Tag: Rethink Reviews

Mar
28

Mars Needs Moms and the Uncanny Valley

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Mars Needs Moms and the Uncanny Valley

Disney’s CG/3D animated film Mars Needs Moms, which cost close to $200 million to produce and market, continued to suffer in its third weekend, making only $2.2 million for a total worldwide gross of $27 million. Destined to become one of the biggest flops of all time, the film’s failure has sent shockwaves through the film industry, which had considered the combination of kids movies, CG animation and 3D as a surefire moneymaker.
Naturally, such a spectacular flop has caused furious head scratching as studio executives try to figure out what happened so future films can avoid a similar fate. Was the concept of Martians kidnapping a parent too scary? Did the fact that “moms” was in the title cause boys to avoid it? Did parents finally put their foot down and refuse to pay inflated ticket prices for subpar 3D fare?
Having seen Mars Needs Moms, I can attest that it simply isn’t a good movie in terms of story and characters, but bad word of mouth alone can’t explain why the film made just $6.9 million in its opening

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Mar
18

ReThink Review Limitless Underachiever Theres a Pill for That

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ReThink Review Limitless  Underachiever Theres a Pill for That

To be honest, I didn’t have much of an opinion on Bradley Cooper as I walked into the theater to see Limitless, where Cooper plays a failing writer who is given a supply of a miracle drug that turns him into a better, smarter, more motivated version of himself. I had seen The A-Team (wasn’t crazy about it) and The Hangover (liked it more than I expected) and thought Cooper was good in both, where he showed a rare talent for playing smooth-talking handsome devils that you rooted for regardless of their questionable morals. Like most of America, I wisely skipped All About Steve and Case 39, and like most single straight guys not trying to score points with a date, I avoided Valentine’s Day.
While Cooper clearly has good looks, charm and charisma, I was not entirely convinced he could handle a leading

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Mar
11

ReThink Review Mars Needs Moms Appreciate Your Mom Or Else

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ReThink Review Mars Needs Moms  Appreciate Your Mom Or Else

The new CG 3D animated film Mars Needs Moms is based on a children’s book by Berkeley Breathed, who some of you may know as the creator of the beloved Bloom County comic strip (to read an article by Breathed about the origins of Mars Needs Moms and what it’s like to see his “story baby” turned into a mega-budget Disney movie, go here). Unfortunately, one of the producers of Mars Needs Moms is Robert Zemeckis, whose previous work includes making a highly profitable mess out of the beloved children’s book The Polar Express, which used nascent performance capture technology and bloated an elegant story to feature length with noisy, pointless action.
Sadly, Mars Needs Moms suffers from the same flaws. But the film does make some interesting observations about parenting here on

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Jan
25

ReThink Review No Strings Attached Is the Romantic Comedy Dead

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ReThink Review No Strings Attached  Is the Romantic Comedy Dead

Last Thursday night, I found myself in the strange situation of being at a midnight screening of No Strings Attached at the Grove in Los Angeles. I soon realized that the only thing more embarrassing than being a solo guy at a midnight screening of No Strings Attached was being forced to wait in the lobby to see a midnight screening of No Strings Attached without the cover of darkness.
Of course, I wouldn’t have been there if I hadn’t been reviewing No Strings Attached for the Uprising radio show the next day and had been able to attend an earlier screening. But I was surprised to see that a romantic comedy like No Strings Attached was having midnight screenings across LA — something I thought was reserved for movies with large geek/fan followings — and that the theater was between a third and a half

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Jan
14

Why The Green Hornets Kato Matters

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Why The Green Hornets Kato Matters

The Green Hornet, which originally debuted in 1936 as a popular radio serial, has received its 21st century 3D makeover, with Seth Rogen as publisher turned crimefighter Britt Reid and Taiwanese pop star Jay Chou as Reid’s enforcer and partner, Kato. Together, they don masks and pose as gangsters to infiltrate the criminal underworld. Cameron Diaz is Lenore, a secretary turned reporter who helps Reid and Kato understand the criminal mind, and Christolph Waltz (Inglourious Basterds) plays a crime boss with an inferiority complex looking to take the Green Hornet out.
Directed by Michel Gondry, the indie darling behind Eternal Sunshine of the Spotless Mind, the screenplay by Rogen and Evan Goldberg achieves something many superhero films have tried but failed to deliver — how a person with enthusiasm but no special abilities and, to be honest, sub-average intelligence and courage would act if they tried to be a superhero, which Rogen handles with the bravado of a slacker manchild who’s finally found something to get excited

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Jan
06

ReThink Interview Charles Ferguson Director of Inside Job

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ReThink Interview Charles Ferguson Director of Inside Job

