Tenenbaums Blog

Under discussion:

Charlie Wilson's War  (2007)

Mike Nichols and Aaron Sorkin's star-studded collaboration is a well written, directed, and acted movie that is ultimately denied "great" status by the first two components.  The writing crackles for the first hour, especially in the hands of Philip Seymour Hoffman, and the direction is quality Nichols fare, but when the all-too-quick ending arrives, one is left wondering where the magic went.

What this film lacks is a believable struggle.  While Charlie Wilson is a remarkable, charming character in a unique situation, he is able to secure funds and other necessities for his covert war without trouble.  Among his many successes, he gets Jews and Muslims to collaborate, and though these two groups display mutual hatred in their shared scenes, the overall effect is as if the drama was only for show and to weakly reinforce Middle-Eastern stereotypes.  Practically no one says "no" to the guy and the stready stream of affirmatives leaves one wondering when something, anything, will come crashing down.  That moment never really happens.

Yes, Wilson was able to call in a number of "back-scratching" favors to have his way in Congress, but is it really that easy to subvert the U.S. authorities and alter world history without attracting attention?  If so, the perks of being a politician far exceed the public's understanding, but the omission of difficulty experienced by Wilson, though apparently true, remains the film's primary weakness.  If Wilson was really able to cakewalk through to a successful operation, then the ease of his work should be hyperbolized; the string of "yes"es should be so outrageous that it reaches fairy tale levels.  And if it was not so simple, then the tension and resulting miracle of achievement should likewise be depicted.

The film gets so close to being as remarkable as Wilson himself, but suddenly the story is over and feels noticeably unfinished.  In this case, the writing and directing are at fault for failing to satisfactorily complete a fantastic yarn.  Though all aspects were successful for the majority of the film, the limited running time and lack of a compelling conclusion raise awareness of the gaping absence of drama.  Without struggle, or an almost cartoonish sense of accomplishment, the story remains limited, though at times it offered glimpses at perfection.

Under discussion:

The Squid and the Whale  (2005)

Curb Your Enthusiasm: Season 05  (2005)

Margot at the Wedding  (2007)

Far from the painful experience that I envisioned, Margot at the Wedding is not a film that I would recommend, but it pretty much worked for me.

After writer/director Noah Baumbach's The Squid and the Whale got me all hyped up (Wes Anderson production!  Co-writer of The Life Aquatic!  Great cast!  Funny trailer!) and then fed me an overdose of unnecessarily uncomfortable preteen sexual moments, my shields were raised to maximum levels for his follow-up feature.  But, as I did with the strong parts of Squid, I laughed a good bit at Margot's strong start.  And then the laughs and engaging moments kept coming.

That's not to say there is a lack of the squeamish.  An early scene during Margot's (Nicole Kidman) first night at her sister's (Jennifer Jason Leigh) house ranks right up with Frank's forays into beer and self-stimulation in Squid.  Fortunately, that's as far as Baumbach ventures this time, though it seems that Malcolm's (Jack Black) breakdown is intended to elicit the same discomfort and raw emotion.  Instead, Black, who should receive the bulk of the credit for driving the film with his winning sophomoric brand of humor, similarly makes these scenes tolerable for the very reason that he is incapable of delivering true cringe-worthy emotion.  Instead, there is Black, ever much 1/2 of Tenacious D, doing his version of sorrow, and it's just the right balance of sketch comedy and actual pain to get us through unscathed.

However, Baumbach again leaves us with a stinker of an ending.  Disney-esque conclusion is not a necessity for his films, but there is no need for a big (proportionately) finale intended to raise emotions to a climax after a string of subdued quirky moments.  His friend Wes Anderson is able to close his pictures with perfectly suitable conclusions that indeed are conclusions, yet flow with the rest of the film and leave the characters ready for their next occurrence.  Anderson understands the importance of a parting shot and has mastered it in his own brand of storytelling.  So far, this crucial component has eluded Baumbach and it unfortunately is the reason why his films leave audiences with a slightly, if not entirely, negative feeling.

While Larry David mines the outright humor in the socially unacceptable on "Curb Your Enthusiasm," Baumbach seeks to likewise expose the unspeakable yet ultimately relevant nuances of humanity for good and for ill.  His goal is not comedy (even though laughter is a major player) but realism, though it's the kind of realism that few of my acquaintances experience and is certainly not something that we would choose to film or watch.  Perhaps that will be Baumbach's contribution to cinema when his body of work is more fully shaped: telling the truths about society that no one wants to hear, yet which may be the roots of our problems.  With his 80-90 minute glimpses into the unlit regions of the soul, there is hope that, though presently painful and sometimes unwatchable, his films will be overall cathartic and healing.

