Moore Downsizing Trump

TRUMPLAND (2016)

Reviewed by Jerry Saravia

Michael Moore used to be the right-wing's highest-profiled enemy, a Michigan liberal with working class roots who saw the American Dream dying a rather prolonged death. Now, he is still the libtard documentarian to some Republicans but not the raging liberal-stomping-his-feet-in-protest liberal like Bill Maher. Something odd happens in "Trumpland," it is not a scathing indictment of Donald Trump and not necessarily a glowing endorsement of Hillary Clinton, both who at the time of the release of this film were running for President of the U.S. It might have helped had Donald Trump seen the film, who thought it was a ringing endorsement for his campaign!

"Trumpland" has Michael Moore at its center, filming a one-man show over two nights at the non-profit Murphy Theatre in Wilmington, Ohio where, as stated on the marquee, Trump supporters were welcome (quoting Moore who wanted to perform at Newark, Ohio where he was booted off by Republicans, Wilmington has "26,000 registered voters there and only 2,000 of them are registered as Democrats.") As he speaks on stage with enlarged black-and-white photos of Hillary gracing the screen behind him, Michael Moore seems calmer and more willing to embrace the right-wing or at least understand where the Donald Trump supporters are coming from. He recognizes they are angry with the direction the United States has undergone during the Obama Years, or maybe since the late 1970's. Moore wants to understand that their vote for Trump is not one cast for the right presidential candidate but more as a middle-finger gesture to the establishment. All fine and dandy yet that is all Moore is willing to say about Trump (aside from a brief 1990's video where Trump hopes for the best between Hillary and Bill Clinton prior to Bill's impeachment) - "Trumpland" is not an anti-Trump film, at least not at first.

Moore focuses greatly on Hillary, a woman he did not vote for yet he doesn't dislike her. He wants to hear from the audience why they would not vote for Hillary and if they could identify a single aspect they like about her. And then, in typical Moore fashion aiming towards our heartstrings, he discusses health care and how Hillary, during the early Clinton years, was pro-Universal Health Care. Of course, that plan was opposed by conservatives and promptly killed by Bill Kristol, former Chief of Staff to Vice President Dan Quayle and former chairman of the Project for the Republican Future. The point is that many in the audience of Moore's show have been affected or know someone affected by lack of health insurance. The tears flow from the audience and it is meant to drum up some support for Hillary. Clearly, since this film was released prior to the 2016 Election, it did not work in favor of Hillary.

At 71 minutes, Michael Moore still has his humor intact (the satirical Trump commercials are hilarious, and the fake wall built over Hispanics in the Upper Balcony and the fake drone flying over the Muslim section are inoffensive though some audience members are caught on camera agreeing with having a close eye kept on the Muslims) and there are notable references to Moore's 1996 book "Downsize This" where he has a chapter on Hillary that is nothing if not a love letter (which she appreciated when they met at the White House almost two decades ago). By the end of the film, it is clear that Moore, who favored Bernie Sanders as President, wants a conversion from the audience members who support Trump. In a sneaky, almost imperceptible manner, Michael Moore raises his middle finger at Trump without making much mention of him. His anger at the establishment is more subdued is all.

Disposable, not disturbing

DISTURBIA (2007)

Reviewed by Jerry Saravia

If "Disturbia" was made without "Rear Window" as its inspiration, I might have still found fault with it. "Disturbia" tries to be a modern-day "Rear Window" knockoff, but it lets its tricks out of the bag too soon with middling, predictable results.

Shia LaBeouf, a fast-rising young actor, is Kale, a troubled high-school teenager who is still grappling with his father's death by car crash (the only truly intense scene in the entire movie). He is so distraught that the mere mention of his father's name by his Spanish teacher gives him justification to knock the teacher out. This lands Kale in a three-month house arrest, though that may not be the worst of it. His mother (Carrie-Anne Moss) has canceled his X-Box game account and cut the cord to his bedroom TV (he still has a computer and an iPod, so all is not lost). In order to kill time, Kale looks through his binoculars, observing his neighbors, including the young attractive blonde (Sarah Roemer), who could pass for Jessica Biel, who moves in next door. But something disturbing is happening across the street. A certain Mr. Turner (David Morse) may have been responsible for the disappearance of women around town. He has the same Mustang with the same dented bumper that the newspapers describe at the scene of the kidnappings, and carries around bloody bags to his garage!