Charles Ferguson could arguably be called one of the smartest men in film, but not in the traditional Hollywood sense. He didn’t greenlight the hit movie no one wanted to make, discover the next megastar, or crack the code for foolproof box office success. Ferguson, director of best documentary Oscar frontrunner Inside Job, is just smart — like, real smart.
Charles Ferguson
After received a B.A. in mathematics from the University of California, Berkeley and a PhD in political science from MIT., Ferguson went on to study technology’s effects on globalization and government policy, even sharing his opinions with the Defense Department and White House staff as a consultant. He went on to consult with some of the world’s biggest tech companies, including Apple and Intel, before starting his own software company, which he sold to Microsoft two years later. With that money, Ferguson decided to make a documentary, the award-winning No End In Sight, considered by many to be the definitive film about America’s botched occupation of Iraq.
Quite an accomplishment for a first-time filmmaker. So for his next film, Ferguson decided to take on a topic of equal or greater complexity: the financial meltdown. That film, Inside Job, is being hailed as the definitive documentary on that topic, making many critics’ top ten lists of 2010 and sure to be a nominee for the best documentary Oscar. It turns out that book smarts come in handy when trying to sum up two of the biggest stories of the decade in two hours or less. See the trailer for Inside Job below.
I met with Ferguson in mid November at the opulent Beverly Wilshire Hotel in Los Angeles, the kind of place I’m sure the financial “wizards” who nearly wrecked the economy would feel at home.
Q: I’ve heard you say in interviews that when you spoke to many of the CEOs of financial firms and those who advocated for deregulation of the financial sector, that they were not accustomed to being challenged or questioned.
A: First of all, a lot of the people who were most responsible for the decisions that caused the crisis declined to be interviewed. Some did agree to be interviewed and some of their academic defenders agreed to be interviewed. Among the academics, I would say that I was rather shocked by kind of their obliviousness, and it was clear, I would say, that they were the group that was most shocked at being challenged and the most un-used to being challenged, particularly in regards to their financial arrangements and their conflicts of interest.
I filmed a lot of people outside the United States, and it became very clear in the course of those interviews that America’s days as kind of the automatic role model for the world were over. That had probably been eroding for a while as a result of many things, but the bubble and the crisis certainly put an end to that view of the United States as the place that you look to for economic theory, for guidance with regard to how to regulate your economy, how to run your affairs. That was one quite striking thing.
And another striking thing, perhaps related to that, is that if you look at the people who were the most articulate people to warn about the crisis in advance, they were in significant measure outsiders in one way or another, and a significant fraction of the ones who were inside the system were nonetheless foreign-born and foreign-raised. Who noticed this and spoke out about it? Nouriel Roubini (Professor of Economics at the Stern School of Business at New York University), a Turkish Jew raised in Italy. Raghuram Rajan (Chief Economist of the International Monetary Fund (IMF) from 2003-2007), an Indian who came to the United States as an adult. Simon Johnson (Chief Economist at the IMF from 2007-2008), British, also an immigrant, a United States citizen but came here as an adult, was raised outside the United States. George Soros (currency speculator, investor, philanthropist), Hungarian holocaust survivor. And I don’t think that’s totally a coincidence.
It’s not that everybody who warned about the crisis was foreign or an outsider. Alan Sloan (senior editor) of Fortune, completely raised in the United States. Charles Morris (author of The Trillion Dollar Meltdown: Easy Money, High Rollers and the Great Credit Crash), completely raised in the United States. But even Charles Morris is in some ways an outsider — he wasn’t an academic, he didn’t have a tenured position at a major university, so he was independent in that sense. And George Soros, of course, has been a maverick in a lot of ways. So the reason I raise this is that, as the film points out, there has been a significant co-opting and corruption of the insiders, the most inside of the insiders in the United States financial community and in the parts of the academic community that studies finance and regulation. I think that’s dangerous and I think that it was interesting that a significant fraction of the people, a disproportionate fraction of the people that noticed this and warned about this in advance were outside the US system.
Q: Talking about outsiders and conventional wisdom, something that I’ve always been curious to ask conservatives and republicans about is this idea that deregulated free markets are clearly the best way to go. Yet in the history of the world, has there ever been a country that had completely deregulated markets that was super awesome and was good for all its citizens? It seems like it’s such a purely theoretical, philosophical concept when most of the evidence that we see, whether it’s the US or Iceland now or what happened during the Great Depression, points to the opposite of that, that deregulation ends up being a terrible thing. So I was wondering if you have a sense of where that comes from, or if they feel that it’s as purely ideological and philosophical and theoretical as it seems to me when they seem to be treating it as an absolute concrete truth.
A: Well, I think there’s several things going on. First of all, as Soros says in the film, a lot of people say this because it’s in their financial self-interest to say it, and it’s not totally clear how much people really believe. There are some people who clearly do believe it and there are many people in the economics discipline who clearly do believe it. How come? I think that there’s something in the culture of economics that attracts people who hold that view, and now that economics has kind have been taken over by those people in significant measure, I think that there’s actually, in a subtle but important way, a kind of a free speech issue. I don’t think that people who hold contrary views are likely to do well in the economics discipline. They’re not going to get their papers published, they’re not going to get promoted, they’re not going to get hired, they’re not going to get grants. I think that that’s a real issue. But that still leaves the question of why people believe this. I’m not a social psychologist, but I do sense that there’s something in their individual personalities that is related to their intellectual and political ideologies.
