorium to announce his latest budgetary cutbacks. Those money-saving measures not only include plans to eliminate afterschool activities like the debate club and field trips but even the entire music program.
That means Scott's colleague Marty Streb (Henry Winkler) will be callously laid-off right before earning tenure. And to add insult to injury, the dedicated music teacher's firing comes at a time when his wife (Nikki Tyler-Flynn) is pregnant.
This dire state of affairs inspires Scott to prevail upon the principal to preserve his pal's position. But Betcher says he simply doesn't have the $48,000 to pay Marty.
Therefore, Scott, who hasn't wrestled competitively since college, decides to raise the cash by moonlighting in the ring as a Mixed Martial Arts fighter. With the help of Marty and a retired kickboxing champ (Bas Rutten), he proceeds to whip himself into the best shape a middle-aged couch potato might hope for.
So unfolds Here Comes the Boom, a sweet-natured, overcoming-the-odds sports saga combining familiar elements of Rocky (1976) and Nacho Libre (2006). Directed by Frank Coraci (The Waterboy), the star vehicle showcases Kevin James' comic genius at his best, whether he's doing pratfalls in a mask and ill-fitting stretchy pants or futilely wooing the woman of his dreams.
The paint-by-numbers plot inexorably builds to a UFC-sanctioned showdown between Scott and an intimidating adversary (Krzysztof Soszynski) for a purse conveniently matching Marty's salary. Wouldn't it be nice if Wilkinson's student body and school band were on hand in the Vegas arena to cheer for their altruistic teach, and better yet if Bella had a change of heart and also arrived ringside for a kiss at the moment of truth?
Here Comes the Boom? How about, here comes a pat Hollywood tale of redemption where a perennial loser transforms himself into a beloved hero who wins the cage match, saves his best friend's job, and gets the gorgeous girl!
Very Good (3 stars)
Rated PG for sports violence, crude humor and mild epithets.
Running time: 105 minutes
Distributor: Columbia Pictures
To see a trailer for Here Comes the Boom, visit
Prometheus
DVD Review by Kam Williams
Archaeologists Encounter Alien Life Forms in Outer Space Horror Flick
Dateline: Scotland, 2089. While spelunking along the shores of the Isle of Skye, archaeologists Charlie Holloway (Logan Marshall-Green) and Dr. Elizabeth Shaw (Noomi Rapace) discover an ancient painting etched into the ceiling of an abandoned cave. The uncanny researchers immediately discern that the primitive picture is an invitation from aliens to visit a moon located in a remote constellation that might very well have been the birthplace of humanity.
Fast-forward a few years and we find the curious couple already en route to LV-233 on a daring expedition to find proof that people were created not by God but genetically engineered by sentient beings from another galaxy. It is unclear how unearthing such evidence will affect the faith of Dr. Shaw, a devout Christian who always wears a cross that was a gift from her late father (Patrick Shaw).
As the spaceship Prometheus approaches its destination, Captain Janek (Idris Elba) and his crew of sixteen are roused from a cryogenic state of hibernation by a doting, concrete blond android named David (Michael Fassbender). Upon landing, however, command of the operation is assumed by Meredith Vickers (Charlize Theron), a coldhearted, corporate executive employed by Weyland Corporation whose late CEO (Guy Pearce) underwrote the trillion-dollar mission.
The trip is just a job to the jaded Vickers who is skeptical about what she refers to as "the scribbling of dirty little savages in caves." In fact, she orders the disembarking explorers to refrain from making any direct contact with aliens.
Of course, contact with alien life forms is precisely the point of Prometheus, a high body-count, horror flick directed by three-time, Oscar-nominee Ridley Scott (for Gladiator, Black Hawk Down and Thelma & Louise). At this juncture, the picture proceeds to divide its time between raising probing philosophical questions about the intersection of science, religion and ethics, and gratuitous graphic depictions of body invasion, mutation, and gruesome vivisection.
Although initially conceived as a prequel to Alien (1979), also directed by Scott, the movie was ultimately released as a stand alone adventure. Regardless, this riveting, visually-captivating and thought-provoking sci-fi is well-enough executed to recommend for avid sci-fi fans, even if the heavy-handed, faith-based symbolism ("Where's my cross?" and "After all this, you still believe!") gets to be a bit much.
A thinly-veiled intro to the Alien franchise revising that classic's tagline to suggest: In space, no one can hear you scream, except perhaps God.
Very Good (3 Stars)
Rated R for intense violence and brief profanity.
Running time: 124 minutes
Distributor: 20th Century Fox Home Entertainment
DVD Extras: Deleted scenes and more.
To see a trailer for Prometheus, visit
Surviving Progress
DVD Review by Kam Williams
Eco-Documentary Examines Human Contribution to Climate Change
Whether or not recent atmospheric trends are due to global warming, it's pretty clear that humanity is playing a large part in climate change. But rather than engaging in silly debates about whether we're headed for immolation or another Ice Age, it might be better to examine exactly how we are affecting the planet and what can be done to avert ecological ruin.
That is the thesis of Surviving Progress, a cautionary documentary co-directed by Mathieu Roy and Harold Crooks. With the help of Earth advocates like physicist Stephen Hawking, conservationist Jane Goodall and environmental activist Margaret Atwood, the picture issues an urgent appeal for effective intervention before it's too late.
The filmmakers believe that a good place to start might be with a redefinition of what we mean by progress, since our slavish addiction to technological advances involves unchecked mass consumption. They refer to the way in which we deceive ourselves into believing that we can rape the rainforests and the other natural resources, ad infinitum, as the "Progress Trap."
Primatologist Goodall observes that, "We are the most intellectual creature that's ever walked the planet," before wondering why such an intelligent being would willfully destroy its only home. Ms. Atwood adds that instead of thinking of the Earth as a huge bank we can just keep making endless carbon withdrawals from by credit card, "we have to think of the finite nature of the planet and how to keep it alive so that we too may remain alive."
Some of those weighing-in fervently believe the answer inexorably rests with individuals. "We have to use less," says energy expert Vaclav Smil. Similarly, Colin Bevan, director of the No Impact Project, insists that we should each be cognizant of our individual carbon footprints. "Before I go around trying to change others, maybe I should look at myself and change myself," he concedes.
Still, given how mega-corporations have come to rationalize deforestation and the unchecked mining of minerals, it is no surprise that geneticist David Suzuki might describe economics "as a form of brain damage." Somehow, Mr. Hawking remains optimistic about the prospects for humanity, in spite of the fact that, "We are entering an increasingly dangerous period of our history."
In the end, behavioral scientist Daniel Povinelli perhaps sums up the situation best, by suggesting that if humans go extinct, the epitaph on our gravestone should simply read "Why?" A thought-provoking clarion call to stop using our brains in ways which are detrimental to our very survival.
Excellent (4 stars)
Unrated
Running time: 86 minutes
Distributor: First Run Features
DVD Extras: Introduction by Martin Scorcese at the NYC premiere; roundtable discussion with the filmmakers; portrait gallery with voiceover; filmmakers biographies; and extended interviews.
To see a trailer for Surviving Progress, visit
Six Million and One
Film Review by Kam Williams
Children Retrace Steps of Late Father in Holocaust Survivor Bipoic
When he was alive, Joseph Fisher never shared with his children any of his experiences while being interned in concentration camps during World War II. So, you might imagine their surprise to find a diary recounting his nightmarish ordeal among his personal effects after he passed away.
Only one of his offspring, David, could bring himself to read the memoir, a heartbreaking account of a struggle to maintain sanity in the face of unspeakable horrors ranging from forced labor to starvation to torture to rape to cannibalism to murder. The incredibly revealing reflections ("It's as if you have no skin to protect you.") posthumously erased an emotional boundary that had existed between the son and his understandably-traumatized, if emotionally-distant parent.
David immediately felt compelled to travel to Europe to retrace his dad's footsteps from Auschwitz to Gusen to Gunskirchen. And he soon succeeded in convincing his very hesitant siblings to join him on the trek. The upshot of that undertaking is Six Million and One, as moving a documentary about the Holocaust as one is ever apt to encounter.
At the site of the death camps, we hear poignant passages from Joseph Fisher's journal about being ordered to remove bodies of other prisoners from the extermination block and about having to eat grass and snails to stay alive. He also talks about how, upon being liberated, "I felt guilty about surviving. I've felt this way all my life."
By film's end, expect to weep as much as all four Fisher kids. A bittersweet tale of survival, as well as a priceless history lesson for the ages illustrating man's capacity for inhumanity to his fellow man.
Excellent (4 stars)
Unrated
In Hebrew English and German with subtitles
Running time: 93 minutes
Distributor: Nancy Fishman Film Releasing
To see a trailer for Six Million and One, visit
Won't Back Down
Film Review by Kam Williams
Jaded Teacher and Single-Mom Join Forces in Uplifting Tale of Female Empowerment
In 2010, California passed the nation's first "Parent Trigger Law," a bill which enables a neighborhood with an underperforming public school to fire the principal, replace the staff and convert it to a charter, provided a majority of the parents with students attending it sign a petition. The legislation has proved very controversial thus far, with opponents alleging that the measure is merely anti-union, whereas the sponsors call it an overdue reform intended to give kids stuck in so-called "dropout factories" a fair chance.
Consequently, Won't Back Down is opening under a cloud of controversy, which is unfortunate since the film is otherwise a quite engaging and entertaining tale of female empowerment. The reason why the picture has generated so much suspicion is that it was produced by Walden Media, the same studio that just a couple of years ago released Waiting for Superman, an incendiary documentary that came under attack for blaming teachers' unions for the broken educational system.
