God knows how many millions of dollars and hours of manpower went into making and remaking Geostorm but it turns out to have been all…
"Clinton" premieres in two parts: Monday, February 20th and Tuesday, February 21st on PBS's "American Experience" (check local listings for showtimes) and will be available thereafter via PBS on demand. Also on DVD and iTunes.
by Jeff Shannon
I should probably state up front that I was, and always will be, a Clinton supporter. Like our 42nd president, I grew up in a home where John F. Kennedy had been revered as a young, dynamic force of change and hope for the future. When you admire a politician's core conviction, it's at least somewhat easier to overlook, if not forgive, their foibles and shortcomings. As a young quadriplegic in 1991, I saw candidate Clinton as an impressive-enough carrier of JFK's torch, a protector of the disadvantaged who had inherited Jack and Bobby Kennedy's concern for those who found the American dream elusive or entirely out of reach.
That concern was clearly demonstrated by the defining moment of Clinton's presidential campaign. It's one of many pivotal moments captured in the two-part, four-hour documentary "Clinton," the 16th episode of PBS's "American Experience" presidents series. At the second presidential debate in Virginia in 1992, a young African-American woman in the audience asked candidates Ross Perot, Bill Clinton, and incumbent president George H.W. Bush a question that was then on the minds of struggling Americans everywhere:
"How has the national debt personally affected each of your lives, and if it hasn't, how can you honestly find a cure for the economic problems of the common people if you have no experience in what's ailing them?"
That question could easily be recycled as a present-day jab at Mitt Romney, but let's stick to history: Bush simply didn't understand the question, and Clinton seized the opportunity to ensure his victory. Stepping toward the audience in a characteristic display of the sincerity that had propelled his fast-moving career, Clinton demonstrated a concise, compassionate grasp of the question's meaning, and his answer (a reference to the poverty and middle-class struggle he witnessed while campaigning for Congress and Governor in his native Arkansas) left Bush with a classic expression of election-losing dismay.
"The Loving Story" premieres on Valentine's Day, February 14, at 9 p.m. on HBO (check local listings), and is available via HBO On Demand and HBO Go thereafter.
"The Loving Story" is as modest and taciturn as its subject, an interracial couple who, in 1958 rural Central Point, Virginia, just wanted to be left alone. For the most part, they were, and that was the problem as much as it was their fervent wish. When the local sheriff busted into their bedroom at 4 am and hauled them off to jail for violating the Racial Integrity Act, there was no national audience, in contrast to the fire hosings, bombings and other acts of racist terror that couldn't help but make the evening news at the time. The whole world was not watching. It's hard to fathom why after seeing the luminous 16mm footage uncovered in "The Loving Story." Documenting many pivotal moments in the case, it adds a dash of something rarely seen in the grand narrative of the American Civil Rights struggle: romance.
In the footage and iconic photographs, the Lovings appear to be deeply in love. Richard is a silent, barrel-chested Ed Harris lookalike; Mildred is shy and beautiful, the essence of poised intelligence. How could a story this simple and universal, with two photogenic romantic leads captured in a Life magazine feature, get lost in the Civil Rights shuffle?
The Loving case eventually went all the way to the Supreme Court, and all along the way, the couple insisted upon discretion and privacy. Only a small documentary crew -- filmmaker Hope Ryden and cinematographer Abbot Mills -- gained access to their home, but they made the most of it. The photography is as discreet but watchful as Mildred herself. When she, well, lovingly buckles her little daughter's suede shoe as they prepare for an outing, the camera isolates the mother's slender brown arm steadying her child's pale leg. In the film's context, as assembled by producer-director Nancy Buirski, moments like this one simply cry out, "Why on earth would a decent person want to disrupt this beautiful life?"