Q: Something like that self-made man, go it alone, rugged individual idea?
A: Something like that. I made it, so can you if you try, etc. That’s too crude — it’s more complicated than that. But I do sense that, as a group, there are individual personality traits that are more prominent with this group.
Q: I’ve reviewed movies about the economic crisis like Capitalism: A Love Story and American Casino, and I’ve heard this argument that seems so strange to me, that the problem with the economic crisis and the housing crisis wasn’t capitalism but greed, as if greed is an aberration of capitalism, whereas I see it as the fuel. Have you heard anything like that? Does that argument make any sense to you?
A: I have heard that argument.
Q: It makes me think of something Jon Stewart said, that we have a system that benefits the pathologically greedy. And that’s sort of what capitalism is — to get as much as you can, even if you couldn’t possibly use it or need it. So what do you think of that argument?
A: There’s a difference between saying that the problem here is greed, and there’s another statement which is that the current rules of the system reward the pathologically greedy, which is a statement that I have more sympathy with and that I think does actually mean something. I agree with you that the crisis was caused by greed, but what sense does that make? It’s just kind of weird to think that somehow the American population became greedy starting in 2002 (laughs). So I don’t find that to be a coherent explanation. The times that I’ve heard that statement made, it’s been made in defense of the financial services industry as an accusation that there was this epidemic of greed in the general population which led people to buy houses they couldn’t afford and leverage themselves too much and take out home equity loans so they could buy cars and boats, and that’s the kind of argument I’ve heard which is not an argument that makes a lot of sense, I don’t think.
Q: In terms of arguments that don’t make sense, several people in the movie claim that people who work in the finance industry deserve all the money they got, they deserve their massive bonuses. But can someone rationally make the argument that someone who makes $30 million/year works 1,000 times harder than someone who makes $30,000/year? And you definitely can’t say that the person who makes $30 million/year took 1,000 times as much risk in their job in terms of risk/reward. What do you say to people who claim these huge salaries and bonuses are justified?
A: I think there are two different issues there. One is if it’s ever okay for people to make enormous amounts of money and become extremely wealthy. I personally have no problem with that as long as what they’re doing is real and legitimate and productive. I have no problem with the people who founded Intel getting really rich. If you invent random access memory (RAM) and you invent static memory and you invent microprocessors, it’s fine with me if you get rich from doing that. And they did take risks. I don’t know how you can quantify those, but they worked extremely hard for a long period of time and started the company with very little money and certainly no personal wealth. So I have no problem with that type of scenario.
The problem with what happened in the crisis is that these people made enormous amounts of money by behaving unethically and endangering the financial system and causing millions of people to lose their homes and their jobs, and that I have a big problem with, getting rewarded for that. And then actually I’d say there’s a third question which is just, even when people in finance are behaving legitimately, do financial services create the same kind of value as somebody who starts Intel or Google or Apple. And the evidence for that is, for the most part, they don’t. Finance is not an activity that creates great wealth. It’s a service industry, and there are some very productive and useful things in it, but I wouldn’t put it in the same category as these other activities. So I think what happened was crazy.
Q: How do we reform the financial system when it seems we mostly have to rely on politicians who are owned by Wall Street?
A: First of all, it’s not my department. I’m actually not really a political person. That might sound like a strange statement. I’m interested in policy questions. I’m interested in investigative journalism. I’m interested in making films and writing books. But I’ve never been involved in electoral politics. I’ve never been in government. I’m just not that kind of animal. But I’ve certainly thought about this, and many people have spoken with me about it since the film came out. Most people seem to think it’s going to be one of two things — that there’s going to be some change in the partisan political system, which might be an internal revolution inside one of the political parties or it might be a third political party. Or if it’s not going to be that, it’s going to be a nonpartisan social movement like the progressive movement or the environmental movement, something that starts from below and mobilizes a large number of people and that is independent from any political party but has a policy agenda it tries to force the political system to adopt. And I’m optimistic that something like that can still happen in the United States, but those kinds of things take a long time, and that’s frustrating and disappointing. But that’s where we’re at.
Q: Your first two movies have been No End In Sight and Inside Job. No End In Sight is considered the definitive movie about the Iraq occupation and Inside Job is considered the definitive movie about the economic crisis, two of the biggest things in the past several decades. What’s next?
A: Right now I have no idea, honestly.
Q: I come from a family of scientists and my brother and my dad are both professors. I’m wondering how your academic background influenced your filmmaking.
A: I think it had a big effect. Filmmaking is my third life, actually, and I think both of my previous lives had an effect. The other one being that I was a software entrepreneur. I think my training as an academic had a lot to do with my ability to put together these films. I was really put through the wringer in my education, in a very good way, by a lot of people at MIT and Harvard. My graduate work was at MIT and my thesis advisor to whom Inside Job is dedicated was an amazingly brilliant man and had no tolerance for bad thinking. So I learned how to think and how to structure things and make arguments, and I think that helped a lot in making these films.
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Dec
20

