Much has been written about The Help’s whitewashing of American history in the Jim Crow South. The film’s revisionist plot follows the efforts of an altruistic white savior, played by Emma Stone, as she writes a book about the daily lives of maids in 1963 Mississippi. Certain realities of the time, including the death of prominent civil-rights leader Medgar Evers, are brushed aside, glossed over, or completely misinterpreted.
CPAC, DC—The Citizens United case is back in the news this week with the Obama campaign's announcement that they would coordinate to help raise funds with the super PAC Priorities USA. As the presidential campaign ramps up, it's easy to forget what the actual Citizens United organization is: a mini-film studio with a conservative bent.
The group is all over CPAC this week, airing their films in the CPAC Theatre, hosting a blogger briefing Wednesday, and sponsoring a panel Thursday morning titled "Advancing the Pro-Life Movement through Media.” And of course, they also have a booth selling DVDs of their various films in the CPAC vendor basement.
REPUBLICAN CENTRAL, DC—Every Republican presidential nominee is speaking in CPAC's main ballroom today except Rep. Ron Paul. He sent his son, Sen. Rand Paul, in his stead last night and the libertarian's message is being spread—if not always explicitly—down in the CPAC dungeon of booths.
Up for four Academy Awards on February 26 and Woody Allen's biggest box-office hit ever, Midnight in Paris seems likely to overtake even 1977's Annie Hall as the man's most beloved movie. And I wish I could belove it myself, honest I do. In this case, it's no fun to disparage the core audience's genuine pleasure.
With all the election-season ugliness, the announcement of the nominations for the 84th Oscars provide a welcome relief—at least until they remind us that Hollywood is largely in the business of telling the stories of straight white men.
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.
Who are you to judge? Another’s life, the beliefs and attachments, rational and otherwise, that make up another’s choices—how can anyone evaluate such things? Yet the arguing Iranian couple in A Separation demand judgment. They face the camera in the opening scene, a comely woman with dyed-red hair under her veil, and her bearded, exasperated husband. Simin (Leila Hatami) and Nader (Peyman Moadi) are presenting their case for divorce to an unseen magistrate and in turn, to us. She seeks a better life for their daughter abroad; he refuses to leave behind his home and his elderly father, who is stricken with Alzheimer’s disease.
Feel free to try this at home, but I guarantee you won't get anything out of it except a migraine. Imagine you've been a bit prematurely asked to fill a time capsule with telltale cultural artifacts of the Age of Obama—the evocative movies, TV shows, hit tunes, and other creative whatnots that will someday exemplify the ineffable atmosphere of our 44th president's first term.
Spying is popularly conceived of as a glamorous line of work. The James Bond, Jason Bourne, and Mission Impossible films are all cocktails, trysts, gunplay in the tropical sun, and evil brought to heel. The audience gleefully absorbs the antics of the hero-spy, a romantic figure who easily escapes the institutional harnesses of his superiors.
Tomas Alfredson’s Tinker, Tailor, Soldier, Spy takes place in a different world. There is no super spy here, just a vision of the claustrophobic, embittered world of the intelligence community and its human cost.
You can always count on Hollywood panjandrum Harvey Weinstein to be bombastic about his own restraint. “In 20 years of coming to the Toronto Film Festival, I’ve never released a statement for a film,” read the statement e-mailed to journalists in mid-September. “But I would like to take this moment to formally invite Republican Congresswoman from Minnesota and Republican presidential candidate, Michele Bachmann, to co-host with me the big premiere of Butter in Iowa in a few months from now. I know Michele will already be in Iowa for the caucus, so we can save some money on airfare and travel. I would of course be more than happy to fly in the other leading members of the Tea Party movement to make an entire day of it.”
A few nights ago, I took to the E Street Cinema in Washington, D.C., to watch the “lost” interview Steve Jobs gave to Robert X. Cringley for a 1996 PBS television series, “Triumph of the Nerds.” The series included ten minutes of the interview, the rest of which was never seen, and feared lost, until Cringley discovered the mastertape following Jobs’s death last month.
The thing to understand about In Time—the latest from Gattaca director Andrew Niccol—is that it isn’t a good movie. Characters lack compelling motivations, action set-pieces veer from boring to incoherent (In Time apparently takes place in a world where everyone is an expert marksman), and it’s hard to take Justin Timberlake seriously as an action hero.
Writing over at Mother Jones, Adam Serwer makes a smart point about ethnic revenge flicks like Inglorious Basterds and the forthcoming Django Unchained. “The true “revenge” of Inglorious Basterds,” Adam writes, “is in the banishment of a particular stereotype, the idea of the weak, fearful Jew who goes helplessly into the ovens.”
The second entry in the J.J. Abrams' reboot doesn't have the fun of the first outing, and all that's left is one more humongazoid, cluttered summer blockbuster whose gobbledygook plot just spackles over the interludes between kaboom-happy CGI set pieces.
