Category: Documentaries (Page 23 of 43)

The Cove

I might be a liberal native Californian, but I’m no vegan and no fan of the animal rights absolutists at PETA. On the other hand, I make an exception when it comes to eating or capturing animals that might be self-aware. “The Cove,” from National Geographic photographer and first-time director Louie Psihoyos, exposes a crime that is arguably the moral equivalent of genocide, but that’s only the beginning. This likely documentary Oscar nominee chronicles the efforts of a diverse group of activists, including onetime “Flipper” trainer Rick O’Barry, to videotape the secret mass killing of dolphins by Japanese fishing interests. Much has been made of the “caper” aspects of “The Cove” in chronicling how the footage was illegally obtained. It’s strengths, however, lie in the clear line it draws between the slaughter of animals who might be our intellectual equals — there but for the lack of an opposable thumb go we — and the ecological horror behind it. The dolphins are not being killed primarily for their meat, which is so mercury laden you’d be far better off consuming Jeremy Piven, but was nevertheless criminally forced on local schoolchildren. The true motive for the crime turns out to be to eliminate a competitor for the dwindling supplies of seafood, a key source of our increasingly hungry world’s supply of protein. Despite all this, the dolphin is not yet an official endangered species, but then, neither are we.

Click to buy “The Cove”

TV/media in the 2000s: 10 (or so) key voices in left/right political media

Politically speaking, the aughts have been one long, strange trip. Just think about what we’ve seen this decade: a disputed presidential election in 2000, the largest terrorist attack in world history occurring on U.S. soil in 2001, followed by two wars, the partial erasure of New Orleans and much of the Gulf Coast, a congressional changing of the guard, the election of the first African-American president as well as the first with a foreign-sounding name, and the probable passage of a health care package which, depending on your point of view, is either historic, a mystery, a bit of a sham, or the first step on the road to a Stalinist U.S. of A.

Bubbling beneath all of this has been a series of remarkable changes in the world of media — television, movies, radio, and this thing we call the Internet — that have had a fairly profound impact on politics and, therefore, on real life. What follows are my choices for the ten most interesting and/or influential figures in the realm of political media. To try and slightly compensate for my obvious liberal bias (my side is far more facty, I tell ya!), I’ve got five spots each for conservative and liberal media figures respectively and I’ll be alternating and counting down from the bottom.

#5 Conservative

Trey Parker and Matt Stone — It’s possible that most regular viewers of “South Park” have little idea that Parker and Stone are self-described Republicans and I’m sure most of you don’t think of it as that much of a political show, even though rather subtle and often quite penetrating and/or infuriating thoughts about politics run through many, if not most, episodes. That’s because, like all great satirists, they are just as good at poking holes in the pretensions of their own side as that of the opposition, and their social liberalism puts them so at odds with the increasingly extremist faction that now controls much of the Republican party that some could easily mistake them for liberals. Actually, right now it’s easy to imagine them ditching the party indefinitely, along with any number of smart fellow conservatives who have already done so publicly.

parker-stone

Still, conservative and/or anti-liberal messages are often found on episodes of “South Park,” including attacks on such personal friends of the pair as George Clooney. Indeed, as early as 2001, famed blogger Andrew Sullivan described himself as a “South Park Republican.” (Sullivan is now one of those smart conservative ex-Republicans I mentioned above.) And, of course, there was no stronger, and certainly no funnier, attack on the antiwar efforts of the American left than “Team America: World Police” which had marionette versions of Michael Moore, Alec Baldwin, Matt Damon, and Janeane Garofalo working in tandem with North Korean madman Kim Jong-il in his plans to destroy Western civilization.

Since the film’s release in 2004, more doctrinaire conservatives have tried to follow suit with such liberal-bashing comedies as “An American Carol” and “The 1/2 Hour News Hour,” a truly wretched attempt to craft a conservative alternative to “The Daily Show,” but only Parker and Stone have been able to bash liberals and their ideas and make targets like Alec Baldwin love it.

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New York and L.A. Film Critics make their choices

The two most noted critics groups both gave their awards today and the results are pretty interesting. Just released, we have the winners from New York. Somewhat to my surprise, even though it’s received very positive reviews so far, “Avatar” won for best picture.  Last year’s winner was not “The Dark Knight,” which however did make it into the top 10, but the politically-themed biopic, “Milk.” Genre movies and blockbusters rarely win critics awards.