Why A Charlie Brown Christmas is Christmas for Me

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Why A Charlie Brown Christmas is Christmas for Me

A few days ago, a woman I’ve recently started dating asked a friend of mine if he was as “anti-Christmas” as I was. This characterization probably stemmed from the fact that, a few weeks prior, I had told her that I didn’t want her to spend any time in malls or online stressing over getting me a present. My family stopped going through the retail ordeal of buying presents for each other years ago, and it’s a decision that feels smarter and smarter every year, especially when passing jam-packed stores filled with beleaguered shoppers. If she wanted to get me anything, let it be an experience that we could share together — tickets to a play, a weekend trip, a nice meal — or maybe a donation to Wikipedia or my favorite listener-supported podcast. I tend to be very careful about acquiring more stuff, so I don’t need a book I might not read, a piece of clothing I might not wear, or a gadget I might not use.
But does that make me anti-Christmas? If it does, what is Christmas?
That’s the question plaguing Charlie Brown in A Charlie Brown Christmas, one aspect of the holiday that has not only remained gloriously unchanged over all these years, but has actually grown in importance for me to the point that it now largely defines what Christmas is for me. Set to a magnificent, jazzy score by the Vince Guaraldi trio, A Charlie Brown Christmas follows Charlie Brown as he attempts to understand and alleviate his angst over the fact that the commercialization and materialism that has come to define Christmas (even in 1965 when the special debuted) has left him feeling depressed and confused about what the holiday means and how he is supposed to feel. It’s an incredibly relevant, subversive subject given the fact that A Charlie Brown Christmas was obviously made and is aired every year by corporations, as well as how corporations have, with great force, redefined the meaning of Christmas — a subject that was summarily ignored in subsequent Peanuts Christmas specials like I Want A Dog for Christmas, Charlie Brown. But those are some of the many things that make A Charlie Brown Christmas so powerful, touching and fun.
Watch my ReThink Review of A Charlie Brown Christmas below.
And to see the real thing, free of charge, you can watch A Charlie Brown Christmas on Hulu below.
As an atheist who enjoys spending time eating with family and friends and other non-commercial aspects of Christmas, I hope all of you have a chance to watch A Charlie Brown Christmas regardless of what/if you celebrate this holiday season.
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Dec
15

ReThink Interview Tom Hooper Director of the Kings Speech VIDEO

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ReThink Interview Tom Hooper Director of the Kings Speech VIDEO

The nominations for the 2011 Golden Globes have been announced and, to the surprise of few, the King’s Speech is leading the pack with seven nominations. Based on the true story of how Prince Albert (Colin Firth) was helped by an Australian speech therapist named Lionel Logue (Geoffrey Rush) to overcome a lifelong stammering problem that could endanger the future of England and the monarchy as Hitler advanced across Europe. With terrific performances led by Firth, Rush, and Helena Bonham Carter as Albert’s wife, Elizabeth, the King’s Speech is irresistible awards bait, especially with a foreign press that often gravitates towards movies with a more European sensibility.
Director Tom Hooper, who also received a nomination, would seem to be a perfect fit to tell this story. Not only does he have a track record of successfully bringing history to life with the Damn United and the award-winning HBO miniseries on John Adams, Hooper is the son of an Australian mother and a British father, giving him a unique insight into the two men whose friendship is at the core of the King’s Speech.
A few weeks ago, I met up with Hooper at the Chateau Marmont in Los Angeles to talk about the King’s Speech, politics in the age of mass media, whether there’s a difference between stuttering and stammering, and a lot more. Check out my ReThink Interview with Tom Hooper below.
You can find my review of the King’s Speech on What the Flick?! with Christy Lemire (Associated Press) and Matt Achity (Rotten Tomatoes) below.
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Dec
05

ReThink Review Tangled Are the Disney Princesses Good for Girls

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ReThink Review Tangled  Are the Disney Princesses Good for Girls

Tangled, Disney’s take on the Rapunzel fairy tale, surprised everyone on its opening weekend by nearly knocking Harry Potter and the Deathly Hallows (part 1) out of the number one spot, and is seemingly poised to unseat it this weekend. While Disney’s ad campaign is somewhat deceptive in playing up the story’s male bandit character to lure more boys into the theater, the success of Tangled comes mostly from the fact that it’s a wonderfully charming, funny, exciting movie that can be enjoyed by kids and adults, male or female. It’s an emphatic return to form for Disney animation, which had recently become bogged down as they attempted to embrace CG animation, move away from fairy tales and modernize their attitude.
Unbeknownst to Rapunzel, she is actually a princess, meaning that she will undoubtedly be joining the cast of characters in Disney’s ultra-successful Disney Princess line, which groups together several of the princesses (sometimes defined loosely) from Disney films into one marketing campaign, offering over 25,000 princess-themed products and grossing more than $4 billion annually. While Tangled’s Rapunzel is no damsel in distress and many of the more modern princess characters are significantly empowered, it still begs the question: Are the Disney Princesses clean fun for girls, or are they anti-feminist propaganda that teaches girls to simply look pretty until Prince Charming arrives?
Watch my ReThink Review of Tangled and my discussion with Cenk Uygur and Ana Kasparian of the Young Turks about the pros and cons of the Disney Princesses, gender stereotypes, and the pressure to be perfect girls face throughout their lives.
If you’d like to learn more about the origins of the Disney Princesses line and hear about a feminist mother’s struggle to accept her daughter’s Princesses obsession, I’d highly recommend Peggy Orenstein’s article “What’s Wrong With Cinderella?” in the New York Times.
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Nov
23

ReThink Review Four Lions the Lighter Side of Jihad

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ReThink Review Four Lions  the Lighter Side of Jihad