Although based on actual events that transpired in Los Angeles, Won't Back Down is set in the City of Pittsburgh, where we find an exasperated Jamie Fitzpatrick (Maggie Gyllenhaal) struggling to just to survive. Between selling used cars by day and bartending at night, the single-mom barely has any energy left to attend to the academic needs of her dyslexic daughter, Malia (Emily Alyn Lind).
Convinced that the lagging 8 year-old hasn't learned to read out of neglect, she enters the little girl in a lottery for one of the few coveted spots opening up at Rosa Parks, a highly-regarded, nearby charter school. But when Malia's name isn't called, the frustrated mother decides to do something about the school they're still stuck with.
Inspired by the state's new "Fail Safe Law," Jamie morphs into a tireless child advocate hell-bent on wresting the reins of control from an administration and staff with low expectations. Along the way, she enlists the assistance of Nona Alberts (Viola Davis), a jaded teacher who had all but gone to acceptance.
Initially, Nona is reluctant to get involved, because she could very easily get blacklisted for trying to bust the union. Furthermore, she's an emotional wreck, being overwhelmed by the prospect of having to raise her son (Dante Brown) on her own in the wake of her estranged husband's (Lance Reddick) recent departure.
Nevertheless, Jamie and Nona bond and, over the objections of bureaucrats, not only garner the requisite number of parental votes but even talk the teachers into surrendering job security for performance-based salaries. An uplifting, overcoming the odds Hollywood saga suggesting that the solution to public education's host of woes might be as simple as a couple of women on the verge of a nervous breakdown picking up picket signs.
In the tradition of Norma Rae and Erin Brockovich, say hello to Jamie Fitzpatrick and Nona Alberts!
Very Good (3 stars)
Rated PG for mature themes and mild epithets.
Running time: 121 minutes
Distributor: 20th Century Fox/Walden Media
To see a trailer for Won't Back Down, visit
Looper
Film Review by Kam Williams
Hit Man Turns Fugitive in Riveting Time-Travel Thriller
Dateline: Kansas City, 2042, which is where we find 25 year-old Joseph Simmons (Joseph Gordon-Levitt) gainfully-employed as a novel type of hit man called a "looper." The grisly line of work basically involves waiting at a designated clearing in a cornfield for the delivery of a blindfolded kidnap victim involuntarily teleported back in time.
As soon as each person spontaneously materializes, Joe blows them away on the spot with a big blunderbuss, before incinerating the body to eliminate the evidence. This modernistic equivalent of filling cement shoes has become the mob's preferred method of assassination since loopers can commit the perfect crime by killing people who technically don't even exist yet.
Despite the great pay, Joe's job has one major drawback, namely, that he will eventually be expected to close his own loop by shooting his future self (Bruce Willis) dead in the killing field. In the interim, he copes with the prospect of committing suicide via drugs and denial, getting high while making plans to retire to France that ostensibly amount to an exercise in futility.
The moment of truth arrives the fateful day he finally finds himself face-to-face with his 55 year-old alter ego. However, Joe is unable to pull the trigger, a failing which doesn't sit well with his short-fused boss (Jeff Daniels) who immediately dispatches an army of thugs to finish off both fugitives.
That is the absorbing premise of Looper, a riveting sci-fi thriller directed by Rian Johnson. The movie marks the third collaboration between him and Joseph Gordon-Levitt, a reteaming lending credence to the age-old maxim: three times a charm.
The picture's inscrutable script is as confounding as Chris Nolan's Memento, and visually the production is rather reminiscent of the best of Steven Spielberg. Nice company. Again and again, just when you think you've unraveled the convoluted plot, the story takes yet another intriguing turn into uncharted waters.
Great performances abound here, starting with Gordon-Levitt and Bruce Willis as the same character. Also deserving of accolades in substantial support roles are Paul Dano, Emily Blunt, Piper Perabo and Jeff Daniels.
A mind-bending masterpiece that's a must for more cerebral fans of the time-travel genre.
Excellent (4 stars)
Rated R for profanity, sexuality, nudity, drug use and graphic violence.
Running time: 118 minutes
Distributor: Sony Pictures
To see a trailer for Looper, visit
Hotel Transylvania
Film Review by Kam Williams
Mortal Courts Dracula's Overprotected Daughter in Animated Romantic Comedy
I know it's a little early in the season, but if you're ready for a Halloween-themed flick that's going to be lot of fun for the whole family, have I got a cartoon for you. More romantic and funny than spooky and spine-tingling, Hotel Transylvania is a tenderhearted tale that milks most of its mirth by turning a basic scary movie convention on its head.
For, the picture unfolds from the point-of-view of Count Dracula (Adam Sandler) and a beleaguered brotherhood of peace-loving creatures who have not only been unfairly-demonized as monsters but are actually more afraid of humans than we are of them. Who knew? Victims of bad press and paranoia, they naturally shy away from making any contact with humans.
After his wife's untimely demise at the hands of an angry mob, an understandably overprotective Dracula restricted his daughter, Mavis (Selena Gomez), to the safe confines of the family's hilltop mansion, far removed from any prejudiced townsfolk armed with torches and pitchforks. Inside that protective bubble, "Daddy's Little Ghoul" was raised on misleading nursery rhymes in which all the evil villains were people.
Figuring his fellow social outcasts might also enjoy a sanctuary of tranquility safe from humanity, Dracula transforms his sprawling estate into the Hotel Transylvania, a swanky, 5-stake (ala "5-star") resort catering strictly to fellow monsters. The plot thickens when he lowers the drawbridge over the moat to the castle to welcome his friends to celebrate Mavis' birthday.
A hiker who just stumbled upon the place slips in alongside Frankenstein (Kevin James), The Mummy (CeeLo Green), The Werewolf (Steve Buscemi), Quasimodo (Jon Lovitz), The Invisible Man (David Spade) and the other invited guests. Jonathan (Andy Samberg) may be a mere mortal, but the clueless party crasher's just the right age to appreciate the blossoming beauty of a rebellious teen vampire with raging hormones.
It's cross-species love at first sight, much to the chagrin of an exasperated Count Dracula whose desperate efforts to discourage his suddenly-defiant daughter prove futile. His cries of "You're barely out of your training fangs!" and "There are so many eligible monsters!" fall on deaf ears, as Mavis opts instead to heed her late-mother's sage suggestion that "A zing comes along only once in a life."
A tyke-friendly, Halloween adventure teaching a universal message of tolerance via the oft-repeated maxim that monsters are people, too!
Very Good (3 stars)
Rated PG for action, rude humor and scary images.
Running time: 91 minutes
Distributor: Sony Pictures
To see a trailer for Hotel Transylvania, visit
Resident Evil: Retribution
Film Review by Kam Williams
Enduring Franchise Finds Latex-Clad Heroine Fighting More Mutants
The Resident Evil film franchise is proving to be every bit as enduring as the hordes of flesh-eating zombies featured in its every episode. The movies are based on the popular series of high body-count computer games which has also spawned some comic books, graphic novels, cartoons, and a line of merchandise with action figures and more.
This fifth screen adaptation marks yet another collaboration between writer/director Paul W.S. Anderson and his wife, cover girl-turned-actress Milla Jovovich. She, of course, reprises her lead role as Alice, the pistol-packing protector of a planet once again threatened with extinction.
As usual, Anderson does his best to exploit his supermodel spouse's good looks, between keeping her clad in form-fitting latex for the duration of the adventure and seizing on any excuse to take a pause in the action for a lingering, extreme close-up of her flawless facial features. Otherwise, RE 5 offers formulaic zombie fighting fare, with Alice and an intrepid team of defenders (Michelle Rodriguez, Boris Kodjoe, Bingbing Li, et al) representing the last hope of humanity.
At the point of departure, our heroine, by way of voiceover, quickly recounts the back story of what's transpired in the prior installments. We learn that the trouble all started when an industrial accident triggered a viral outbreak which in turn led to the rise of the undead.
Today, the diabolical Umbrella Corporation is apparently again up to no good, and on the verge of unleashing an army of mind-controlled minions, including clones of our pretty protagonist. Over-plotted to the point of absurdity, there's no reason to try to follow RE 5's storyline.
For while Milla might be up to the challenge of executing the script, the same can't be said about her supporting cast's wooden delivery of every last line of dialogue. The worst in this regard is Hong Kong star Bingbing Li who is crippled by the English language making a disastrous Hollywood debut here. A visually-captivating fantasy for teenage males with raging hormones, the demo most apt to enjoy watching an invincible vixen in spandex waste wave after wave of mindless mutants.
Fair (1 star)
Rated R for partial nudity and pervasive graphic violence.
Running time: 95 minutes
Distributor: Screen Gems
To see a trailer for Resident Evil: Retribution, visit
IFC Midnight
Ashley Hinshaw and James Franco star in “About Cherry.”
About Cherry
Film Review by Kam Williams
Naive Runaway Turns Porn Star in Cautionary Tale of Survival
Angelina (Ashley Hinshaw) is a naïve, 18 year-old with a blossoming body but a horrible home situation. Between a predatory stepfather (Stephen Wiig) with a creepy agenda and an alcoholic mother (Lili Taylor) too inebriated to protect her, it's just a matter of time before the poor girl has to vacate the premises.
Unfortunately, she proceeds to follow a lot of bad advice, starting with her boyfriend's (Jonny Weston) pressure to pose naked for pay. Although initially hesitant, the clueless coed goes along with the idea, unaware that nude photo spreads are apparently the adult entertainment industry's equivalent of a gateway drug to utter depravity.
The next thing you now, she's dropping out of high school and running away from L.A. to San Francisco with a Platonic pal (Dev Patel) who worships her. They rent an apartment together, with him landing a legitimate job at a bookstore while she finds work at a seedy strip club.
