Fr. Dennis (4 Stars)
IMDb listing
I found the remarkable documentary Craigslist Joe (directed by Joseph Garner) by a fluke. It was listed as playing, one remaining show only, at the Music Box Theater on Chicago's North Side this past Sunday (perhaps it had played on Saturday as well). Reading the film's plot summary, I immediately saw that I'd be interested in seeing the film, bt the movie was playing at a time that I could not make. However, googling it, I found that I could rent the film for $5.99 through Amazon's Instant Video Service. So that's what I did and IMHO it was _well worth_ the effort ;-).
Craigslist Joe is the chronicle of the film's 20-something year-old director Joe Garner's experiment to see if starting with no cash/credit card, no food stock or roof over his head and without any reliance on family or existing friends, he could live an entire month on the products, services and generosity he'd find through the community of world-wide and generally free online classified ads service called Craigslist. [Note that Craigslist has had its share of controversy in the past because for a number of years its adult and personals pages had become a de facto clearinghouse for prostitution and sex trafficking services. Yet, I would agree with Joe Garner's premise of the film that Craigslist has always been far more than this. As Joe points out at the beginning of his film: "Craigslist has been a place where you could look for a job, get rid of your sofa, and even find friends"].
So armed with simply a smart phone (with a cell number that none of his friends or family knew), a laptop and a cameraman (who he had found, of course, a few days before beginning the project, on Craigslist ;-), Joe began his adventure on a bench on a street corner in Los Angeles one December 1st in the recent past, promising to return to family and friends for New Years! What an awesome premise! And, of course, much ensues ...
In the month that follows, he travels from Los Angeles to Portland, OR to Seattle then through Chicago to New York, down to Tallahassee, FL and New Orleans, to San Francisco (where he goes after being invited by Craigslist founder Craig Newmark to come by near the end of his experience to talk to him about it) and finally back down to Los Angeles. Joe does all this by picking up odd jobs, taking odd rides, and finding people to crash with at various free events that he found, all through Craigslist.
To Joe Garner's credit, he shows that after a number of close calls over the course of his trip, there was one night near the end when he did end-up on the streets. There was also one night, in Chicago, no less, when he and his camera man ended-up crashing at the apartment of a woman who, well, "surprises them" ;-). Still, when they indicate that they were "not into that sort of stuff," she _was fine with it_. Nevertheless, these episodes help serve as a reminder that this kind of an adventure does carry with it clear dangers. I would also like to underline for readers here that Joe had the advantage of traveling with a cameraman through his whole journey. So (1) he wasn't really traveling alone, and (2) the various people who Joe met along the way knew that they weren't simply boarding or picking-up a random person that they met to travel with them but that they were going to be somehow part of this person's film project. These clarifications/considerations aside, however, Joe Garner's experiment opens-up for _clear headed_ young people the possibility of entering into a "pilgrim" / Depression Era "hobo" / "poustinik" style of adventure that I honestly find both fascinating (!) and also believed was no longer possible.
I invoke the evocative words of "pilgrim" and "poustinik" purposefully because though Joe appears from the film to have probably been Jewish (He does find time to celebrate the closing of the Jewish holiday of Hannukah when he's out in New York, while spending the night of Christmas Eve on Bourbon Street in New Orleans) there's actually an ancient Christian tradition of pilgrimage (Diary of Egeria [4th Century AD (!)], Chaucer's Canterbury Tales [14th Century], the Camino de Santiago de Compostela celebrated in the recent film staring Martin Sheen called "The Way" [2011]) or even simple "wandering" (St. Brendan of Ireland, the poustinik tradition of Russia recalled in Catherine De Hueck's book "Poustinia" and the anonymous 19th century Russian spiritual text "The Way of the Pilgrim"). In all these texts and journeys, the journey itself, and often enough, the people "met along the way" were as important as the goal itself. One should also note here the great Muslim tradition of the Hajj, where _again_ the journey to Mecca is considered to be easily as important as reaching Mecca itself.
Indeed, it was fascinating for me to note that the people who Joe meets during his one month of travels were almost always "at the margins of society" -- hippies, New Agers, an IRAQI immigrant who family puts him up one night in Seattle, a 30-something year-old African American woman who gives him a place to stay one night when he nearly ended up on the streets in New York (and in the snow) and yes there's that "woman of questionable repute" who puts him and the cameraman up in Chicago ;-).
Yet, that woman becomes actually very interesting to remember because one recalls in the Biblical tradition that it was "Rahab the Harlot" who is remembered in the Book of Joshua (Josh 2:1-7) as having been the one who gave hospitality to the Israelite spies when they were checking-out Jericho prior to the Israelites' siege to it. Later only she and her whole family were spared by the Israelites when they eventually sacked the city (Josh 6:17-25). Later in Jesus' geneology (Matt 1:1-17), Rahab appears as one of the only four women named in the geneology (Matt 1:5), named because she along with the other three women who appear in the course of the geneology turned out to be KEY in the eventual arrival/incarnation of Jesus. During the course of his own ministry, Jesus _repeatedly_ accepted the hospitality of all, and often enough from people, both men [Zaccheus (Lk 19:1-10) and Matthew (Mt 9:9-13)] and women [(Mk 14:3-9), (John 4: 4-42), et al], again "of questionable repute." Finally, in the New Testament, in the Letter to/of the Hebrews, there's the admonition: "Do not neglect hospitality, for through it some have unknowingly entertained angels" (Heb 13:2).
It is clear that Joe himself (as well as his parents, as he recalls his experience to them and his friends at the New Years' Party at the end of the film) becomes aware of the unexpected spiritual significance of his experience. I'm positive that many of the readers of this blog and subsequent viewers of the film will come to see this as well.
All in all folks, especially young adults, if you find yourselves inspired by this film to try something similar, PLEASE ENTER WITH YOUR EYES OPEN and understand the obvious risks that are involved. You DON'T have to accept the hospitality of everyone.
Nevertheless, Joe's "experiment" here seems to indicate _to me_ that entering into this kind of "wandering," "depending on God/the kindness of strangers" experience _is possible_ today. And is that a wonderful thing! THANK YOU JOE and you did a _wonderful_ job!