Under discussion:

Shorts! Volume 2  (2004)

Shorts Vol. 2

“Dear, Sweet Emma”

Hoodwinked-style animation showcases a twisted story of a grandmotherly figure with a disturbing secret.  An excellent way to begin such a collection.

“Life, Liberty, and the Pursuit of Happiness”

Excellent mixed-media exploration of the blessings granted to U.S. citizens.  Employing a quirky well-edited documentary style, the film is an amusing and informative foray into the basics of life, sex, and (religious) beliefs.  Though spliced in a hurry, the importance of women’s right to an abortion stands out clearest and harks back to the titular basic inalienable rights of U.S. citizens.

“Child’s Pay”

This PSA about children having to pay off President Bush’s huge deficit features children performing menial adult jobs.  Recalling child labor of the early 20th century, the commercial-length film accomplishes a major message that will be relevant for years.

“Milton Rogovin: The Forgotten Ones”

This short documentary chronicles a photographer who captured the lives of common people.  A former optometrist, Rogovin began life as a documentary photographer in 1948 in Buffalo, NY, but after being called before the House Un-American Committee, he spoke out against his oppressors by showcasing the regular citizens of his town.  Most interesting are Rogovin’s regular visits each decade to recapture the same people and show their progression.  The montage of respective citizens aging is unexpectedly moving and Rogovin, now in his 90s, continues to work and inspire those striving for their own brand of justice.

“The Firefly Man”

An old man recalls a deadly brush with nature that left him scarred, but a supernatural encounter makes him wonder if the past is actually out of reach.  Full of symbolism and wonder, this fascinating mix of puppetry and animation accomplishes great things with each carefully constructed frame.

“Coyote Beach”

A demanding French beauty and her New Jersey boyfriend search for her lost dog on a beach supposedly crawling with coyotes.  As their mission progresses, tensions rise and conversations turn into personal attacks, ultimately revealing uncomfortable but necessary truths about one another.  Overly long and accomplishing little, you’ll wonder why it was made.

“The Fine Art of Poisoning”

Full of German Expressionism cinematography, the film is basically a spooky, 2-D music video/shadow play.  It’s visually stimulating, but does anything really happen?  Probably not.

“Family Tree”

Harland Williams and Talia Shire provide star power, but the well-funded film loses its direction with an unnecessary tangent.  This is family dysfunction: short film style, with all of the plusses and minuses the genre has to offer.  The character development and interactions are successful on the whole, but the finale is too odd to be believable, thereby rendering the intended heartfelt revelation lifeless.  The film is full of enough sincerity to get you through, but you’ll wish the filmmakers had tried harder.

“Mouse”

In a world where everyone has a pet that mirrors one’s personality, a man with a mouse has difficulty making friends.  After ditching his companion for a mega-pet (a composite of the other townies’ animals), the man discovers that imitation can only get you so far.  Featuring crafty animation throughout, the story is extraordinarily touching and warrants multiple views.

“Here Was the Anthem”

Thrilling from beginning to end, the story of two rich Mexican boys who head to a shady part of town to buy drugs and become immersed in a struggle for survival is a solid piece of filmmaking.  The cinematography, acting, editing...everything is exceptional.  Check it out and take notes throughout the run-time.

“And the Redman went Green”

Amusing traffic light drama of the convergence of two strangers.  So short that no credits are necessary, but the quick smiles make the film a worthwhile effort.

“Space Off”

Voyeurism and intrusive media meet science in an engaging dilemma of ethics.  The first manned mission to Mars is broadcast live on worldwide television, but when transmission goes dead for 10 days, the earthbound citizens panic.  When coverage resumes, a crass anchorwoman probes for the astronauts’ surface emotions while they make important scientific discoveries.  A battle over conflicting mission statements quickly ensues, leaving one party triumphant and the other isolated.

“Good Night Valentino”

An evening with famed silent movie star Rudolph Valentino turns into an encounter of heated discussion among two powerful men.  An intimate look at one of the first stars to leave behind a good-looking corpse, the film provides insight into the perception of celebrity, valid in the ‘30s and today.

“Home Road Movies”

A touching look at family summer holidays from days of yore in England.  The featured father of four is an expert vacationer, getting his family to and from destinations in style.  After the purchase of a state-of-the-art sports wagon, the clan realizes their travel potential, hitting up a wide variety of locales.  But when the children grow up and the car (and driver) noticeably age, some unwelcome adjustments are in order.  Intriguing animation mixes with live action to create an effect similar to a living photograph throughout this film that succeeds on many levels.