Soon thereafter, Angelina not only starts dating a customer (James Franco) but is recruited to appear in X-rated movies by a very-reassuring, retired porn star (Heather Graham). She adopts a stage name, "Cherry," and takes to performing sex acts in front of the camera like a fish to water, gradually graduating from soft porn to ever-increasingly salacious fare.
Not surprisingly, this development takes a toll on her personal relationships, as both her new beau ("What you do is disgusting!") and secret admirer roommate ("I'm just a foreigner you keep around to run errands!") eventually express their displeasure. But that doesn't necessarily mean that the trajectory of Angelina/Cherry's life has to turn tragic, especially when there's an empathetic lipstick lesbian waiting in the wings on the set of her latest explicit adventure.
Directed by Stephen Elliott, About Cherry's optimistic arc might be explained by the fact that he co-wrote the script with Lorelei Lee, a popular porn star-turned-NYU college lecturer. Lorelei's literary imprimatur lends considerable credibility to this presumably semi-autobiographical soap opera, since it would otherwise be impossible to fathom how the picture's terminally-suggestible protagonist wasn't left devastated by such a self-destructive string of degrading choices.
Pollyanna does ‘Frisco!
Very Good (3 stars)
Rated R for sexuality, nudity, profanity and drug use.
Running time: 102 minutes
Distributor: IFC Films
To see a trailer for About Cherry, visit
The Words
Film Review by Kam Williams
Plagiarism Exacts Emotional Toll in Tale of Overwhelming Regret
The latest stop on Clayton Hammond's (Dennis Quaid) whirlwind book tour has the renowned author in New York City to promote his latest opus. It's a cautionary tale of overwhelming regret recounting the rise and fall of a presumably fictional character called Rory Jansen (Bradley Cooper).
At the story's point of departure, he's an aspiring novelist under pressure to find a day job after years of relying on handouts from his father (J.K. Simmons). The young man grudgingly capitulates by taking a lowly 9 to 5 gig in the mailroom of a leading literary agency.
The steady pay does enable Rory to save enough money to propose to his longtime girlfriend (Zoe Saldana) who has been patiently waiting to start a family. Soon enough, they're newlyweds and honeymooning in Paris where the grateful bride impulsively buys her hubby a weather-beaten briefcase lying around a dusty antique shop.
Upon returning to the States, Rory opens the valise and discovers that it isn't empty but contains a yellowed, handwritten manuscript by someone far more talented than he. However, instead of trying to locate the owner, he succumbs to the temptation to submit the novel to publishers under his own name.
And lo and behold, the book, "The Window Tears," becomes a runaway best-seller, thereby belatedly launching the literary career he'd always dreamed of. But because of the possibility of the real author's (Jeremy Irons) stepping forward to expose the fraud, Rory faces the prospect of having to spend his life looking over his shoulder.
Co-written and co-directed by Brian Klugman and Lee Sternthal, The Words is constructed as a series of flashbacks narrated by a visibly-haunted Hammond as he reads excerpts from his new book. It gradually becomes obvious that he is emotionally agonizing over the material on the pages as the tension mounts around whether what his audience is hearing might be autobiographical rather than fictional.
Unfortunately, the problems with this glacial-paced production are plentiful. First, it's hard to swallow the film's farfetched premise, and harder still to fathom how its protagonist has managed to maintain the charade for so long, especially given his guilty conscience and being confronted by the aggrieved party he's impersonated.
Secondly, neither of the parallel plotlines is particularly engaging, the only issue of interest being whether Hammond's new book constitutes a confession that his debut novel had been purloined. For this reason, the film's biggest flaw rests in its ultimately ending on a cliffhanger, and thereby failing to resolve if Rory Jansen is indeed a thinly-veiled version of the author.
That anticlimactic conclusion proves to be quite unsatisfying after an investment of what feels like an eternity awaiting the resolution of the specific question "Did he or didn't he?" The only thing worse than a movie without an ending, is a ninety-minute endurance test without an ending.
Fair (1 star)
Rated PG-13 for smoking, sensuality and brief profanity.
Running time: 96 minutes
Distributor: CBS Films
To see a trailer for The Words, visit
Elles
DVD Review by Kam Williams
Anne (
is a stressed-out investigative reporter for Elle Magazine, stationed in Paris, who's a good candidate for a lifestyle makeover, given the overwhelming demands of her job and her family. Her boss has been pressuring her to meet the deadline for the article she's currently working on about college students who moonlight as high-priced call girls.
Meanwhile, she has her hands full on the home front because her husband, Patrick (Louis-Do de Lencquesaing), shows no interest in bearing his half of the burden. Hence, she has to shoulder the full responsibility of motivating their stoner (Francois Civil) and couch potato (Pablo Beugnet) sons to do more than lounge around the flat with a view.
Although Anne also needs to attend to her bed-ridden father (Jean-Marie Binoche), her hubby still expects her to play the perfect hostess by whipping up a gourmet meal the evening he invites his boss over for dinner. And to add insult to injury, he goes out of his way to warn his wife not to embarrass him by making any unpleasant conversation at the dinner table.
Being married to such a cad, is it any surprise that Anne might start to take a personal interest in Charlotte (Anais Demoustier) and Alicja (Joanna Kulig), the two young prostitutes being profiled in her piece? That is precisely what transpires in Elles, a steamy, midlife crisis drama directed by Malgoska Szumowska.
Initially, Anne interviews her subjects in a professional manner, posing probing questions about whether they enjoy indulging the fetishes of their assorted clients, in the process eliciting very graphic descriptions of their kinky liaisons. But the miserably-married journalist becomes intrigued, once it's apparent that they've taken to the world's oldest profession like fish to water.
Then, against her better judgment, Anne shares shots of vodka with the seductive Charlotte, only to cross another line by experimenting with lesbianism. The glaring juxtaposition of the happy hookers with the pathetic plight of the unappreciated supermom seems to suggest that the wife taken for granted might actually be in a worse predicament.
Reminiscent of the incendiary offerings of the iconoclastic Catherine Breillat like Romance (1999) and Fat Girl (2001), Elles is a thought-provoking immorality play apt to stir up just as much controversy by virtue of its seemingly-gratuitous sex scenes alone. Does the fact that the director's a feminist and the star is an Oscar-winning actress provide sufficient artistic cover for carnal clinches which border on soft porn? Does the explicit eroticism serve to advance the plot or was it included purely for titillation purposes?
Those are questions you'll have to answer for yourself upon screening and introspection, unless you're the Puritanical type that considers any lurid depictions of copulation blasphemous. Let the endless debate begin!
Very Good (3 stars)
Rated NC-17 for nudity and explicit sexuality.
In French, Polish and Arabic with subtitles.
Running time: 99 minutes
Distributor: Kino Lorber
Blu-ray Extras: Edited and unedited trailers; and a stills gallery.
To see a trailer for Elles, visit
by Kam Williams
For movies opening September 14, 2012
BIG BUDGET FILMS
Finding Nemo (G) 3-D rerelease of the much-beloved animated adventure about a timid clownfish (Albert Brooks) who summons up the courage to embark on a perilous transoceanic trek to rescue a son (Alexander Gould) left trapped in a bowl in a dentist's office after being netted by fishermen near the Great Barrier Reef. Voice cast includes Ellen DeGeneres, Willem Dafoe, Brad Garrett, Allison Janney and Geoffrey Rush.
Resident Evil: Retribution (R for pervasive graphic violence) 5th installment in the grisly, sci-fi franchise finds Milla Jovovich reprising her role as an intrepid defender of the planet and forging new alliances in a high body-count fight against legions of flesh-eating zombies. With Boris Kodjoe, Oded Fehr, Sienna Guillory, Michelle Rodriguez and Bingbing Li.
INDEPENDENT & FOREIGN FILMS
10 Years (PG-13 for profanity, sexuality, drug use and alcohol abuse) Skeletons-out-of-the-closet dramedy about the shocking confessions shared by five best friends (Channing Tatum, Justin Long, Chris Pratt, Oscar Isaac and Max Minghella) upon returning to their hometown for their 10th high school reunion. Ensemble cast includes Rosario Dawson, Anthony Mackie, Jenna Dewan-Tatum, Ari Graynor, Kate Mara and Ron Livingston.
Arbitrage (R for profanity, drug use and violent images) Richard Gere stars in this Wall Street thriller as the philandering manager of a sinking hedge fund who implicates a friend of the family (Nate Parker) in the death of his mistress (Laetitia Casta) rather than risk damaging his marriage and reputation. With Susan Sarandon, Brit Marling and William Friedkin.
Bait 3-D (R for profanity, graphic violence and grisly images) Disaster flick about the residents of a beachfront community who find themselves surrounded by a swarm of great white sharks after a tsunami leaves them trapped inside a submerged grocery store. Cast includes Xavier Samuel, Julian McMahon and Phoebe Tonkin.
Barfi! (Unrated) Romance drama about the love triangle which develops when a woman (Ileana D'Cruz) has second thoughts about rejecting a hearing and speech-impaired suitor (Ranbir Kapoor) after he falls for a mentally-challenged maiden (Priyanka Chopra). (In Hindi with subtitles)
Francine (Unrated) Oscar-winner Melissa Leo (for The Fighter) plays the title character in this introspective portrait of an ex-con adjusting back to civilian life in a rural region of upstate New York after paying her debt to society. With Victoria Charkut, Dave Clark and Keith Leonard.
I'm Carolyn Parker: The Good, the Mad, and the Beautiful (Unrated) Oscar-winner Jonathan Demme (for Silence of the Lambs) directs this post-Katrina documentary chronicling the valiant struggle of a feisty, retired resident of New Orleans' Lower Ninth Ward to rebuild her home left devastated by the hurricane.