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Reviews of current films written by Fr. Dennis Zdenek Kriz, OSM of St. Philip Benizi Parish, Fullerton, CA
Tuesday, August 14, 2012
Saturday, August 11, 2012
Richard's Wedding [2012]
MPAA (UR) Fr. Dennis (3 Stars)
IMDb listing
Richard's Wedding (written, directed and costarring Turkish-American director Unur Tukel) is an small, generally irreverent, young adult oriented "indie" production about, well, a wedding.
The film begins with Alex (played by Jennifer Prediger) and Tuna (played by Unur Tukel) running into each other "on the El" as they are both heading to their friends' Richard (played by Lawrence Michael Levine) and Phoebe's (played by Josephine Decker) wedding. As they talk, it becomes clear that both are somewhat skeptical of whether Richard and Phoebe's marriage is going to work and Tuna at least is really worried about the prospect of meeting old friends that he hasn't seen in some time.
Tuna, an unemployed writer, is particularly worried about how he's going to deal with Richard's up-to-then best-friend / room-mate, the somewhat successful, somewhat right-wing and certainly blowhard Russell (played by Darrill Rosen). Then there's perpetual basket-case and terrible photographer Amy (played by Heddy Lahmann) who, of course, was invited to by Richard to take pictures of the affair and everybody knows that it would just crush her if they honest and told her that she's just plain terrible as a photog. There's also Tuna's ex-girlfriend Kristen (played by Oona Mekas), who's gonna be there, who even though he was unemployed when they had dated, he had cheated on... Yup, it was not going to be a pretty afternoon for Tuna. In contrast, Alex feeling herself in a positive relationship with "Daryl" even though he's inexplicably not joining her in going to the wedding feels just fine ... Obviously much ensues...
Now part of what ensues is from my perspective (as a Catholic Priest) rather irritating: It turns out that Richard is a rather adamant atheist and Phoebe's a somewhat vague but at least _when it comes to her wedding_ Christian. So they give conflicting instructions to the Minister who comes to officiate at their wedding that they're holding in some random corner of a park in New York. He doesn't want the Minister to mention God at all in the ceremony (why then call a minister at all then?) She makes it a point of telling him that "it's OKAY" to mention God (PLEASE). The Minister, a weak if kind soul with more or less clear struggles in his life tries really hard to find a way to oblige both. (Note to young Catholics reading this blog: This is why we have a 6 month marriage preparation process and except in truly exceptional circumstances insist on marrying couples in a Church, so that these questions get talked about and resolved _long before_ the wedding day. And yes, if it becomes clear that the couple really does not want to get married in the Church, we do respect their wishes and _don't_ marry them. In the Catholic Church, after all, getting married is understood to be an adult decision to be approached in a serious / adult manner. And yes, the Catholic Church does have standards).
This aside, I did find the dialogue in the film to be quite good and I do sympathize with young people today.
But I will certainly stand by the view that it is far easier to go through life with God in it than to go through life without God. None of us know what we will come face in life and having God present in our lives when life is not going particularly well can be a great, great support.
ADDENDUM:
While "in theaters in major markets," many "Independent" / Foreign Films and Documentaries are available for home viewing in the U.S. through the IFC Video On Demand service (type in your zipcode and cable provider to see if this service as available to you) or for download via services like Sundance Now and/or Itunes / Amazon Instant Video. Eventually, these films become available for rent in the U.S. via NetFlix or Blockbuster.com. More obscure titles can also be found via Facets Multimedia's DVD Rental Service.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
IMDb listing
Richard's Wedding (written, directed and costarring Turkish-American director Unur Tukel) is an small, generally irreverent, young adult oriented "indie" production about, well, a wedding.
The film begins with Alex (played by Jennifer Prediger) and Tuna (played by Unur Tukel) running into each other "on the El" as they are both heading to their friends' Richard (played by Lawrence Michael Levine) and Phoebe's (played by Josephine Decker) wedding. As they talk, it becomes clear that both are somewhat skeptical of whether Richard and Phoebe's marriage is going to work and Tuna at least is really worried about the prospect of meeting old friends that he hasn't seen in some time.
Tuna, an unemployed writer, is particularly worried about how he's going to deal with Richard's up-to-then best-friend / room-mate, the somewhat successful, somewhat right-wing and certainly blowhard Russell (played by Darrill Rosen). Then there's perpetual basket-case and terrible photographer Amy (played by Heddy Lahmann) who, of course, was invited to by Richard to take pictures of the affair and everybody knows that it would just crush her if they honest and told her that she's just plain terrible as a photog. There's also Tuna's ex-girlfriend Kristen (played by Oona Mekas), who's gonna be there, who even though he was unemployed when they had dated, he had cheated on... Yup, it was not going to be a pretty afternoon for Tuna. In contrast, Alex feeling herself in a positive relationship with "Daryl" even though he's inexplicably not joining her in going to the wedding feels just fine ... Obviously much ensues...
Now part of what ensues is from my perspective (as a Catholic Priest) rather irritating: It turns out that Richard is a rather adamant atheist and Phoebe's a somewhat vague but at least _when it comes to her wedding_ Christian. So they give conflicting instructions to the Minister who comes to officiate at their wedding that they're holding in some random corner of a park in New York. He doesn't want the Minister to mention God at all in the ceremony (why then call a minister at all then?) She makes it a point of telling him that "it's OKAY" to mention God (PLEASE). The Minister, a weak if kind soul with more or less clear struggles in his life tries really hard to find a way to oblige both. (Note to young Catholics reading this blog: This is why we have a 6 month marriage preparation process and except in truly exceptional circumstances insist on marrying couples in a Church, so that these questions get talked about and resolved _long before_ the wedding day. And yes, if it becomes clear that the couple really does not want to get married in the Church, we do respect their wishes and _don't_ marry them. In the Catholic Church, after all, getting married is understood to be an adult decision to be approached in a serious / adult manner. And yes, the Catholic Church does have standards).
This aside, I did find the dialogue in the film to be quite good and I do sympathize with young people today.
But I will certainly stand by the view that it is far easier to go through life with God in it than to go through life without God. None of us know what we will come face in life and having God present in our lives when life is not going particularly well can be a great, great support.
