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Capone's Art-House Round-Up with Michael Moore's CAPITALISM, Patton Oswalt in BIG FAN, and THE BOYS ARE BACK!!!
Hey, folks. Capone in Chicago here, with a couple of films that are making their way into art houses around America this week or at least expanding to more theaters (maybe even taking up one whole screen at a multiplex near you. Enjoy…
CAPITALISM: A LOVE STORY
For the most part, I'm an unapologetic fan of the way Michael Moore makes movies, even when I don't agree with his methods or opinions. And while CAPITALISM--his look at the origins of the current banking and stock market crisis--has some of his finest individual moments, it feels like Moore is casting his net too wide, almost forcing puzzle pieces together that don't fit. That said, I feel I learned more from this film than any other of Moore's efforts, and it's a much-needed education that infuriated me as much as it informed.
The director provides a nice balance of specific implications of a wrecked economy, while telling the big-picture story of how banks and investment firms bought their way into Congress and the President Bush's heart and sparked a regulation wave that took very little time to eliminate our budget surplus and put our nation trillions of dollars in the hole. Moore goes back to his hometown of Flint, Michigan, to offer proof that it is possible to make a bad situation worse. Probably the film's finest sequence doesn't feature Moore at all, as he shows a Chicago factory whose fired workers staged a sit-in demonstration until the bank that foreclosed on their employer agreed to pay wages owed. The workers' cause was even championed by newly sworn-in President Obama, and the bank eventually did the right thing. Moore must have had a second-unit crew film that sequence because he doesn't appear on camera at all. I guarantee the workers' plight will make you tear up. But for every solid moment like that, there are stories that focus on such things as the sickeningly low pay that commercial airline pilots make. Yes, it's a terrible situation and, yes, it's a classic example of corporate greed, but it's a problem that has been on the boards long before the current financial crisis, and it doesn't really belong in this movie.
Sure, there's plenty of Moore's trademark stunts. He shows up to the headquarters of companies bailed out by the government with money bag in hand looking to collect taxpayer dollars and make a citizen's arrest. He unspools crime scene tape around entire blocks of the New York Stock Exchange. He approaches members of Congress for interviews as they leave the office. It's good for a few laughs, but it feels like he's strictly going for laughs and not for any real change. It's one of Moore's tricks that I've grown slightly tired of. Still, it's better that the filmmaker resorts to a few tricks to make his point than to have no point at all. Moore makes an interesting case for a socialist economy in a democratic nation. It's a scary thought, but is it scarier than losing your job or your house or your money? That's what Moore wants us to think about and debate, and in the end, his films are deliberately inflammatory. I firmly believe his primary goal has always been to spark debate and not necessarily convert anyone to his way of thinking. And one that front, CAPITALISM is a sweeping success. And if he updated and re-released Sicko next week, it would fit right in with today's health-care frenzied society. So, see the film whether you buy into Moore's politics or not, and then do everything you can to find someone to talk about it with. That's the point. Don't be afraid to learn or even have your opinion changed. It's been known to happen, even in America.
BIG FAN
Profiles of the pathetic often make for some of the most compelling films. Such works made up a huge number of classic works in the late 1960s and 1970s, and something of a low-level comeback seems to be in the works. These are films about folks who quite frankly don't often appear on screen, and certainly not in films that cost more than $20 million. Writer Robert D. Siegel told us the story of wrestler Randy "The Ram" in Darren Aronofsky's THE WRESTLER last year, and the movie haunts me to this day. But The Ram is someone we not only never see on the big screen, but we're not 100 percent we want to (in theory). Having seen the film about four times now, I'm still pretty sure I'd never want to meet Randy in real life, but it's fascinating to dip into his life when everything must change for better or worse. Now Siegel has written and directed another work, BIG FAN, which looks at the sports world from the other side of the mirror, from the often-lonely existence of a fanatic follower of a particular franchise.
The great comedian Patton Oswalt plays Paul Aufiero, a mid-30s parking garage attendant (he calls it a career), who has a passion for the New York Giants that he has somehow cultivated from the parking lot of Giants Stadium (for home games) and with his friend Sal's (Kevin Corrigan) living room (for away games). Paul still lives with his mother (Marcia Jean Kurtz) and spends his evenings doing two things: calling in to a sports-radio talk show and masturbating with an alarming dispassion. Watching Paul spend hours scripting his calls isn't nearly as sad as the cliche-riddled rants he comes up with each night. What's worse is that he's not even allowed to voice his rants as loud as he'd like because his mother's bedroom is right next to his, and she often yells at him to keep it down.