Liberal Arts (Unrated) Romantic dramedy about a just-jilted 35 year-old bachelor (Josh Radnor) who falls for a teenaged college student (Elizabeth Olsen) upon returning to his alma mater to attend one of his professor's (Richard Jenkins) retirement party. Cast includes Zac Efron, Allison Janney, Kate Burton and Elizabeth Reasor.
The Master (R for profanity, sexuality and graphic nudity) Philip Seymour Hoffman handles the titular role of this tale of disillusionment, set in the wake of World War II, revolving around a devoted member (Joaquin Phoenix) of a burgeoning religious cult who gradually grows suspicious of the motivations of its charismatic founder. With Amy Adams, Laura Dern and Jesse Plemons.
The Stand Up (Unrated) New lease on life drama about a comedian (Jonathan Sollis) who retires after the tragic death of his girlfriend (Julia Dennis) only to get a second chance at love when he takes a job as a kindergarten teacher at a grammar school where he develops a crush on a cute colleague (Margarita Levieva). Supporting cast includes Aidan Quinn, Jennifer Mudge and Jonathan Reed Wexler.
Step Up to the Plate (Unrated) Haute cuisine documentary about renowned, French chef Michel Bras decision to hand over the reins of his three-star restaurant to his long-time assistant, his son, Sebastien. (In French with subtitles)
Stolen (R for violence and brief profanity) Nicolas Cage stars in this crime thriller about a recently-paroled master thief's frantic search for a daughter (Sami Gayle) kidnapped for a ransom he can't raise. With Malin Akerman, Josh Lucas and Danny Huston.
The Trouble with the Truth (R for profanity and sexual references) Bittersweet drama about a starving artist who (John Shea) takes some time to reflect with his ex-wife (Lea Thompson ) upon their failed marriage after their daughter (Danielle Harris) announces her engagement. With Keri Lynn Pratt, Ira Heiden and Rainy Kerwin.
Israeli Documentary Chronicles Rise and Fall of the Kibbutz Movement
At the time the State of Israel was established in 1948, the Kibbutz Movement had already been thriving there for almost 40 years. In fact, the country might not have come into existence without the kibbutzim, because the settlements, which raised kids collectively, were very adept at turning children into patriotic fighters willing to sacrifice their lives for the sake of their homeland.
The very first kibbutz, Kvutzat Degania, was started in 1909 near the Southern tip of the Sea of Galilee by a dozen refugees from Eastern Europe. They envisioned the kibbutz (which is Hebrew for "gathering") as a path towards creating a just Jewish nation based on socialist principles.
Founded on benign notions of equality and cooperative economics, the kibbutz system became a powerful magnet for Jews who yearned for self-determination. Participants lived communally, with profits from farming and other enterprises being pooled for the benefit of all.
The rise and decline of that utopian experiment is the subject of "Inventing Our Life," a riveting retrospective directed by Toby Perl Freilich. The film illustrates in detail how the kibbutz system evolved over the course of its century-long existence, and how it eventually came to incorporate such individualistic concepts as differential wages and privatization of property.
This warts-and-all documentary shares a wealth of information by way of the bittersweet reflections of several generations of folks raised on a kibbutz. Most touching are the wistful remembrances of those who recall pining for their parents at night as children because kids slept in separate buildings from adults.
We see that in the wake of the collapse of the Soviet Union these Israeli communists were finally forced to make many concessions to modernity and materialism. One disappointed adherent grudgingly admits learning that, "The kibbutz system, based on altruism, failed, while the American system, based on greed, works."
A valuable history lesson about an idealistic blueprint for nirvana ultimately frustrated by something as simple as basic human nature.
Excellent (4 stars)
Unrated
Running time: 80 minutes
Distributor: First Run Features
DVD Extras: Deleted scenes and an audio interview with director Toby Perl Freilich.
To see a clip of Inventing Our Life, visit
Film Review by Kam Williams
Piano Prodigy's Aspirations Frustrated by Drug-Addicted Mom's Dealer in Irreverent Abduction Dramedy
Eli Bloom (Jesse Eisenberg) is a classical music prodigy who dreams of attending a prestigious conservatory in Boston. The only thing standing in the way of his promising future is the constant distraction of having to care for his 9 year-old sister, Nicole (Emma Rayne Lyle), and his mother (Melissa Leo), a 45 year-old cocaine addict who just can't seem to get her act together.
She finally agrees to enter rehab on the very same day of his big audition. And a complication arises when she's rejected by the clinic for passing the drug test they administer.
Since this program only admits people who flunk, Penny pressures her son to purchase $50 worth of blow from her dealer (Tracy Morgan) so she can get good and high to satisfy the center's by-the-book bureaucrats. Although Eli'd prefer to be practicing piano, he grudgingly agrees to approach the pusher, unaware that his mom happens to be deeply indebted to him.
Then, once Sprinkles learns that Eli is Penny's son, he and his henchman, Black (Isiah Whitlock, Jr.), proceed to carjack the whole blooming Bloom family in order to recoup their losses come Hell or high water. Meanwhile, time's a wasting and the odds that Eli will even be able to attend his audition worsen by the minute.
So unfolds Why Stop Now, a raucous road dramedy featuring the unlikely casting of Oscar-winner Melissa Leo (for The Fighter) and Oscar-nominee Jesse Eisenberg (for The Social Network) opposite SNL alumnus Tracy Morgan. The oil-and-water is a classic case study of squandered talent, with the serious thespians looking lost when asked to react to the motor-mouthed comic's ostensibly improvised jokes like "somebody needs tough-actin' Tinactin" about smelly feet.
Whitlock isn't any funnier as Morgan's partner-in-crime, coming off as mean-spirited when he tosses Nicole's beloved puppet out the window of the moving auto. Nonetheless, the movie delivers just enough laughs to remain recommended, despite the fact that this hard to pigeonhole head-scratcher would have benefitted from making a total commitment to either comedy or a drama.
Good (2 stars)
Unrated
In English and Spanish with subtitles.
Running time: 88 minutes
Distributor: IFC Films
To see a trailer for Why Stop Now, visit
Film Review by Kam Williams
Spy Franchise Reboot Features Pill-Popping Potboiler
The prior three installments in the Bourne franchise, The Bourne Identity, The Bourne Supremacy and The Bourne Ultimatum, were all adapted from best-sellers by Robert Ludlum and starred Matt Damon as espionage agent extraordinaire Jason Bourne. The Bourne Legacy represents a major departure in that it's based on a book by Eric Van Lustbader and only makes slight references to the title character.
In place of Bourne, this reboot revolves around Aaron Cross (Jeremy Renner), a pill-popping protagonist being turned into a killing machine by way of an experimental CIA program. At the point of departure, we find the unassuming spy on assignment in the Alaskan wilderness where he is very dependent on government issued medication coming in blue and green colors designed to improve his mental and physical abilities, respectively.
However, when he watches a guided missile fired by an American drone blow up the cabin where he's been training, the sage spy instantly realizes that the Agency inexplicably now wants him dead, and he's almost out of the drugs he's become utterly dependent upon. This sets in motion the sort of frenetic, high body-count race against time we've come to expect of every Bourne episode.
The adrenaline-fueled adventure first brings our peripatetic hero in from the cold for a fix as well as for some answers. But he's only frustrated back at headquarters where he determines that a yellow pill recently added to his regimen has already killed his other colleagues in the top secret Blackbriar Program.
After convincing the gorgeous medical researcher (Rachel Weisz) monitoring his vital signs that she's on the hit list, too, the pair escape to the Philippines by way of Canada for a spectacular motorcycle chase scene replete with a hired hit man (Louis Ozawa Changchien), frightened pedestrians and a sacrificial fruit stand.
Don't be surprised to find the episode end in a way which sets the table for Bourne 5 as much as it closes the curtain on this action-packed roller coaster ride. A primer on how to make a successful sequel sans a hit franchise's title character, star and source material from the series' creator.
Very Good (3 stars)
Rated PG-13 for violence and intense action sequences.
Running time: 135 minutes
Distributor: Universal Pictures
To see a trailer for The Bourne Legacy, visit
Film Review by Kam Williams
Childless Couple's Prayers Answered in Enchanting Fairytale
Jim (Joel Edgerton) and Cindy Green (Jennifer Garner) are very happily-married except for not having any kids. After being informed by Cindy's gynecologist (Rhoda Griffis), that she can't conceive, they scribble down all the qualities they'd hoped to pass on to the child they'll never have, starting with her good heart and his honesty to a fault.
Then, they bury the wish list in a box in the backyard right before a torrential rainfall arrives. To their astonishment a real live boy sprouts up in their garden overnight who, other than having leaves growing out of his legs, seems to be perfectly normal.
What's more, 10 year-old Timothy (CJ Adams) not only exhibits the positive traits desired by Cindy and Jim, but he refers to them as "Mom" and "Dad" without any prompting. While the Greens are certainly inclined to welcome their miraculous blessing with open arms, they are still hard-pressed to explain the sudden addition to the family to skeptical relatives and friends.
For sensitive Timothy, the adjustment is rather rocky, too, between being teased by bullies at school for wearing long socks, and being rejected at home for not being manly enough by his macho grandfather, Jim, Sr. (David Morse). He even frustrates his mom when she's fired by her boss (Dianne Wiest) on account of his compulsive frankness.
At least the little lost soul does find a kindred spirit in Joni (Odeya Rush), a shy classmate hiding a painful secret of her own. The harder a time Timothy has trying to measure up to the world's expectations, the more he retreats to a magical oasis of solitude he shares with this newfound friend.
Directed by Peter Hedges (Pieces of April), The Odd Life of Timothy Green is an enchanting fairytale designed for young and old alike. Credit a combination of seamless special effects and a talented cast for making it easy for the audience to suspend disbelief in the face of a supernatural storyline with an implausible premise.