ADDENDUM:
While "in theaters in major markets," many "Independent" / Foreign Films and Documentaries are available for home viewing in the U.S. through the IFC Video On Demand service (type in your zipcode and cable provider to see if this service as available to you) or for download via services like Sundance Now and/or Itunes / Amazon Instant Video. Eventually, these films become available for rent in the U.S. via NetFlix or Blockbuster.com. More obscure titles can also be found via Facets Multimedia's DVD Rental Service.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
Queen of Versailles [2012]
MPAA (PG) Roger Ebert (3 1/2 Stars) Fr. Dennis (3 Stars)
IMDb listing -
http://www.imdb.com/name/nm1132362/
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120801/REVIEWS/120739997
Queen of Versailles (directed by Lauren Greenfield) is a documentary with a "reality show" feel to it about time-share real estate magnate David Siegel, his "force of nature" wife Jackie and their large (8 kids) family. "Back in the day" (before the collapse of the real estate market's collapse in 2008) they were on their way to building the largest "family home" in the United States complete with something like 14 bedrooms, countless baths, multiple pools, 2 tennis courts and a bowling alley. (Hence the reference to Versailles...).
It would be easy to make fun of these people, especially at the beginning of the documentary, which was filmed _before_ the housing market collapse. Back then David Siegel came across to me as a supremely arrogant man claiming to have "single-handedly" made George W. Bush the president of the United States, saying ON CAMERA that he'd "prefer to not get into exactly how," because (snickering) "what [he] did was probably illegal." (Note to enterprising journalists and/or dare one dream an enterprising district attorney willing to look under a few rocks to see whether there was anything to Siegel's boast there or not. Siegel is a resident of Florida after all (and back then a very rich and flamboyant one) when Bush was declared the winner of the year 2000 Presidential election after the infamous problems with the vote in that state...).
However, whether or not Siegel ends up serving any time for possibly stealing an election from the rest of the country, "his man," GW Bush, who along with his wife, were shown visiting his/Jackies "smaller home" (half the size of the larger "Versailles" that they were building...) ended up producing Siegel's own downfall: Time-share real estate king that Siegel was, his kingdom collapsed largely collapsed after the financial crisis dried-up the cheap loans on which his business depended. As soon as people couldn't purchase (or "flip") those time shares that his company was selling, Siegel's own business fortunes dried up as well.
A good part of me smiles, saying "couldn't have happened to a more deserving guy." Yet, there's something sad about watching a man with a family struggling to pay his bills and keep his home (palatial as Siegel's was...) even if he was a billionaire and had made his fortune, in good part, swindling much poorer people of their money as well.
Siegel's wife Jackie is arguably even more complex. One _could_ wish to dismiss her as "some kind of ditzy, simpleminded trophy wife" that one could expect to see on a "reality show" style documentary. But _if one is honest about it_, she's far more complicated/compelling than that: Born in a small town in upstate New York, she was both good looking and driven as a teen / young adult. As a result, she did really achieve actually quite a bit on her own _before_ meeting Siegel. She got an engineering degree, worked for IBM as an engineer for some time. When she found that work _deathly boring_ she went into modeling and competing/succeeding in various beauty contests. And after she married Siegel, she apparently even won the Mrs America beauty contest one year, before settling down and having her seven kids with him. Afterwards, she continued to be active in the beauty pageant circuit, as a coach/supporter, etc. One could initially try to dismiss her, but honestly, she did quite a bit with her life. And at least on camera, she didn't come across as some sort of a deathly snob. At the beginning of the film, she was simply up-to-her-eyeballs in money. Perhaps she could have become someone more like Melinda Gates, wife of Microsoft billionaire Bill Gates, that is true. But Jackie came across in the film as basically "a small town girl" who "really, really made good" (imagine going to _her_ class reuinon ;-) ;-), and yes, with her "billions" (and later simply "hundreds of millions" ... ) she arguably "still shopped at Walmart."
Yes, their house (that thanks to the financial crisis they were unable to complete) was ridiculously extravagant. But I'd probably focus more of my arrows on her husband than her.
Anyway, Queen of Versailles is not a profound movie. I didn't and wouldn't necessarily want to pay "full price" to see it. I'm still not sure I particularly like the family. The film's definitely of the "reality show" genre. But, argh! I can't outright hate it or hate them. ;-)
And there it is ... there's a good part of me that would say that if there EVER WAS "a poster family" deserving of an _extended_ "time share" visit to a Communist Era "re-education camp" then the Siegels would be that family. (I'd love to see David doing some time swinging a pick-axe in some Siberian rock-quarry somewhere. And there are honestly NOT many people I'd EVER wish that for ...) But the Siegels do remain "regular folk" too ... Sigh ... ;-)
ADDENDUM:
While "in theaters in major markets," many "Independent" / Foreign Films and Documentaries are available for home viewing in the U.S. through the IFC Video On Demand service (type in your zipcode and cable provider to see if this service as available to you) or for download via services like Sundance Now and/or Itunes / Amazon Instant Video. Eventually, these films become available for rent in the U.S. via NetFlix or Blockbuster.com. More obscure titles can also be found via Facets Multimedia's DVD Rental Service.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
IMDb listing -
http://www.imdb.com/name/nm1132362/
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120801/REVIEWS/120739997
Queen of Versailles (directed by Lauren Greenfield) is a documentary with a "reality show" feel to it about time-share real estate magnate David Siegel, his "force of nature" wife Jackie and their large (8 kids) family. "Back in the day" (before the collapse of the real estate market's collapse in 2008) they were on their way to building the largest "family home" in the United States complete with something like 14 bedrooms, countless baths, multiple pools, 2 tennis courts and a bowling alley. (Hence the reference to Versailles...).
It would be easy to make fun of these people, especially at the beginning of the documentary, which was filmed _before_ the housing market collapse. Back then David Siegel came across to me as a supremely arrogant man claiming to have "single-handedly" made George W. Bush the president of the United States, saying ON CAMERA that he'd "prefer to not get into exactly how," because (snickering) "what [he] did was probably illegal." (Note to enterprising journalists and/or dare one dream an enterprising district attorney willing to look under a few rocks to see whether there was anything to Siegel's boast there or not. Siegel is a resident of Florida after all (and back then a very rich and flamboyant one) when Bush was declared the winner of the year 2000 Presidential election after the infamous problems with the vote in that state...).
