Yearly Archives: 2016

The Good Guy

Bad. Bad bad bad bad bad. Bad bad. Bad bad bad. Bad very bad bad bad. Bad bad bad. Bad bad BAD. Bad bad bad bad bad bad bad bad bad bad bad bad bad bad bad bad bad bad badbad bad bad bad bad bad bad bad badbad bad bad bad bad bad bad bad badbad bad bad bad bad bad bad bad badbad bad bad bad bad bad bad bad badbad bad bad bad bad bad bad bad badbad bad bad bad bad bad bad bad badbad bad bad bad bad bad bad bad badbad bad bad bad bad bad bad bad badbad bad bad bad bad bad bad bad badbad bad bad bad bad bad bad bad badbad bad bad bad bad bad bad bad badbad bad bad bad bad bad bad bad badbad bad bad bad bad bad bad bad bad.

Alexis Bledel plays a protagonist you can’t help but hate because she has it all but still whines and complains and makes terrible decisions she’s too old to excuse away. She has a sexy Wallstreet boyfriend who’s willing to defer sex until she’s ready so of course she falls for his co-worker. And then to defend her actions we villainize the boyfriend so we can send him away without a wrinkle in our consciences. The whole thing is cheesy, badly acted, and an insult to bipedals everywhere. Honestly, folks, we’re better than this.

An Even Grumpier Guide to Christmas Movies

Last year I lamented the fact that there were no wobbly card tables in the perfection that is Christmas movies, and I bravely bore through a heaping pile of excrement just to tell you that these movies really are as bad as we all thought. This year I find myself doing more of the same, though with perhaps a somewhat easier attitude, in part because I’ve made it a game.

I’ve embraced the cheese by developing a bingo game out of the very cornball 20161221_074245scenarios that used to make me want to ream someone with an unripe banana. Now when a workaholic refuses to acknowledge the meaning of Christmas, I rejoice: it’s by B12, or my I23. Hallmark movies are particularly fruitful for the purposes of Christmas movie bingo, although Matt achieved his high score by watching only Love Actually, and It’s A Wonderful Life.

If you’d like to play along, here’s some of the crap I’ve been watching this year

Christmas Trade: Basically, Billy Baldwin gets Freaky Fridayed.

The Christmas Card: The trifecta of American puke. At Christmas. With Ed Asner.

A Christmas Melody: The script may have been written by reverse-engineering my Bingo card. Bonus cheese: co-stars Mariah Carey.

Uncle Nick: Lewd and gross and pervy, and not in a good way.

Bad Santa: Ever want to see a Gilmore Girl debase herself?

Office Christmas Party: Not as bad as some, but no Christmas goose.

The Kid Who Loved Christmas: Nothing like a dead mother to brighten the holidays.

My Christmas Love: An insult to the intelligence of the common blobfish.

 

If you’ve watched a particularly atrocious holiday movie lately, feel free to leave some link love in the comments. Could you score a bingo with any of them?

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The Kid Who Loved Christmas

A troubled kid is adopted by a family at long last. The husand is a musician who checks in by phone when he’s on the road; his wife (Vanessa Williams, circa 1990) is a doting mother at home.  This could be little Reggie’s best Christmas ever.

But wait: tragedy strikes! Vanessa Williams dies in a vague car accident, which means the kid that just got a mommy now has a dead mommy. For a minute it untitled.pngfeels like her death is just an excuse to have Della Reese belt out Amazing Grace in a church, but have a little faith, folks: Eddie Murphy wouldn’t have produced just any Christmas TV movie. Her death is also an excuse for evil family services to swoop in and revoke the adoption (a single father is unstable!), which in turn allows us to see a little boy penning this heartfelt letter to Santa:

Dear Santa,

All I want for Christmas is my Daddy.

Love, Reggie

Daddy does everything in his power to win back the kid (with a little help from Sammy Davis Jr., true story) but it’s going to take a little bit of Christmas magic for this kid’s holiday wish to come true.

Don’t you just feel vicariously all warm and fuzzy inside?

