All posts by Dennis Hartley

The fierce urgency of now: 10 films for MLK Day

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 19, 2019)

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In honor of Martin Luther King Day, I’ve combed my review archives and curated 10 films that reflect on race relations in America; some that look back at where we’ve been, some that give us a reality check on where we’re at now and maybe even one or two that offer hope for the future. We still may not have quite reached that “promised land” of colorblind equality, but each of us doing whatever we can in our own small way to help keep Dr. King’s legacy alive will surely help light the way-especially in these dark times.

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Black KkKlansman (2018)So what do you get if you cross Cyrano de Bergerac with Blazing Saddles? You might get Spike Lee’s Black KkKlansman. That is not to say that Lee’s film is a knee-slapping comedy; far from it. Lee takes the true story of Ron Stallworth (John David Washington), an African-American undercover cop who managed to infiltrate the KKK in Colorado in the early 70s and runs with it, in his inimitable fashion.

I think this is Lee’s most affecting and hard-hitting film since Do the Right Thing (1989). The screenplay (adapted by Charlie Wachtel, David Rabinowitz, Kevin Willmott and Lee from Stallworth’s eponymous memoir) is equal parts biopic, docudrama, police procedural and social commentary, finding a nice balance of drama, humor and suspense. (Full review)

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The Black Power Mixtape (2011)–The Black Power movement of the mid-60s to mid-70s has historically been somewhat misrepresented, due to an emphasis on its more sensationalist elements. The time is ripe to re-examine the movement, which despite its failures and flaws, still emerges as one of the last truly progressive grass roots political awakenings that we’ve had in this country (if you’re expecting bandolier-wearing, pistol-waving interviewees spouting fiery Marxist-tinged rhetoric-dispense with that hoary stereotype now).

Director Goran Olsson was given access to a treasure trove of pristine, unedited 16mm footage from the era. The footage, recently discovered tucked away in the basement of Swedish Television, represents nearly a decade of candid interviews with key movement leaders, as well as meticulous documentation of Black Panther Party activities and African-American inner city life. Olsson presents the clips in a historically chronological timeline, with minimal present-day commentary. While not perfect, it is an important historical document, and one of the more eye-opening films I have seen on this subject. (Full review)

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The Boys of Baraka (2005) – Co-directors Heidi Ewing and Rachel Grady have fashioned a fresh and inspiring take on a well-worn cause celebre: the sad, shameful state of America’s inner-city school system. Eschewing the usual hand-wringing about the underfunded, over-crowded, glorified daycare centers that many of these institutions have become for poor, disenfranchised urban youth, the filmmakers chose to showcase one program that strove to make a real difference.

The story follows a group of 12-year-old boys from Baltimore who attended a boarding school in Kenya, staffed by American teachers and social workers. In addition to more personalized tutoring, there was emphasis on conflict resolution through communication, tempered by a “tough love” approach. The events that unfold from this bold social experiment (filmed over a three year period) are alternately inspiring and heartbreaking. (Full review)

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The Force (2017) – Peter Nicks’ documentary examines the rocky relationship between Oakland’s police department and its communities of color. The force has been under federal oversight since 2002, due to myriad misconduct cases. Nicks utilizes the same cinema verite techniques that made his film The Waiting Room so compelling. It’s like a real-life Joseph Wambaugh novel (The Choirboys comes to mind). The film offers no easy answers-but delivers an intimate, insightful glimpse at both sides. (Full review)

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The Girls in the Band (2011)– Contextual to a curiously overlooked component within the annals of American jazz music, it’s tempting to extrapolate on Dr. King’s dream. Wouldn’t it be great to live in a nation where one is not only primarily judged by content of character, but can also be judged on the merits of creativity, or the pure aesthetics of artistic expression, as opposed to being judged solely by the color of one’s skin…or perhaps gender? At the end of the day, what is a “black”, or a “female” jazz musician? Why is it that a Dave Brubeck is never referred to as a “white” or “male” jazz musician?