“The Most Beautiful Man in the World”

Absolutely dreadful account of a young girl and her dog who venture outside of their house (and a life that apparently only consists of television) and meet a shirtless man in the nearby reeds only to run back inside.  If you’re looking to waste 5 minutes, here is the place to start.

“The Winter People”

Low-budget yet intriguing quasi-ghost story set in Cape Cod.  Little Sarah has heard from the lifeguard about “winter people,” folks who stay in summer vacationers’ houses while they’re away in the cold months.  Sarah’s mother, going through a divorce, doesn’t have time for her daughter’s superstitions, but Sarah continues to believe and make some revelations of her own.  A nice little film with a few thrills that’s just fine as is.

“The Morning Guy”

A hilarious way to end the collection.  When a wife awakens to an unwelcome surprise from her husband, each of their lives face a sudden change....well, sort of.  The kicker is right at the beginning and worth the surprise, so check it out and wish that some of the other shorts accomplished what this one does in less than 5 minutes.

Under discussion:

Plan 9 from Outer Space  (1956)

The Lost World: Jurassic Park  (1997)

Indiana Jones and the Kingdom of the Crystal Skull  (2008)

In perhaps the all-time most significant fulfilling of cinematic expectations, Steven Spielberg and George Lucas successfully bring Indiana Jones back after a near 20-year hiatus, while Harrison Ford dispels any doubts than an older Indy is an ineffective Indy.

"Indiana Jones and the Kingdom of the Crystal Skull" is the perfect companion to the late-'50s serials that helped inspire the adventurous archaeologist. Some of the plot points may seem hokey at first, but if you can accept that the Ark of the Covenant and the Holy Grail have been past series focal points, you'll agree that there can be no better era-appropriate focus.

Ford is thoroughly convincing in reprising his most well-known character. There is no moment when you believe that he is incapable of fulfilling the attitude and, especially, the action requirements for the film and series. Each supporting character also receives appropriate development, additional signs that the saga is receiving proper care. Cate Blanchett continues her career consistency as an effective Russian baddie; Karen Allen shows why she's the most appealing "Jones Girl"; John Hurt flexes his talented range as modern-day conquistador; Ray Winstone, as Jones' tricky WWII buddy Mack, is interesting enough, but the weakest of the core characters; and Shia LaBeouf is a welcome addition as motorcycle-riding greaser Mutt Williams, Indy's best sidekick outside of Henry Jones Sr.

Since "The Lost World," Spielberg's films have employed a clean look, notably utilizing the advancements in cinematic technology perhaps better than anyone (outside of Lucas, the purveyor of such advancements). With the first glimpses at the reawakening of the "Indiana Jones" story, this polished appearance seems out of place compared to the previous beloved chapters' grainy, historic feel. But a step back reveals a hidden benefit to such a crisp style. The ahead-of-its-time cinematography may be somewhat inappropriate, but it helps accentuate the unintentionally-corny Cold War look that helped inspire the series' boyhood joys. The result is not quite to the no-budget simplicity of a "Plan 9 From Outer Space," but still reminiscent of a past era. Through this apparent consistency issue, the filmmakers are actually paying additional homage to their preteen loves and passing the technological savings on to us.

So, have no worries. The kings of filmmaking fun are back with their most appealing character to restore non-stop pleasure to multiplexes. You'll laugh, gasp, squirm, and smile, all the while convinced that you're back in (at least) the '80s.

Under discussion:

Horton Hears a Who  (2008)

"Horton Hears a Who!" is the latest charming value-teaching movie with cutting-edge computer animation and a bevy of celebrity voices. 

Based on the book by Dr. Seuss, it's the story of Horton (Jim Carrey), a kind, innocent elephant determined to protect the world of Whoville. Horton finds a friend in Whoville's mayor (Steve Carell), and as neither quirky male finds support in his respective world, they must take solo action to keep Whoville safe on each end.

Just as important as the Seuss pedigree and lessons of unity and perspective is the talented cast. Carrey's and Carell's "aw, shucks" comedic voices translate well to animation. 

After a pair of disastrous forays into live-action, the many winning facets of "Horton" prove that the magical Seuss world can be done justice only through animation. 

But even with the successful inclusion of the now-expected legion of adult references, it's incapable of expanding the genre expectations of modern animated films, making it as predictable as a child's lollipop.