"Disturbia" moves at a fast enough pace but it rings hollow by the the time we get to a climax right out of Leatherface's digs. For one, Kale is a little one-dimensional for my tastes. Here is a kid who loses his father, adopts an ankle bracelet for his house arrest, and his biggest regret is that he can't play X-Box. Of course, he gets to kiss the blonde girl and does some smart detective work but the movie never quite establishes his character convincingly enough - he is just a clumsy kid who gets into trouble. Shia certainly has presence and gives a decent enough performance, but he has little to work with.

Carrie-Anne Moss appears only when the script requires her to, which is mostly berating her son for going past his boundaries. Sarah Roemer as the girl could easily have drifted in from that reality show, "The Hills" - her character is simply the anonymous kind you forget. As for David Morse, let's just say that it will be no surprise to anyone what this seemingly cold-blooded neighbor is up to. From his first introduction behind a wooden fence with a rabbit, all level of suspense is thrown out the window.

"Disturbia" may be acceptable fare to some but, for myself, I've seen better. In the way of suspense, thrills and mounting tension, "Disturbia" is certainly no "Rear Window" or any of its derivations, including the underrated if still unremarkable "Bedroom Window." It is definitely no "Fright Night," a certainly different genre piece, but the peeping tom aspect of spying on your neighbors is the same. "Disturbia" could've been infused with more of a kick in the character and thriller departments. By the time it ends, you'll find it more disposable than disturbing.

Some exciting brush strokes

BASQUIAT (1996)

Reviewed by Jerry Saravia

Original review from 1997

Film biographies are probably the most difficult to make because you have to draw insight into the main character, and dramatize the life he/she lived in their own particular time and place. Recent biographies such as "Michael Collins" dramatized the world the revolutionary lived in but remained aloof in terms of his personal life and his motivations. "Basquiat" commits some of the same errors but it is more energetic and vivid a portrait of a lost soul.

The film is based on the true story of Jean-Michel Basquiat (Jeffrey Wright), a graffiti artist who rose to prominence in the money-grubbing art world of the 80's, and went through a rapid decline through the abuse of drugs and instant fame. At the beginning of the film, we see Basquiat (who calls himself Samo) living in a cardboard box in a New York City park. He already is indulging in heavy drugs, including heroin, but he has dreams of selling and displaying his graffiti work in an art gallery. One day, he falls for a waitress named Gina (Claire Forlani) while spreading tomato sauce on a table and making a portrait of her. Eventually, Basquiat hits it big when a gallery shows his work to great acclaim, and consequently acquires the interest of several gallery owners, dealers, poets, pop artists such as Andy Warhol, self-promoters, etc.

Julian Schnabel (a painter in his own right) makes his directorial debut with this film, and he is a justifiable choice since he was an actual friend of Basquiat's. Schnabel creates a pointed commentary of the New York art world showing how eager gallery owners and buyers embraced a new artist and eventually exploited him. What Schnabel doesn't do as successfully is to capture the man behind the artist. We see Basquiat as a frequently dazed and confused artist who loves drugs and seems to love his girlfriend...and that's about it. There are no glimpses into the artist himself, where his vision emanated from, or what drove his creativity. Of course, Oliver Stone's "The Doors" remained curiously remote about a similar artist, Jim Morrison, but that was a more visually dazzling film of a certain era and we saw how living in those times could push someone over the edge. "Basquiat" doesn't succeed on the same level: it presents Basquiat as a man already in the gutter before his rise. In other words, there's too little of the rise, and too much of the fall. The scenes with Basquiat and Gina are too temporary to register any sense of loss of love between them; we see that his drug abuse may have pushed them apart yet every glimpse of Basquiat is presented in short vignettes with no particular payoffs. He has one gallery showing after another but there's no sense of accomplishment - for all we know, Basquiat could just be a junkie wandering around SOHO trying to impress everyone, including Andy Warhol.

Speaking of Andy, the relationship between Basquiat and Warhol works best, and it's both melancholy and deeply moving. David Bowie is a real joy to watch as the dazed Warhol who's consistently murmuring to himself. It's a portrayal on par with Jared Harris's deadpan interpretation in "I Shot Andy Warhol." I love the scene where Warhol is painting an Amoco logo and Basquiat paints right over it causing Warhol to softly murmur "What are you doing? You're painting right over it?"

