ScreenFish

where faith and film are intertwined

Brad Pitt

7.02 Cashing in on MONEYBALL

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As the World Series continues on in the real world, we thought that it would be fun to get in the game with Moneyball, the Oscar-nominated film that tells the story of Oakland A’s GM Billy Beane and his attempt to change the sport of baseball using new statistical techniques. This week, we welcome back Paul Levac and rookie Scott Trew to talk about why we’re so romantic about baseball, the meaning of confidence and our Top 5 sports films of all time.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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5 Days of Christmas GIVEAWAY #5: ONCE UPON A TIME… IN HOLLYWOOD

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Actor Rick Dalton gained fame and fortune by starring in a 1950s television Western, but is now struggling to find meaningful work in a Hollywood that he doesn’t recognize anymore. He spends most of his time drinking and palling around with Cliff Booth, his easygoing best friend and longtime stunt double. Rick also happens to live next door to Roman Polanski and Sharon Tate — the filmmaker and budding actress whose futures will forever be altered by members of the Manson Family.

The winner will receive a copy of Once Upon a Time… In Hollywood on Blu-Ray!

To enter, simply like or share our post on Facebook. For a bonus entry, like or share the post on Twitter and Instagram.

All entries must be completed by 11:59pm on Friday, December 20th, 2019

Once Upon a Time … in Hollywood – A Tarantino Fairy Tale

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When I first heard that Quenton Tarantino was going to be making a movie that involved the Manson Family killings, I assumed the violence and blood would be overwhelming. But Once Upon a Time . . . in Hollywood turns out to be his least violent film. All of Tarantino’s films have an aspect of his appreciation of cinematic history, but this is his most explicit love note to Hollywood and the film industry.

As the title suggests, the film has a bit of a fairy tale aspect, focusing on the Hollywood myth—a world of stars, fame, and a bit of perversion. Set in 1969, the story focuses on Rick Dalton (Leonardo DiCaprio), a former star of a TV western who has been reduced to guest starring as a heavy in other series. His longtime friend and stunt double, Cliff Booth (Brad Pitt), serves as his driver and emotional sounding board. Dalton’s career is on a downward trajectory, but he has an offer from an agent (Al Pacino) to go to Italy and make spaghetti westerns.

The time and place are important aspects of the film. 1969 Hollywood serves the same function as the “woods” in fairy tales. It is the locale of magic and danger and dreams. There is a real nostalgic quality to the film that seeks to recreate 1969 L.A., down to the Real Don Steele on 93 KHJ (a DJ and radio station, for those who didn’t grow up here at that time). The film makes excellent use of the remaining locations from that period, as well as recreating Hollywood Boulevard to resemble what it was like then.

The danger that lurks in these woods is the Manson Family. This subplot comes into the story in two ways. Dalton’s new next-door neighbors are Roman Polanski and Sharon Tate (Margot Robbie). That home became the scene of a murder by some of Charles Manson’s followers. But the main way this subplot develops is through Booth’s meeting hitchhiker Pussycat (Margaret Qualley) who takes him out to the Spahn Ranch where the Family lived. As a stuntman in westerns, Booth knew the ranch and its owner. Booth does not trust the group that is there, and soon leaves, but not before making enemies, including Tex Watson (Austin Butler) and Squeeky Fromme (Dakota Fanning).

Six months later, much has changed in the lives of Dalton and Booth. Perhaps their friendship is coming to an end, but when the Manson Family comes on the night we know as the night of the Tate murders, Tarantino doesn’t show us what we think we will see. The violence is still there, but [spoiler] there is an alternative history. The way Tarantino twists the story makes for a fairy tale happily ever after ending (of sorts).

Tarantino fills the film with myriad movie references and reminders of stars of the time. It is not just for nostalgia’s sake. It helps to create that fairy tale environment of hopes and dreams and magic. All of this is real history, but its telling is the relaying of the mythology of the Dream Factory for dreams that may not come true. His cinematic history is at times humorous. He even manages to make us think about and laugh at the kind of violence he’s become famous for.