In her film, director Judy Chaikin chronicles the largely unsung contributions that female jazz musicians (a large portion of them African-American) have made (and continue to make) to this highly influential American art form. Utilizing rare archival footage and interviews with veteran and contemporary players, Chaikin has assembled an absorbing, poignant, and celebratory piece. (Full review)

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I Am Not Your Negro (2016)– The late writer and social observer James Baldwin once said that “Whatever white people do not know about Negroes reveals, precisely and inexorably, what they do not know about themselves.” Sadly, thanks to the emboldening of certain elements within American society that have been drawn from the shadows by the openly racist rhetoric spouting from our nation’s current leader, truer words have never been spoken. Indeed, anyone who watches Raoul Peck’s documentary will recognize not only the beauty of Baldwin’s prose, but the prescience of such observations.

Both are on full display throughout Peck’s timely treatise on race relations in America, in which he mixes archival news footage, movie clips, and excerpts from Baldwin’s TV appearances with narration by an uncharacteristically subdued Samuel L. Jackson, reading excerpts from Baldwin’s unfinished book, Remember This House. An excellent and enlightening film. (Full review)

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In the Heat of the Night (1967)– “They call me Mister Tibbs!” In this classic (which won 1967’s Best Picture Oscar) Sidney Poitier plays a cosmopolitan police detective from Philly who gets waylaid in a torpid Mississippi backwater, where he is reluctantly recruited into helping the bigoted sheriff (Rod Steiger) solve a local murder. Poitier nails his performance; you can feel Virgil Tibb’s pain as he tries to maintain his professional cool amidst a brace of surly rednecks, who throw up roadblocks at every turn.

While Steiger is outstanding as well, I find it ironic that he was the one who won “Best Actor in a leading role”, when Poitier was the star of the film (it seems Hollywood didn’t get the film’s message). Sterling Silliphant’s brilliant screenplay (another Oscar) works as a crime thriller and a “fish out of water” story. Director Norman Jewison was nominated but didn’t score a win. Future director Hal Ashby won for Best Editing. Quincy Jones composed the soundtrack, and Ray Charles sings the sultry theme. (Full review)

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The Landlord (1970)– The late great Hal Ashby only directed a relative handful of films, but most, especially his 70’s output, were built to last (Harold and Maude, The Last Detail, Bound for Glory, Shampoo, Being There). In The Landlord, Beau Bridges is a spoiled rich kid who worries his parents with his “liberal views”, especially when he buys a run-down inner-city tenement, with intentions to renovate. His subsequent involvement with the various black tenants is played sometimes for laughs, other times for intense drama, but always for real. The social satire and observations about race relations are dead-on, but never preachy or condescending.

Top-notch ensemble work, featuring a young Lou Gossett (with hair!) giving a memorable turn. The lovely Susan Anspach is hilarious as Bridge’s perpetually stoned and bemused sister. A scene featuring Pearl Bailey and Lee Grant getting drunk and bonding over a bottle of “sparkling” wine is a minor classic all on its own. They don’t make ‘em like this anymore-honest, bold, uncompromising, socially and politically meaningful, yet (lest we forget) entertaining. (Full review)

Let the Fire Burn (2013)– While obscured in public memory by the (relatively) more “recent” 1993 Branch Davidian siege in Waco, the eerily similar demise of the Philadelphia-based MOVE organization 8 years earlier was no less tragic on a human level, nor any less disconcerting in its ominous sociopolitical implications.

In this compelling documentary, director Jason Osder has parsed a trove of archival “live-at-the-scene” TV reports, deposition videos, law enforcement surveillance footage, and other sundry “found” footage (much of it previously unseen by the general public) and created a tight narrative that plays like an edge-of-your-seat political thriller.         

Let the Fire Burn is not only an essential document of an American tragedy, but a cautionary tale and vital reminder of how far we have yet to go to completely purge the vestiges of institutional racism in this country. (Full review)

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The Trials of Muhammad Ali (2013)– There have been a number of films documenting and dramatizing the extraordinary life of Muhammad Ali, but they all share a curious anomaly. Most have tended to gloss over Ali’s politically volatile “exile years” (1967-1970), during which the American sports icon was officially stripped of his heavyweight crown and essentially “banned” from professional boxing after his very public refusal to be inducted into the Army on the grounds of conscientious objection to the Vietnam War.