When we think of terrorists, we mostly think of scary, angry Middle Eastern men declaring their murderous intentions in suicide videos or, if we’re unlucky, captured in blurry images from security cameras as authorities attempt to piece together their movements after the fact. With the steely resolve that only comes from the fanatical, religious or brainwashed, these would-be martyrs are men to be feared and taken extremely seriously. Nearly a decade after 9/11, with increasingly intrusive searches in our nation’s airports necessary to ensure our safety, terrorism is no laughing matter.
Unless, of course, you think about the comedy inherent in men trying unsuccessfully to light their shoes or underwear on fire. Even if success would’ve meant the possible deaths of hundreds of people, it’s hard not to laugh. That’s what Chris Morris, director of the terrorism comedy Four Lions, thought when he read an article about terrorists whose boat full of explosives sank before it could reach the American warship they were targeting. That’s when Morris, a Brit who had become notorious for creating a TV special lampooning England’s obsession with pedophiles, realized that the internal dynamics of a terrorist cell would probably be like that of any small group, whether it be a band, a sports team, or a workplace. So Morris set out to tell the story of five bumbling jihadis in an English suburb as they attempt to fight back against Western oppression, if only they could agree on a plan, a leader, and overcome their greatest obstacle — their own stupidity. Think of an episode of the Office where the gang at Dunder-Mifflin was trying to blow up Scranton.
Hear my ReThink Review of Four Lions for Pacifica Radio’s Uprising Show by clicking on the image below.
To find out more about Four Lions and if it is playing near you, go here.
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Nov
17

ReThink Review Waste Land Salvaging Lives and Art From Trash

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ReThink Review Waste Land  Salvaging Lives and Art From Trash

On the outskirts of Rio lies Jardim Gramacho, the world’s largest landfill, where over 7,000 thousand tons of garbage are dumped 24 hours a day. Amongst this trash work 3,000-5,000 catadores (pickers), men and women who sift through the garbage to collect recyclables. While the work pays approximately double Brazil’s minimum wage, allows the pickers to help the environment, and keeps them from falling into the traps of drug trafficking or prostitution, the life of a picker is one with no future.
Amidst this world of discarded objects and people, documentarian Lucy Walker (the Devil’s Playground, Countdown to Zero) and Brazilian-born artist Vik Muniz partnered on a unique project. Muniz, a native of Sao Paulo who has become known for making art pieces out of unconventional materials, traveled to Gramacho with a plan to photograph the pickers, create large-scale portraits of them made out of recyclable materials collected from the dump, and give all the money raised from the sale of the pieces back to the pickers so they could improve their lives. Walker, over a three-year period, captured the process in the new documentary, Waste Land.
Waste Land — which won the World Cinema Audience Documentary Award at the 2010 Sundance Film Festival, the Human Rights Film Award at the Berlin Film Festival, and has earned rave reviews — is a testament to the transformative power of art, as well as a call for all of us to take a closer look at what we have, what we discard, and the lives of those pushed to the fringes of society.
See my ReThink Review of Waste Land on the Young Turks, as well as my discussion with guest host Ben Mankiewicz about how Muniz’s project changed the lives of the pickers, as well as the challenges of making food in a dump.
To find out more about Waste Land and if it is playing near you, visit WasteLandMovie.com.
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Nov
11

ReThink Interview Valerie Plame and Joe Wilson VIDEO

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ReThink Interview Valerie Plame and Joe Wilson VIDEO

Fair Game — Doug Liman’s film about former CIA agent Valerie Plame, former ambassador Joe Wilson, and the Bush administration’s efforts to hide their lies about Iraq’s non-existent WMDs by revealing Plame’s undercover identity — will be rolling out to 130 additional theaters on Friday, propelled by positive reviews (79% on Rotten Tomatoes and an A- from Cinemascore), a strong $14,154 per screen average, and impressive performances by its stars, Naomi Watts and Sean Penn. In the midst of George W. Bush’s whitewashing book tour, it’s heartening to see that America has not forgotten Plame’s and Wilson’s story and what it says about the mendacity of the Bush administration in the run-up to the Iraq war and their efforts to silence their critics, regardless if they were telling the truth.
But if you follow politics like I do, you want to hear this story from the source. Fortunately, I had the tremendous honor of interviewing Valerie Plame and Joe Wilson when they were in Los Angeles promoting Fair Game, where we talked about when Plame first told Wilson that she was worked for the CIA, the unglamourousness of actual spy work, Wilson’s advice for people who want to hold their government officials accountable, and, as always, movies that had a profound effect on their lives. Watch the ReThink Interview with Plame and Wilson below.
Below, check out my ReThink Review of Fair Game on the Young Turks and my discussion with host Ben Mankiewicz about some of the additional details about the Plame affair, including Plame’s covert status and the consequences of her identity being revealed. (And if you’re wondering about the mask I’m wearing in the beginning, this was the Halloween show).
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Nov
01

ReThink Review Monsters the Real Aliens at the Border

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ReThink Review Monsters  the Real Aliens at the Border