Fairy tales are not just happy (or scary) stories; they have meanings and lessons. As we watch Dalton, Booth, Tate and others living their lives in this fairy tale, we note the importance and frailty of egos. Whether it is Tate going to a local theater where one of her movies is playing to hear the audience reaction to her on screen, or Dalton being disparaged (and later praised) by a child method actor (Julia Butters), or Booth dissing Bruce Lee (Mike Moh) on the set of The Green Hornet, we see people who struggle, even in success, with personal fulfillment. Perhaps it is of note that the person who seems most satisfied with his life is Booth, who is the person who isn’t famous. He is the one whose ego doesn’t require constant feeding. He is at ease with himself and his place within this world that is filled with artifice. He understands that he is a part of the artifice that the others believe to be reality.

In this film, Tarantino creates an artifice built around a reality that is well-known. By focusing on the Hollywood myth, he is able to create a world of happy endings out of a real-life tragedy. But then, he knows cinema enough to know that that is why we love movies.

Photos courtesy of Sony Pictures Entertainment

6.01 The Outer Reaches of the Inner Soul in AD ASTRA

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In the Season Premiere (and our 99th episode!) of SF Radio, we venture into the deepest regions of the solar system to talk about AD ASTRA. Starring Brad Pitt, AD ASTRA takes place in the near future and tells the story of Roy McBride, an astronaut who remains fearless when faced with the most impossible of situations, yet terrified to deal with his own issues. When the military enlists Roy to travel to Neptune to discover the source behind dangerous electrical pulses that threaten the universe, he is up for the task. However, when he also discovers that his father—who abandoned their family when he was very young—may be involved, Roy is forced to grapple with his own feelings of anger and hurt in the process. This week on the show, ScreenFish veterans Matthew Cimone and podcaster David Peck join us to talk about dealing with letting go of our anger, losing (and maybe reclaiming wonder) and the power of relationships. 

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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5.23 Living the Dream in ONCE UPON A TIME… IN HOLLYWOOD

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The year is 1969 and Hollywood is changing. Fading star Rick Dalton (Leonardo DiCaprio) has been forced to the sidelines as new stars like Sharon Tate are stepping into the limelight. Joined by his faithful stuntman who is closer than a brother but not as close as a wife, Cliff Booth (Brad Pitt), Dalton tries desperately to reclaim the fame that is slipping away. This week on the show, That Shelf’s Victor Stiff returns to talk about Tarantino’s fairy tale, finding satisfaction and whether Cliff Booth is redeemable.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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Ocean’s Thirteen: Shaking Sinatra’s Hand

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Near the beginning of Ocean’s Thirteen, Willie Banks (Al Pacino) muscles Reuben Tishkoff out of his share of a casino, offering Reuben a pittance for his half. Reuben responds:

Everybody said that you would try to screw me. That you done it to every one of your partners. But I defended you. I said, “No! Me and Willy Bank been around long enough… that we both shook Sinatra’s hand. And there’s a code among guys that shook Sinatra’s hand.”

Thirteen is about loyalty. It is about the rest of the “eleven” being loyal to Reuben, and a general “honor among thieves.” Sinatra was known as a celebrity who did not look down on people and genuinely cared about them. He wasn’t like Terry Benedict or Willie Bank, merely using people to get ahead. A couple of quotes on Wikipedia, from an interview in 1963 he did with Playboy, stand out:

I’m for decency — period. I’m for anything and everything that bodes love and consideration for my fellow man.

If you don’t know the guy on the other side of the world, love him anyway because he’s just like you. He has the same dreams, the same hopes and fears. It’s one world, pal. We’re all neighbors.

Sinatra was jaded toward organized religion, but he seems to have a good grasp on how Jesus taught us to treat our fellow human beings. The rumors about his relationship with organized crime persist, by I have the impression if he was your friend, he would be the most loyal friend you could have. People like Bank and Benedict never understand that type of loyalty; they’re, well… Benedict Arnolds.

The phrase “shaking Sinatra’s hand” could also be applied to the movie as a whole. It is the only one of the trilogy which even mentions Frank Sinatra, even though he was the preeminent star of the movie which inspired it. And it is the only movie of the three which includes one of his songs.

Most of the songs Sinatra is famous for are fluff. “This Town” is no exception. As I researched it for this review, I came across the lyrics for a song, also titled “This Town,” by Niall Horan, from the band One Direction. I was amazed how the first verse fit in with the movie.