 

 

Lost in London

Woody Harrelson is making a movie based on the time he ended up in jail for a night in London. A comedy, based on “one of the worst nights of my life”, it co-stars Willie Nelson and Owen Wilson. Harrelson wrote and directed it, but MV5BMmMwOGI3ZDUtMTYxZi00OTc0LWE0YjItMjhlY2EzY2NkNTZlL2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyMTExMjY1OTU@__V1_UY268_CR147,0,182,268_AL_.jpgthe reason the movie REALLY stands out is that it will be streamed live into theatres as he shoots it.

One night only, obviously, so mark your calendars: January 19th, 9pm EST, Lost In London will be broadcast live into about 550 theatres or so. The 100 minute movie will be shot in one take but covers 14 different locations.

“No one has ever shot a movie and live broadcast it into cinemas at the same time,” says Harrelson, and I’m inclined to believe him. “No one’s ever been that stupid — until now.”

 

I’ve always loved theatre and film and wanted to find the best way to merge the two. When I decided to shoot this in real time, I realized it wasn’t quite like true theatre because the one piece missing was a live audience. By broadcasting the film live as it is being shot I hope to truly blend the excitement of live theater with the scale and scope of the film.”

The Seventh Fire

Rob Brown takes a moment to consider his beloved Ojibwe community, and pronounces its new tradition: booze and bingo. Director  Jack Pettibone Riccobono gives us plenty of cut-away shots of the things that used to feature strongly in the aboriginal culture: water, trees, and sky, but those days are gone. Today Brown’s remote Minnesotan reserve is in the business of methamphetamine, and the meat of The Seventh Fire is in following gang leader Brown and the path of destruction he’s hewn within his own tribe.

jack%20pettibone%20riccobono%20the%20seventh%20fireBrown’s teenaged protégé Kevin is already a drug user and a drug pusher, well on his way to the life of crime exemplified by his idol. Brown is pretty blasé about his recent unlaw-abiding behavior until he’s confronted with his 5th stint in prison, a 58 month stretch that has him sweating but not quite with regret.

Riccobono and his crew are given startling access to this community, and it’s unreal how unconcerned his subjects are with being filmed at their worst. In fact, as time goes by,  you realize how mundane the drug culture has become. Fathers manufacture drugs at the kitchen table, very young children are snorting openly, kids use their culture’s very sacred tradition of pow-wow to score drugs or to sell them.

Though the word is never spoken aloud, Riccobono gives us a real sense of hopelessness from the community. Parents dejectedly feel it’s too late for their kids, not yet of legal age but already parents themselves, sixteen and sadly indifferent about their own childhoods borne in violence and addictions, and about their own kids doomed to repeat the cycle.

Rob Brown has a mea culpa while in prison, words that sound right and true, but come a little too easily when one is behind bars and untested. Whether or not he owns up to his responsibility on the outside is a matter to be seen – although if one were to judged based on footage over the past hour of the documentary, it’s not a promising picture.

The documentary manages neither to judge nor to excuse, but provides an unflinching eye toward a people who seem lost and forgotten. The Seventh Fire is a heartbreaking work about loss: loss of culture, of identity, and ultimately, of freedom.

 

This review first appeared at Cinema Axis.

 

 

 

Don’t Blink – Robert Frank

When Robert Frank put out a book of his photographs called The Americans in 1958, it was panned by critics. They called him an angry, joyless, outsider. Today that same series of photographs is considered before its time, influential, seminal. The photos haven’t changed at all, nor the man taking them. It is only that the world has finally caught up. Frank, of course, is leagues beyond once again. He doesn’t wait on the critics, he just keeps creating.

After conquering photography, he experimented with it, and was drawn to documentary and experimental film. One of his longtime collaborators, Laura Israel, points the lens at dbrf_rf_bylisarinzler2.pngFrank in Don’t Blink, and he’s not entirely comfortable with it. “I don’t want to be pinned by the camera – I do that to people, I don’t want it done to me.” Sure he’s a man of contradictions, but that’s how Israel knows she’s got her camera pointed in the right direction. Not just an artist, Frank sees himself as a hunter, always searching for his perfect photo prey, and all Israel has to do is casually capture his encounters.