Digital video and desktop/laptop editing have brought filmmaking into the hands of the average person with an idea and some people to put in front of the camera. This has done wonders for those looking to make documentaries and smaller movies that primarily focus on people talking, with digital movies quickly overtaking filmed ones as entries in our nation’s film festivals. The Blair Witch Project and Paranormal Activity showed that horror movies are also excellent candidates for new this low-budget approach, especially when atmosphere and tension are more important than gore.
Now, with Gareth Edwards’ film Monsters, it appears that even convincing sci-fi/giant monster movies are within the grasp of low-budget filmmakers who know their way around effects software. Listen to my ReThink Review of Monsters for Pacifica Radio’s Uprising show by clicking on the image below.
I feel that I didn’t say enough about Monsters as a potential allegory for immigration in my review, so I’d like to do that now.
(WARNING: Contains some slight spoilers that you’d probably figure out from watching the trailer.)
Q: Are the alien creatures in Monsters supposed to symbolize Mexicans trying to cross the US border?
A: Maybe. One thing I like about Monsters is that it portrays the aliens not as technologically advanced beings bent on world domination, but simply as giant animals following their instincts to migrate based on the season. While they are undoubtedly destructive, there is no evil intention to their behavior. In that sense, you could say that illegal immigrants, like the creatures, are simply doing what they can to survive and are not crossing the US border to turn the US into Mexico or hurt Americans by taking their jobs. Still, no one wants giant aliens rampaging around their country under any circumstances, so comparing the aliens to Mexicans can’t be seen as a call for tolerance.
Q: Are Sam and Kaulder white Americans forced into experiencing what Mexicans crossing the border go through?
A: I think that’s a fair parallel. To get back to the US once the option of taking a ferry is eliminated, the two are forced to pay a large sum of money to a man who is essentially a coyote. That’s the term for someone who charges a high price to lead Mexicans on the perilous route across the US border, requiring payment up front with no guarantee of success, and sometimes with plans to swindle their helpless clients out of their money. Once Kaulder and Sam pay the coyote, they can only trust that he will keep his word and arrange for the safe and easy passage they paid for — which wouldn’t make for much of a movie if that happened. And like the real trek to cross the US border, it’s a journey fraught with danger where the possibility of death is very real — just not from giant octopus monsters. If you still have any doubts, the conversation Kaulder and Sam have when they reach the fortress-like wall at the US border should convince you.
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Oct
23

ReThink Review Hereafter Death American Style

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ReThink Review Hereafter  Death American Style

Several years ago, my sister-in-law’s father, Thomas, died suddenly of diabetes-related illness. He was a Catholic, so this was the first Catholic funeral I had ever attended, and as an atheist, I was quite shocked by what I heard. At a time of such traumatic loss, I was taken aback as the priest proceeded to tell those in attendance the exact opposite of what was actually happening. Thomas wasn’t gone — he was everywhere. He wasn’t dead — he would live forever. We shouldn’t be sad — we should be happy that Thomas had gone on to a better place. As I looked at the crying people around me, I wondered how telling people that what they were feeling and experiencing was, in essence, wrong, was supposed to make anyone feel better.
When I was in high school, I visited my grandparents several times a week as they required more and more care and my grandma’s Alzheimer’s began to take hold. I would take them for walks, take them to lunch at our favorite Chinese restaurant, and would help clean up their condo and, later, their room at an assisted living home, something that had to be done frequently as my grandma’s condition increasingly turned her into a packrat. My parents’ friends were always praising me for taking such good care of them, which always struck me as odd. After all, what was the alternative? Leave my grandparents to rot in boredom and misery?
These two experiences, as well as America’s youth-obsessed culture and the efforts we take to fight the aging process, strike me as evidence that America has a hard time dealing with the idea of death. As we know, the US is the world’s most religious developed nation, and religion largely functions to deny the reality of death with the promise of an afterlife. America lacks the reverence for the elderly found in many cultures (including my Korean and Chinese roots), and it also lacks a tradition of caring for its elderly, preferring to put them in homes and only visiting on certain holidays.
That’s why I’m glad to see Clint Eastwood, perhaps considered today’s most quintessential American director, attempt to address the topic of death in his latest film, Hereafter. While Hereafter hinges on the comforting notion that there is, indeed, a hereafter, the way the film’s three main characters grapple with the concept of death is something rarely seen in American films, and Eastwood’s approach is appropriately thoughtful and personal.
Listen to my ReThink Review of Hereafter on Pacifica Radio’s Uprising show by clicking on the image below.
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Oct
19

ReThink Interview Jeff Reichert Bill Mundell of Gerrymandering

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ReThink Interview Jeff Reichert  Bill Mundell of Gerrymandering

Republican, democrat or independent, Americans love a good political sex scandal, especially when it doesn’t involve a member of their preferred party. While these scandals almost never have anything to do with a politician’s job performance or the state of our democracy, it can be exceedingly difficult to get Americans to care about non-sexy political scandals that do, and even harder to explain these scandals in a way that doesn’t put people to sleep.
A good example of this is the practice of gerrymandering — when politicians attempt to guarantee that they will remain in power by redrawing district boundaries every ten years to include or exclude certain voters. Not only does this create districts with strange, illogical shapes that do not represent geography or populations (my district resembles a squat dinosaur/Pokemon), it also means that incumbents don’t need to serve their constituents or even do a good job since their re-election is virtually guaranteed because of their district’s demographics. In short, because of gerrymandering, there’s a good chance that your vote simply won’t matter.
Pretty scandalous, right? That’s why director Jeff Reichert decided to make a documentary about gerrymandering, fittingly named Gerrymandering. See the trailer below.
I spoke with Reichert and Bill Mundell, who is an executive producer on Gerrymandering and the founder of Californians for Fair Redistricting. Below is my interview with them in two parts.
On the origin of the term “gerrymander”, the threat gerrymandering poses to American democracy, whether districting reform might hurt one’s preferred party/candidate, what countries have good redistricting systems, prison and incumbency gerrymandering, and whether districting reform is the kind of cause only politicians on their way out undertake.
On vote swapping, EndGerrymandering.com, which minorities are at the most risk from gerrymandering, flaws in America’s democratic system, information about gerrymandering that surprised Reichert as he was making the film, and why Reichert loves the film 2001: A Space Odyssey.
For more on Gerrymandering, visit GerrymanderingMovie.com
To find out how to end gerrymandering and what your district looks like, visit EndGerrymandering.com
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Oct
16