Waking up to kiss you and nobody’s there
The smell of your perfume still stuck in the air
It’s hard
Yesterday I thought I saw your shadow running round
It’s funny how things never change in this old town
So far from the stars

The first two lines of the song remind us the leading ladies from the last two films are not around. We are told, “It’s not their fight.” Tess and Isabel aren’t really part of the eleven, and are not close enough to Reuben that loyalty would demand they take part. They understand, but neither have liked their partners being involved in criminal activity.

The end of the first verse, however, is just the opposite of the movie. The movie is filled with stars, and a recurring theme is how Vegas has changed—since Sinatra passed on, anyway. Change can either be good or bad.

The first time we run into the word “change” in the movie is when Rusty and Danny get off a private plane. Linus, who is picking them up, asks, “Any change?” He is asking about Rueben’s condition. Reuben has had a heart attack after being cheated by Bank. He has given up hope.

In a flashback, Bank tells Reuben, “The arrangement is changing. Was changed. As a matter of fact, there is no arrangement.” When he is given a casino chip with the words “The Bank Casino” on it, Reuben laments, “You changed the name.”

Bank wanted to effect a change that would devastate Reuben. His friends wanted to affect him in a way that would bring a positive change. Their constant encouragement—especially from their letters—brings him back. Reuben’s health and attitude following adversity changes for the better. His financial situation will also change for the better at the end of the movie.

In a sequence with reminiscences about how kind Reuben was to them, Rusty and Danny remember what Vegas used to be like. Not all change is good. Bigger is not always better.

Rusty: The Sands was there, Desert Inn.
Danny: They built them a lot smaller back then.
Rusty: They seemed pretty big.
Danny: Town’s changed.

At the end of the movie, as Danny talks to Bank about what a rough night the casino owner had (“half a billion running out the door”), Bank retorts that he will quickly bounce back; Danny hasn’t really hurt him. “This town might’ve changed, but not me.”

Bank thinks his unchanging ruthlessness will save him. What he doesn’t realize is the way he treats people has earned him enemies, and Danny’s loyalty has earned him friends. As Danny tells him, “…you shook Sinatra’s hand. You should know better, Willie.”

In the other two movies, after the “bad guy” is taken down, the guy gets the girl. In this movie, the bad guy is left with the girl, and her fate is probably not good. The role of women in the Ocean’s movies is, at best, problematic. Tess and Isabel end up partners with criminals, although Danny and Rusty are at least loyal criminals. Not the worst choice the ladies could have made, but not exactly a wise choice, either.

Abigail Sponder (Ellen Barkin) not only works for the worst of the bad, but she allows herself to be manipulated into unknowingly betraying him. She is a specimen of two of the worst stenotypes of women: both the heartless bitch and the oversexed slut. As the only major female character in the film, this is a travesty.

This weekend, Ocean’s 8 opens with the title roles all being portrayed by women. Will this movie redeem the legacy from its sexist past? We shall see.

Ocean’s Twelve: The Greatest Don’t Always Win

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In Ocean’s Eleven, Danny Ocean gets back the wife who had left him. (For a list of actors playing “the eleven,” see my previous review, Ocean’s Eleven: Danny’s Perfect Hand.) In Ocean’s Twelve, it’s Rusty Ryan’s turn to get back the girl.

At the beginning of the movie, Rusty is seen with Isabel Lahiri, who we find out later is the Senior Agent for Europol’s Organized Crime Unit. She is telling him about the evidence they have been collecting related to the Bulgari Heist—evidence which he knows would implicate him. In a preemptive move, he pretends to take a shower and escapes out the window.

Back in America, Danny and Jess are living under the aliases of Mr. and Mrs. Miguel Diaz. They are about to celebrate their “second third anniversary,” so we know they are remarried and it’s been over three years since he got out of jail.

Danny is in the city casing a bank and a jewelry store. He had talked to his wife about “easing back into society,” but he can’t keep from coming up with new schemes. Back home, Tess is having the house redecorated. Her banter with the housepainter about color (“That’s too oxblood…”) is a reference to her role in the 2003 movie, Mona Lisa Smile—one of the many inside jokes in the film. While she is talking to Danny on the phone, Terry Benedict and his two goons show up, and she warns him, trying to remember the line they have obviously rehearsed: “There is water in the basement, and the pilot light is out.”

Fortunately, Terry and his thugs are not there to harm her, but (unfortunately) to convey an ultimatum: Danny and his crew have two weeks to pay back all the money they stole from him, with interest, or they would be dead. Tess tells him he will never find the eleven.