"Basquiat" has a slew of actors from what seems to be the Hall of Fame of Independent Films. There's Dennis Hopper, Gary Oldman (very understated), Parker Posey (as a snooty dealer), Willem Dafoe (as an electrician who gives the movie's best line about art), Courtney Love, Elina Lowensohn, Christopher Walken (as a TV journalist), Michael Wincott (as a poet), and Benicio Del Toro as Basquiat's best friend. These people drift in and out of Basquiat's life without making much of an impression except for his one true friend, Andy Warhol.

"Basquiat" is well-made and enjoyable throughout with fine performances, including the ideally cast Jeffrey Wright in the title role. He brings pathos and a sadness in his eyes that fitfully captures the artist. "Basquiat" the film is not a complete portrait, though - it is mostly an assemblage of exciting brush strokes.

Disinformation about a Veep

THE CONTENDER (2000)

Reviewed by Jerry Saravia

Original Review written in April, 2001

Rod Lurie's "The Contender" has been criticized for taking a strongly liberal, Democratic side as far as the political race is concerned. I hasten to disagree though one can argue but why carp? "The Contender" is about the race for political office, and how in this post-Clinton climate, a presidential nomination is based on one's personal life, not the political.

The fabulous Joan Allen ("Pleasantville," "Nixon") stars as the fierce, determined, stubborn, sexy Laine Hanson, a senator who has just been appointed as a vice-presidential nominee by the President of the United States (Jeff Bridges). Laine is everything a promising new candidate should be: she has a loving husband, a young son, and loves politics. Problem is she is also a woman, and has a sketchy past (not to mention she is an atheist). It is discovered that she may have been involved in explicit sexual acts with several guys while in college. GOP Rep. Shelly Runyon (Gary Oldman) is determined to blast the news all over the media - his agenda also stems from his disapproval of a woman in office, regardless of her past actions.

Hanson's solution is clear: either admit to these past indiscretions or admit that they never transpired. But Hanson is fierce and stubborn - she also has some sense of decency. She refuses to admit to anything and would rather keep mum than fall for Runyon's own stubbornness and sense of moral code. What Runyon does not realize is that his own obsession with Hanson's sexual past is likely to put him in conflict with the President and cause a genuine lack of credibility.

"The Contender" can be considered liberal-minded but I take issue with that. I think the film mainly wants us to see how devalued the political process has become. We should not judge a political candidate based on their sexual or personal history. Our focus should be on the candidate's stand on political issues. I am sure everyone can agree that it should be the case with Republican or Democratic parties. Should a woman take office if she could get pregnant while in the midst of a nuclear crisis? Or if she got her period? As Hanson threateningly says at one point to Runyon while having lunch: "If someone has to push that button, be sure it is a woman who is getting laid."

There is a subplot involving an FBI agent inquiring about Hanson and another vice-presidential candidate caught in some hot water over an incident resembling Ted Kennedy's own Chappaquiddick incident. The candidate is Gov. Jack Hathaway (William Petersen), who failed to rescue a woman trapped inside a car in the river. Hathaway's noble yet failed attempt at a rescue risks his chances of becoming vice president. Again we are asked, why should a man's nobility in a decidedly apolitical incident ruin his political future?

"The Contender" has great performances and several robust sequences of cunning direction and acute sensibility. Not one shot or line of dialogue is wasted. Everything flows with terrific precision. Oldman's snickering and Bridges's authoritative understanding add to the potency of the material. But it is Joan Allen's robust performance that takes us deep inside the political process and asks us not to question her actions or past indiscretions as much as whether they really matter in the end.

Plan an alternate trip

VACATION (2015)

Reviewed by Jerry Saravia

I have to admit, I laughed three or four times while watching this sequel/reboot of "Vacation." That is already more times than I laughed during 1997's very unfortunate "Vegas Vacation," meaning I did not laugh at all at that abomination. However, despite two appealing central performances from Ed Helms and Christina Applegate, the whole movie smacks of being wanting and rather desperate. Some astonishingly crude scenes will leave a sour taste in your mouth (which reminds me that anything bloody usually works better in Monty Python country).