However, whether or not Siegel ends up serving any time for possibly stealing an election from the rest of the country, "his man," GW Bush, who along with his wife, were shown visiting his/Jackies "smaller home" (half the size of the larger "Versailles" that they were building...) ended up producing Siegel's own downfall: Time-share real estate king that Siegel was, his kingdom collapsed largely collapsed after the financial crisis dried-up the cheap loans on which his business depended. As soon as people couldn't purchase (or "flip") those time shares that his company was selling, Siegel's own business fortunes dried up as well.
A good part of me smiles, saying "couldn't have happened to a more deserving guy." Yet, there's something sad about watching a man with a family struggling to pay his bills and keep his home (palatial as Siegel's was...) even if he was a billionaire and had made his fortune, in good part, swindling much poorer people of their money as well.
Siegel's wife Jackie is arguably even more complex. One _could_ wish to dismiss her as "some kind of ditzy, simpleminded trophy wife" that one could expect to see on a "reality show" style documentary. But _if one is honest about it_, she's far more complicated/compelling than that: Born in a small town in upstate New York, she was both good looking and driven as a teen / young adult. As a result, she did really achieve actually quite a bit on her own _before_ meeting Siegel. She got an engineering degree, worked for IBM as an engineer for some time. When she found that work _deathly boring_ she went into modeling and competing/succeeding in various beauty contests. And after she married Siegel, she apparently even won the Mrs America beauty contest one year, before settling down and having her seven kids with him. Afterwards, she continued to be active in the beauty pageant circuit, as a coach/supporter, etc. One could initially try to dismiss her, but honestly, she did quite a bit with her life. And at least on camera, she didn't come across as some sort of a deathly snob. At the beginning of the film, she was simply up-to-her-eyeballs in money. Perhaps she could have become someone more like Melinda Gates, wife of Microsoft billionaire Bill Gates, that is true. But Jackie came across in the film as basically "a small town girl" who "really, really made good" (imagine going to _her_ class reuinon ;-) ;-), and yes, with her "billions" (and later simply "hundreds of millions" ... ) she arguably "still shopped at Walmart."
Yes, their house (that thanks to the financial crisis they were unable to complete) was ridiculously extravagant. But I'd probably focus more of my arrows on her husband than her.
Anyway, Queen of Versailles is not a profound movie. I didn't and wouldn't necessarily want to pay "full price" to see it. I'm still not sure I particularly like the family. The film's definitely of the "reality show" genre. But, argh! I can't outright hate it or hate them. ;-)
And there it is ... there's a good part of me that would say that if there EVER WAS "a poster family" deserving of an _extended_ "time share" visit to a Communist Era "re-education camp" then the Siegels would be that family. (I'd love to see David doing some time swinging a pick-axe in some Siberian rock-quarry somewhere. And there are honestly NOT many people I'd EVER wish that for ...) But the Siegels do remain "regular folk" too ... Sigh ... ;-)
ADDENDUM:
While "in theaters in major markets," many "Independent" / Foreign Films and Documentaries are available for home viewing in the U.S. through the IFC Video On Demand service (type in your zipcode and cable provider to see if this service as available to you) or for download via services like Sundance Now and/or Itunes / Amazon Instant Video. Eventually, these films become available for rent in the U.S. via NetFlix or Blockbuster.com. More obscure titles can also be found via Facets Multimedia's DVD Rental Service.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
Friday, August 10, 2012
The Campaign [2012]
MPAA (R) CNS/USCCB (O) Roger Ebert (2 Stars) Fr. Dennis (3 Stars)
IMDb listing
CNS/USCCB review
Roger Ebert's review
The Campaign (directed by Jay Roach, written by Chris Henchy and Shawn Harwell) is without a doubt a very crude film. As such, the film will be off-putting to a fair amount of viewers, particularly older ones, regardless of political affiliation.
That said, I must say that I share the film-makers' disgust with the current political process in the United States where candidates (and their backers) will say truly almost anything to win. And I would share to a large extent the film-makers' political view. I do believe that political money corrupts.
What's my out of this dilemma then? Honestly, in my daydreams, I've toyed with "revisiting monarchy" because at least then governance would be "left to the King" who we could then ridicule and criticize ... and, yes, I know we'd probably end up in some dungeon ... but we wouldn't be afflicted by the AWFUL political ads that THIS FILM actually so wonderfully, mercilessly, and IMHO _so justly_ lampoons.
What's then is the film about? Will Farrell plays Cam Brady a four time Democratic congressman from North Carolina recognizably modeled after former presidential and vice-presidential candidate John Edwards. He's arrogant, morally reckless and not particularly bright, but he runs unopposed. Why? Because he knows his District. He says B.S., says it proudly, with conviction. But he doesn't do anything, one way or another, to harm his district. He's basically a mascot, a clown.
He does, however, get himself into trouble by leaving a lengthy over-the-top sexually explicit message on the wrong answering machine (He thinks he's leaving the message on the voice mail box of a campaign worker he had just had <....> with, and instead leaves it on the answering machine of a humble Christian family about to say grace before their meal). It was an unbelievably stupid mistake. But then in real life, not a few months ago, Democratic Representative Tony Wiener from New York did something similarly stupid, sending a sexually explicit photograph of himself to a campaign worker, thinking that this would be both somehow "appropriate" and "not get out." Welcome to the digital age ...
Seeing Cam Brady wounded, the Motch Brothers (played by John Lithgow and Dan Aykroyd) modeled after the astro-turf Tea Party financing Koch Brothers see an opening. They want to turn Cam Brady's 14th Congressional District into basically "China today" by getting wavers to reduce the wage, safety and environmental standards in the 14th District to China levels calling the process "insourcing").
When Cam Brady in a fit of conscience (or stupidity?) refuses to go along with their plan, they decide to put-up a candidate to run against him. Who? It doesn't matter to them. They open their roladex and find an old friend Raymond Huggins (played by Brian Cox). Raymond's too old and probably too smart to run. So they decide to go with his nice and somewhat loser son Marty Huggins (played by Zach Galifianakis) instead. Putting $1 million down in a Super Pac in his name, they figure that they can turn him into whoever they want. Indeed, they bring in a "fixer" named Tim Wattley (played by Dylan McDermatt) who so completely "makes over' Marty's life that he gets rid of his two little Chinese dogs, replacing them with a "poll tested" Lab and Collie. Much ensues ...