But Benedict already knows where they are.

Terry catches up with Turk and his brother at an engagement dinner for Virgil. The bride will have to wait. Casey Affleck was just engaged to his long-time girlfriend, Summer Phoenix, a couple months before shooting began for the film.

The next scene shows Yen in a luxury apartment with his supermodel girlfriend. They are arguing over her photographer and money. Mixed in with scenes about the Eleven getting found by Terry Benedict, this scene seems out of place since there is no mention of the ultimatum. It does explain what Yen has been spending his money on, though.

Benedict intrudes upon Frank in a beauty salon. This is a reference to Bernie Mac’s obsession with looking flawless. In a 2003 interview with Time magazine, when asked if he were a “metrosexual,” Bernie told Rebecca Winters, “I get facials. I get a manicure and pedicure every week. I get my hair cut, and I oil myself down from head to toe.”

Basher is in the midst of a recording session when he is confronted by Benedict. The scene has Basher talking to an engineer about having to re-record songs in order play them on the radio. A noise in the studio bleeps out the foul language they are using. This scene could be a response to the M rating the Australian Classification Board gave Ocean’s Eleven.  (The M rating is advisory only, indicating the movie is appropriate for teens 15 and over. The U.S. MPAA rating was PG-13.)

Linus Caldwell is shown in a car with Benedict. He asks Terry not to mention this incident to his father. This adds another tidbit to who Bobby Caldwell might be.

Saul Bloom finds out he has been made when his credit card is rejected, and the waiter tells him Saul’s “business manager,” Terry Benedict, says he would understand.

Livingston Dell is working as a stand-up comic when he finds out he has been discovered. (And not by a talent scout.)

Reuben is getting his palm read when Benedict’s goons drop in. This, of course, leads to his line, “This? You couldn’t see this?” Elliott Gould was a known client of the famous fortune teller, Marie Castello.

In the next scene Rusty meets up with Topher Grace, one of the stars he was teaching to play poker in the previous movie. Topher says a girl is driving him crazy, and he left the show—an obvious reference to the relationship of Eric and Donna in That 70’s Show. There is also a reference to his appearance in the Dennis Quaid movie, In Good Company.  While with Topher, Rusty gets a call from Benedict, who tells him, “I’ve been asked to show restraint. Otherwise, you would’ve gone out to your favorite car of all that you own, and as soon as you turned on the ignition…” At this point, his 1963 Thunderbird blows up.

So, why doesn’t he just off them then and there? It seems Terry Benedict is not the only one who has been looking for Ocean’s Eleven.

Benedict has been looking to find the Eleven in order to exact revenge. But these is another looking for them out of arrogance and envy. The Night Fox, who we find out is Baron François Toulour, is the protégé of Gaspar LeMarc, famous for stealing the Fabergé Coronation Egg. After the Benedict Heist, LeMarc admires Ocean’s Eleven, which insults Toulour’s pride. LeMarc tells him it is impossible to know if either Danny or the Night Fox is the “greatest thief in the world,” so they devise a plan to force Danny’s attention, and get him to agree to a contest to find out who is the greatest.

Cons are best executed on the arrogant. That is why the Ocean’s Eleven plan worked so well against the prideful Terry Benedict. And that is why Danny will win this “game.” As with Ocean’s Eleven, the audience is also being conned. As with any good mystery story, the viewer is being misdirected. A couple years ago, a blogger named Andrew from New Zealand wrote about why he thought Ocean’s Twelve was “genius.” He showed how the movie was all about being conned.

  • The Night Fox is conning Ocean’s Eleven (so he thinks) with an un-winnable challenge.
  • Ocean’s Eleven are conning the Night Fox so he will pay off Benedict, having already won his challenge.
  • Le Marc is conning the Night Fox (we find out later).
  • Le Marc is (openly) conning Ocean’s Eleven to get the egg and his daughter from them all for nothing.
  • Ocean’s Eleven are conning Isabel to make their con of the Night Fox more believable.
  • Isabel is conning the Italian police out of their resources, like father like daughter.
  • Isabel is conning Nagel into betraying Rusty.
  • The Night Fox is conning Benedict into shepherding Ocean’s Eleven right to his doorstep.
  • Le Marc is conning Isabel by playing dead and hiding the fact that he is her father.
  • Linus’ Mom is conning Isabel out of her prisoners.
  • Danny is conning Tess into experiencing the world of the con artist, so she can see why he doesn’t want to retire.
  • Rusty is conning Isabel to win her back.
  • Rusty is conning Ocean’s Eleven by hiding Isabel from them.
  • The Night Fox is conning Matsui into hiring Ocean’s Eleven for a job that puts them right where he wants them.
  • Either the Night Fox or Le Marc or both are conning van de Woude out of his stock certificate.

and perhaps the most entertaining running joke of all,

  • Ocean’s gang are all conning the amateur Linus about feeling important!!