Ed Helms is Rusty Griswold, the eldest son of the Griswold clan, who is taking his family on a vacation to Walley World. That is the reboot subplot of the movie; as you will recall, it was the Griswolds' destination in the 1983 film with Chevy Chase. The rest of the film is the actual trip with Rusty's increasingly bored wife (Christina Applegate) who is looking for a new spin on vacation locations that do not include the same-old log cabin. Some of this is slightly hysterical, such as Applegate's Mama Griswold proving that she can physically compete with the new alma mater sorority girls. I also enjoyed the consistently malfunctioning Albanian car that Papa Griswold drives (it even has a Swastika button in the remote). But the movie cheapens itself with gags that never amount to much of a payoff. The reprise of the famous Christine Brinkley-flashing-her-smile-while-driving scene from the 1983 original ends in a nasty collision (occurs offscreen). When the clan takes a dip in a presumably hot spring, it turns out to be raw sewage. When Papa Griswold tries to impress Mama by driving a scooter, he plows into a cow and let's say bovine intestines fill the screen in a scene that would even make Quentin Tarantino vomit. Speaking of vomiting, Mama Griswold vomits at a college sorority, trying to show the girls who is boss. Yuk.

This "Vacation" movie is full of excessive gross gags with nary a trace of humor. Accidentally killing a cow, for example, is presented as the "joke." Consider the original 1983 film where a dog's leash was left tied to the stationwagon's bumper. The joke is when the patrolman pulls Chevy Chase's Clark Griswold over and tells him how horrifying this accident and death of a dog is while holding a leash (the dog is never seen again). Clark doesn't quite see it the same way and stops himself from smirking. Okay, admittedly it is not hilarious but it has some measure of drollness along with empathy for an animal.

Aside from three or four laughs and a couple of chuckles about Chris Hemsworth's huge member, nothing in this "Vacation" is likely to be reminisced thirty years from now despite the talents of Ed Helms and Christina Applegate who deserve a richer vehicle than this old, dusted off revisit. Plan an alternate trip. 

Pat Hitchcock should sue

A PERFECT MURDER (1998)

Reviewed by Jerry Saravia

Although I am not as disconcerted when director Brian De Palma apes Hitchcock, I am more offended when someone removes all the qualities that made Hitch's best films memorable. The key was suspense through nuance and insinuation dictated by sumptuous performances and exemplary camera moves, the latter never being obvious yet always in sync with the emotions of the characters. My favorite example is when Norman Bates carried his mother out of her room in a high-angle shot in "Psycho." In "Dial M for Murder," I would say the defining moment is when Ray Milland wipes clean every object he touches as he explains to the hired killer how to carry out the murder of his wife, thus not incriminating Milland himself. It is no surprise that "A Perfect Murder" is a remake of "Dial M" but it is an insult to my intelligence and to the audiences who already feel remakes are needless in the first place. Not that "Dial M For Murder" could not stand to be remade since it is one of Hitch's lesser achievements, but this so-called suspense yarn is not it.

Dialogue through nuance and diction are thrown out the window in favor of bloody, suspenseless thrills every few minutes. Michael Douglas, in one of the lesser performances of his career, makes his motivations and murderous impulses easy to spot from the opening sequence, playing a reptilian, Gecko-like character who knows his wife is having an affair. Where is Ray Milland when you need him? Why is Douglas's wife, played by Gwyneth Paltrow, so naive as to think her husband is not up to no good? How does Douglas know Paltrow will answer the corded phone at the precise moment she will be killed when she could easily let the answering machine...oh, who cares. Not even Viggo Mortensen as her lover can convince her that her husband is a bastard. And Mortensen's character changes wildly from its original design as he engages in a plot to...well, you might see it coming for miles.

So there are histrionic performances from cold-blooded characters who elicit antipathy, not empathy, not to mention Paltrow and Mortensen as the most unromantic pair of lovers in many moons - they could not even warm a pair of cold bricks. In addition, there are more red herrings than needed and a tasteless, protracted "Fatal Attraction" finish that will make you puke from disgust and anger resulting in one of the most anemic thrillers ever. "A Perfect Murder" needs more than a blood transfusion - it needs Hitch. Patricia Hitchcock should sue and as of 2001, she still hasn't.

Sex is not just about intercourse

KINSEY (2004)

Reviewed by Jerry Saravia

Original review from January 4th, 2005

In today's world, sex is sold and manufactured as if it were a brand name. Look at the titillating magazine issues of "Blender," "Stuff" or even the occasional flash of nearly nude women in "Entertainment Weekly" or "Vogue." Consider the media, particularly when Janet Jackson's wardrobe malfunction was one of the main cultural events of 2004. So sex is packaged yet President Bush and the religious, puritanical right contend that it is a demonic act. In many ways, we seem to be reverting back to the ideals of the 1950s. Dr. Alfred Kinsey broke the mold of sexual hygiene and sexual performance. Suddenly, America learned that sex was not just about intercourse.