Director Bill Siegel (The Weather Underground) fills in those blanks in his documentary. As you watch the film, you begin to understand how Ali the sports icon transmogrified into an influential sociopolitical figure, even if he didn’t set out to become the latter. It was more an accident of history; Ali’s affiliation with the Nation of Islam and stance against the Vietnam War put him at the confluence of both the burgeoning Black Power and anti-war movements. How it all transpired makes an absorbing watch. (Full review)

Making ends meet: A top 10 mixtape

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 12, 2019)

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As we enter the 3rd week of the “partial” government shutdown, we’re hearing more and more stories of how it’s affecting thousands of federal employees and contractors who are either on forced furloughs, or who are being asked to continue working…without pay. 

This has not only thrown a spotlight on how many of the folks who help keep the country running smoothly are barely scraping by as it is, but it has opened a broader dialogue on how many Americans are living paycheck-to-paycheck, period. The stats are not too rosy:

[from US News & World Report]

In fact, living paycheck to paycheck – meaning there’s not a cash cushion to cover the bills if the income stops for a while – is a common condition in America. In the 12th richest nation in the world by per capita GDP, nearly 8 in 10 U.S. workers live paycheck to paycheck, according to a 2017 study  by CareerBuilder, a human capital management firm. And the trend crosses over income groups: more than half of minimum wage workers said they needed to hold down two jobs to make ends meet, while one in 10 workers earning $100,000 or more yearly say they live paycheck to paycheck.

And if there’s an emergency? A large number of Americans don’t have an accessible stash of money to cover a substantial health care expense or car repair, studies show. The Federal Reserve Board in 2017 found that 44 percent of American households surveyed could not cover a $400 emergency expense.

Oy vay.

With that cheery thought in mind (and in consideration of the adage “misery loves company”) I’ve curated a playlist of songs that appropriately…commiserate. Erm, enjoy?

 (In alphabetical order…)

“Blue Collar” – Bachman-Turner Overdrive

“Five O’clock World” – The Vogues

“Hole to Hide In” – Foghat

“Manic Monday” – The Bangles

“9 to 5” – Dolly Parton

 “Pieces of a Man” – Gil Scott-Heron

“She Works Hard for the Money” – Donna Summer

“Wichita Lineman” – Glen Campbell

“Working Class Hero” – John Lennon 

“Work to Do” – The Isley Brothers 

Arriba, abajo: Roma (***)

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By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 5, 2019)

Alfonso Cuaron’s Roma (currently available on Netflix) is one of those contemporary arthouse flicks that has “A Compendium of Classic World Cinema” tattooed on its forehead (either that, or “I’ve Seen Too Many Goddamned Movies” is tattooed on mine).

For example, take the title, which recalls Fellini’s Roma (1972), his semi-autobiographical love letter to the city he lived in for years. Cuaron’s film is his semi-autobiographical love letter to the city he lived in for years; although in this case it refers not to Rome, Italy but to the eponymous neighborhood of Mexico City where he grew up.

The story centers on a young woman named Cleo (Yalitza Aparicio) who is employed as a maid for an upper middle-class family living in politically turbulent Mexico City during the early 1970s. There is another maid in the household named Adela (Nancy Garcia), but Cleo looks to be the de facto nanny, showing a close and loving bond with the 4 children.

The father (Fernando Grediaga) is a physician, who travels frequently due to his work. Or so it seems; when he takes an extended trip to Quebec on “business”, the worst fears of his wife Sofia (Marina de Tavira) are confirmed when she learns he’s decided to play house for keeps with his mistress (World Cinema Rule #142…there’s always a mistress).

As Sofia struggles with how she is going to gently break the news to her kids that daddy has split town on them because he is a cheating bastard, the family dynamic is further complicated when Cleo finds herself struggling with how she’s going to gently break the news to her employer that she is with child by her short-term boyfriend Fermin (Jorge Antonio Guerrero) who splits town on her faster than you can say “I think I’m pregnant.”

If the narrative is beginning to sound not dissimilar to a tawdry telenovela, you are very perceptive. Cuaron’s cliché-ridden script is not the film’s strongest suit. That said, the man knows how to set up a shot, and his eye is keen (Cuaron pulled cinematography duty here as well). In fact, his B&W photography is stunning enough to forgive a flimsy story.

