Films

President Obama Will Not Be "Going Bulworth"

Being president is hard, and often downright unpleasant, particularly when there are scandals, legitimate or otherwise, swirling about and distracting your attention from what you'd like to be accomplishing. I'm sure it's particularly frustrating when the opposition party is so intransigent that negotiating with them is pointless. Right now Barack Obama's presidency is at something of a low point, but nevertheless, it was a bit surprising to see this, from a New York Times story this morning: "Yet Mr. Obama also expresses exasperation. In private, he has talked longingly of 'going Bulworth,' a reference to a little-remembered 1998 Warren Beatty movie about a senator who risked it all to say what he really thought. While Mr. Beatty's character had neither the power nor the platform of a president, the metaphor highlights Mr. Obama's desire to be liberated from what he sees as the hindrances on him."

This is not, it should be noted, a belief on the president's part that if he just gave it to 'em straight, he could transform American politics with the power of honest words. That view is alarmingly persistent among certain members of the punditry, and Obama is plainly contemptuous of it. He understand the constraints he's under, how the institutions of Washington conspire to make change difficult, and where the limits on presidential power lie. But if he really wanted to "go Bulworth," there isn't anything stopping him. What does he have to lose?

Country Noir

Flickr/Matt Carman

One spring morning two years ago, a woman left her house—a small white one, its porch overrun by toys and exercise equipment—and dropped off her kids at the Sunman Elementary School. Sunman is a tiny town that spreads across the flat farmland of Southern Indiana. State Road 101 is the main drag, and the woman drove down it, past the IGA with its twin gas pumps, past the Family Dollar, past a bar named Louie’s, until she reached home.

Advice for Escaping Film's Winter Doldrums

No need to despair and go watch Identity Thief when you can stay home and rent a Luis Bunuel flick.

First released in 1970, Tristana is one of the masterpieces of Spanish director Luis Bunuel's astonishing late-life creative spree after his return to Europe from exile in Mexico. Newly out on Blu-ray from Cohen Media in a handsome-looking restoration, the movie is such a bracing antidote to the slop playing in theaters that I almost broke down in grateful whimpers when the UPS guy handed it over. A week when a botch like Oz The Great And Powerful is No.

Schindler's List, 20 Years Later

How does the film, which defies routine criticism in many ways, hold up?

AP-Photo/Douglas C. Pizac

Universal has just brought out a 20th-anniversary Blu-ray edition of Steven Spielberg's Holocaust movie, Schindler's List. Don't blame whoever got stuck writing the box copy—"Experience one of the most historically significant films of all time like never before," and so on—for a certain awkwardness about how best to strike the celebratory note. The package is also notably stingy with the undignified extras that usually tempt consumers to repurchase a beloved classic, but what were you expecting, a blooper reel?

How Was the Trailer, Mrs. Lincoln?

A look at the trailer for Spielberg's upcoming Civil War biopic

Presumably, we all know that speculating about upcoming movies with only their trailers to go by isn't a fit activity for a serious man. But that's how it works in a culture that now operates as a giant racetrack, everywhere from politics to the fall TV season; we all enjoy playing tout. Besides, I can't remember the last time I considered myself a serious man—it's all larks and pratfalls to me now, folks. That's how we grizzled types stay current.

Tiny Sandford Syndrome

Lately, we’re awash in Tiny Sandford Syndrome. 

Wha’? Tiny who? 

Tiny Sandford was a very big guy (6’5”, around 300 pounds) who played small parts in 1920s and '30s comedies—Laurel and Hardy’s in particular. Perhaps his best known role is that of the cop in the Laurel and Hardy classic Big Business, a brilliant comedy supervised by Leo McCarey, who was later to direct the Marx Brothers’ Duck Soup and other notable films.

A Tragedy Made in the USA

Finding meaning in national tragedy is always difficult, but what do we do when we peer into the abyss and see ourselves?

(Flickr/Alan Cleaver)

This past Friday was one of those strange and sad days in the life of a country when a number of things don’t so much converge as share the commonality of the moment and thereby exist within the shadows of each other. The massacre that greeted the release of the year’s most-awaited movie just a few midnights ago in a tiny Colorado town took place at cross-coordinates social, cultural, and political by virtue of timing and the parameters of the occasion, if nothing else; though the more terrible the toll in such circumstances, the more natural it is to draw conclusions, learn lessons or arrive at resolutions, the only thing straightforward about any of it is the horror.

A Taste for Mediocrity

Why does Hollywood give us bad movies? Because we love them.

(AP Photo/Joel Ryan)

Slumped in your chair as life's meaninglessness washed over you like lava made of Brad Pitt's bubble gum, you may have zoned out for the most tattletale bit of Sunday night's Oscars telecast. (If you just skipped the whole shebang, well—more power to you, Secretary Clinton.

The Yahoos Are Winning

A longtime movie critic's departure from the Village Voice signals a changing cultural tide.

Two unrelated but oddly congruent events riled up the movie blogosphere at the turn of the year. One was the inclusion of Forrest Gump—the 1994 Best Picture winner about a Candide-like naïf (Tom Hanks) stumbling through the 20th century from Kennedy's New Frontier to Reagan's morning in America—in the National Film Registry's annual choice of 25 "culturally, historically or aesthetically significant films" worth preservation by the Library of Congress. The other was the Village Voice's January 4 firing of senior film critic J. Hoberman after 24 years in the top slot and a decade more than that of contributing to the paper.

The Help

John McWhorter offers a contrarian take on the civil rights era drama The Help, arguing that its critics are overreacting. Not content simply to make the case that the film is compelling, he goes onto argue that its critics are actually racist:

This is a “feel-good movie for a cowardly nation”? How could it be that this film, hardly The Sorrow and the Pity but honest and thoroughly affecting, is being treated like a remake of Imitation of Life?

Today at the Prospect

  • Paul Starr explains the twisted psychology behind the Balanced Budget Amendment.
  • Gabriel Arana asks why it took an undercover investigation to bring to light Bachmann's anti-gay views.
  • Anna Clark looks to the future of American women's soccer after the World Cup.

Friday Nerd Blogging.

At this year's Consumer Electronics Show, George Lucas announced that the Star Wars movies would finally make their way to Blu Ray. But it's not all good news:

Jobs at Wal-Mart Suck.

Gawker has a great round-up of tales from employees, mostly former, of Wal-Mart and particular horror stories they have to tell. One of the first highlighted is by a worker whose 75-year-old co-worker was hit on the head, and the store manager ordered the co-worker to first drive the woman to the drug-testing lab before the hospital.

Politico's Objectivity Problem.

What do you do if you're an ostensibly "objective" publication, and you really don't like something a politician has done? Well, you can't come out and criticize him, because then you wouldn't be "objective" anymore. So you write a story like this one, from Politico:

Rep. Alan Grayson's 'Taliban' Ad Backfires

Rep. Alan Grayson's attempt to equate his Republican challenger with the Taliban is having a big impact — just not the one Grayson may have hoped.

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