What you know about a big DVD pile, son?
The following is a rundown of all the NetFlix/library/Video 21 DVDs I've watched in the last two to three weeks. Just thought I'd post something a bit lighter after the whole Jill Carroll thing. Enjoy:
Fahrenheit 9/11 -- When this movie first came out, I got caught in the hype just like every other sociopolitically aware person did. "This is the movie that's going to knock this asshole out of the White House," I told myself. "Finally we will see the another day when art will transcend society and culture as more than just propaganda," which of course Michael Moore's movie somewhat is, "and will actually change the world!" Of course, that didn't happen. "Foot, have you met Mouth? Mouth, this is Foot."
Watching F9/11 more than a year after the '04 election, one thing becomes clearer. The movie isn't necessarily about a political point of view or getting a corrupt leader out of office, it's about one woman's, Lila Lipscomb's, story of grief. It's her story about her son. I defy anyone to watch this movie and not see a little bit of their mother in Mrs. Lipscomb. I defy them not to cry at the scene where she is so stricken with trauma and grief that she is literally hunched over behind the fence, on the outer lawn of the White House. "I'm glad I could be here," she says through snot and tears-- burning a hole through the President's house with a firey stare. "Because now I have a place to direct all my hurt... all my anger." It's emotionally gut-wrenching to watch. Unfortunately, this kind of genuine emotion gets buried behind hype and sensationalism. Michael Moore didn't use Lila Lipscomb to tug at the heart strings of his viewers. He didn't have to. The foreign press footage of dead bodies and burning effegies, the kind of thing all major American press won't show you, is enough to sober anyone to the kind of horror that is war. Moore shows you this and gives you docudramatic pathos, too. He does it in most of his work, just like his stylistic forefather Errol Morris or his mentor Kevin Rafferty (a member of the Bush family!)
F9/11 is, at its base, a story of how a country going to war ravages its citizens and its nobility.
Lenny -- Not a bad movie! I'm more impressed by the visuals (by Bob Fosse the choreographer?!) than I am the writing, which I expected to be better. Dustin Hoffman plays Lenny Bruce well, though.
Cinderella Man -- This movie is corny and sappy as hell, but I love it. I mean I really love it. Ron Howard, with this, Willow (total '80s classic) and A Beautiful Mind (which I actually own already) is starting to put himself up there with Spielberg as one of the greatest living American directors. He's a filmmaker who can really play those humanistic, inspirational movies to their core.
Clockers -- To be honest, I didn't expect much from this movie. I expected this to be some of Spike's weaker work. "Another gangster movie," I thought to myself. Boy, was I wrong. I couldn't even get all the way through the damn movie, this thing is so intense. "Clockers" deals with dealing coke, and its something I imagine Jeezy watched a couple thousand times or so.
Curb Your Enthusiasm: Season 1 -- This show really is great. It's not some amazing bout of comic genius. In fact, I found myself getting kind of frustrated that Larry David was put into so many embarassing, compromising situations. It's almost like he has the worst luck on the entire planet. The humor that is there, though, is so subtle to the point of every little gag being microscopically funny. That doesn't mean the jokes aren't funny, but its just smaller and takes more time to see. Eventually, all the jokes cluster up into one final reveal, in a way. The one episode on this DVD set, however, that has belly laugh after belly laugh is its final one: "The Group." If you can see this episode somehow, you need to see it. If you watch the whole thing, it's funny beyond words.
A Huey P. Newton Story -- Short of maybe a couple of Amiri Baraka poems, this is the most fucking brilliant peice of African-American art I have ever consumed! Roger Guenveur Smith is not only a brilliant actor, capturing Huey Newton's personality to the T (not dissimilar to the quality that Phillip Seymour Hoffman had in capturing Truman Capote), but he wrote this motherfucker, too! Amazing. Amazing. West Wing-quality shit, here, folks. And, of course, this is a Spike Lee joint. I'm telling you, the man singlehandedly keeps the black film community from utter cinematic nihilism, folks!
Watching F9/11 more than a year after the '04 election, one thing becomes clearer. The movie isn't necessarily about a political point of view or getting a corrupt leader out of office, it's about one woman's, Lila Lipscomb's, story of grief. It's her story about her son. I defy anyone to watch this movie and not see a little bit of their mother in Mrs. Lipscomb. I defy them not to cry at the scene where she is so stricken with trauma and grief that she is literally hunched over behind the fence, on the outer lawn of the White House. "I'm glad I could be here," she says through snot and tears-- burning a hole through the President's house with a firey stare. "Because now I have a place to direct all my hurt... all my anger." It's emotionally gut-wrenching to watch. Unfortunately, this kind of genuine emotion gets buried behind hype and sensationalism. Michael Moore didn't use Lila Lipscomb to tug at the heart strings of his viewers. He didn't have to. The foreign press footage of dead bodies and burning effegies, the kind of thing all major American press won't show you, is enough to sober anyone to the kind of horror that is war. Moore shows you this and gives you docudramatic pathos, too. He does it in most of his work, just like his stylistic forefather Errol Morris or his mentor Kevin Rafferty (a member of the Bush family!)
F9/11 is, at its base, a story of how a country going to war ravages its citizens and its nobility.
posted by Paul at 3/31/2006 03:56:00 PM
1 Comments:
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