Andrew goes on to analyze the film’s intricate details, showing this is not just a “popcorn movie.” What is amazing to me, however, is despite the intricacies of the movie, it also can be enjoyed as a “popcorn movie.” It may have the traits of a great detective novel, but it is also just plain fun to watch. Pulling off both puts it a notch higher for me.

There are, however, a couple holes which the details don’t seem to explain: Why did Saul go to Amsterdam? He had bowed out of the plan, and he wasn’t needed to get Tess there. And there is also the question of why Benedict doesn’t just go after them after he gets his money. Is it the whole “honor among thieves” thing? Benedict doesn’t seem to be the type of guy who has any scruples at all—even the scruples of thieves.

When you live the life of a con, you never know when someone is going to turn on you. You may get the girl back, as Rusty does, but you are never truly free. Even if the government authorities don’t get you, your associates just might turn on you.

The world is trying to con us. People everywhere are trying to manipulate us into playing their game so they can prove they’re the greatest. The truth isn’t easy to find.

How can we know when we’re being conned? Sometimes we will just be wrong. But when it comes to the things that really matter, Jesus had some words of encouragement – if we will be honest with ourselves, and put away our arrogance.

To the Jews who had believed him, Jesus said, “If you hold to my teaching, you are really my disciples. Then you will know the truth, and the truth will set you free.” [John 8:31-32]

Jesus was not a con man. If you want to know the truth about the things that really matter, follow Jesus and His teachings. In the context of John 8, there were those who could not understand because they were arrogant. We must set aside out preconceived ideas and listen with open minds. That’s when the truth will set us free. Free indeed.

Ocean’s Eleven: Danny’s Perfect Hand

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George Clooney is ubiquitous. Last week we all saw him at Prince Harry and Megan’s wedding. He looked as much a part of a fairy tale as the wedding itself – suave and handsome, with his young wife on his arm. The Daily Express ran a story that same day with the opening line: “GEORGE Clooney and his stunning wife Amal stole the show at the Royal Wedding in Windsor today.” George seems to have it all. But at the beginning of Ocean’s Eleven, his character, Danny Ocean, has lost it all. His wife had left him before he was sent to prison. And he describes how the distraction of that loss led to him being caught in his latest illegal caper.

The parole board gives him his freedom, but freedom isn’t enough. He wants to get his wife back, and he has devised a plan to do that – and make a bit of cash in the process. Danny finds out his old partner in crime, Rusty Ryan (Brad Pitt) is teaching movie stars* how to play poker. He decides to sit in on a game, and takes them for a bundle when Rusty thinks he is bluffing. Afterward Danny tells Rusty about the proposed heist, and Rusty asks why he wants to do it. Ocean responds:

Because the house always wins. You play long enough and never change the stakes, the house takes ya. Unless, when that perfect hand comes along, you bet big. And then you take the house.

Danny believes the plan he has devised is the perfect hand. The scheme is a complicated one, and will require some help. Of course. How else could you have a heist movie called “Ocean’s Eleven”? Besides Danny and Rusty, here are the other nine, and their roles in the caper.