Paul's life changes one night when he spots his absolute favorite Giants player, a linebacker named Quantrell Bishop, at a gas station. Paul and Sal decide to follow Bishop in hopes of meeting him. But when Paul finally gets up the nerve to approach the player and his posse at a strip club, and accidentally lets on that he's been following Bishop, the player gets enraged and beats the living crap out of his biggest fan. The incident sparks a transformative wave through both men's lives. Bishop is suspended until an investigation is completed, and Paul must decide whether to put his beloved favorite player in jail and hurt his Giants (something every Giants fan seems happy to see him do), or let the beating be forgotten and put Bishop back in the line up. Paul's decision and what results may genuinely surprise you.
Siegel doesn't turn BIG FAN into a feel-good endeavor where player and fan reconcile, not does he play much of his story for laughs. Oswalt's performance is definitely on the dramatic side, and it's clear that his world is somewhat shattered after the beating. I've read some reviews that have referred to this movie as a dark comedy, and while there are certainly portions of the film that get laughs, I didn't see this as any type of comedy. This is a profile about a man who is stuck, and even the thought of getting unstuck (his more successful family members have decent jobs waiting to give him) sends him into an angry panic. The Giants are the thing that holds his world together, even though he can't afford to attend games, and his insight into the game amounts to little more than being a glorified verbal cheerleader and excuse maker when the team plays poorly. As someone whose acting career seems in full swing now (from TV appearances on "Dollhouse" and "United States of Tara," as well as a juicy supporting part in THE INFORMANT!), Oswalt is a marvel here, and when he puts on that Giants jersey to go sit and drink beer in folding chairs in the cold at the Meadowlands, we know exactly who Paul is. There's a quite desperation in his eyes most of time, punctuated by nerves and panic just before he calls into the chat show. As soon as his rant is done, he calls Sal for the post-call recap.
Siegel has a real gift for capturing these marginalized people, and how they interact with the real world. Paul is clearly miserable whenever he has to get together with his lawyer brother in their palatial home. I don't think it's because he dislikes them, but he's all too aware that any such gathering will turn into their mother praising the brother, following by a group verbal stoning of Paul's miserable life and job. The other bane of Paul's existence is the largely unseen but often heard Philadelphia Phil (Michael Rappaport), Paul's mean-spirited rival on the talk radio airwaves. The two exchange digs at each other's teams (never at the same time), and eventually meet under bizarre circumstances that need to remain a secret.
BIG FAN has a couple of strange endings that I'm not sure audiences are going to like, but they seem absolutely necessary in bringing Paul's existence into perspective. Siegel isn't afraid of big emotional climaxes, but he doesn't necessarily think they're important or critical to tell these stories. His assumption that people like Paul don't have too many life-changing revelations is absolutely correct, but that doesn't mean that our feelings about him don't change. He's a small man, with small dreams and a small life. He's neither happy nor unhappy, but there is something in his world that gives him joy. You can't help but feel pity for someone whose entire world is wrapped up in a sports team, but at the same time, at least for three hours a week, that person is energized and passionate about something. I guess that has to count for something. And the fact that Siegel and Oswalt have captured that with such chilling accuracy is astonishing to me. BIG FAN is a powerhouse achievement in a tiny package.
THE BOYS ARE BACK
There are well-intentioned films that you often just watch, tolerate their "feel-good" nature, and move on. But I want to tell you about another type of "deeply moving" work. There's this Australian film by director Scott Hicks (SHINE) called THE BOYS ARE BACK, and I fucking hated this movie and every character in it. And what's worse are the claims that this film is based on a true story, which means I'm hating actual people and not just characters. THE BOYS ARE BACK is the story of a terrible father who, after his wife's sudden and tragic death, decides to just let his two children do whatever they want as a means of raising them. Clive Owen, in easily the worst role of his career, plays George Warr, a sports writer who spent days on end away from home when his wife was alive, and who now much actually raise his 6-year-old son (Nicholas McAnulty) when she's gone. Here's the first problem I have with the movie. The way this kid plays this role, I'm pretty sure he's playing it as either high-functioning retarded or someone with autism, but he didn't bother to tell anyone he was going to do that. People react to him like he's got his senses about him, which he clearly doesn't. If this were my son and he behaved this way, I'd throw him from a helicopter at maximum altitude.
George's other son (from his first marriage) is a teenager (George Mackay) who has been living with his mother and is a bit horrified when he arrives at dad's house to discover the state of things. The house is a wreck and anything goes. He starts out being miserable, but it doesn't take him long to get into the hedonistic swing of things. Everyone who comes to visit this band of merry men is appalled, as was I. But I didn't despite THE BOYS ARE BACK because it's a prime example of bad parenting. No, I hated it because it sucks on every conceivable level, beginning with the fact that it's entirely predictable. Let's see: George is forced by his boss to cover an overseas tennis match. He can't find a babysitter for the kids. The oldest promises he can take care of things. Is there even the slightest chance things might go wrong? You have three guesses and none of them count.