Israel does an excellent job of capturing the man via his images. Flipping through some of the most famous ones, it’s clear that Frank himself is still the most interesting subject of all. He’s spent a life-time gazing at others, at people, places, things, but also at his own navel, which he reveals in his work, and reluctantly, through interviews for this film. Don’t Blink is more of a living portrait than straight biography, befitting of a man who never worked within an expected framework in his life.

Whether you know him as an artist or not, Robert Frank is a fascinating man who lived and worked alongside the beat poets and The Rolling Stones, who worked outside of expectation and often inside of grief. Israel’s documentary includes clips of his rarely-seen movies and a soundtrack that includes Lou Reed, Bob Dylan, and Tom Waits. Structurally loose and rough around the edge, the film will surprise you with insight  and unprecedented access.

 

 

 

This review first appeared at Cinema Axis.

Christmas Trade

“You stand a better chance of winning the lottery and getting hit by lightning on the same day than you do of getting a new puppy” – said dad, to his motherless son, days before Christmas.

Anyone want to take a bet on this kid getting a puppy before this movie’s over?

Billy Baldwin plays the “hot widow guy” (not MY words, believe me) that all the other school moms covet. He’s a big fancy lawyer who works too hard, spends too little time with his son, and keeps his secret new girlfriend (Denise imagesRichards) at a distance. A weird teddy bear mysteriously shows up on his doorstep and is activated during a fight with this son. Before you can change the channel, the bear Freaky-Fridays them. Just a few short days before Christmas, “dad” has to go to school and confront the bullies and his nerves about starring in the big pageant and “son” has to take a witness’s deposition, throw the office Christmas party, and get tongued by more than one woman.

I haven’t even gotten to the best part: Tom Arnold plays the teddy bear’s “repair man,” the guy who orders the “sprocket” from Amazon in order to save Christmas or what have you (I may not have been paying the best attention).

I likely don’t have to tell you that this movie offers very little in the way of entertainment of even diversion. It milks the one joke it thinks it has until the joke’s teats are raw and bleeding. But it is kind of comforting to know how far the man who once gave me quite a thrill (Backdraft had my favourite sex scene for quite a long while running) can fall. Tom Arnold, however, has had a career that has operated AT BEST right in this very comfort zone. And Denise Richards may be trading up. Maybe that’s the only Christmas miracle we’re getting here folks. Hope it’s enough to keep you warm.

Gleason

Steve Gleason was an unlikely football star: too small to do what he did, he did it anyway, for the New Orleans Saints. It was the NFL that brought him to New Orleans but it was falling in love with a free-spirited local girl named Michel that kept him there beyond his retirement in 2008. They soon found themselves expecting a baby, which would be a happy occasion  except that about 6 weeks prior Steve was diagnosed with ALS.

ALS, or amyotrophic lateral sclerosis, is a neurodegenerative disease where the nerve cells that control your muscles die. The brain can’t talk to muscles, leading to a loss of mobility, loss of speech and eventually the ability movie_headerto breathe. Everything is still right in your head though, so you’re still smart and alert and you see everything happening to you, helpless to do anything about it. There is no cure. It is fatal, and will likely be so within 2-5 years of diagnosis.

Within months, Steve is walking and talking with noticeable problems. As Michel’s belly grows with their baby inside, he starts keeping a video diary so that one day his unborn child may know him.

The documentary is bittersweet; the Gleason family experiences highs and lows, and no matter what we hear the clock ticking. As hard as it is for us to watch him deteriorate so quickly on film, to see that hardship mirrored on his wife, Michel’s, face, is just agony. Steve seems determined to share his struggle honestly, even when that means admitting that he’s trying to live up to this banner of ‘inspiration’ and ‘hero’ that the media has ascribed to him and not always knowing that means.

He does, however, establish the Gleason Foundation, which focuses on service and equipment. He felt that much of what ALS takes away, like speech and mobility, technology can give back. And while that’s true to an extent, it can’t quite account for everything: not time, not life. But the foundation gives him purpose, and he’s certainly in the position to bring awareness and to raise money for this disease.