Most of what ensues has little to do with the people of "North Carolina's 14th Congressional District." Cam Brady continues to run on his tried and true slogan of "America, Jesus and Freedom" until he's found to not be able to recite even the Lord's Prayer when challenged by Marty at a debate.
Marty then pushes the "character" issue further by composing a terrible ad featuring him asking Cam Brady's 10 year old son: "Does your father play with you?" The boy answers "no, not really, he's too busy." Marty continues: "I'll play with you." "Okay." "You know you can call me daddy, if you want" "I'm not sure" "Don't worry, if your daddy isn't a real daddy, you call me daddy instead." "Okay, daddy." "I'm Marty Huggins, and if your daddy won't step up and be a real dad, I will... and I ever so reluctantly endorse this message..."
Seeing that ad, Cam Brady becomes incensed demanding "He steals my son, I'll sleep with his wife!" So he does, seducing Marty Huggins' nice, naive and somewhat frumpy wife and puts the resulting pixelated sex tape on YouTube, running perhaps the first political ad with the disclaimer "This Political Ad is intended for Mature Audiences Only ..."
Marty, in turn incensed then comes with a gun to Cam Brady's "hunting photo op" and just shoots Cam in the leg and leaves, not even bothering to make it look like a Dick Cheney-like "hunting accident." And what happens? Marty's poll numbers "get a bump of 2-3 points" for shooting his opponent in the leg....
If this all seems appalling, it's because it is. Yes, the film makers exaggerate. But honestly not much. And yes, BOTH candidates eventually catch themselves before completely falling off the cliff. So there is a "happy ending" of sorts. But what an ugly mess ... as is, honestly, the political process in the United States today.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
IMDb listing
CNS/USCCB review
Roger Ebert's review
The Campaign (directed by Jay Roach, written by Chris Henchy and Shawn Harwell) is without a doubt a very crude film. As such, the film will be off-putting to a fair amount of viewers, particularly older ones, regardless of political affiliation.
That said, I must say that I share the film-makers' disgust with the current political process in the United States where candidates (and their backers) will say truly almost anything to win. And I would share to a large extent the film-makers' political view. I do believe that political money corrupts.
What's my out of this dilemma then? Honestly, in my daydreams, I've toyed with "revisiting monarchy" because at least then governance would be "left to the King" who we could then ridicule and criticize ... and, yes, I know we'd probably end up in some dungeon ... but we wouldn't be afflicted by the AWFUL political ads that THIS FILM actually so wonderfully, mercilessly, and IMHO _so justly_ lampoons.
What's then is the film about? Will Farrell plays Cam Brady a four time Democratic congressman from North Carolina recognizably modeled after former presidential and vice-presidential candidate John Edwards. He's arrogant, morally reckless and not particularly bright, but he runs unopposed. Why? Because he knows his District. He says B.S., says it proudly, with conviction. But he doesn't do anything, one way or another, to harm his district. He's basically a mascot, a clown.
He does, however, get himself into trouble by leaving a lengthy over-the-top sexually explicit message on the wrong answering machine (He thinks he's leaving the message on the voice mail box of a campaign worker he had just had <....> with, and instead leaves it on the answering machine of a humble Christian family about to say grace before their meal). It was an unbelievably stupid mistake. But then in real life, not a few months ago, Democratic Representative Tony Wiener from New York did something similarly stupid, sending a sexually explicit photograph of himself to a campaign worker, thinking that this would be both somehow "appropriate" and "not get out." Welcome to the digital age ...
Seeing Cam Brady wounded, the Motch Brothers (played by John Lithgow and Dan Aykroyd) modeled after the astro-turf Tea Party financing Koch Brothers see an opening. They want to turn Cam Brady's 14th Congressional District into basically "China today" by getting wavers to reduce the wage, safety and environmental standards in the 14th District to China levels calling the process "insourcing").
When Cam Brady in a fit of conscience (or stupidity?) refuses to go along with their plan, they decide to put-up a candidate to run against him. Who? It doesn't matter to them. They open their roladex and find an old friend Raymond Huggins (played by Brian Cox). Raymond's too old and probably too smart to run. So they decide to go with his nice and somewhat loser son Marty Huggins (played by Zach Galifianakis) instead. Putting $1 million down in a Super Pac in his name, they figure that they can turn him into whoever they want. Indeed, they bring in a "fixer" named Tim Wattley (played by Dylan McDermatt) who so completely "makes over' Marty's life that he gets rid of his two little Chinese dogs, replacing them with a "poll tested" Lab and Collie. Much ensues ...
Most of what ensues has little to do with the people of "North Carolina's 14th Congressional District." Cam Brady continues to run on his tried and true slogan of "America, Jesus and Freedom" until he's found to not be able to recite even the Lord's Prayer when challenged by Marty at a debate.
Marty then pushes the "character" issue further by composing a terrible ad featuring him asking Cam Brady's 10 year old son: "Does your father play with you?" The boy answers "no, not really, he's too busy." Marty continues: "I'll play with you." "Okay." "You know you can call me daddy, if you want" "I'm not sure" "Don't worry, if your daddy isn't a real daddy, you call me daddy instead." "Okay, daddy." "I'm Marty Huggins, and if your daddy won't step up and be a real dad, I will... and I ever so reluctantly endorse this message..."
Seeing that ad, Cam Brady becomes incensed demanding "He steals my son, I'll sleep with his wife!" So he does, seducing Marty Huggins' nice, naive and somewhat frumpy wife and puts the resulting pixelated sex tape on YouTube, running perhaps the first political ad with the disclaimer "This Political Ad is intended for Mature Audiences Only ..."
Marty, in turn incensed then comes with a gun to Cam Brady's "hunting photo op" and just shoots Cam in the leg and leaves, not even bothering to make it look like a Dick Cheney-like "hunting accident." And what happens? Marty's poll numbers "get a bump of 2-3 points" for shooting his opponent in the leg....
If this all seems appalling, it's because it is. Yes, the film makers exaggerate. But honestly not much. And yes, BOTH candidates eventually catch themselves before completely falling off the cliff. So there is a "happy ending" of sorts. But what an ugly mess ... as is, honestly, the political process in the United States today.