  1. Frank Catten (Bernie Mac) – Frank is a blackjack dealer in New Jersey at the beginning of the movie. Ocean’s old associate, he tells him how to find Rusty. He has been using an alias (Ramón) so he can work in casinos. In order to participate in the heist as an insider, he requests a transfer to a “warmer, drier climate” due to “allergies.”
  2. Saul Bloom (Carl Reiner) – Saul has been out of prison for a year, and says he is now a “changed man,” wanting no part of the deal. However, when he finds out the amount of money involved, he’s in. Saul poses as Lyman Zerga, an arms dealer from Europe. He asks casino owner Terry Benedict (Andy Garcia) to secure his briefcase in the vault. The briefcase contains large fake jewels which have been filled with explosives. The purpose is not only to get the explosives into the vault, but to provide an opportunity to get into the security room. Saul will fake his death† in order to distract the security team so the team can change the video feed without the guards detecting it.
  3. Reuben Tishoff (Elliot Gould) – He tells Danny no one has ever successfully robbed a Las Vegas Casino.‡ He wants no part in it until he learns the casinos belong to Terry Benedict, who had muscled Reuben out of a share in a casino that Benedict is now tearing down. (Danny can be seen reading an article about this near the beginning of the movie.)
  4. Livingston Dell (Eddie Jemison) – With a name like Dell, Livingston has to be the electronics guy. He is rather a klutz, which makes for some melodramatic moments. His responsibilities include tapping into the security system. He has to draw a map of the secure area of the casino on his hand to find his way, and almost gets lost when the map becomes smeared from wiping the sweat off his brow.
  5. Yen (Qin Shaobo) – This short Chinese acrobat is recruited as the “Grease man.” He will hide inside a cash cart in order to get inside the vault.

8. & 9. Virgil and Turk Malloy (Casey Affleck and Scott Caan) – These brothers are the getaway drivers, and also deliver the cart – where Yen is hidden – to the security doors, pretending to have forgotten their access card. Security takes the cart the rest of the way so they won’t make a scene or alert Benedict that there is a problem.

  1. Basher Tarr (Don Cheadle) – Basher is the munitions expert. His job is to take out the electrical power to the town. After wading through the sewers he finds out what he had planned had already been thwarted by changes being made to the grid. Covered in sewage, he tells his comrades (of course) “We’re in deep s**t!” However, he is able to come up with an alternate plan using a “pinch”—a device which delivers an electronic pulse which will put out the power for about thirty seconds.
  2. Linus Caldwell (Matt Damon) – Linus is recruited by Danny in Chicago, where Linus makes a “living” pick-pocketing. His father is a legendary con artist, Bobby Caldwell, a friend of Danny. When part of the crew goes to steal the “pinch,” he is left in the van with the brothers, who are acting like… brothers. Linus is annoyed with their banter, so he leaves the vehicle and is nearly caught. This results in Yen’s hand being slammed in the rear door, further jeopardizing the plan. Linus also poses as a Nevada Gaming Commission officer, exposing “Ramón” as an ex-con. This is a distraction while the heist is going down.

All the pieces of an intricate puzzle are now in place. Everyone must play their part, and, if all goes as planned, the eleven will walk away with equal shares of $160 million. But money is not the prime motivator for Danny. He is willing to be exposed in order to get the girl. There is no other way. But in exposing himself, he also plans to expose Terry Benedict for who he is, and, at the very least, show Tess (Julia Roberts) she needs to leave Terry.

It works. Tess finds out money is more important to Terry than she is. In the end, all Danny gives up is a few bruises from a staged fight and “three to six months” in jail for violating his parole. It could have been worse. The house could have been holding cards which could beat his two pair and an Ace, but Danny played the hand anyway, putting everything on the line. And he won big. Or will Benedict catch up to him? At the end of the movie we see Terry’s thugs tailing Danny, Rusty and Tess… but we have to wait for Ocean’s 12 to find out what happens.

Stephen Solderberg, who directed this picture, is known for films of a more serious nature, including the Julia Roberts movie, Erin Brockovich. I like the way Roger Ebert described the switch in his review.

Serious pianists sometimes pound out a little honky-tonk, just for fun. That’s like what Steven Soderbergh is doing in “Ocean’s Eleven.” This is a standard genre picture, a remake of the 1960 Frank Sinatra caper, and Soderbergh, who usually aims higher, does it as a sort of lark. It’s slick, all right: directors this good don’t usually handle material this routine. It has yearnings above its natural level, as if hoping to redeem itself and metamorphose into a really good movie.

Sometimes bit of “honky-tonk” is what you need. Sometimes we need to leave our seriousness and just have a bit of fun. In that spirit, I will leave off trying to end this review with some quasi-preachy ending. Take from the movie what you will. Just don’t forget to have fun. (Is that too preachy?)

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*The “movie stars” are well known television personalities from the 1990s: Holly Marie Combs (Piper from Charmed), Topher Grace (Eric from That ‘70s Show), Joshua Jackson (Pacey from Dawson’s Creek), Barry Watson (Matt from 7th Heaven), and Shane West (Eli from Once and Again).