Once that hurdle is scaled, a most-satisfying payoff which tugs on the heartstrings awaits anyone willing to invest in this instant Disney classic. Buy an extra ticket for the box of Kleenex you'll need to have sitting on the seat beside you.
Excellent (4 stars)
Rated PG for mature themes and mild epithets.
Running time: 125 minutes
Distributor: Walt Disney Pictures
To see a trailer for The Odd Life of Timothy Green, visit
DVD Review by Kam Williams
Dance Documentary Pays Tribute to Legendary Jacob's Pillow Festival
The Jacob's Pillow Dance Festival traces its roots back to the Thirties when it was founded on a farm nestled in the Berkshire Mountains by the legendary Ted Shawn (1891-1972). He envisioned the retreat as an oasis where modern dance might be practiced, choreographed and performed as a legitimate art form independent of classical ballet.
Other than being derailed by a temporary setback during The Depression, the festival's stature grew steadily over the ensuing years. In 1942, Shawn built a theater in a converted barn so that patrons could enjoy modern for modern's sake, free of the distracting trappings of a big city opera house.
Now celebrating its 80th anniversary, Jacob's Pillow is a veritable mecca recognized as America's longest-running dance festival. Directed by Ron Honsa, Never Stand Still is an enchanting tribute destined to delight both modern dance devotees and the curious alike.
Narrated by Bill T. Jones, this alternately educational and entertaining documentary divides its time between concert footage and informative interviews with industry icons like Merce Cunningham, Bill Irwin, Paul Taylor, Judith Jamison and Suzanne Farrell. We learn from the film that dance is definitely a calling and not a life for anyone who wants a secure career path, since you're always just an ingénue or an injury away from losing the limelight forever.
Jamison reminds us, however, that to reach the top, you have to be more than merely technically adept. Indeed, you need to be among those rarest of talents also capable of touching the human spirit.
Modern dance appreciated as a sacred endeavor enabling one to fly above the fray, if not literally, at the very least, vicariously.
Excellent (4 stars)
Unrated
Running time: 74 minutes
Distributor: First Run Features DVD Extras: Extended Interview with Merce Cunningham; Invisible Wings: The Carter Family Farm at Jacob's Pillow; Performance footage of Chunky Move in I Want to Dance Better at Parties; Mimulus in On the Left-Hand Side of Who Goes up the Street; and The Lombard Twins' C Jam Blues.
To see a trailer for Never Stand Still, visit
DVD Review by Kam Williams
Revealing Biopic Revisits Rise and Fall of Revered Reggae Icon
When most people think of Bob Marley, what probably comes to mind is reggae, Jamaica and marijuana. But how did a street urchin raised by a teen-mom in a country shack with no electricity manage to become a beloved icon admired all over the world?
That little-known side of Bob's life story is the subject of Marley, an intimate biopic produced by his son, Ziggy, and directed by Scotsman Kevin Macdonald. Because of the participation in the project of so many relatives, friends and colleagues, the picture paints a fascinating portrait which fully fleshes out its subject, thereby resisting the temptation of merely placing him on a pedestal.
At the point of departure we learn that Robert Nesta Marley was born in 1945 to Cedella Malcolm, a young local gal, and Captain Norval Marley, a British plantation overseer already in his 60s. Bob never really knew his father or the rest of the Marleys, a prominent family with a construction business on the island. In fact, his request for financial help to kickstart his career was rebuffed out of hand by his relatively-rich white relations.
Rejection was a recurring theme during Bob's formative years, when he was teased as a "half-caste" by other boys for being mixed. And he was equally unpopular with the opposite sex, since "Every girl's dream in Jamaica was to have a tall, dark boyfriend." He was even abandoned by his mom who moved to America while he was still in his teens.
Fortunately, Bob eventually found salvation through a love of music and the embrace of the Rastafarian community. Seeing his guitar as a way out of poverty, he let his hair grow while writing popular songs about equality, world peace, and cannabis, which is considered a sacred herb by the dreadlocked adherents of his pot-smoking religion.
After struggling to make it for over a decade while getting ripped-off by unscrupulous producers and promoters, Marley finally landed his big break in 1973 when he and the Wailers signed with Island Records. The group went on to record such hits as "One Love," "Jammin'," "No Woman No Cry," "I Shot the Sheriff," "Redemptive Song," "Get Up, Stand Up," "Stir It Up" and "Is This Love?" to name a few.
The 2½ hour combination concert/interview flick allocates a decent portion of time to archival footage of The Wailers' performing many of the aforementioned anthems. Attention is also devoted to the reflections of folks like Bob's widow, Rita, who talks about how she was really more of her his guardian angel than his wife.
After all, he had 11 children by 7 different women and often needed help juggling his groupies and baby-mamas. As Bob's attorney, Diane Jobson, explains it, her client considered himself faithful to God, if not his spouse.
Among Marley's many lovers was gorgeous Cindy Breakspeare, Miss Jamaica 1976, who went on to win the Miss World title. Not so lucky was Pascaline Ondimba, the daughter of the African nation of Gabon's prime minister. She recounts how Bob had called her "ugly" because she straightened her hair, and had encouraged her to cultivate and appreciate her natural beauty.
Sadly, Marley's life was marked by tragedy, too, including an assassination attempt and later the skin cancer to which he would succumb at the tender age of 36. Still, his "One Love" legacy is likely to withstand the test of time and inspire generations to come with its all-embracing message of understanding and tolerance.
A wonderfully-revealing, warts-and-all tribute to the human spirit of a Rasta rock god!
Excellent (4 stars)
Pated PG-13 for violent images, mature themes and cannabis consumption.
Running time: 145 minutes
Distributor: Magnolia Home Entertainment
DVD Extras: Director's commentary; photo gallery; Bunny Wailer and Marley children interviews; bonus music footage; a mini-documentary; and the theatrical trailer.
To see a trailer for Marley, visit
To order a copy of Marley on DVD, visit
Film Review by Kam Williams
Dysfunctional Family Drama Revolves around Interracial Romance
16 year-old Kayla Tanaka (Nichole Bloom) is an aspiring artist with a promising future provided she keeps her nose to the grindstone while trying to land a college scholarship. But that's easier said than done since she's being raised in a rough area of Los Angeles where temptation lurks around every corner.
So, one might expect her parents to approve when she starts dating an equally-ambitious classmate (Robert Bailey, Jr.) from the other side of the proverbial tracks whose father is a successful, Harvard-trained lawyer. But no, Kayla's mother, Angie (Jessica Tuck), puts the kibosh on the liaison just as soon as she discovers that the object of her affection is African-American, ordering her daughter to "Get the [F-word] out of the house" because "you're sneaking around with a Goddamn [N-word]."
Unfortunately, it only falls on deaf ears when Kayla points out that her white mother's been in an interracial relationship with a Japanese man (Chris Tashima) for the past 22 years. Their marital status is about to change however, because Mrs. Tanaka has a terrible drug addiction that's frustrated her husband to the point of moving out of the house and filing for divorce.
Between their mom's habit and hypocrisy, it is only a matter of time until both Kayla and her younger sister, Amberlyn (Courtney Mun), rebel by hanging out with black guys anyway. Trouble is their new suitors aren't straitlaced like J.J., but stone-cold ghetto gangstas with not much of a future to speak of.
Kayla's lover, Treyshawn (Delon de Metz), is a 19 year-old drug dealer with his own car, while her sibling can be found hanging out in alleys swapping sexual favors for Chinese food. In the absence of a stable home life, the question soon becomes, can these girls be saved before spiraling totally out of control?
So unfolds Model Minority, a dysfunctional family drama marking a most impressive directorial/scriptwriting debut of Lily Mariye. An accomplished actress in her own right, Ms. Mariye is perhaps best known for portraying Nurse Lily Jarvik on the TV series ER.
Here, she proves to be quite the storyteller, spinning a quite compelling, cross-cultural, character-driven drama with its finger on the pulse. Considerable credit must also go to Nichole Bloom (Project X) for throwing herself into the emotionally-challenging role of Kayla with an admirable abandon.
A melting pot morality play about the temptations and travails of a couple of good girls gone bad.
Excellent (4 stars)
Unrated
Running time: 94 minutes
Distributor: Nice Girls Films
Film Review by Kam Williams
Cautionary Expose' Warns of Detroit's Impending Demise
Heidi Ewing and Rachel Grady are a couple of inspired filmmakers who have kept their finger on the pulse since founding Loki Films a decade ago. Among the frequent collaborators' timely offerings are such critically-acclaimed documentaries as Oscar-nominated Jesus Camp (2006), the NAACP Image Award-winning The Boys of Baraka (2005) and the Peabody Award-winning 12th & Delaware (2010).
The talented pair's latest tour de force is Detropia, a pessimistic expose' chronicling the blight which has permeated Detroit, an enveloping decay heralding the perhaps impending demise of a once prestigious metropolis. Whether a cautionary tale or already a post mortem, the picture is most reminiscent of Michael Moore's Roger & Me (1989).
However, instead of searching for a missing, Michigan auto industry executive responsible for outsourcing, Ewing & Grady simply sought to preserve for posterity stark images of a ghost town resulting from callous, corporate cost-cutting measures. Detropia carefully constructs an impressionistic cinematic collage of a disturbing dystopia, alternating back and forth between arresting tableaus of an aging, urban exoskeleton and the plaintive laments of citizens swept up in a desperate struggling for survival.
For instance, we learn that so many manufacturing jobs have been downsized that half of Detroit's population has disappeared into thin air. Consequently, it is easy to find entire city blocks virtually abandoned, where only a handful of homes remain occupied.