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The Bourne Legacy [2012]
MPAA (PG-13) CNS/USCCB (A-III) Roger Ebert (2 1/2 Stars) Fr. Dennis (3 1/2 Stars)
IMDb listing -
http://www.imdb.com/title/tt1194173/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv091.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120808/REVIEWS/120809988
Bourne Legacy (directed and cowritten by Tony Gilroy along with Dan Gilroy based on the Bourne Series of novels inspired by the Bourne trilogy by Robert Ludlum [IMDb]).
To a fair amount of critics and presumably moviegoers, the Bourne series of films really should have ended with the adaptation of the Ludlum's third and final novel in his Bourne trilogy. In most cases, I'd agree with that assessment. However in this case, I do actually see a rather compelling (rather than purely financial / profit-making) purpose in continuing the series beyond the three original installments. This is because as Bourne Legacy rightly points out, the "secret government program" in which the Jason Bourne character had been a member would have been _much bigger_ than simply a single agent named Jason Bourne. There would have been other agents.
So Bourne Legacy is precisely about "another agent," one whose name is Aaron Cross (played by Jeremy Renner), with similar if ultimately different questions than Bourne. If Jason Bourne's fundamental quest was trying to figure out who the heck he really was or had become, Cross's questions were "what exactly am I ultimately part of?" and "how many others are there 'like me'?" So I found Aaron Cross' character easily as compelling as Bourne's was in the first Bourne film, Bourne Identity [2002]. I also do believe that Tony Gilroy had more freedom in exploring the nature and ramifications of the program to which both Jason Bourne and Aaron Cross belonged in making Bourne Legacy than when he was simply making films out of the remaining novels of Ludlum's trilogy. (I didn't particularly like Bourne Supremacy [2004] or Bourne Ultimatum [2007]).
Here I would add a note of respect for another film that Tony Gilroy had written and directed, Duplicity [2009], which along with the first Bourne film, Bourne Identity [2002], I had found to be probably the most compelling spy story of the past 10 years. As in Duplicity [2009] (which was actually a semi-serious / semi-comedy about contemporary industrial espionage) so in Bourne Legacy (which gloried in the "compartmentalization" of government sponsored intelligence operations), it would seem to me that Tony Gilroy has as good a knowledge and _intuition_ as anybody today about how contemporary intelligence operations work.
The compartmentalization of the program to which Jason Bourne and Arron Cross belonged (and its members resulting isolation...) also makes for a relatively simple story to tell. There were very few characters of consequence present in the current story: There was Cross, presumably a "field agent" who we meet on a (solitary ...) "endurance training exercise" out in the wilds of Alaska. There was the program's chief "handler" back at Langley/Washington (played by Edward Norton). And there was a "biochemist" Dr. Marta Shearing (played by Rachel Weisz), who Cross remembered because he had once been ordered to "come-in" to a lab, presumably somewhere in the Washington D.C. area, where after a physical, she had given him a couple performance enhancing drugs (both physical and mental) to take as part of his regimen from then on.
It was obvious that those drugs had been given to him (and presumably to other agents in the program) to improve his performance (and he seemed to particularly enjoy the intellect enhancing drug that he was given for reasons that are explained in the film). Yet the larger question of "why" he (and presumably other agents) were being given these drugs wasn't particularly clear (Yes his performance would obviously "improve," but why? why would that be important?) Yet, he followed the orders, until, of course, it suddenly became clear to him that the program was being "rolled up" (ended) from "far away" (Langley/Washington), for reasons that were, once more, "unclear." So, of course, much ensues ...
Hence as much as I know that many viewers would wonder "why is there a Bourne movie being made _without_ Jason Bourne?" I honestly think that I "got it." And I also will maintain that this is probably the best "Bourne movie" since the first one, even if it doesn't have Bourne in it, precisely because it helps present Bourne's "world" from another (and perhaps larger) perspective. So give the film a chance. I think it's far better than one would originally expect it to be.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
IMDb listing -
http://www.imdb.com/title/tt1194173/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv091.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120808/REVIEWS/120809988
Bourne Legacy (directed and cowritten by Tony Gilroy along with Dan Gilroy based on the Bourne Series of novels inspired by the Bourne trilogy by Robert Ludlum [IMDb]).
To a fair amount of critics and presumably moviegoers, the Bourne series of films really should have ended with the adaptation of the Ludlum's third and final novel in his Bourne trilogy. In most cases, I'd agree with that assessment. However in this case, I do actually see a rather compelling (rather than purely financial / profit-making) purpose in continuing the series beyond the three original installments. This is because as Bourne Legacy rightly points out, the "secret government program" in which the Jason Bourne character had been a member would have been _much bigger_ than simply a single agent named Jason Bourne. There would have been other agents.
So Bourne Legacy is precisely about "another agent," one whose name is Aaron Cross (played by Jeremy Renner), with similar if ultimately different questions than Bourne. If Jason Bourne's fundamental quest was trying to figure out who the heck he really was or had become, Cross's questions were "what exactly am I ultimately part of?" and "how many others are there 'like me'?" So I found Aaron Cross' character easily as compelling as Bourne's was in the first Bourne film, Bourne Identity [2002]. I also do believe that Tony Gilroy had more freedom in exploring the nature and ramifications of the program to which both Jason Bourne and Aaron Cross belonged in making Bourne Legacy than when he was simply making films out of the remaining novels of Ludlum's trilogy. (I didn't particularly like Bourne Supremacy [2004] or Bourne Ultimatum [2007]).
Here I would add a note of respect for another film that Tony Gilroy had written and directed, Duplicity [2009], which along with the first Bourne film, Bourne Identity [2002], I had found to be probably the most compelling spy story of the past 10 years. As in Duplicity [2009] (which was actually a semi-serious / semi-comedy about contemporary industrial espionage) so in Bourne Legacy (which gloried in the "compartmentalization" of government sponsored intelligence operations), it would seem to me that Tony Gilroy has as good a knowledge and _intuition_ as anybody today about how contemporary intelligence operations work.
The compartmentalization of the program to which Jason Bourne and Arron Cross belonged (and its members resulting isolation...) also makes for a relatively simple story to tell. There were very few characters of consequence present in the current story: There was Cross, presumably a "field agent" who we meet on a (solitary ...) "endurance training exercise" out in the wilds of Alaska. There was the program's chief "handler" back at Langley/Washington (played by Edward Norton). And there was a "biochemist" Dr. Marta Shearing (played by Rachel Weisz), who Cross remembered because he had once been ordered to "come-in" to a lab, presumably somewhere in the Washington D.C. area, where after a physical, she had given him a couple performance enhancing drugs (both physical and mental) to take as part of his regimen from then on.
