Another Documentary and Some Films to Avoid
Film 376
"Blackfish"
written and directed by: Gabriela Cowperthwaite
It's hard to not be disgusted by the abuse rendered in the whales' caged-in world as depicted in the documentary "Blackfish" which was written and directed by one woman, Gabriela Cowperthwaite, which basically could play out like one long commercial for PETA. SeaWorld, the popular amusement, wild-life park in Florida that probably has millions of visitors every year. This could be an expose that you see on Animal Planet or Discovery Channels on TV. There's interviews, animations to explain things further as well as animations of courtroom examinations, and probably the best scenes of the film include archival video clips of the whales in question and the trainers.
This documentary probes the showcasing of the "killer whale," or orca, with an aggressive but generally non-exploitative incredulity at the parks' apparently limitless avarice in the face of preventable death and injury. What sucks is that apparently everyone knew or should have been smart enough to know that whales kept in captivity (because let's face it, that's exactly what these people are doing); and all of the tragedies could have been avoided.
The film's protagonist and most gripping character is Tilikum, an orca who indeed turns out to be a killer of three park workers over a couple of decades, but who inspires his owners' protection because "his sperm's worth a lot of money," as one of his former trainers puts it. Hell, they even include scenes of handlers getting sperm from the giant, 8,000 ton whale. A chorus of once fresh-faced, now regretful and middle-aged, sea-circus workers testify to their naïveté in parroting the company propaganda concerning the whales, such as blatant lies about their increased longevity in captivity. Gradual disillusionment with running the orcas through their repertoire of "behaviors" led to the trainers' certainty that the pail of fish given as post-trick meals was the chief source of bonding from the creatures' perspective, but those positive reinforcement/behavior modification tools can also be a downfall (as was probably the case with the last trainer's unfortunate and horrific death).
Viscerally disturbing despite its cable-friendly editing style, "Blackfish's" imagery includes the raked, occasionally bleeding flesh that results from heterogeneous breeds of orcas being put into the same relatively small tank, and wince-inducing descriptions of trainers left scalped, armless, or with broken bones and wounded feet in luckier circumstances. Its most astonishing heart-in-mouth sequence shows a veteran male trainer who kept his cool after being dragged beneath the surface of the performance pool multiple times until he could swim to safety in front of a paying audience, like an unwitting, reluctant gladiator. Shamu Stadium's unbridled, bloody capitalism comes out as the actual bad guy pretty quickly in this documentary/propaganda film.
If you've ever visited SeaWorld (or a zoo, for that matter), maybe this film will make you look at things differently and/or maybe you'll think twice the next time you want to take a family vacation to SeaWorld, just solely based on how they seemingly treat their animals or neglect would probably be a better term for what seems to go on. Naivete is at the root of all things wrong with the dealings and goings-on.
..................................................................................................
Film 377
"The History of the World Part 1"
written and directed by: Mel Brooks
narrated by: Orson Welles (really)
starring: Mel Brooks, Dom DeLuise, Madeline Kahn, Harvey Korman, Cloris Leachman, Gregory Hines, Ron Carey
Mel Brooks has proven before that he's a comedic genius. He's been a writer, director, composer, comedian, actor and producer since the 1950s. He got his film-start with "The Producers" and then came "Blazing Saddles" (which won some awards) and then "Young Frankenstein" (both in 1974). "History of the World" came out the year I was born, 1981. The two films of his that I remember the best from my childhood are his excellent, goofball parody of Star Wars titled "Spaceballs" and then of course, who can forget "Robin Hood: Men in Tights."
But, the focus in this review is the somewhat disappointing "History of the World Part One." Why is it disappointing? Well, it does have somewhat of a cohesive plot in which we follow the main characters through the majority of the film (after his brief interludes and segues through time which parody Kubrick's "2001" film. It's almost like Brooks lost his confidence with this film because his approach is shoddy, at best. It's failure is in the fact that is a comedy that relies too often and too much on gag after gag. The film seems like one gigantic grab bag of endless gags that, for the time period, come off as very taboo. Sure, it's a parody and a satire, but it's definitely not as funny as I was hoping it would be, based on his other, more cohesive films (it might be simply because he had a plot and characters to run with). Throwing characters into situations, comedic or not, that really have no relevancy to a story just comes off wrong and cheap. It's almost like Brooks is begging for us to laugh along with him, because clearly he thinks he is hilarious. Unfortunately, the film exists on a quick and disposable level, one that is easily forgettable. It's good that he was able to find inspiration elsewhere in his other films. Parodies work better on other artistic works, and not necessarily world events (many of which are actually embarrassing to think about and know that they actually happened).