Even Clive Owen's performance seems off, as if he's not buying into his character's child-rearing philosophy or his asinine behavior. And quite frankly, I don't enjoy watching Owen much when he's smiling all the time. This guy has played some of the great brooding characters in the last 10 years or so, what the hell is he doing in this dumb-shit movie? Even when George gets a shot at a new love in his life, he botches that as well because he's a tool. The bottom line is I found the entire experience of watching THE BOYS ARE BACK excruciating, and in all likelihood, you will as well. If you want to prove me wrong, check it out for yourself, idiot.
-- Capone
capone@aintitcoolmail.com
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FIRST suck my left one! His best role is in Team America.
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and the elusive phenomenon known as a 'blockbuster hit' just called Clive Owen and said in a mocking tone, "You're never gonna catch me, sucka."
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Lap it up suckers.
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Nice.
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Of course it fucking is. I've lost my job and I've (for reasons other than socialism) lost freedom and opportunity and rights, and I can tell you which one is worse. It's the one where you and your life and your liberty is carved up in the service of the "greater good".
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I just wanted to point that out. Because, you know, that's a point that's rarely made.And it's important. Because, in a just society, the government would have already paid for his lap band gastric bypass.Although if the movie suggests, as Capone implies, that our current financial pickle is the product of Bush, the Republicans, and the last eight years, then he's full of pickles. Because all those muggle-fuggles in DC are corrupt as the day is long, and they all had a hand in it--Barney Frank and Chris Dodd and Andrew Cuomo perhaps more than most, but they ALL have a role to play in this mess, not just regarding deregulation but government incentivizing. And so on.
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basically saying, "keep the poor and powerless away from my stuff."
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Pointing out that Moore makes money the old-fashioned way - earning it - is not exactly proof of hypocrisy nor a great argument against watching a film that just might have your best interest in mind, despite your illogical hatred of the man.
Just be honest. You hate the fat fuck and all things Liberal. Keep it simple, stupid. -
Ok we get it, your hometown is fucked up. Maybe it'd be more constructive if someone rich *hint* would invest some of their millions *hint hint* to bring back some industry to that place instead of walking around with a camera showing how everyone's poor and getting kciked out of their house.
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...IS A SAD EXCUSE FOR A LIBERAL.
HE'S CONSTANTLY DISTORTING THE FACTS WHEN THERE'S ABSOLUTELY NO FUCKING NEED TO DO SO.
WHAT A FUCKTARD. -
Really? Thats a fucking tough category to win when it comes to Clive Owen. He's only done what? 2 good movies and that awesome BMW series (haven't seen Bent though).
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Than live in a represive socialist state that limits my potential. Capatalism favors the intellignet, hardworking, and inovative while socialism is a tool of politicians who only wish to expand thier power and control over others. In the end it is liberials fanning the flames of class warfare. People can't except the fact that they fucked thier own lives up by lack of education, drugs, having 5 kids by diffrent fathers, and general shitty, lazy behavior. No no, it's because the rich don't share!
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Why can't we see his movie for free? The hipocrisy only begins there.
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And just have a fair Capitalist system with sufficient checks and regulations to protect workers' and consumers' rights, the economic system and welfare of the country about the welfare of the wealthy?
Because Moore's only been on TV every day for weeks talking about that. Jesus Christ, pay attention. -
Oh my bad, he must not have appeared on Fox so your ignorance is excused.
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???why? Did Marisa Tomei's brown eye wink at you are something?
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I'm with you, dude. It is silly looking for a calm, reasoned debate regarding anything more substantial than the photo-realism of the cat things in Avatar on this site. The charges against Moore invariably amount to "he sucks", "he is a fat socialist", "he hates America", "team america rules!". Mindless, unsupported, juvenile venom. Most of the dorks here don't really know why they disagree with his point of view. Massawyrm's right wing review of the movie was short on counterpoints, but at least he didn't resort to dumbass name-calling.
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That show still on?
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Why are Capitalists even worried?
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Yeah, straight into an array of machine guns, smart bombs, Bouncing Bettys and poison gas. And in five more years, we'll have Terminator robots. Good luck impoverished masses. Good luck gun nuts.
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I think he's into chocolate frosted right now
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...to drink Moore's kool-aid?
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You're so right dude, cause the Left never resorts to juvenile insults when making fun of Bush, Cheney, Beck, Limbaugh, etc, etc, etc.
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The Constitution said We, the Corporations instead of the People.
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Let's look at those socialist commie nazies: Canada, England, France, and Sweden!