Under discussion:

Ken Burns' The War [TV Documentary Series]  (2007)

The Order of Myths  (2008)

Having spoken with Margaret Brown for the Daily Tar Heel preview piece on documentaries and the Full Frame Documentary Film Festival, the screening of "The Order of Myths" easily became the most anticipated film of the festival. After learning of the film from Filmspotting's Sundance coverage, I relayed the information to Dr. W. Barnes Tatum, a native of Mobile, Ala., the film's setting. He quickly found out that Brown is the niece of a childhood friend of his, and the connection for the valuable interview was established.

Barnes and his wife Linda joined me in the theatre for the Full Frame screening, serving as a direct Mobile resource should questions arise.

Mobile, Ala. is home to the nation's oldest Mardi Gras festival. During the two weeks of pageants and parades, the locals abide by a tradition of racially segregated celebrations, simultaneously exposing behavior that is both taboo and honored.

Director Margaret Brown's expert use of irony and social commentary in "The Order of Myths" is as captivating as the elaborate and pricey galas of the 2007 occurrence. The uncomfortably real moments are most evident through a running theme of whites making reference to future hopes for equality, then handing off a discarded piece of china to a black server working an all-white event. The tension peaks when members of the black Mardi Gras queen's family comment that their ancestors were brought to Mobile on the slave ship Clotilda by ancestors of the white queen's family. The just-so manner in which the black family references its past is consistent throughout the film, keeping tensions to a minimum but acknowledging them nonetheless.

The sense of ambivalence is also prevalent on the white side. Comments are made concerning hopes for integrated celebrations, but the same people later express a desire for maintaining the rich traditions that are enjoyed by each group. Folks acknowledge the touchiness of the situation and how the Mobile celebrations are different by exhibiting such throwback values, but few are in a hurry to make a change.

An additional layer of intrigue is found in the film's first interviewee, a friendly-looking and eerily familiar older Southern gentleman. His second appearance identified him as Dwain Luce and it clicked that he was featured in Ken Burns' "The War." Curious if Luce's celebrity status had influenced Brown's editing decision to place him at the film's opening, those wonderings were shattered in Luce's final clip when an additional identifier appeared below his name: "My Grandfather." At that moment, a world of connections were established, tying the film and Mobile and Brown to Barnes and Burns and me! It was a stunning epiphany that made me feel, through my dual-film appreciation of Luce and rapport with Brown, like Dwain Luce's unknown friend.

Barnes called the film "flawless as film and social commentary" and "the perfect autopsy of Mobile."

Under discussion:

Exodus  (1960)

Papillon  (1973)

Spartacus  (1960)

Trumbo  (2007)

"Trumbo" is the story of charismatic blacklisted screenwriter Dalton Trumbo and his turbulent rise from the career and life-tarnishing government brand. Based on son Christopher's play, Peter Askin's film weaves rollicking archival interviews with readings of Dalton's equally bizarre but beautiful letters (his preferred form of distance communication) read by current Hollywood royalty, including Paul Giamatti, Nathan Lane and Liam Neeson.

The actors turn the recreations into full-blown celebrations of Dalton's fantastic use of language, notably epitomized in a sarcasm-tinged note to an electric company representative and an improbably long ode to masturbation, addressed to a teenaged Christopher. And though these words are Dalton's, they are still outdone by the man himself, always in peak form, twisting words to the pleasure of all.

When the content shifts to the wide-reaching effects of his blacklisting, the opposite of Dalton's widespread joy is revealed in the attitudes of outsiders, gullible to the false judgments of communist ties. Though these blockades succeeded in handicapping the Trumbos' lives, it failed to keep Dalton from writing. Using an array of pseudonyms, Dalton completed numerous screenplays in order to provide for his family, earning an unattainable Oscar for "Roman Holiday" along the way.

As studio tensions eased, Dalton was permitted by Otto Preminger ("Exodus") and Stanley Kurbrick ("Spartacus") to display his name in the respective films' credits. In his return to uninhibited fame, Dalton used the opportunity to express the trials of his experiences and the resulting politics. The concept of men unwilling to turn informants is a key theme of "Papillon" and especially "Spartacus," in which the seminal line, "I am Spartacus," stands not only as Dalton's most famous line, but as a testament to his resiliency and honor.

Askin's film is remarkably entertaining in bringing an equally fascinating man's tale to life. The talented wit employed by Dalton Trumbo throughout his career receives a fitting tribute as his timeless words are allowed to endure.