"Gnarr" (85 minutes) is now available via most major on-demand platforms including cable, satellite, iTunes and Amazon Instant.
by Jeff Shannon
The United States could sure use a guy like Jon Gnarr right about now. Just take a look at the sorry state of our presidential campaigns and then consider what Gnarr achieved in his native Iceland: In January 2010 Gnarr, Iceland's most popular and controversial comedian, began to campaign for the office of Mayor of Reykjavik, Iceland's capital and largest city. What began as a joke snowballed into a seriously funny, but still very serious, protest vote that turned the tide of history.
Earning coverage in The New York Times, Gnarr's campaign was a referendum on the unchecked corruption, cronyism and incompetence that turned the richest country in Europe into the morally and financially bankrupt victim of a nationwide depression. Gnarr's campaign momentum was made possible by a climate of disgust and frustration with a political system that was broken beyond repair. In the wake of financial disaster on an unprecedented scale, Gnarr rode a wave of backlash against a gridlocked establishment.
As the playful yet firmly grounded documentary "Gnarr" unfolds, Americans can easily view the film as a reflection of our current political climate. Accounting for differences in scale (Iceland's entire population is slightly less than that of Wichita, Kansas), Gnarr's mayoral campaign, and the media circus surrounding it, is strikingly relevant to the political and economic woes of the world's top-ranking superpower. Watching the film, you can't help thinking, "What if...? "
"Raccoon Nation" premieres on PBS's Nature series Wednesday, Feb. 8, at 8 p.m., 7 p.m. Central. Coming on DVD/Blu-ray March 13.
Let's be frank: People watch nature documentaries because they want to see wild animals doing the Wild Thing. This can be shown on regular TV because, as Bea Arthur's Maude famously said, "animals making love is rated G. People making love like animals--that's R " An animal documentary serves to showcase how its subjects survive, hunt, eat, play, and yes, get their freak on. There's a reason the sexiest piece of music Elmer Bernstein ever wrote used to play over footage of animals gettin' bizzy on "National Geographic." A Barry White soundtrack would have been way too hot for TV.
Alas, "Raccoon Nation" is a relatively chaste animal documentary, which is unusual but no less interesting. Its focus is on another popular topic of nature non-fiction: man's effect on the animal kingdom. Our species is usually depicted as destructive, and rightfully so. Forests and wooded areas are disappearing, leaving animals homeless and upsetting the natural balance by misplacing both predator and prey. "Raccoon Nation" takes a different approach, however, suggesting that humans may be responsible for the continued survival of the misplaced animal. The more we try to get rid of raccoons, the smarter they get. It's side hustle disguised as adaptation.
As more and more development occurs, the animals start living closer to us. The urban jungle is now literally a jungle. Deer have been spotted in my hometown, and 10 miles away, Irvington, New Jersey saw an episode of "Bearz N The Hood" when a city block's trashcans were set upon by ursine visitors. My current neighborhood is overrun with rabbits, foxes, possums, squirrels and birds who are decidedly NOT pigeons. I walked out of my house this summer, and there were so many animals in my yard I thought I was in "Song of the South."
"Legend of the Millennium Dragon" is available on DVD/Blu-ray and via iTunes and Amazon Instant. In Japanese with English subtitles.
When a movie jumps from one culture to another, especially one with a different language, expect some things to be lost in translation. If you're not up on Japanese history and folklore, you might be a bit mystified by director Hirotsugu Kawasaki's 2011 "Legend of the Millennium Dragon." Based on a two-book novel by Takafumi Takada (with screenplay by Naruhisa Arakawa and Hirotsugu Kawasaki), this engrossing animation with beautifully detailed background paintings whisks us into an ancient war between gods in Heian Japan.
Names are important in this quick-moving adventure. Shakespeare wrote that a rose by any other name would smell as sweet, but his historical tragedies would hardly make any sense to one who thinks the "War of the Roses" involves Michael Douglas and Kathleen Turner. "Holinshed's Chronicles and "Bulfinch's Mythology" won't help you here. Much of what happens in "The Legend of the Millennium Dragon" harks back to two ancient tomes: "Kojiki" and the "Nihonshoki."