It was obvious that those drugs had been given to him (and presumably to other agents in the program) to improve his performance (and he seemed to particularly enjoy the intellect enhancing drug that he was given for reasons that are explained in the film). Yet the larger question of "why" he (and presumably other agents) were being given these drugs wasn't particularly clear (Yes his performance would obviously "improve," but why? why would that be important?) Yet, he followed the orders, until, of course, it suddenly became clear to him that the program was being "rolled up" (ended) from "far away" (Langley/Washington), for reasons that were, once more, "unclear." So, of course, much ensues ...
Hence as much as I know that many viewers would wonder "why is there a Bourne movie being made _without_ Jason Bourne?" I honestly think that I "got it." And I also will maintain that this is probably the best "Bourne movie" since the first one, even if it doesn't have Bourne in it, precisely because it helps present Bourne's "world" from another (and perhaps larger) perspective. So give the film a chance. I think it's far better than one would originally expect it to be.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
Saturday, August 4, 2012
Diary of a Wimpy Kid: Dog Days [2012]
MPAA (PG) CNS/USCCB (A-I) Fr. Dennis (2 1/2 Stars)
IMDb listing -
http://www.imdb.com/title/tt2023453/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv087.htm
Diary of a Wimpy Kid: Dog Days (directed by David Bowers, screenplay by Gabe Sachs along with Maya Forbes and Wallace Wolodarsky based on the children's book series Diary of a Wimpy Kid by Jeff Kinney [IMDb]) is the third installment in the Diary of a Wimpy Kid franchise and IMHO _much_ better (if still racially problematic) than the second installment called Diary of a Wimpy Kid: Rodrick's Rules [2011].
Indeed, the previous film began what became a year long preoccupation of mine on this blog regarding the presentation of race in contemporary American children's films. The almost complete absence of people of color in that second installment had frankly stunned me, especially since nearly half or even _over half_ of the children in the United States today are "of color."
Indeed, the only person of color in "Rodrick's Rules" was that of the "rich Indian kid" named Chirag (played by Karan Barr) who returns (mercifully actually with a much smaller role) in the third film. In that second film, aside from poor little Chirag (or actually "super rich" Chirag, who actually everyone else in the film was given the permission to _pick-on_. Honestly how unbelievably appalling that was!!), one could count _on less than one hand_ the number of "people of color" appearing in the film _even as extras_ or _even simply standing somewhere in the background_ in the films shots. Again, I just found that simply unbelievable.
This third installment seems to do much better in this regard. True, the main cast of the series had already been set -- and they were all cast white except for that poor little rich Indian kid. So not much can be done there.
HOWEVER, the film makers did do two things that help to mitigate the oversight. (1) In the larger group shots in the film, there almost always some African American extras present. So the film is no longer "bleached white." (2) Many times during the course of the film, the film-makers purposefully refer back to the drawings of the children's books in which the "stick figure" drawings in the books are largely drawn in a non-racial sort of way.
Still, I do have to note that the ONLY person of color (except for Chirag) who's given a line to say in the entire third installment is "the receptionist at the country club" to which one of the families in the story belonged. THAT'S IT, though I suppose _one could say_ that the lack of African American and Hispanic characters of consequence in the story _could_ become an opportunity for film-going families (both "of color" and "white") to discuss with their children why this would be so: Why would the only African American in the entire picture (and there were no Hispanics at all) be shown as working as the "receptionist" at the "good white people's country club?"
Still, believe it or not, I continue to maintain that this was _better_ than that second installment where no one "of color" except for that poor little rich Indian child had a line or was even present in the picture at all.
And while there were no Hispanics at all even in the third installment, at least part of the plot of the third installment involved the holding of a "sweet sixteen" party for the older sister of one of the characters in the story, which _could_ hint at the Hispanic tradition holding Quinceañera celebrations for Hispanic girls turning 15. Having presided at something like 4-5 dozen Quinceñera Masses over the years, I would say that since the Hispanic Quinceañera celebrations are so tied-up with both Church and Community (there's a whole "court" of the girl's friends that are called in to participate) the Quinceañera celebrations are generally far nicer, more positive celebrations than the somewhat snobby and certainly "religion free" "sweet sixteen" celebration depicted in this film. Still at least the presence of the "sweet sixteen" party in the plot of the story could allow Hispanic viewers to think of their own Quinceañera traditions.
Yet I keep trying to say that this third installment is actually better than the second one. How? I suppose it's in the interaction between the main characters, the main character / "wimpy kid" George Heffley (played by Zachary Gordon) who'd really just prefer spending his time playing video-games indoors in front of his TV, and his dad Frank (played by Steve Hahn) who'd really like to see him more outdoors, even though he himself wasn't exactly "cool" or particularly athletic when he was young. There's also George's best friend Rowley Jefferson (played by Robert Capron) and his somewhat snooty parents. Finally there's George's older and though he thinks that he's so cool, actually quite lame brother Rodrick (played by Devon Bostik) and George's sincere but Sarah Palin-like mother Susan (played by Rachael Harris). And in this installment, the Heffleys also get a rather entertaining / problematic dog...
It's all quite good / fun actually. I just honestly wish it didn't all remain so obviously (and needlessly) "white." It's 2012. We should honestly be beyond this by now.
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Friday, August 3, 2012
Total Recall [2012]
MPAA (PG-13) CNS/USCCB (L) Roger Ebert (3 Stars) Fr. Dennis (2 1/2 Stars)
IMDb listing -
http://www.imdb.com/title/tt1386703/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv086.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120801/REVIEWS/120739999
Total Recall [2012] directed by Len Wiseman, current screenplay by Kurt Wimmer and Mark Bomback is a somewhat-to-significantly reworked remake of the film Total Recall [1990] directed by Paul Verhoeven and starring Arnold Schwarzenegger. The basic storyline in both cases was inspired by science fiction writer Phillip K. Dick's [IMDb] short story "We Can Remember it for you Wholesale" [PDF].