There is nothing inherently funny about Jews, Catholics, nuns, blacks, and gays. They can all conceivably provide the makings of comedy, of course, but in “History of the World” Brooks doesn't have the patience to introduce a character and then create a comic situation about him. He introduces the character and expects us to laugh at the character himself; for example, instead of developing a comic situation around Orthodox Jews, he simply shows us some, complete with beards and hats, their heads stuck through a stockade, and expects us to laugh. The same thing goes wrong with Brooks's big production number in this movie, "The Inquisition," featuring a song-and-dance team of medieval monks, and a chorus line of nuns who splash in a pool, Busby Berkeley-style. We're supposed to laugh at the shocking juxtaposition of religious images and Hollywood corn. But Brooks never gives us an additional comic level, one where he's making funny points about the images.
............................................................................................
Film 378
"54"
written and directed by: Mark Christopher
starring: Ryan Phillippe, Salma Hayek, Neve Campbell, Mike Myers, Sela Ward, Breckin Meyer
Here's another film focused on an interesting era in our history- the 1970s- but unfortunately it really comes off as drab and common (re: not unique at all, which doesn't really give us a reason to watch this film as opposed to other ones). And in fact, there are other, better films focused on the same era (re: "Boogie Nights" and "The Last Days of Disco" both of which had much more interesting characters with a lot more depth than any of these characters in "54." And the dialogue in "54" makes you feel like you're watching a soap opera, one you're not too invested in.
It's the late 1970s and ushering in the 1980s (which found everyone shifting as far as perspectives) in New York, most specifically- Studio 54 (hence the film's title, aptly avoiding putting "Studio" in the title perhaps to avoid a lawsuit). The music is of course disco. This is the kind of film that portrays a seedy time in a seedy place in such a way that the filmmaker wants (us) to remember it all, and not necessarily as it all actually happened. The film paints a lively, energetic picture that is all glitz and glamor, while also remaining quite dark (cinematography-wise). There are sex and drugs (mostly when the main character, Shane (Phillippe) first enters the club, but it's all quite watered-down and sanitized. The effects of drug abuse (only one overdose, by an elderly lady) and unprotected sex are not discussed nearly enough, especially since this was a time period defined on freedom and love and risk.
The story that writer/director Mark Christopher creates for us with Studio 54 as the backdrop is rather trite (and disappointing, kind of in the same vein as "Coyote Ugly"). The central character is Shane O'Shea (Phillippe), a 19 year old Jersey City boy who dreams of being part of the in-crowd found inside of Studio 54. His character is never fully developed and we never really care about him at all.
When the club's owner, Steve Rubell (Mike Myers), spies Shane, he is taken by the young man's good looks, and waves him through. Soon, Shane has joined the ranks of bare-chested busboys working under the strobe lights. He makes friends with a co-worker, Greg (Brecklin Meyer), who teaches him the ropes. Greg is married to a coat-check girl and would-be singer, Anita (Salma Hayek). Meanwhile, Shane's favoritism by Rubell and a prominent socialite (Sela Ward) puts him on the fast track. It's not long before he has been promoted from busboy to bartender. As a result of his new job, he gets all the women and drugs that he wants, and has set his sights on a soap opera actress, Julie Black (Neve Campbell), whom he has long admired from afar. The story arc is far too predictable and familiar.
I'm now convinced, after seeing lots of movies that Phillippe has starred in, that he is a one-trick pony better suited for teen dramedies. Since he got his start on a soap opera ("One Life to Live"), it's interesting to see that his talents never really fully developed further or at least past the small screen. And he's "outshined" by his female co-stars: Salma Hayek and Neve Campbell, when performing in scenes with them.
Notable performances"
White Squall
Cruel Intentions (still one of my all-time favorites)
Gosford Park
Igby Goes Down
Crash
............................................................................................