Where Curaon excels here is in giving the viewer an immersive sense of time and place. There are several memorable set-pieces; most notably a scene wherein the children’s grandmother helps a very pregnant Cleo shop for a crib. That everyday mundanity may not make for riveting cinema, but the situation percolating in the street right in front of the store, which suddenly escalates and engulfs the women in a horrifying manner…does.

I’ll admit being a little late to the party on this film, which has popped up on a surprising number of critics’ “10 best” lists for 2018. I say “surprising” because it has had limited theatrical engagements since late November and has only been streaming on Netflix since December 14th (I stumbled across it quite by accident while scrolling through the network’s maddeningly unsearchable programming menu).

It has also been nominated for 3 Golden Globes: Best Foreign Language Film, Best Director, and Best Screenplay (as I have already discussed, I have to raise a Belushi eyebrow regarding that screenplay nom).

While many of my fellow critics have swooned mightily under its apparent spell, for me Roma is, alas, a mixed bag. Aparicio has a quietly charismatic screen presence and gives a fine, naturalistic performance as Cleo; although you wish she’d been given a little more to do with her substantial screen time beyond playing the quietly suffering, archetypal Noble Peasant.

Visually, it’s quite a beautiful film. And there is certainly nothing wrong with emulating and evoking the likes of Fellini, Kalatozov, Bertolucci, Antonioni, and other masters of world cinema. It’s just a bit of a disappointment from Curaon, who has given us some outstanding films like Y Tu Mama Tambien, Children of Men, and Gravity.

If you really must pry: Top 10 films of 2018

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 29, 2018)

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As 2018 closes, it’s time to share my picks for the top 10 feature films out of the 50 or so I reviewed this year. As per usual my list is presented alphabetically, not in ranking order.

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Big Sonia – There is a scene in Leah Warshawski and Todd Soliday’s documentary where you witness something just short of a miracle: a group of junior high students sitting in wide-eyed attentiveness; clearly riveted by a personal story emitting not from a cell phone or a laptop, but rather from a diminutive octogenarian woman. By the end of the talk, many of the students are brought to tears (as is the viewer).

But this is no pity party; in fact, many of them now seem genuinely inspired to go make a difference in the world. Her name is Sonia, and her story is much larger and more impactful than her 4 foot, 8-inch frame might suggest. You think you’ve had problems in your life? Let me put it this way…I’ll be thinking twice before I kvetch about my “issues” from here on in. (Full review)

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Black KkKlansman – So what do you get if you cross Cyrano de Bergerac with Blazing Saddles? You might get Spike Lee’s Black KkKlansman. That is not to say that Lee’s film is a knee-slapping comedy; far from it. Lee takes the true story of Ron Stallworth (John David Washington), an African-American undercover cop who managed to infiltrate the KKK in Colorado in the early 70s and runs with it, in his inimitable fashion.

I think this is Lee’s most affecting and hard-hitting film since Do the Right Thing (1989). The screenplay (adapted by Charlie Wachtel, David Rabinowitz, Kevin Willmott and Lee from Stallworth’s eponymous memoir) is equal parts biopic, docudrama, police procedural and social commentary, finding a nice balance of drama, humor and suspense.  (Full review)

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Fahrenheit 11/9 – Let’s dispense with this first. Yes, Michael Moore goes “there” in his latest documentary Fahrenheit 11/9…at one point in the film, he deigns to compare Trump’s America to Nazi Germany. However, he’s not engaging in merit-less trolling. Following a brief (and painful to relive) recap of what “happened” on 11/9/16, Moore’s film accordingly speeds off in multiple directions

As he has always managed to do in the past, he connects the dots and pulls it together by the end. In a nutshell, Moore’s central thesis is that Trump is a symptom, not the cause. And the “cause” here is complacency-which Moore equates with complicity. If you’re a Moore fan, you won’t be disappointed (though you may be a bit depressed). If you’re a Moore hater, you won’t be disappointed. (Full review)

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The Guilty –Considering that nearly all of the “action” in Gustav Möller’s low-budget gem is limited to the confines of a police station and largely dependent on a leading man who must find 101 interesting ways to emote while yakking on a phone for 80 minutes, Möller and his star Jakob Cedergren perform nothing short of a minor miracle turning this scenario into anything but another dull night at the movies.