Exasperated Mayor Dave Bing, a former NBA star with the Detroit Pistons, freely acknowledges that he has 40 square miles of vacant land on his hands. And equally-frustrated George McGregor, President of a United Auto Workers Local 22, finds himself stuck between a rock and a hard place trying to negotiate with a multinational company more than willing to relocate union jobs to Mexico.
Still, not all have lost hope in the midst of the misery. Consider the pranksters who altered the sign above a shuttered "AUTO PARTS" store to read "UTOPIA." Then there are the picketing, performance artists dressed like decadent 1%ers who satirize the rich by demanding money of perturbed passersby.
A simultaneously surrealistic and sobering warning that the Motor City's host of woes might be coming soon to a town near you.
Excellent (4 stars)
Unrated
Running time: 90 minutes
Distributor: Loki Films
Film Review by Kam Williams
Hedonistic Playboy Tries Platonic Relationship in Offbeat Romantic Romp
Heidi Ewing and Rachel Grady are a couple of inspired filmmakers who have kept their finger on the pulse since founding Loki Films a decade ago. Among the frequent collaborators' timely offerings are such critically-acclaimed documentaries as Oscar-nominated Jesus Camp (2006), the NAACP Image Award-winning The Boys of Baraka (2005) and the Peabody Award-winning 12th & Delaware (2010).
The talented pair's latest tour de force is Detropia, a pessimistic expose' chronicling the blight which has permeated Detroit, an enveloping decay heralding the perhaps impending demise of a once prestigious metropolis. Whether a cautionary tale or already a post mortem, the picture is most reminiscent of Michael Moore's Roger & Me (1989).
However, instead of searching for a missing, Michigan auto industry executive responsible for outsourcing, Ewing & Grady simply sought to preserve for posterity stark images of a ghost town resulting from callous, corporate cost-cutting measures. Detropia carefully constructs an impressionistic cinematic collage of a disturbing dystopia, alternating back and forth between arresting tableaus of an aging, urban exoskeleton and the plaintive laments of citizens swept up in a desperate struggling for survival.
For instance, we learn that so many manufacturing jobs have been downsized that half of Detroit's population has disappeared into thin air. Consequently, it is easy to find entire city blocks virtually abandoned, where only a handful of homes remain occupied.
Exasperated Mayor Dave Bing, a former NBA star with the Detroit Pistons, freely acknowledges that he has 40 square miles of vacant land on his hands. And equally-frustrated George McGregor, President of a United Auto Workers Local 22, finds himself stuck between a rock and a hard place trying to negotiate with a multinational company more than willing to relocate union jobs to Mexico.
Still, not all have lost hope in the midst of the misery. Consider the pranksters who altered the sign above a shuttered "AUTO PARTS" store to read "UTOPIA." Then there are the picketing, performance artists dressed like decadent 1%ers who satirize the rich by demanding money of perturbed passersby.
A simultaneously surrealistic and sobering warning that the Motor City's host of woes might be coming soon to a town near you.
Excellent (4 stars)
Unrated
Running time: 90 minutes
Distributor: Loki Films
Film Review by Kam Williams
Billionaire Builds McMansion for Trophy Wife in Dysfunctional Family Documentary
Real estate mogul David Siegel founded Westgate Resorts back in the Seventies and went on to strike it rich selling luxury time shares in 28 locations around the country. Unfortunately, his obsession with work took a toll on his first marriage, but after a messy, decade-long divorce battle, he started another family with a gorgeous trophy wife 30 years his junior.
The 74 year-old CEO now has 7 children with Jackie, 8 if you count her orphaned niece they adopted. Although Siegel was already keeping his flamboyant, young spouse in the lap of luxury, against his better judgment he also agreed to build her the biggest and most expensive single-family home in the United States.
A replica of Louis XIV's 17th Century Palace of Versailles, plans for the sprawling, 90,000 square-foot estate included 10 kitchens, a grand ballroom with a staircase at either end, a skating rink, a bowling alley, a health spa, tennis courts, a baseball field, a performance theater, maids quarters, etcetera. But when the real estate bubble burst in 2008, the economic recession took a terrible toll on Siegel's entire empire.
Not only did he have to lay off 7,000 corporate employees at Westgate Resorts, but he also had to scale back his on his lavish lifestyle. The household staff shrank from 19 to 4, the kids were moved from private to public schools, and the family started flying on commercial airliners instead of by a private Gulfstream jet. In addition, the dream mansion project had to be halted halfway to completion when the bank threatened to foreclose on the property.
The stress started taking a toll on the Siegel marriage, too, especially after David tried to put Jackie on a budget. And when the reckless 43 year-old failed to implement some of the suggested cost-cutting measures, he went so far as to threaten to trade her in for a couple of cute 20 year-olds.
All of the above was captured on camera by Lauren Greenfield, the masterful director of The Queen of Versailles. The dysfunctional family documentary is compelling because it invites the audience to see just how decadently the other 1% lives which only makes it that much easier to take pleasure in their subsequent misfortunes.
A brilliant biopic which elicits an emotional response that's the epitome of schadenfreude!
Excellent (4 stars)
Rated PG for mature themes and mild epithets.
Running time: 101 minutes
Distributor: Magnolia Pictures
Film Review by Kam Williams
Ferrell and Galifianakis Square-Off as Funniest Candidates Money Can Buy
If you've been looking for a laugh-a-minute comedy as a refreshing alternative to all the kiddie flicks and bombastic summer blockbusters currently at the megaplexes, your wait is over. And what could be more timely than a picture about the dirty tricks being employed during a cutthroat political campaign?
The Campaign was directed by Jay Roach, a proven master of the comedy genre, a brainiac best known for making Meet the Parents and the Austin Powers trilogy. The movie stars Will Ferrell as Cam Brady, a popular North Carolina Congressman who's running unopposed for his fifth term in office until an Anthony Weiner-level peccadillo becomes public knowledge.
That boneheaded blunder opens the door for a nerdy, unworthy opponent like Marty Higgins (Zach Galifianakis) to enter the race because he's being bankrolled by a couple of very wealthy businessman. Glen (John Lithgow) and Wade Motch (Dan Aykroyd) are sleazy, power-hungry siblings ostensibly patterned after the billionaire Koch brothers, notorious backers of arch-conservative causes.
Bragging about being "candidate creators" more than "job creators," the Motches specifically seize on naïve Marty since he's so malleable. Unseen behind the scenes, they orchestrate a complete overhaul of Higgins' image with the help of a no-nonsense campaign manager (Dylan McDermott).
Soon, Brady realizes he's in the fight of his life, as both sides resort to increasingly-devious tactics to prevail on Election Day. For instance, we find Marty wearing what he calls a "Yamaha" on his head during services at a synagogue, while Cam sings in the gospel choir of a black Baptist Church and plays with rattlesnakes to curry favor with the congregation of a sect of serpent-handling evangelists.
But despite his best efforts, Brady continues to sabotage his own campaign at every turn, whether by accidentally punching a baby and a puppy, or by being caught having sex with a supporter in a port-o-john. And as the polls indicate that the tide is turning decisively in Marty's favor, the focus becomes whether he'll be a tool of the Motch brothers or choose to do what's best for his district.
Will Ferrell's over-the-top approach to Cam serves as the perfect counterpoint to Zach Galifianakis' relatively-subdued interpretation of sweet-natured Marty. The film also features several inspired support performances, most notably, Dylan McDermott and Jason Sudeikis as devious campaign managers and Karen Maruyama as an ebonics-accented Asian housekeeper.
Throw in amusing cameos by a neverending string of political pundits like Bill Maher, Wolf Blitzer, Chris Matthews, Piers Morgan, Joe Scarborough, Lawrence O'Donnell, Willie Geist, Mika Brezinski, Ed Schultz and Dennis Miller, and you've got all the makings for a bona fide election year hit. Ferrell and Galifianakis hit their stride as the funniest candidates money can buy!
Excellent (3.5 stars)
Rated R for profanity, sexuality, nudity and crude humor.
Running time: 97 minutes
Distributor: Warner Brothers
Film Review by Kam Williams
Carefree Cherub Laments Climate Change in Enchanting Cautionary Parable
6 year-old Hushpuppy (Quvenzhané Wallis) is being raised under the radar in "The Bathtub," a backwoods bayou located on the swamp side of a Louisiana levee. The self-sufficient tomboy divides her days between attending to her sickly father (Dwight Henry) and living in harmony with a handful of other hardy refugees from civilization.
Hushpuppy feels sorry for children growing up on the land in nearby New Orleans because they eat fish wrapped in plastic and have been taught to fear the water. And while those city kids were caged in strollers and baby carriages during their formative years, she's been free to explore surroundings teeming with vegetation and a menagerie of wildlife.
Yet, her existence is far from idyllic, given how much she pines for the mother her ostensibly-widowed daddy explained simply "swam away" one day. The heartbroken little girl tries to fill the void via flights of fancy coming courtesy of a vivid imagination that enables her to carry on imaginary conversations with her long-lost mom.
Hushpuppy's vulnerability is further amplified by her father's failing health and by an ominous foreboding that climate change could destabilize the eco-system of her natural habitat. For, she's been warned by Miss Bathsheeba (Gina Montana), a sage soothsayer who also serves as her surrogate mother, that "The trees are gonna die first, then the animals, then the fish."
So unfolds Beasts of the Southern Wild, a compelling, coming-of-age parable marking the extraordinary directorial debut of Benh Zeitlin. An early entry in the Academy Awards sweepstakes, this surreal fairy tale about the prospects of the planet so richly deserves all the accolades already heaped upon it at Sundance, Cannes and other film festivals.