Liam Neeson plays Dr. Kinsey, an Indiana University professor, who at first shows a keen insight on the mating customs of gall wasps, so much so that he teaches a course on it and publishes a book. Somehow, we know the able doctor is capable of so much more. He falls for and marries a student in his class, Clara McMillen (Laura Linney), and on their wedding night, they have some difficulty copulating. They go to see a sexual therapist who reminds Kinsey that his penis is just too long! Nevertheless, Kinsey discovers that mating customs have prohibited and misguided married or unmarried couples in maintaining a good sex life. According a published book of its time, "Ideal Marriage: Its Physiology and Technique," masturbation and oral sex were considered deviant acts, specific reasons of which are more fun to read about or discover when seeing the film. Kinsey wants to revise the rules, namely the traditional missionary position, by interviewing people from across the United States to find what men and women really do in their bedrooms. To his shock, he discovers that they do perform many of these sexual acts but the majority of couples seem to live in the dark ages. In 1948, he publishes the highly controversial "Sexual Behavior in the Human Male," and in 1953, "Sexual Behavior in the Human Female." Storms of protest follow and the media and the good citizens of the country call it smut, considering the blunt sexual and clinical terms used such as vagina, penis, etc.

Kinsey himself gets curious as well, performing some of these acts with his wife. The problem arrives when he hires his first researcher, Clyde (Peter Saarsgard), who sleeps with Kinsey. Clara gets furious yet, after some time, accepts it and is asked for a romp in the hay by Clyde! Meanwhile, Kinsey hires more researchers and more controversy follows, especially when he has his own researchers sleep with each other's wives. It is only research, though one gets the impression that not everyone is comfortable with the notion of sex as an experimental tool. Eventually, funding begins to evaporate and the general feeling is that sexual frankness has its limits.

There is a basic character trait of Kinsey's that is left unexplored. Writer-director Bill Condon ("Gods and Monsters") depicts Kinsey as a stern, ruthless experimenter and attuned to detail, so attuned in fact that it is as if sex is nothing more than sex to him. He forgets that there is such a thing as making love, though he obviously loves his wife. Did Kinsey ever know that sex is not purely an animal act devoid of love? That extramarital affairs, regardless of justification, can have dire consequences for the couples involved? Or was he ever in love?

Liam Neeson plays Dr. Kinsey as well as he can, but I felt something was amiss. The Neeson of "Schindler's List," and of earlier films like "The Good Mother," always felt like he embodied the characters he played. Even a misfire like "Rob Roy" felt like a majestic Neeson performance. Here, playing a nearly stodgy-like character despite his predilection for the mysteries of sex, Neeson is too physically imposing and, dare I say, larger than life. I can't picture Neeson as a doctor who sees no flaws in his experimentation and as someone who defends all odds to show the world that sex is more than it can be. Neeson feels uncomfortable in that skin, as if he is dying to get out of the insides of this character. He twitches, gives us those glaring facial expressions and expected screams, but I always felt a sense of discomfort. I highly doubt that the real Dr. Kinsey was this way, but I could be wrong.

Laura Linney is exceptionally and straightforwardly good as Clara, slowly believing in Kinsey despite radical changes in her sexual appetite. Also worth noting is the restrained Peter Saarsgard as the sexual provocateur, Clyde - he asks for a sexual favor with such delicacy that no woman, or man, can turn him down. Chris O'Donnell is also superb as another researcher who knows his limits when it comes to sexual deviancy. I also enjoyed Timothy Hutton and the always memorable Oliver Platt as the President of Indiana University - he is one of our finest, most colorful character actors. Kudos must also go to John Lithgow in an underwritten yet powerful cameo as Kinsey's father, a staunch minister.

Bill Condon showed his strengths as a storyteller with "Gods and Monsters" and still proves he can make bios that breathe with simplicity and clarity. But the central character of Kinsey still gnaws at me, and Neeson doesn't help make it any easier. By the end of the picture, you get the impression that Kinsey was none too comfortable with the sexual revolution he helped developed.