†Saul’s “death” is reminiscent of Tony’s death in the 1960 version of Ocean’s 11. In earlier scenes, he is shown to be suffering from stomach ulcers, and almost faints in the hotel just before he leaves to meet Benedict the last time. This makes the “death” scene all the more poignant for the audience, since it has not been let in on the details.

‡Actually, Vegas casinos have been robbed numerous times. For some of the most notorious, see The ten most daring casino heists in history.

War Machine – What Makes a Successful Satire?

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Image result for war machine movie

War Machine is the newest Netflix original film from director David Michod, starring Brad Pitt, Topher Grace, Emory Cohen, John Magaro, and Scoot McNairy. David Michod is best known for directing Animal Kingdom, a 2010 crime story from Australia with a hit cast including Joel Edgerton, Guy Pearce, and Ben Mendelsohn.

Going into this movie, I knew that it was a satirical take on a nonfiction book about an army general but nothing about the true events surrounding this story. I’m generally intrigued by most true stories no matter how ‘off the beaten path’ they may be. Knowing that they actually happened, films based on true stories always hit me harder than others and I usually feel that I learned something in the process.

After watching War Machine, I wanted to do some research on the book it was based from in order to get more background context. Entitled “The Operators – The Wild and Terrifying Inside Story of America’s War in Afghanistan”, the book is written by Michael Hastings, a journalist at Rolling Stone who accompanied General Stanley McChrystal (the real life General that the film is based upon) to assist in gathering help with their war efforts. Michael Hastings was present when the team openly bashed the Obama administration and produced a piece about his time with General McChrystal, ultimately leading to McChrystal’s firing.

The first thing that stood out to me within the film was Brad Pitt. (No, not like that!) Pitt plays the role of General Glen McMahon, the character based on the real life General Stanley McChrystal. Throughout the film, Pitt has a large focus on physical acting in the way he walks, talks, runs, uses his hands, and moves his face. Initially, I appreciated the way he was playing this role. I typically have a lot of respect for the way he dives into his characters but it didn’t take long for me to think that it was very overdone.  Still, I suppose, this is where the satirical aspect of the film kicks in.

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The other obviously satirical character was President Karzai, played by Ben Kingsley, who was portrayed as a complete joke. Both General McMahon and President Karzai are downright caricatures – obvious exaggerations of who the real life inspirations would have been.

Besides McMahon and Karzai, all other characters seem completely normal and serious. I think this is where my confusion with this film began. I didn’t know where they were taking the film, nor what tone they were expecting the audience to take from it. There was a very blurry line between being a serious war film and a satire.

One interesting element is that they seem to be intentionally making (then) President Barack Obama look bad. The scene in front of the airplane made it seem like Obama only wanted a photo op with General McMahon and no actual face time as originally anticipated. I found this to be an interesting way to approach the addition of President Obama into the film. As mentioned above, the bashing of the Obama administration by McMahon and his team led to McMahon’s firing. They could have put Obama in a more positive light, but perhaps they wanted us to see the Obama that General McMahon saw in order to build that story line.

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In my opinion, the best part of this movie was RJ Cyler, who played Andy Moon. He was in most of my favourite scenes. I was immediately interested in him when he spoke up during General McMahon’s address to his new troops:

“…it seems to me that we’re all here with our guns and (expletive) trying to convince these people that deep down we’re actually really nice guys. And I don’t know how to do that, Sir, when every second one of them, or every third one of them, or every tenth one of them is trying to (expletive) kill me, Sir. Cause I’m a marine. Cause we’re marines. And it seems like now they’re handing out medals for heroically not being a marine, Sir. I’m confused, is what I’m trying to say, Sir.”

This scene was fantastic. I’m definitely looking forward to what RJ Cyler will do in the future.

This particular scene really got me thinking about the war efforts in Afghanistan. Certainly, the main focus of the war was to remove the Taliban from power in the wake of the devastating 9/11 attacks. During this scene, another marine was discussing what exactly they were doing there. He says “to protect the people from the enemy”. How interesting and simultaneously heartbreaking to think about how difficult and tragic this must have been. The marines had to determine who was a civilian and who was an enemy, not knowing whether someone may try to kill them or if they were innocent bystanders. On the flip side, think about strange troops invading your town and shooting at your family. To those locals, the troops are the enemy. I feel so contradictory about it all. I’m sure we all remember hearing about the war in Afghanistan on the news but were barely shaken by hearing about it because it didn’t directly affect us. This is almost a tragedy in and of itself.