Film 379
"Children of the Corn"
written by: Stephen King
starring: Peter Horton and Linda Hamilton
Let's face it, if Stephen King writes a short story or a novel, someone will be buying the movie rights soon after. Some are great (re: "Shawshank Redemption," "Misery," and "Stand By Me" are notable) and others are just EHH. This film is very undesirable. It's not really a horror film at all. It's kind of a poor excuse for a film and/or a story. It's not exciting at all and it barely begs for your attention during its 90 minute running time. The film was made in 1984 and starred a couple of unknown actors, for the most part- Linda Hamilton who hadn't yet starred in the Terminator movies- and Peter Horton, who starred in "thirtysomething" on television.
The town of Gatlin, Nebraska, has seen better days. Three years ago the local children started listening to a demonic power that lives in the cornfields and went forth slaughtering all the adults living in Gatlin. Now the town is deserted and all the children follow Isaac (John Franklin) and his right hand man Malachai (Courtney Gains), doing wacky ritualistic ceremonies such as carving stars in their chests and sacrificing themselves to "he who walks behind the rows." As you can guess, Gatlin is not the tourist attraction it once was. Driving through Nebraska's lush highways are a doctor, Burt (Horton), and his wife, Vicky (Hamilton), on their way to a new life and a new job. Along the way they hit a frenzied child who runs smack dab into their car's radiator. After some inspection they notice he already had a slit throat before he was hit. Amazingly, Burt deduces that something is amiss in the small town of Gatlin. They seem to run in circles trying to figure out what's going on, heading from one run down gas station to another until they meet up with Isaac and his band of misfit children. The group is able to kidnap Vicky, tying her up to a cross made of corn stalk. They want Burt as well, for they are about to do a sacrifice to "he who walks behind the rows." Burt, however, has other plans, and they include getting his wife back and the hell out of Gatlin.
As a film, the acting isn't terrible but it also isn't good. I'm glad Linda Hamilton got noticed for her role in "Terminator" because those films definitely showcased her better as an actress. And now, I know they're just children, but the young actors were awful here.
I cannot believe this film was made into a mostly straight-to-DVD franchise with 7 films after it. I would avoid this, and now probably any film with a vegetable in the title (especially if it's a horror film).
"Blackfish"
written and directed by: Gabriela Cowperthwaite
It's hard to not be disgusted by the abuse rendered in the whales' caged-in world as depicted in the documentary "Blackfish" which was written and directed by one woman, Gabriela Cowperthwaite, which basically could play out like one long commercial for PETA. SeaWorld, the popular amusement, wild-life park in Florida that probably has millions of visitors every year. This could be an expose that you see on Animal Planet or Discovery Channels on TV. There's interviews, animations to explain things further as well as animations of courtroom examinations, and probably the best scenes of the film include archival video clips of the whales in question and the trainers.
This documentary probes the showcasing of the "killer whale," or orca, with an aggressive but generally non-exploitative incredulity at the parks' apparently limitless avarice in the face of preventable death and injury. What sucks is that apparently everyone knew or should have been smart enough to know that whales kept in captivity (because let's face it, that's exactly what these people are doing); and all of the tragedies could have been avoided.
The film's protagonist and most gripping character is Tilikum, an orca who indeed turns out to be a killer of three park workers over a couple of decades, but who inspires his owners' protection because "his sperm's worth a lot of money," as one of his former trainers puts it. Hell, they even include scenes of handlers getting sperm from the giant, 8,000 ton whale. A chorus of once fresh-faced, now regretful and middle-aged, sea-circus workers testify to their naïveté in parroting the company propaganda concerning the whales, such as blatant lies about their increased longevity in captivity. Gradual disillusionment with running the orcas through their repertoire of "behaviors" led to the trainers' certainty that the pail of fish given as post-trick meals was the chief source of bonding from the creatures' perspective, but those positive reinforcement/behavior modification tools can also be a downfall (as was probably the case with the last trainer's unfortunate and horrific death).
Viscerally disturbing despite its cable-friendly editing style, "Blackfish's" imagery includes the raked, occasionally bleeding flesh that results from heterogeneous breeds of orcas being put into the same relatively small tank, and wince-inducing descriptions of trainers left scalped, armless, or with broken bones and wounded feet in luckier circumstances. Its most astonishing heart-in-mouth sequence shows a veteran male trainer who kept his cool after being dragged beneath the surface of the performance pool multiple times until he could swim to safety in front of a paying audience, like an unwitting, reluctant gladiator. Shamu Stadium's unbridled, bloody capitalism comes out as the actual bad guy pretty quickly in this documentary/propaganda film.