The original title, "Onigamiden," means "Legend of the Demon God," but dragons are probably more attractive to an English-speaking audience than demons. A dragon does appear, but the story involves finding courage and a sacred sword. Then there's that age-old question: Just who are the demons?
"The Black Power Mixtape: 1967-1975" plays on PBS's "Independent Lens" Thursday, February 9, 2012. Check local listings. It is also available on DVD, Netflix Instant and Amazon Instant.
After viewing "The Black Power Mixtape: 1967-1975," I stumbled out of the theater and into a blinding, mid-afternoon New York City sun, every nerve in my body ablaze. All my neurons seemed to be firing at once, and my brain was so full of thought I sought some way to collect myself. I started to walk, focusing more on reconciling my thoughts than a navigational direction. With no destination in mind, I walked for what seemed an eternity, trying to put my emotional responses together. I was jolted from my mental process by an old woman standing next to me on a Manhattan street corner. I must have looked shell-shocked, because she touched my arm as we waited for a Lower East Side traffic light to change. "Honey, are you alright?" she asked, genuine concern on her face.
Fully back in reality, I said "I'm fine, ma'am. Thank you for asking."
My reaction requires an explanation. Swedish journalist and filmmaker Göran Hugo Olsson's documentary took me back to the days when I came to a mature understanding of the implications of being Black, male, and broke. My adolescence was full of reading the speeches and works of Black leaders besides Dr. Martin Luther King, Jr. I chose to do this after my uncle took me to a Black-owned bookstore and suggested several books I should read. He avoided MLK not out of some form of militant stance, but because footage and information about King were everywhere. He was the star of every Black History Month on TV, and those who rejected the message of non-violence were either marginalized, demonized or ignored. I devoured works by people whose messages were downright terrifying to mainstream America: Malcolm X, Stokely Carmichael, Eldridge Cleaver, and Huey P. Newton.
"Kill List" is available on demand through select cable providers. Check IFC On Demand for availability in your area.
by Kevin B. Lee
Few things bring out the worst tendencies of Hollywood than the genre mash-up, as evidenced by two of last year's worst films, "Cowboys vs. Aliens" and "Battle: Los Angeles" (aka "Independence Day" filmed as part Iraq War documentary, part video game). The "movie-x-meets-movie-y" mentality seems to inspire little more than z-level creativity in the land of big budgets and small minds. And yet, somehow the British have a better track record at bringing together disparate elements into a compelling whole. One of the best British crime movies, "The Lavender Hill Mob," is also one of their best comedies. Their most famous horror movie, "The Wicker Man," is actually a trifecta of horror, crime thriller and musical. And now there's Ben Wheatley's "Kill List," which takes seemingly familiar genre elements and offsets them in ways that can be confounding, but leave an unforgettable impact. And by impact, I'm not just talking about a scene involving a tied-up librarian and a hammer.
Before we delve into that moment, some set-up: Jay (Neil Maskell) and Shel (MyAnna Buring) are an ex-military couple trying to play house in the Yorkshire suburbs. Judging by their opening screaming match they're having a rough go of it: Jay's been out of work for eight months, their savings drying up. All they can do to vent their frustrations is hold swordfights on the lawn with their son and host a rollercoaster of a dinner party with Jay's war buddy-turned-hitman Gal (Michael Smiley), leading to smashed dishes in the dining room, plans for new contract killings discussed over beers in the basement, and Gal's mysterious date carving a hex into the back of the bathroom mirror.
"Phil Ochs: There But for Fortune" plays Monday, January 23, at 10 pm EST/PST on PBS American Masters. It will thereafter be available via PBS On Demand, and is currently on Netflix Instant and DVD.