ReThink Review Marwencol When Therapy Becomes Art

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ReThink Review  Marwencol  When Therapy Becomes Art

If there’s any justice in the world, Jeff Malmberg’s stunning debut documentary Marwencol will be nominated for the best documentary Oscar, having already won numerous awards including the Grand Jury Award at SXSW, the Cinematic Vision award at SilverDocs, and even Best Film at Comic-Con. It’s the kind of film that makes you thankful that documentaries — and movies in general — exist at all, giving viewers the chance to go deep within the life and mind of a singularly fascinating individual.
Marwencol tells the story of Mark Hogancamp, who was attacked by five men outside a bar in New York state on April 8, 2000, who literally beat him within an inch of his life. Hogancamp’s brain was so severely damaged that his memory was erased to the point that he had to relearn how to walk, write and feed himself. His physical and mental therapy had begun to show progress — that is, it did until America’s “best-in-the-world” healthcare system abandoned him when he could no longer pay for his treatment. So Hogancamp invented his own therapy by creating a 1/6th-scale World War II-era Belgian town in his backyard called Marwencol, and populated it with dolls representing himself, friends and family.
Watch my ReThink Review of Marwencol on the Young Turks below, along with a discussion about how the mentally ill often end up homeless or in jail.
As I mentioned on the Young Turks, Hogancamp was incredibly lucky to find a method of therapy that worked once he was dropped from America’s healthcare system, since the future that awaits most mentally ill people in the US is shamefully bleak. Despite the fact that our understanding of mental illness has greatly advanced over the decades, the US has returned to the bad old days of treating the mentally ill as criminals instead of the victims of disease. From Psychiatric News:
Numbers like that are a disgrace, especially when you consider that putting a mentally ill person in prison would only make their condition worse, requiring more incarceration and more care. In my research, I came upon this powerful segment on Al Jazeera English about the mentally ill in our nation’s prisons.
Part 1 of “Fault Lines: Mental Illness in US Prisons”.
Part 2
To find out more about Marwencol, go to Marwencol.com.
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Oct
11

ReThink Interview Rob Epstein Jeffrey Freidman CoDirectors of Howl

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ReThink Interview Rob Epstein  Jeffrey Freidman CoDirectors of Howl

Co-directors Rob Epstein and Jeffrey Freidman are well known for their documentaries addressing LGBT issues, like their Emmy-winning 1995 doc about portrayals of gays in TV and film the Celluloid Closet, their Oscar-winning 1998 doc about the AIDS Memorial Quilt Common Threads: Stories from the Quilt, and their multi-award-winning 2000 doc Paragraph 175 about the Nazi’s persecution of gays from 1933-1945.
In Epstein and Freidman’s latest film, Howl, the duo examine Allen Ginsberg’s groundbreaking poem ‘Howl’ and the landmark censorship trial that surrounded its publication (see my ReThink Review of Howl and discussion about it on the Young Turks here). While Howl is a departure for them as their first scripted feature — alternating between a re-enactment of Ginsberg’s first reading of ‘Howl’ to an audience, an interview with Ginsberg about his background and the writing of ‘Howl’, and the obscenity trial against Lawrence Ferlinghetti for publishing Howl and Other Poems — Howl was also going to be one of their first films that didn’t expressly address queer issues. But as Epstein and Friedman began their research into Ginsberg’s life and the poem that defined the counterculture, they soon realized that Ginsberg’s sexuality and the queer themes within the poem would be vital elements in their film, so much so that Howl, in Epstein and Freidman’s words, may be their queerest film to date.
I spoke to Epstein and Freidman to get their thoughts on what drew them to Howl, some of their inspirations for the film, why Howl might be their queerest film yet, what James Franco brought to his portrayal of Ginsberg, and, as usual, what are some films that changed their lives.
Watch my ReThink Interview with Rob Epstein and Jeffrey Freidman below.
For more information on Howl, go here.
To see Howl On Demand, go here.
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Oct
09

ReThink Review Nowhere Boy On his 70th Birthday Lennon as a Lad

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ReThink Review Nowhere Boy  On his 70th Birthday Lennon as a Lad