Moving back to the cast, John Magaro and Topher Grace played the secondary roles of Cory Staggart and Matt Little respectively.  I really enjoyed their additions to the film and would have loved to see them in a few more scenes.

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An unexpected but welcomed addition to the cast was Tilda Swinton, who played a brief role as a German politician who burns General McMahon during a presentation where he is speaking. She did a phenomenal job with her accent and monologues, as you would expect from the always intriguing Ms. Swinton.

Cameron from Ferris Bueller shows up too! I’ll pay the guy enough respect to call him by his real name, Alan Ruck. Who, by the way, has three new projects in the works in the next year and a half!

One more random and very brief appearance is made in the last scene of the movie by none other than Russell Crowe. He plays Bob White, who replaces General McMahon after he gets fired. Interestingly, Russell Crowe is not credited. And his appearance seems to open the door for a possible second installment.

Soundtracks are a fascinating element to film and they can either make it or break it. The War Machine soundtrack was all over the place. Anything from hip hop to classical. Standard background score to Lady Gaga. This could be attributed to the satirical nature of the film, so it’s difficult for me to fault it but I spent a lot of time during the movie wondering what path they were going on with the music.

As a whole, I think this movie missed the mark. I must admit, my exposure to satirical film is not vast, and that could be a large reason why it wasn’t my favourite. Personally, I thought it was disjointed and confusing. I have spoken to some fans of satire that share my feelings on this film. However, some fans online are comparing this film to one of the great satires, “Dr. Strangelove” by Stanley Kubrick.

So this begs the question: What makes a successful satire? Are satires best when they’re more obvious or subtle? I have always assumed satires were more like comedies, and were just poking fun. Although this is sometimes the case, it’s interesting to see how subtle some satire can be, as I have undoubtedly learned from watching War Machine.

My bottom line – I recommend watching this movie if you have a deep appreciation for satire, as you will likely grasp this movie far better than I.  If you aren’t as much of a satire fan, I would pass on it.

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tiff16: VOYAGE OF TIME: LIFE’S JOURNEY

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Terrence Malick is an acquired taste.

The mysterious director has built a prolific career, to be sure, but his style of filmmaking can be polarizing, with it’s emphasis on visual narratives and fractured style.  Some have written him off as self-indulgent while others have looked upon him as a prophetic and profound.

Personally, I fall somewhere in the middle.  While some of his films have left me awestruck (TREE OF LIFE), I have found others to be less focused and, ultimately, missed opportunities (TO THE WONDER).

Thankfully, VOYAGE OF TIME: LIFE’S JOURNEY lands in the former category.

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There is little to tell in terms of a ‘story’, per se.  But that’s not really how Malick works anyways.  Essentially chronicling the creation of the Earth, VOYAGE OF TIME wants you to experience its narrative, rather than explain it.  By revealing the evolution of the planet with blistering colour and elegant music, Malick wants us to witness the terrifying beauty of nature in all its glory.  A burst of colour explodes into the darkened sky.  Volcanoes erupt to form land.  Lightning strikes the earth and life begins in the seas.  Through this style of storytelling, the result is both violent and graceful as we bear witness to Malick’s depiction of the evolutionary process.

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Narrated by Cate Blanchett*, Malick also poses some fascinating spiritual questions by asking “Where did I come from?” and even, “Do you love me?”  While there will be some who object to the fact that Malick takes an evolutionary approach in his film, they would be missing out on his larger argument that all creation has purpose.  By the end of the film, as Blanchett claims that “we are bound with You in love”, Malick has deftly demonstrated that the beauty and violence associated with nature is in fact evidence of a Divine interaction with humanity.  Yes, we are broken but there is something larger going on around us.  In this way, Malick plays the role of psalmist, speaking truth and life into visual wonder.

Without question, there will be many who dismiss this film for its very slow pacing and accuse it of over-indulgence.

Still, I found this to be one VOYAGE that was worth the trip.

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*(A shorter version of the film, entitled VOYAGE OF TIME: THE IMAX EXPERIENCE will be released exclusively in IMAX with Brad Pitt’s narration instead.)