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Somehow a few people still manage to be fabulously wealthy.
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"Moore makes an interesting case for a socialist economy in a democratic nation. It's a scary thought"
Actually, it isn't scary at all. Look at Scandinavia - rich socialists. It's ideal. What the fuck is scary about it? The corporations that run America and openly buy the politicians have brainwashed the populace. Poor people getting medical treatment? The horror! The horror! -
If you right-wingers could see past your own hate this country would be a much better place. You hate Moore for one singular purpose. Because Fox News tells you to and that's "all you watch." Because hearing the actual truth of things from other media sources seems too much for you to handle apparently. You'd rather wallow in your own negativity and contrariness than face reality. It's pathetic.
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Is that the people who have any access to effect change or either apathetic to it, or too afraid of the consequences. Because the people in charge are able to easily hide behind a flawed legal system that will only end up punishing anyone who goes against a big company/person. So they go with the flow in hopes of big money.
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... never met a right promulgated stereotype that he didn't swallow hook line sinker without once engaging his brain. Can you think for yourself at all by this point? Channeling Joe McCarthy a hobby of yours?
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Look what you're doing to me
I'm utterly at your whim
All of my defenses down
Your camera looks through me
With its X-ray vision
And all systems run aground
All I can manage to push from my lips
Is a stream of absurdities
Every word I intended to speak
Wind up locked in the circuitry
No way to control it
It's totally automatic
Whenever you're around
I'm walking blindfolded
Completely automatic
All of my systems are down
Down down down
Automatic
Automatic
What is this madness
That makes my motor run
And my legs too weak to stand
I go from sadness
To exhilaration
Like a robot at your command
My hands perspire and shake like a leaf
Up and down goes my temperature
I summon doctors to get some relief
But they tell me there is no cure
They tell me
No way to control it
It's totally automatic
Whenever you're around
I'm walking blindfolded
Completely automatic
All of my systems are down
Down down down
Automatic
Automatic -
But. I think, because of these dire economic times, more former Wall Streeters are coming out of the closet and exposing the con.
For instance, Wendell Potter formerly the head of CIGNA's PR, is blowing the whistle loud.
Dylan Ratigan, former CNBC anchor, went to MSNBC instead to put politicians on the hot seat for being so cozy with Wall St.
And on NPR yesterday, I listened to a former, extremely high-ranking Goldman exec (managing director, I think she was) who left the industry and became a journalist. Fuck me, I was damned impressed. Here let me Googler her ... she wrote a book ,,,
It Takes a Pillage: Behind the Bailouts, Bonuses, and Backroom Deals from Washington to Wall Street (Hardcover)
by Nomi Prins
http://www.amazon.com/Takes-Pillage-Bailouts-Backroom-Washington/dp/0470529598 -
Yes, the poor guy and the rich guy should be friends. Poor guy wants to smoke some grass. Rich guys wants to own his ass. But that's no reason why they can't be friends.
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Oct 02, 2009 3:46:03 PM CDT
SERIES7 - AND TO YOUR POINT, THAT'S WHY WE NEED GUYS LIKE MOORE
by bringingsexyback
How do you make people accountable if not to put the spotlight on them? Love him or hate him, Moore's doing something every 95 percenter should appreciate.
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If you actually think it is good then you are a MORON.
READ HISTORY, IT NEVER WORKS.
There is no perfect system for everybody, but capitalism is the best because it allows those that work hard to make their way to the top. If it werent for capitalism this fuckin website wouldnt exist you morons. Neither would all of these fucking movies.
Go to a fucking library and get a real education.
HISTORY. -
And I'm pretty sure a lot of elder America feels that way. "Who's gonna take you serious when you look like that?" I'm sorry but a fat shlub just doesn't seem radical enough to effect change or make people want to get up and act.
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Not since the 19th century era of robber barons has capitalism been unfettered and unregulated...the only question is how much control the public sector is to extend over the private. And despite the right-wing know-nothings who probably think Groucho, Chico or Harpo constitute a branch of Marxism, Obama isn't even in the ball park of socialism.
Free market capitalists hate regulation the way burglars hate police cars... -
...THEN you can criticize it. If you haven't seen the movie, you can't sit there saying what it does or does not argue. If you don't like it, fine..but don't decide in advance that you know what the message is.
First of all, Moore has never argued against people making money or earning their way to the top. That's why he's not a hypocrite for making money off of his films. He's all for that. Watch the movie and you'll see. It's not people earning money that he's against. It's the freewheeling greed on behalf of banks and corporations, and them being in bed with the government when they should not be. If you LIKE that kind of thing, then it's not the movie for you. But don't assume to know what the message is simply based on the title of the flick. There's more to it than the tongue-in-cheek name.
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