This October 9 would’ve been the 70th birthday of John Lennon, a statement that can’t help but make one wonder about what could/should have been. What kind of music would he have made? What would he be saying about the world today? What causes would he be championing? I imagine Lennon would’ve been much like a modern-day Mark Twain, a man who the media constantly sought out to see how any and all world events would be refracted through the prism of his considerable intellect, talent with words and impish wit. The fact that we never got to hear those thoughts from Lennon is a terrible loss.
With a figure as colossal as Lennon, it’s hard to remember that he was once just a lad growing up in working-class post-World War II Liverpool. Lennon’s pivotal teenage years, when he first discovered rock ‘n’ roll and confronted the complicated relationship between himself, the aunt who raised him, the mother who didn’t, and the father he never knew are explored in the new film Nowhere Boy, directed by Sam Taylor-Wood in her feature debut with a screenplay by Matt Greenhalgh (CONTROL). See the trailer for Nowhere Boy below.
Nowhere Boy takes place in 1955, when the arrival of rock ‘n’ roll began pulling young Brits out of the conformity and discipline that had kept England together during World War II. Aaron Johnson (Kick-Ass) puts in a strong performance as the fifteen-year-old John, who, by the looks of it, spent considerable time in the gym when he wasn’t rehearsing with his first band, the Quarrymen, or rebelling against authority. That authority is embodied by John’s strict, straight-laced aunt Mimi (an excellent Kristin Scott Thomas), while John’s biological mother, Julia (a vibrant Anne-Marie Duff), represents the exciting, impetuous sexual energy of rock ‘n’ roll. It was Julia who introduced John to rock, taught him to play the banjo (which led to him picking up the guitar), and supported John’s early musical endeavors, but it was Mimi who fed him, put a roof over his head, and who John called every week until he died. Nowhere Boy chronicles John’s journey to reconcile his relationships between the two most important women in his life while embracing the rock ‘n’ roll music and attitude that would start a revolution.
One of the nice things about Nowhere Boy is that it’s really a small coming-of-age story that would probably work even if it’s main character didn’t become one of the most influential figures of the 20th century. But knowing that it does adds meaning and weight to each moment, especially when John discovers his idol, Elvis Presley, his fledgling “skiffle” band embarks on its first performances and John is introduced to two promising young musicians named Paul and George. And on the day when he would have turned 70, it’s a wonderful gift to have a loving portrait of Lennon’s crucial, turbulent adolescence to remind us of his humble roots and the forces that drove him as we celebrate who Lennon was, even as we try to hide our sadness and loss at never getting to know who he would become.
Happy birthday, John. We miss you and will never forget you.
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Sep
29

ReThink Interview Seth Gordon Exec Producer of Freakonomics

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ReThink Interview Seth Gordon Exec Producer of Freakonomics

One day, you’re directing a tiny documentary about supergeeks obsessed with old-school video games. The next, you’re executive producing a big-budget documentary made up of short films directed by some of the best documentarians currently working and based on a hugely influential best seller.
Yes, that’s a massive oversimplification of what’s been going on lately with Seth Gordon, who shot to (documentary) fame with the King of Kong: A Fistful of Quarters — a doc about two obsessed gamers and their quest to be the undisputed champion of Donkey Kong, one of the most difficult video games ever created. After directing the successful Reese Witherspoon/Vince Vaughn holiday comedy Four Christmases and episodes of high-performing TV comedies like the Office, Community and Modern Family, Gordon is now the executive producer of Freakonomics, which is based on the 2005 New York Times bestseller Freakonomics: A Rogue Economist Explores the Hidden Side of Everything. In the book (which has sold over four million copies), economist Steven D. Levitt (aided by journalist Stephen J. Dubner) applies economic principles to distinctly non-economic topics like baby names, cheating in sumo wrestling, and the relationship between legalizing abortion and falling crime rates. The film version is made up of four short films directed by some of the biggest luminaries of the documentary world — Morgan Spurlock (Super Size Me), Alex Gibney (Taxi to the Dark Side, Enron: the Smartest Guys in the Room), Rachel Grady and Heidi Ewing (Jesus Camp), and Eugene Jarecki (Why We Fight). Gordon directed the segments between each story that tie Freakonomics together.
Watch the trailer for Freakonomics (opening October 1) below.
I spoke to Gordon in Los Angeles about applying Freakonomics, working with a group of celebrated documentarians, films that changed Gordon’s life, and matters concerning Donkey Kong and the scripted remake of the King of Kong that is in the works. Check out my ReThink Interview with Seth Gordon below.
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Sep
26

ReThink Review Howl Celebrating Banned Book Week

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ReThink Review Howl  Celebrating Banned Book Week

This past Saturday marked the beginning of Banned Book Week (Sept. 25-Oct. 2), which celebrates the wonderful freedom of being able to read whatever one likes, and reminding us that it’s a freedom that must be fought for constantly. One need only look at lists of books that have been banned at one time or another to understand what’s at risk (banned-books.com has good lists here and here, and Wikipedia has this list that includes books that have been banned in other countries).
That makes it a great time for the release of Howl, the new movie starring James Franco about Allen Ginsberg and the court case to determine if his poem, Howl, was obscene, and if anyone who published or sold it was guilty of a crime. See my ReThink Review of Howl and discussion about censorship with Cenk Uygur and Ben Mankiewicz of the Young Turks below.
As I mentioned in the review, I read Howl for the first time after seeing the movie, and it was a magical experience that I believe everyone should have. If you’re interested in the poem and the case to ban it — or want to find a fun way to celebrate Banned Book Week — I recommend checking out the book Howl On Trial: the Battle for Free Expression by Bill Morgan and Nancy Joyce Peters. Below are some pages from Howl On Trial on Google Books, and if you scroll down to page 21, you’ll find the complete poem of Howl, including the essential footnote.
Enjoy it, my angelheaded hipsters.
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