If you've ever visited SeaWorld (or a zoo, for that matter), maybe this film will make you look at things differently and/or maybe you'll think twice the next time you want to take a family vacation to SeaWorld, just solely based on how they seemingly treat their animals or neglect would probably be a better term for what seems to go on. Naivete is at the root of all things wrong with the dealings and goings-on.
..................................................................................................
Film 377
"The History of the World Part 1"
written and directed by: Mel Brooks
narrated by: Orson Welles (really)
starring: Mel Brooks, Dom DeLuise, Madeline Kahn, Harvey Korman, Cloris Leachman, Gregory Hines, Ron Carey
Mel Brooks has proven before that he's a comedic genius. He's been a writer, director, composer, comedian, actor and producer since the 1950s. He got his film-start with "The Producers" and then came "Blazing Saddles" (which won some awards) and then "Young Frankenstein" (both in 1974). "History of the World" came out the year I was born, 1981. The two films of his that I remember the best from my childhood are his excellent, goofball parody of Star Wars titled "Spaceballs" and then of course, who can forget "Robin Hood: Men in Tights."
But, the focus in this review is the somewhat disappointing "History of the World Part One." Why is it disappointing? Well, it does have somewhat of a cohesive plot in which we follow the main characters through the majority of the film (after his brief interludes and segues through time which parody Kubrick's "2001" film. It's almost like Brooks lost his confidence with this film because his approach is shoddy, at best. It's failure is in the fact that is a comedy that relies too often and too much on gag after gag. The film seems like one gigantic grab bag of endless gags that, for the time period, come off as very taboo. Sure, it's a parody and a satire, but it's definitely not as funny as I was hoping it would be, based on his other, more cohesive films (it might be simply because he had a plot and characters to run with). Throwing characters into situations, comedic or not, that really have no relevancy to a story just comes off wrong and cheap. It's almost like Brooks is begging for us to laugh along with him, because clearly he thinks he is hilarious. Unfortunately, the film exists on a quick and disposable level, one that is easily forgettable. It's good that he was able to find inspiration elsewhere in his other films. Parodies work better on other artistic works, and not necessarily world events (many of which are actually embarrassing to think about and know that they actually happened).
There is nothing inherently funny about Jews, Catholics, nuns, blacks, and gays. They can all conceivably provide the makings of comedy, of course, but in “History of the World” Brooks doesn't have the patience to introduce a character and then create a comic situation about him. He introduces the character and expects us to laugh at the character himself; for example, instead of developing a comic situation around Orthodox Jews, he simply shows us some, complete with beards and hats, their heads stuck through a stockade, and expects us to laugh. The same thing goes wrong with Brooks's big production number in this movie, "The Inquisition," featuring a song-and-dance team of medieval monks, and a chorus line of nuns who splash in a pool, Busby Berkeley-style. We're supposed to laugh at the shocking juxtaposition of religious images and Hollywood corn. But Brooks never gives us an additional comic level, one where he's making funny points about the images.
............................................................................................
Film 378
"54"
written and directed by: Mark Christopher
starring: Ryan Phillippe, Salma Hayek, Neve Campbell, Mike Myers, Sela Ward, Breckin Meyer
Here's another film focused on an interesting era in our history- the 1970s- but unfortunately it really comes off as drab and common (re: not unique at all, which doesn't really give us a reason to watch this film as opposed to other ones). And in fact, there are other, better films focused on the same era (re: "Boogie Nights" and "The Last Days of Disco" both of which had much more interesting characters with a lot more depth than any of these characters in "54." And the dialogue in "54" makes you feel like you're watching a soap opera, one you're not too invested in.