Considerable credit must go to newcomer Quvenzhané Wallis, a talented youngster who not only portrays protagonist Hushpuppy but narrates the film as well. Like a clever cross of Mark Twain's Huckleberry Finn and Al Gore's An Inconvenient Truth, the movie repeatedly reminds us of a pre-pollution, pre-digital era when children were still encouraged to plunge headlong into nature to experience the world firsthand rather than artificially through electronic stimuli.
A visually-enchanting fantasy shot from the perspective of a naïve waif magically untouched by the 21st Century.
Excellent (4 stars)
Rated PG-13 for profanity, mature themes, child imperilment, disturbing images and brief sensuality.
Running time: 91 minutes
Distributor: Fox Searchlight
Film Review by Kam Williams
Coming-of-Age Drama Revolves around Lesbian-Curious Latinas
Besides being 15 year-old Chicanas, Yolanda "Mosquita" Olveros (Fenessa Pineda) and Mari Rodriguez (Venecia Troncoso) are about as different as night and day. The former is a straight-A student and the only child of overprotective parents (Joaquin Garrido and Laura Patalano) with high expectations for their dutiful daughter. The latter, by contrast, is a relatively-troubled rebel being raised by an overwhelmed widow (Dulce Maria Solis) who's been struggling just to keep a roof over their heads since entering the U.S. illegally after the death of her husband.
The Rodriguez's plight as undocumented immigrants means that Mari has to work part-time to help out her mom financially, a burden that has taken a toll on the kid academically. Consequently, the grieving, underachieving street urchin has learned to mask her pain with a tough "I could care less" veneer.
Mari and Mosquita's paths do cross when the Rodriguez family moves next-door to the Olveros in a Spanish-speaking neighborhood located in the Huntington Park area of L.A. The two sophomores initially forge a grudging friendship at school, trading off tutoring in geometry for protection from a clique of mean girls.
But soon, they're happily spending so much time together in the afternoons and evenings that Mari loses her job while Mosquita's grades start to suffer. The plot thickens as it becomes clear that these polar opposites are not only lesbian-curious but experiencing barely-contained pangs of puppy love for each other.
Tension builds as the schoolgirl crush blossoms into a passion simmering close to the surface as each waits for the other to make the first a move. But the best these awkward neophytes can do is snuggle under a blanket while studying and scribble their names in a dirty automobile's dust.
Finally, the moment of truth arrives after a handsome boy asks attractive Mosquita for a date around the same time that a seedy man offers cash-strapped Mari money for sexual favors. At that point, obviously, something's gotta give.
The question is whether or not they're ready to take a big leap.
Marking the marvelous writing and directorial debut of Aurora Guerrero, Mosquita y Mari is a subtle exploration of coming out from the perspective of introspective adolescents at an awkward age. However, the movie has much more to offer, as it is equally sensitive in its examination of a variety of issues of urgent concern to the Latino community.
To think that in just one generation we've gone from Chico and the Man to Chica and the Girl!
Excellent (4 stars)
Unrated
In Spanish and English with subtitles
Running time: 85 minutes
Distributor: The Film Collaborative
Directed by Véréna Paravel and J. P. Sniadecki documentary "Foreign Parts" about the Willets Point section of Queens recieves NY Times Critics' Pick.
It’s a safe bet that the Willets Point section of Queens, setting and subject of the new documentary “Foreign Parts,” does not figure in many New York tourist itineraries, though it has starred in a movie before, Ramin Bahrani’s “Chop Shop.” This battered stretch of junkyards and auto repair shops may thrive (or fester, depending on your point of view) in the shadow of Citi Field, but it seems a universe away from that gleaming corporate food court where the Mets occasionally win a baseball game.
Read the review on The New York Times
Download Film (Available in the US only)
Something’s rotten in the state of Jiabo, where the king is dead, the queen has married her brother-in-law, the prince is acting crazy and his girlfriend is even crazier. Nothing ends well in “Prince of the Himalayas,” a high-altitude “Hamlet” that takes several liberties with Shakespeare’s plot but reps a muscular, boldly dramatic trip into a fanciful ancient Tibet. Considering the breathtaking landscapes, the reckless but effective camerawork and the star turn by young Tibetan comer Purba Rgyal, a festival run seems assured. Theatrical success may seem as remote as Lhasa, but it’s a heck of a calling-card movie.
Read full film review at Variety
Download to Own (US and Canada)
Something’s rotten in the state of Jiabo, where the king is dead, the queen has married her brother-in-law, the prince is acting crazy and his girlfriend is even crazier. Nothing ends well in “Prince of the Himalayas,” a high-altitude “Hamlet” that takes several liberties with Shakespeare’s plot but reps a muscular, boldly dramatic trip into a fanciful ancient Tibet. Considering the breathtaking landscapes, the reckless but effective camerawork and the star turn by young Tibetan comer Purba Rgyal, a festival run seems assured. Theatrical success may seem as remote as Lhasa, but it’s a heck of a calling-card movie.
Read full film review at Variety
Download to Own (US and Canada)
Photographer Francesca Woodman died years ago. It is apparent from how her parents, sculptor Betty, and painter George, speak distantly of her. The pain is still there, but it’s not as acute as it must have been when they found out. The Woodmans are a family of artists. Charlie, Francesca’s older brother, a video artist, faces the camera to give insight into who Francesca was, what their childhood was like with such intense, parental mountains, who believed, and still believe, that art is paramount. The elder Woodmans are not full of themselves. Their art is quite good, and part of the framework of this documentary from filmmaker C. Scott Willis is Betty creating artwork for the American Embassy in China, so we can see what she looks like when she’s creating. The same goes for George, who we see painting, as well as examples of his own work.
Read full review on Movie Gazette Online
Photographer Francesca Woodman died years ago. It is apparent from how her parents, sculptor Betty, and painter George, speak distantly of her. The pain is still there, but it’s not as acute as it must have been when they found out. The Woodmans are a family of artists. Charlie, Francesca’s older brother, a video artist, faces the camera to give insight into who Francesca was, what their childhood was like with such intense, parental mountains, who believed, and still believe, that art is paramount. The elder Woodmans are not full of themselves. Their art is quite good, and part of the framework of this documentary from filmmaker C. Scott Willis is Betty creating artwork for the American Embassy in China, so we can see what she looks like when she’s creating. The same goes for George, who we see painting, as well as examples of his own work.
Read full review on Movie Gazette Online
Crazy Wisdom makes The Global Culture Girl's Guide to Last Minute Gifts on Huffington Post:
My favorite pastime is watching films. But not just any moving pictures, ones that will change my life. Fortunately, just in time for Christmas, three DVDs of personal favorites are available to buy and there is no excuse not to infuse your friends' lives with a little culture and a lot of cinematic love. ... for the spiritual junkies in your lives Crazy Wisdom is both entertaining and extremely enlightening.
Mashabble.com gave this review of the Taqwacore doc by the Canadian filmmaker Omar Majeed:
Stripped down and laid bare of all cultural referents,Taqwacore: The Birth of Punk Islam is a rock ‘n’ roll road movie. Made by Canadian filmmaker Omar Majeed, it feels similar to its frenetic and lionized antecedent Another State of Mind, which showcased and documented the efforts of Better Youth Organization-related bands, like Youth Brigade and Social Distortion, to tour and connect disparate communities in far flung locales during the heyday of early ‘80s hardcore punk.
Yet that analogy doesn’t encompass the full breadth of this film. With stealth, the filmmaker and participants dissect America’s so-called mosaic or melting pot culture in-depth by examining the tale of emergent Muslim-American youth. In doing so, it exposes fervent politics, abundant identity crises, varied social, religious, and inter-generational conflicts, and undeniable mixed cultural heritage.
Intimate Stranger," says Berliner, "walks the fine line between sorting the dirty family laundry and polishing the precious family jewel." Family members try to make sense of it all in this witty, candid and cinematically inventive documentary biography.
"Funny, probing and so wholly original in both style and
substance as to seem completely without precedent...
brilliant, one-of-a-kind film...the remarkable life of a
seemingly average man presents a figure as complicated and
enthralling as any fictional character in recent memory...
intoxicating montage...expertly pieced together...
a spectacular high-wire feat by a fledgling master."
— THE WASHINGTON POST
"Compellingly eccentric...powerful, bittersweet...
a rich, tumultuous portrait of family life..."
— THE NEW YORK TIMES
Embedded with a group of Danish soldiers from the International Security Assistance Force responsible, along with British allies, for providing security for the locals in remote Helmand, Afghanistan, Metz gives us glimpses of the soldier's life amid warfare, 21st-century style, that will look familiar to American viewers of such similar domestic products as Severe Clear and Restrepo. The company of young men kill time through macho horseplay or dissecting the plots of porn movies, lament the boredom of inaction, and try to establish friendly contact with the local farmers, justifiably upset by the Danes (and Brits and Americans) destroying their crops and homes and unwilling to cooperate for fear of Taliban reprisal.
Read full review at Slant Magazine
“Le Quattro Volte,” an idiosyncratic and amazing new film by Michelangelo Frammartino, is so full of surprises — nearly every shot contains a revelation, sneaky or overt, cosmic or mundane — that even to describe it is to risk giving something away.
A large part of the appeal of ''Himalaya'' comes from the breathtaking beauty of its setting, the mountainous, sparsely populated Dolpo region of Nepal. Exquisitely filmed in Cinemascope, a format whose wide frames and panoramic angles emphasize the lonely grandeur of the landscape, the movie offers an intoxicating dose of armchair tourism, like a National Geographic pictorial brought to life.