"Mistakes are lodged like harpoons and fish hooks in an intelligent person's soul," says one friend of political folk singer Phil Ochsof the deep depression that eventually led him to suicide in 1976. Och's friends are like that, eloquent and insightful. His mentor Pete Seeger, in particular, speaks like he sings, modulating his voice to give anecdotes a mythic luster and heartbreaking resonance. But after watching "Phil Ochs: There But for Fortune" take a measure of the man's adult life, it seems that some friends put too much emphasis on generic therapist's reasons for his downward spiral -- schizophrenia, alcoholism, declining popularity. It seems that Phil Ochs' fall was inevitable, given the fact that his singing career began when he was barely out of his teens, when JFK's assassination was a couple years off, and crashed after every progressive movement for which his protest songs provided spiritual fuel was crushed.
This is not a standard pop star rise-and-fall story. Ochs was physically involved in the antiwar and social justice movements he sang along with. He headlined, organized and even spontaneously showed up at a staggering number of rallies for various causes. His investment was evident in his performances, presented here with shocking audiovisual fidelity. Even though it's captured on a black-and-white kinescope, a performance of his song "When I'm Gone" feels as clear and urgent as a live event. So, too, is his strumming and crooning at the 1964 Newport Music Festival. (Simply amazing sound and image restoration here.) The sonorous voice and wide, earnest eyes could just as easily belong to a Wall Street occupier serenading Zuccoti Park.
"Perfect Sense" (89 minutes) is now available via IFC On Demand and can be rented or downloaded via iTunes, Amazon Instant Video, SundanceNOW, XBOX and PlayStation 3. The film will also begin a limited release in theaters on February 3rd.
by Jeff Shannon
The cause of the disease is unknown, and there is no cure. It could be a cluster of diseases, nobody knows for sure. The experts say it's not contagious, but that's just a futile ploy to prevent panic. It's spreading throughout the world as a full-blown epidemic. The symptoms are brutal and unrelenting: Slowly but surely, your senses fall away -- first you lose the sense of smell. Then taste, and eventually hearing...panic strikes you anyway, and the world around you ceases to make any kind of sense. How can you possibly survive the onslaught of sensory deprivation? What can you do when you're overwhelmed by an escalating sense of infantile helplessness?
Welcome to the apocalypse of "Perfect Sense," an imperfect yet deeply affecting film from David McKenzie, a British director who's been quietly building a list of respectable credits (his latest is the rock 'n roll comedy "You Instead") since 1994. (He also regularly casts his actor brother Alastair, perhaps best known for his role in the popular BBC series "Monarch of the Glen.") "Perfect Sense" was well-received at Sundance last year, but it's not the kind of film that makes distributors see dollar signs in their eyes. It's an actor's showcase for Ewan McGregor and Eva Green, who meet the challenge head-on. Technically impressive and beautifully filmed (by Giles Nuttgens), quite frankly it's too distinctive -- choke on that, distributors! -- to be easily pigeon-holed and marketed to the masses.
Manoel de Oliveira's "The Strange Case of Angelica" is available on demand via Netflix Instant and for download on iTunes. It is also on DVD and Blu-ray and is coming soon to Vudu.
Few of us can expect to live 100 years, much less have that age represent the prime of our career. But Portuguese director Manoel de Oliveira, who last month celebrated his 103rd birthday, has averaged one new film a year since 1985 (Ron Howard's "Cocoon," in which Florida retirees meet space aliens who hold the secret to youth, was released the same year -- coincidence?). Two-thirds of Oliveira's 30 features were made in his eighties and nineties; Clint Eastwood, who last year turned 81, has his work cut out for him.
Oliveira's prodigious output, which would put most directors to shame regardless of their age, may be his way of making up for lost time. While he can trace his career all the way to the silent era, he didn't make his first feature "Aniki Bobo" until he was 34; his second feature "Rite of Spring" came 21 years later. His stalled output can partly be attributed to his decades-long resistance to Portugal's oppressive right-wing Estado Novo regime, during which Oliveira spent time in jail. Ironically, when leftists finally took over in the 1970s, they seized Oliveira's family business that had sustained him throughout his artistic struggles. Fortunately by that point he had achieved international acclaim, heralded by film critic J. Hoberman as "one of the 70s leading modernists" just as he entered his seventies.