Avatar

Also, the suddenly more geek-friendly critics group actually gave the most awards to “Inglourious Basterds” which picked up a cinematography award for the always superb Robert Richardson, a best screenplay nod for Quentin Tarantino and, of course, a Best Supporting Actor award and also a Best Breakthrough Performance award for Christoph Waltz’s movie-stealing work as the evil but magnetic “Jew hunter,” Colonel Hans Landa. Another unusual war film, “The Hurt Locker,” picked up the Best Director award for Kathryn Bigelow and, not at all surprising, “Up” won the award for best animation.

Meryl Streep won for Best Actress for “Julie and Julia” and Jeff Bridges won for the not yet released country music drama, “Crazy Heart.” Mo’Nique from “Precious” picked up the Best Supporting Actress award. “The Cove” won Best documentary. ComingSoon.net has the complete list of winners. It’s a pretty interesting group.

The Hurt Locker

Just a bit earlier, the Los Angeles Film Critics, on the other hand, gave the top prize to “The Hurt Locker” (“Up in the Air” was the runner up) and Kathryn Bigelow took another Best Director prize for the thriller. Jeff Bridges, Christoph Waltz and Mo’Nique once again got the Best Actor, Best Supporting Actor, and Best Supporting Actress prizes respectively. The L.A. crickets took a different path entirely, however, on the Best Actress category and gave it to Yolande Moreau for the French-language biopic, “Séraphine.” (The runner up was Carey Mulligan, whose work in “An Education” has been generating a great deal of buzz.)

They also, interestingly, diverted from the New Yorkers in the area of animation, giving the top prize to “Fantastic Mr. Fox,” another succès d’estime for Wes Anderson. However, they followed the NYC reviewers in giving the nod to “The Cove” for Best Documentary. In a nod to genre, “District 9” got a “New Generation” award for writer-director Neill Blomkamp as well as a production design award. Eugene Hernandez of Indiewire has the complete list.

Oscar-buzz fans take note, critics’ awards are not super-reliable indicators of Academy Awards, which tend to be less genre-friendly but also more prone to award big commercial hits. On the other hand, I think it’s safe to say that Kathryn Bigelow, Jeff Bridges, Mo’Nique, Christoph Waltz, as well as “The Hurt Locker”, “Inglourious Basterds,” and perhaps “The Cove” got a big boost today. (The documentary category is notoriously fraught.) Also, I haven’t mentioned its awards, but the little seen black political comedy and festival hit, “In the Loop,” picked up awards from both groups and could, I imagine, get a very helpful nomination or two in possibly the writing and the newly expanded “Best Picture” category.

Live from various parts of West L.A.!

I was at a screening at Sony (it’ll always be the MGM lot to me) earlier tonight, so to avoid traffic and strike while the iron is hot, tonight’s post comes to you directly from various branches of the Coffee Bean and Tea Leaf. (As one closed, I was forced to migrate…)

* A little detail everyone seemed to miss yesterday: the possibly upcoming “Vlad” that I discussed last night is technically a movie about Dracula but is not, in fact, a vampire movie. It’s a tale that will to some degree hew to the historical reality of the not-quite-literally bloodthirsty Romanian ruler Vlad Dracul, it turns out. Via The Playlist, there’s an informative Entertainment Weekly interview with the screenwriter.

Another detail I personally missed last night: writer Charlie Hunnam is one of the stars of FX’s “Sons of Anarchy,” which I’ve never seen but have been hearing great things about and which, of course, our own Jason Zingale has been blogging right here at PH. “Vlad” is being compared to both “300” and “Braveheart” — two movies I personally strongly disliked partly because they both offend my sense of morality, but I’m still curious to see if this one pans out.

* “Paranormal Activityhit it in France and the UK, but not in Germany. I’m imagining a guy in a turtle neck with a look of disdain. “Your pretense at being haunted by demons grows tiresome!”

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What “Slide” will be missing

Borys Kit from The Hollywood Reporter last Thursday:

….”Slide,” a fictional indie drama featuring Jimi Hendrix being written by R.H. Greene, who also will direct….The story revolves around two gangsters, desperately trying to get away from a mob boss they double-crossed, who inadvertently kidnap Hendrix, then at the height of his career and drug addiction…it will not use Hendrix’s music nor feature his family…

Music rights are a perpetual problem and source of confusion for films dealing with the past. Fortunately, at least for now I can present this following beautiful excerpt from “Jimi Plays Monterey” by Chris Hegedus and D.A. Pennebaker.

There’s something about the footage taken by Pennebaker & company at the 1969 Monterey Pop festival. Much more than other footage from that time, there’s a really mesmerizing quality to it. Of course, it helps when you’ve got a performer as unparrelled as Hendrix was.

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