What's the story about? Douglas Quaid (played in the 2012 version by Colin Farrell and in the 1990 version by Arnold Schwarzenegger) is a common laborer/factory worker living in a world set a significant time into the future. He lives in a non-descript apartment in large high rise/tenement, has a beautiful wife named Lori (played in the 2012 version by Kate Beckinsale and in the 1990 version by Sharon Stone), and does his job. But he's bored.
Douglas Quaid sees advertisements for a new service called "Total Recall" which promise to give one _in two hours time_ the memories of a perfect vacation or fantasy without actually having to go (or spending the money to go...). Quaid, bored with his life and also broke, decides to give it a shot. When he comes to the "Total Recall" studio, he's told that he really could order anything. Did he ever dream of being a "powerful man," a "sport's hero," heck even a "secret agent." All was possible. Just sit back, dose off (with help of some sort of a sleep inducing agent) and let the Total Recall people implant the memories.
So Douglas Quaid is strapped into his chair, all sorts of gizmos are put around his head, he's given an IV to feed the sleep inducing agent into his blood stream, and then ... something goes wrong. The rest of the movie (a SciFi spy caper) ensues...
Note to Parents: While this new 2012 version is rated PG-13 (!!), perhaps because most of the beings shot up in the new version were "androids" as opposed to human beings, I'd still would have preferred that the film would be rated-R like the 1990 version. (And IMHO the 1990 version probably should have been rated NC-17 if the rating was honest). Still, the truly gratuitous violence aside, I found the 1990 version fascinating and the new one as well. Ask yourselves:
(1) Was the "rest of the story" in the film "real" (really happening to Douglas Quaid) or was it just the 2 hour "secret agent fantasy" that he paid Total Recall to "implant" into his brain's memory?
(2) Isn't the experience that Douglas Quaid paid the "Total Recall" service to give him kinda what _we_ pay for when _we_ go to the movies? For the price of admission, _we're_ transported by the film-makers to a different time and place, and often enough we identify with / experience vicariously the experiences of the protagonist(s) of the story that we watch played out on the screen before us. And then, after our 2-3 hour "session" is done ... we go home with the memories of what we had just experienced "implanted" in _our_ brains.
Viewers of the current version of the film will also see more or less obvious homages to other Sci-Fi / Adventure films including: The Bourne Identity [2002], Star Wars [1977], Inception [2010] and Raiders of the Lost Ark [1981].
So if you can stand (and many won't be able to stand) the near constant chase scenes, the constant shattering of glass, and the blowing-up/dismemberment of countless androids as well as body-armored humans (who often look almost like androids) then there's actually something beneath the surface of all that mayhem for you. But as in the case of the 1990 version, the new 2012 version of the story continues to be told in a very violent way.
As such this film continues to both frustrate and fascinate. Yes, it is violent (again, even the newer version deserves parental involvement, hence an R rating). On the other hand, the concept underneath it is brilliant and the film arguably expresses what we ourselves experience every time we go to the movies.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
IMDb listing -
http://www.imdb.com/title/tt1386703/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv086.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120801/REVIEWS/120739999
Total Recall [2012] directed by Len Wiseman, current screenplay by Kurt Wimmer and Mark Bomback is a somewhat-to-significantly reworked remake of the film Total Recall [1990] directed by Paul Verhoeven and starring Arnold Schwarzenegger. The basic storyline in both cases was inspired by science fiction writer Phillip K. Dick's [IMDb] short story "We Can Remember it for you Wholesale" [PDF].
What's the story about? Douglas Quaid (played in the 2012 version by Colin Farrell and in the 1990 version by Arnold Schwarzenegger) is a common laborer/factory worker living in a world set a significant time into the future. He lives in a non-descript apartment in large high rise/tenement, has a beautiful wife named Lori (played in the 2012 version by Kate Beckinsale and in the 1990 version by Sharon Stone), and does his job. But he's bored.
Douglas Quaid sees advertisements for a new service called "Total Recall" which promise to give one _in two hours time_ the memories of a perfect vacation or fantasy without actually having to go (or spending the money to go...). Quaid, bored with his life and also broke, decides to give it a shot. When he comes to the "Total Recall" studio, he's told that he really could order anything. Did he ever dream of being a "powerful man," a "sport's hero," heck even a "secret agent." All was possible. Just sit back, dose off (with help of some sort of a sleep inducing agent) and let the Total Recall people implant the memories.
So Douglas Quaid is strapped into his chair, all sorts of gizmos are put around his head, he's given an IV to feed the sleep inducing agent into his blood stream, and then ... something goes wrong. The rest of the movie (a SciFi spy caper) ensues...
Note to Parents: While this new 2012 version is rated PG-13 (!!), perhaps because most of the beings shot up in the new version were "androids" as opposed to human beings, I'd still would have preferred that the film would be rated-R like the 1990 version. (And IMHO the 1990 version probably should have been rated NC-17 if the rating was honest). Still, the truly gratuitous violence aside, I found the 1990 version fascinating and the new one as well. Ask yourselves:
(1) Was the "rest of the story" in the film "real" (really happening to Douglas Quaid) or was it just the 2 hour "secret agent fantasy" that he paid Total Recall to "implant" into his brain's memory?
(2) Isn't the experience that Douglas Quaid paid the "Total Recall" service to give him kinda what _we_ pay for when _we_ go to the movies? For the price of admission, _we're_ transported by the film-makers to a different time and place, and often enough we identify with / experience vicariously the experiences of the protagonist(s) of the story that we watch played out on the screen before us. And then, after our 2-3 hour "session" is done ... we go home with the memories of what we had just experienced "implanted" in _our_ brains.
Viewers of the current version of the film will also see more or less obvious homages to other Sci-Fi / Adventure films including: The Bourne Identity [2002], Star Wars [1977], Inception [2010] and Raiders of the Lost Ark [1981].
So if you can stand (and many won't be able to stand) the near constant chase scenes, the constant shattering of glass, and the blowing-up/dismemberment of countless androids as well as body-armored humans (who often look almost like androids) then there's actually something beneath the surface of all that mayhem for you. But as in the case of the 1990 version, the new 2012 version of the story continues to be told in a very violent way.
As such this film continues to both frustrate and fascinate. Yes, it is violent (again, even the newer version deserves parental involvement, hence an R rating). On the other hand, the concept underneath it is brilliant and the film arguably expresses what we ourselves experience every time we go to the movies.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
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