It’s sucky to watch this movie. It’s hard. But as Steve himself says, it’s sad but it’s not all sad. And maybe it’s those moments of not-sad that we need to attend to: the hope, the faith, the optimism, the acceptance, and certainly the closeness and love of this family.  And as difficult as it is, it’s also an amazing piece of film. It’s raw and emotional and real. As a famous athlete and the face on a poster on many bedroom walls, many would have called him a hero. But giving a voice to those who have lost them? That’s heroic. His wife’s caregiving? That’s heroic. This film has the power to provoke the hero in all of us. I can’t recommend it enough.

 

 

 

The Christmas Card

A well-meaning church lady sends a card overseas to “the troops” – and “Sarge” is touched by its generic rah-rah words of encouragement when he receives it in “Afghanistan.” The church lady, who is blonde and pretty in a buttoned-up, conservative way, sends a sexy picture along with it. Okay, no, she sends a picture of the church (just what every soldier is hoping to get!) but it really gets him through a tough time, when his buddy gets blown to bits on a Red Cross mission (it sounds like someone didn’t really do their war research, but that’s the least of the troubles: the effects budget is so non-existent that you could get a better display out of the fireworks that are leftover in your local corner store on July 5th)(no need to fear anything graphic – by “blown to bits” I mean he received a fatal bloody lip).

Anyway, when Sarge goes back stateside to deliver dog tags and hugs to the grieving widow (who is not an actual widow), he can’t help but stop by this magical town with all the friendly, letter-writing people.

Meet cute: they both order a chicken salad sandwich on rye with extra crispy curly fries and hot chocolate with marshmallows. Dear baby Jesus. That’s not a meet-cute, that’s a meet-butt fugly.

Anyway: “good news” – everyone in town’s a church goer and he has no trouble getting escorted to the pictured church , has pew-mates lined up and everything. He’s welcomed by an old man played by Ed Asner, which, let’s face it, is the only reason I’m watching this thing. The old guy wastes no time (was it even 10 seconds?) before introducing his “somewhat attractive daughter, Faith” – who just happens to be the curly fry lady from the day before, who just happens to be the card-sender who inspired his trip in the first place!

Anyway, if you ever feel the need to combine a badly-acted, terribly-written cheeseball holiday movie with a flag-waving, hero-worshipping war and god movie that’s super light on war and pretty heavy-handed with god, well, I can’t imagine a more obnoxious combination than The Christmas Card.

 

Uncle Nick

Are you in the mood for a creepy Christmas movie? Not murderous abortion creepy, worse: lecherous\incestuous\underage creepy.

Nick’s brother has recently become a trophy husband. His rich wife is hosting Christmas dinner for her 2 kids, her new and improved (and needless to say younger, and useless) husband and Nick the alcoholic brother (Brian Posehn) is invited, against everyone’s better instincts, as well as Nick’s sister and her podcasting husband: a real blended-family Christmas. Nick’s sole goal, besides soaking in gin, is to fuck his new niece. Merry Christmas to all, and to all a good night!

Set in the dumpster fire that is Cleveland Ohio (sorry Cleveland, it’s only sort of personal: mv5bmtu3mza4ntuymv5bml5banbnxkftztgwnjy0otaznze-_v1_ux182_cr00182268_al_the last time I visited it was for massive surgery, which naturally didn’t leave me with a fond impression), the Christmas festivities are twinned with a retelling of 10-cent beer night at an Indians game back in 1974. That’s a real baseball game where the drunken fans rioted and mayhem and nudity and violence broke out and the game had to be forfeited and abandoned: not a “traditional” Christmas pairing. It can’t have looked right even on paper but in practice it’s downright untenable.

I suppose this was meant to be a raunchy comedy, only someone left out all the comedy. We never truly know any of the quirky characters either, or how any of them consented to spending the holiday in such an insufferable way.

I can’t think of a single nice thing to say about this movie, so instead I’ll dig deep and say something nice about Cleveland: while you’re there, you can visit the house used in exterior shots of a monumentally better holiday movie called A Christmas Story. Watch it. Watch it again. Even if it’s the 20th time you’ve seen it (even if it’s the 20th time this year!) it’ll still be a better experience than even 5 minutes with slimy Uncle Nick.