Premiering in the documentary competition at the Tribeca Film Festival this week, Alex Mar’s American Mystic is a poem of a film, following three young people in America who have chosen to make their spiritual practice the center of their lives. A pagan priestess who proudly defines herself as a witch, Morpheus has moved to the outskirts of rural California to create a pagan sanctuary on a small plot of land. Kublai, a Spiritualist medium, works on a farm in upstate New York but spends his off hours with his head in the hands of elderly women, learning to channel spirits. Chuck, a Lakota Sioux, barely scrapes by at his day job in the city, but he and his wife are raising their child with their ancestors’ way of life as their guide, taking long trips to the reservation to participate in the traditions that are still alive.
Do dreams, especially the portentous kind that you cannot easily shake off, predict the future? That question is investigated in “The Edge of Dreaming,” a deeply personal film by Amy Hardie, a Scottish science documentarian whose world was shaken after she experienced a series of related nightmares.
Very insightful review from Slant Magazine of The Sound of Insects by Diego Costa:
Surprisingly not macabre, this fictionalized record of self-aggrandizement through self-destruction reminds one of Derek Jarman's Blue in its epistolary delivery and its displacement of meaning to that which is never really shown. One can also think of writer Yukio Mishima's seppuku, performance artist Fred Herko's jeté out the window (Andy Warhol was bummed for not having caught the moment of the plunge in a photograph), and the HIV-chasing politics of Guillaume Dustan, who also turned the courting of death into literature through barebacking. But the anonymous suicidal performer mummy in The Sound of Insects is less interested in the grand finale, more focused on his very shriveling. Still it is death as spectacle, even if a quietly murmured one, that links all of these performers.
Niko von Glasow and Bianca Vogel in "NoBody’s Perfect."
How rare is it to discover a documentary about disability that scorns “differently abled” euphemisms and rhapsodies of inner beauty? Rare enough to make “NoBody’s Perfect” an exemplar of fresh-air filmmaking that addresses the devastating legacy of the drug thalidomide with acidic wit and grumpy honesty.
It is quite a treat to see the Dalai Lama exercising on a treadmill just like millions of other people around the world. Although his Buddhist philosophy is focused on the mind, he sees the importance of taking good care of the body. The director, who provides a running commentary on his activities, notes at one point that it's a paradox that a man of nonviolence is surrounded by armed body guards. But given the continuing tension between China and Tibet, these are necessary precautions. More than 200 study at the monastery and listen to teachings given by the Dalai Lama, which can run from one to five hours. We see him giving a lecture with references to the Big Bang, the self, and compassion as "the basic nature of the mind."
Download to Own Taqwacore or watch film trailer
While the idea of punk rock Muslims might sound ridiculous to some people and to others it might even be blasphemous, for those with eyes to see and ears to hear, Taqwacore: The Birth Of Punk Islam is inspiring and hopeful. Not only do those involved dispel any stereotypes you might have about Muslims, they also show how it is possible to be a religious person without letting your religion dictate who and what you are as an individual. The underlying message of tolerance and respect, mixed with a healthy dose of the benevolent chaos of punk, is one the world could stand hearing over and over again.
In a remote wintry forest, a hunter discovers the mummified corpse of a 40-year-old man. A diary is found near the body, detailing the man’s everyday thoughts as he commits suicide through self-imposed starvation. Based on an incredible true story, and adapted from the novella “Until I am a Mummy“ by Shimada Masahiko, Peter Liecthi’s THE SOUND OF INSECTS is a stunning investigation into the mystery of the man’s enigmatic self-destructive motivations. Taking on his point-of-view, the film presents the notebook entries as stream-of-consciousness musings on the world around him as his body dissipates, an attempt to piece together the causes of his disillusionment. With luminous cinematography of the vaulting trees that surround his tented tomb, and of hallucinated memories of the cities and people he left behind, THE SOUND OF INSECTS is a hypnotic and transcendent meditation on how the renunciation of life paradoxically reveals its beauty.
Watch film trailer on your computer, on iPad, on iPod or on iPhone (automatic resolution)
In Emmanuel Laurent’s new documentary, “Two in the Wave,” the “two” are the filmmakers François Truffaut and Jean-Luc Godard. The wave, needless to say, is La Nouvelle Vague, a journalistic name that not only stuck to Truffaut, Mr. Godard and their colleagues, but that also changed the way film history is understood.
Watch a trailer (Flash) and read the overview
Watch a film trailer in Standard Definition (Computer HD, iPhone, iPad)
In 2006, The Public Theater in New York City mounted an outdoor production of Mother Courage and Her Children, which boasted a new translation by Tony Kushner, featured Streep and the great Kevin Kline, and was directed by the Public’s George C. Wolfe. Written in 1939 largely in response to the invasion of Poland by Hitler’s German army, the play is about the devastating effects of war and the blindness of anyone hoping to profit by it. Nearly seven decades later—as the war in Iraq wages on with no discernible end—Brecht’s play has a lamentable resonance. That is, it rhymes.
Walter takes us behind the scenes, including unprecedented access into Streep’s artistic process. He interweaves these scenes with enthralling details about the play’s author, including a pivotal moment of Brecht’s brilliant testimony before the House Un- American Activities Committee, when he gave a brilliant performance and quickly departed the stage and the country.
THEATER OF WAR is more than a backstage pass. It’s an engrossing and fiercely intelligent look at war and capitalism, and their regrettable dependence on one another. But even more, it’s about the power—if not responsibility—of art and artists to cast a light on that which we prefer not to see.
Starring: Meryl Streep and Bertolt Brecht
Directed By: John Walter
Most Americans have no trouble believing that God exists, but they are uncertain about whether an American ruling class exists. They seem to think the idea of a ruling class is restricted to European aristocracies of yore and assorted eastern potentates of today. In The American Ruling Class Lewis Lapham takes a wry trip across America, ostensibly to educate two fresh-faced graduates about the ways of power and privilege. Some of their interlocutors express puzzlement about the very idea of a ruling class in America, while others seize on the phrase with palpable disdain for anyone who has doubts about the concept. The result of these conversations is instructive and sobering; I was particularly struck by the sheer difficulty of living in America on a standard working wage—the kind a waiter might expect to earn. Clearly, some people earn too little, while others “earn” too much. Surely there can be no serious doubt that a minority of the population commands more power per capita than the majority: some people own disproportionately large amounts and have access to political power that is commensurate to their wealth. If that is what we mean by a ruling class, then there indubitably exists one in America. Read more on Colin McGinn Blog
Related: The American Ruling Class
In Religulous, Bill Maher was on a satirical quest to find God and understand religion while laughing at the extraordinary claims by the religious. The advertising guru, Simon Cole, took a completely different approach in his documentary film "So Help Me God." It’s not a comedy, but rather it is a drama – portraying a real spiritual quest to find God.
Instead of laughing at the religious and what they say, he listened and asked questions trying to understand God. Going from one religion to another, from one denomination to another, he begins to realize that the question is not only where God is, but who’s God is the right one. Everyone is convinced their God is the one, but how can you truly believe it if there are so many religions in the world?
It was delightful when occasional, genuine humor would distract you from the truth. While talking to Presbyterians about homosexuals one of the older guys, probably in his 70 said, "Don’t you love that all these fundamentalists quote the King James Version; and he was as queer as three dollar bill."
You can’t help but laugh.
If you want something refreshing, something personal, and powerful – watch "So Help Me God." As an atheist you will see religion from a different perspective and as a theist you will enjoy Simon’s search for God. It’s very healthy to search for the unknown as it takes courage, especially when the unknown defies the mainstream status quo.
A personal master piece that will leave your mind in a deep thought contemplating about your own spiritual state of mind. You owe it to yourself to watch it.
Read the original article here or watch «So Help Me God» trailer.
1 comment ( 2159 views )Posted by Mark Zhuravsky
You might think you know what to expect of this film on the basis of the title. Yet, shoehorning So Help Me God into the category of spiritual documentaries would not be quite right, as the film is a highly personal story of exploration, brisk yet thought-provoking, not to mention visually captivating. Our protagonist is one Simon Cole, a well-off man, happily married and seemingly economically unburdened. Simon however carries a load he regretfully cannot drop off his shoulders--he greatly longs for a connection to God. This is a presence Simon does not have in his life and he is driven to at the very least understand it.
As such, he strikes out on the journey that will be the subject of the documentary, done in collaboration with his two brothers Ben and Nigel Cole. With a background in commercials, the brothers bring a visually expressive eye to the proceedings, adding a new dimension of sight and sound that keeps the documentary from slipping into dry discussion. It helps that Simon is a personable and earnest interviewer who does not hesitate to bare his regrets and fears to the camera. The film also benefits from a variety of religious figureheads who share their opinions with a candid openness that echoes throughout the film.
This is an honest attempt to explore one man’s religious conundrum, yet Simon personifies those of us who have questioned their faith or lack thereof. He is earnest and steadfast, a narrator without a shadowy agenda to ridicule or challenge the beliefs of those he encounters and questions. He is burdened by his dilemma and seeks an answer to it in any way he knows how. The final scenes of Simon isolating himself to the desert for some serious soul-searching are among the most emotionally affecting in the film – you can see the exhaustion and difficulty to cope transcribed on Simon’s face. So Help Me God is his story, and it is an exhilarating one.
The enthusiasm of Nollywood Babylon is infectious. Focusing on the widely unknown (in the U.S., at least) Nigerian film industry, this documentary speeds its way through seventeen years of their film history. Starting in 1992, the video market in Lagos has provided financial opportunities for hundreds of actors and directors making thousands of films. Clocking in at about 2500 films a year, Nigeria has the third largest film industry (the first and second being the U.S. and India, respectively). Seeing the passion that these artists share for films showing the real experiences of Nigerians, and the love of Nollywood itself, is inspiring for independent filmmakers everywhere, struggling to get their little pictures made.
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