Packed with nail-biting tension, Rashomon-style twists, and completely bereft of explosions, CGI effects or elaborate stunts, this terrific thriller renews your faith in the power of a story well-told. (Full review)

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Let the Sunshine In – The best actors are…nothing; a blank canvas. But give them a character and some proper lighting-and they’ll give back something that becomes part of us, and does us good: a reflection of our own shared humanity. Nature that looks like nature.

Consider Julilette Binoche, an actor of such subtlety and depth that she could infuse a cold reading of McDonald’s $1 $2 $3 menu with the existential ennui of Shakespeare’s Sonnet 123. She isn’t required to recite any sonnets in this film (co-written by director Claire Denis and Christine Angot), but her character speaks copiously about love…in all of its guises. And you may think you know how this tale of a divorcee on the rebound will play out, but Denis’ film, like love itself, is at once seductive and flighty. (Full review)

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Little Tito and the Aliens – I avoid using phrases like “heartwarming family dramedy”, but in the case of Paola Randi’s, erm, heartwarming family dramedy…it can’t be helped. An eccentric Italian scientist, a widower living alone in a shipping container near Area 51 (long story), suddenly finds himself guardian to his teenage niece and young nephew after his brother dies. Blending family melodrama with a touch of magical realism, it’s a sweet and gentle tale about second chances-and following your bliss. (Full review)

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Outside In – The rain-washed town of Granite Falls, Washington (population 3400) is a palpable character in Lynn Shelton’s drama about a newly-released felon named Chris (Jay Duplass) struggling to keep heart and soul together after serving 20 years for a wrongful conviction. Only 18 when he got sent up, he has a textbook case of arrested development to overcome. Complicating his re-entry into society is his long-time platonic relationship with the only person who gave him moral support over the years. Her name is Carol (Edie Falco), his high school teacher.

Shelton has a knack for creating characters that you really care about, helped in no small part here by Falco, who can say more with a glance, a furrow of the brow, or a purse of the lips than many actors convey with a page of dialog. Duplass (who co-scripted) also delivers a sensitive and nuanced performance. (Full review)

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Ryuichi Sakamoto: Coda – There’s a moment of Zen in Stephen Nomura Schible’s documentary where Japanese composer Ryuichi Sakamoto, after much experimentation with “found” sounds, finally gets the “perfect” tonality for one note of a work in progress. “It’s strangely bright,” he observes, with the delighted face of a child on Christmas morning, “but also…melancholic.”

One could say the same about Schible’s film; it’s strangely bright, but also melancholic. You could call it a series of Zen moments; a reflective and meditative glimpse at the intimate workings of the creative process. It also documents Sakamoto’s quiet fortitude, as he returns to the studio after a hiatus to engage in anti-nuke activism and to battle his cancer. A truly remarkable film. (Full review)

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Wild, Wild Country – On one level, co-directors Chapman and Maclain Way’s binge-worthy Netflix documentary series is a two-character study about a leader and a follower; namely the Bhagwan Shree Rajneesh, and his head disciple/chief of staff/lieutenant Ma Anand Sheela. In this case, the one-on-one relationship is not a metaphor; because the India-born philosophy professor-turned-guru did (and still does) have scores of faithful followers from all over the world.

This tale is so multi-layered crazy pants as to boggle the mind. It’s like Dostoevsky meets Carl Hiaasen by way of Thomas McGuane and Ken Kesey…except none of it is made up. It’s almost shocking that no one thought to tackle this juicy subject as fodder for an epic documentary until now (eat your genteel heart out, Ken Burns). The Ways mix in present-day recollections from various participants with a wealth of archival news footage. Oddly, with its proliferation of jumpy videotape, big hair and skinny ties, the series serves double duty as a wistful wallow in 1980s nostalgia. (Full review)

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Won’t You Be My Neighbor? – In his affable portrait of the publicly sweet, gentle, and compassionate TV host Fred Rogers, director Morgan Neville serves up a mélange of archival footage and present-day comments by friends, family, and colleagues to reveal (wait for it) a privately sweet, gentle, compassionate man. In other words, don’t expect revelations about drunken rages, aberrant behavior, or rap sheets (sorry to disappoint anyone who feels life’s greatest pleasure is speaking ill of the dead).