It's the late 1970s and ushering in the 1980s (which found everyone shifting as far as perspectives) in New York, most specifically- Studio 54 (hence the film's title, aptly avoiding putting "Studio" in the title perhaps to avoid a lawsuit). The music is of course disco. This is the kind of film that portrays a seedy time in a seedy place in such a way that the filmmaker wants (us) to remember it all, and not necessarily as it all actually happened. The film paints a lively, energetic picture that is all glitz and glamor, while also remaining quite dark (cinematography-wise). There are sex and drugs (mostly when the main character, Shane (Phillippe) first enters the club, but it's all quite watered-down and sanitized. The effects of drug abuse (only one overdose, by an elderly lady) and unprotected sex are not discussed nearly enough, especially since this was a time period defined on freedom and love and risk.
The story that writer/director Mark Christopher creates for us with Studio 54 as the backdrop is rather trite (and disappointing, kind of in the same vein as "Coyote Ugly"). The central character is Shane O'Shea (Phillippe), a 19 year old Jersey City boy who dreams of being part of the in-crowd found inside of Studio 54. His character is never fully developed and we never really care about him at all.
When the club's owner, Steve Rubell (Mike Myers), spies Shane, he is taken by the young man's good looks, and waves him through. Soon, Shane has joined the ranks of bare-chested busboys working under the strobe lights. He makes friends with a co-worker, Greg (Brecklin Meyer), who teaches him the ropes. Greg is married to a coat-check girl and would-be singer, Anita (Salma Hayek). Meanwhile, Shane's favoritism by Rubell and a prominent socialite (Sela Ward) puts him on the fast track. It's not long before he has been promoted from busboy to bartender. As a result of his new job, he gets all the women and drugs that he wants, and has set his sights on a soap opera actress, Julie Black (Neve Campbell), whom he has long admired from afar. The story arc is far too predictable and familiar.
I'm now convinced, after seeing lots of movies that Phillippe has starred in, that he is a one-trick pony better suited for teen dramedies. Since he got his start on a soap opera ("One Life to Live"), it's interesting to see that his talents never really fully developed further or at least past the small screen. And he's "outshined" by his female co-stars: Salma Hayek and Neve Campbell, when performing in scenes with them.
Notable performances"
White Squall
Cruel Intentions (still one of my all-time favorites)
Gosford Park
Igby Goes Down
Crash
............................................................................................
Film 379
"Children of the Corn"
written by: Stephen King
starring: Peter Horton and Linda Hamilton
Let's face it, if Stephen King writes a short story or a novel, someone will be buying the movie rights soon after. Some are great (re: "Shawshank Redemption," "Misery," and "Stand By Me" are notable) and others are just EHH. This film is very undesirable. It's not really a horror film at all. It's kind of a poor excuse for a film and/or a story. It's not exciting at all and it barely begs for your attention during its 90 minute running time. The film was made in 1984 and starred a couple of unknown actors, for the most part- Linda Hamilton who hadn't yet starred in the Terminator movies- and Peter Horton, who starred in "thirtysomething" on television.
The town of Gatlin, Nebraska, has seen better days. Three years ago the local children started listening to a demonic power that lives in the cornfields and went forth slaughtering all the adults living in Gatlin. Now the town is deserted and all the children follow Isaac (John Franklin) and his right hand man Malachai (Courtney Gains), doing wacky ritualistic ceremonies such as carving stars in their chests and sacrificing themselves to "he who walks behind the rows." As you can guess, Gatlin is not the tourist attraction it once was. Driving through Nebraska's lush highways are a doctor, Burt (Horton), and his wife, Vicky (Hamilton), on their way to a new life and a new job. Along the way they hit a frenzied child who runs smack dab into their car's radiator. After some inspection they notice he already had a slit throat before he was hit. Amazingly, Burt deduces that something is amiss in the small town of Gatlin. They seem to run in circles trying to figure out what's going on, heading from one run down gas station to another until they meet up with Isaac and his band of misfit children. The group is able to kidnap Vicky, tying her up to a cross made of corn stalk. They want Burt as well, for they are about to do a sacrifice to "he who walks behind the rows." Burt, however, has other plans, and they include getting his wife back and the hell out of Gatlin.
As a film, the acting isn't terrible but it also isn't good. I'm glad Linda Hamilton got noticed for her role in "Terminator" because those films definitely showcased her better as an actress. And now, I know they're just children, but the young actors were awful here.
I cannot believe this film was made into a mostly straight-to-DVD franchise with 7 films after it. I would avoid this, and now probably any film with a vegetable in the title (especially if it's a horror film).
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