That is not to deny that Rogers did have a few…eccentricities; some are mentioned, and others are implied. The bulk of the film focuses on the long-running PBS children’s show, Mr. Rogers’ Neighborhood, which debuted in 1968. With apologies to Howard Beale, I don’t have to tell you things are bad. I think this documentary may be what the doctor ordered, just as a reminder people like Fred Rogers once strode the Earth (and hopefully still do). I wasn’t one of your kids, Mr. Rogers, but (pardon my French) we sure as shit could use you now. (Full review)

I hate my sister: Mirai no Mirai (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 22, 2018)

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If you seek a family-friendly film for the holidays that doesn’t involve Grinches or umbrella-powered English nannies, the Japanese anime Mirai no Mirai (“Mirai of theFuture”) may be the ticket. The latest effort from writer-director Mamoru Hosoda is a fantasy-drama that plays like a cross between Where the Wild Things Are and Labyrinth.

The story centers on 4-year-old Kun and his busy parents (Dad is an architect and Mom is an executive). Not unlike many 4-year-old boys he’s a wrecking ball, but he seems like a happy kid, doing happy kid things like cavorting with his dog, playing with his toy trains, and generally enjoying all those perks that come with being the Center of the Universe.

Sadly, poor Kun has little clue that the dynamic of this pretty sweet deal is about to shift.

The thing is, Mom and Dad haven’t just been busy at the office. One day, Mom comes home with a little surprise for Kun. It’s a baby sister. Initially, Kun appears excited about the family’s new addition, much in the same manner a 4-year-old gets excited about a shiny new toy before the novelty wears off. His excitement soon changes to consternation when it becomes obvious that the novelty of “Mirai” isn’t wearing off for Mom and Dad. 

In fact, this little Mirai character is starting to suck all the air out of the room. Why are his parents treating Kun like he’s persona non grata? He was here first! What’s so special about her, anyway? She can’t even form a sentence. All she does is eat, cry and sleep. For this, she gets a medal?! In a fit of pique, Kun takes one of his toy trains in hand and menacingly looms over her crib. Luckily Mom stops him, then gives him a scolding.

Confused and angry, Kun pitches a major tantrum. He flees into the garden, where he bumps into a man lurking in the trellises, who imperiously introduces himself as the “prince” of the house. Or at least he was…until Kun dethroned him simply by being born (long story). This kick-starts a reality-bending journey through the time-space continuum for Kun, who learns the importance of unconditional familial love and ancestral bonds along the way (whether a 4-year-old is capable of such an epiphany…is open for debate).

Mirai no Mirai is less complex than Hosoda’s previous films (The Girl Who Leapt Through Time, Summer Wars) Still, its heart is in the right place. Kids will identify with the child’s-eye perspective, and adults may be transported back to that period of the life cycle when worries are few and everything feels possible (before your mental carousel gets clogged up with excess baggage, if you catch my drift).

Blu-ray reissue: 2001: A Space Odyssey ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 15, 2018)

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2001: A Space Odyssey – Warner Brothers Blu-ray

The mathematician/cryptologist I.J. Good (an Alan Turing associate) once famously postulated:

Let an ultra-intelligent machine be defined as a machine that can far surpass all the intellectual activities of any man…however clever. Since the design of machines is one of these intellectual activities, an ultra-intelligent machine could design even better machines; there would then unquestionably be an ‘intelligence explosion’, and the intelligence of man would be left far behind. Thus, the first ultra-intelligent machine is the last invention that man need ever make, provided that the machine is docile enough to tell us how to keep it under control.

Good raised this warning in 1965, about the same time director Stanley Kubrick and sci-fi writer Arthur C. Clarke were formulating the narrative that would evolve into both the novel and film versions of 2001: a Space Odyssey. And it’s no coincidence that the “heavy” in 2001 was an ultra-intelligent machine that wreaks havoc once its human overseers lose “control” …Good was a consultant on the film.

Good was but one of the experts that Kubrick consulted, before and during production of this meticulously constructed masterpiece. Not only did he pick the brains of top futurists and NASA engineers, but enlisted some of the best primatologists, anthropologists, and uh, mimes of his day, to ensure that every detail, from the physicality of prehistoric humans living on the plains of Africa to the design of a moon base, passed with veracity.

Earlier this year, for the 50th anniversary, Christopher Nolan supervised a theatrical 70mm re-release of the “unrestored” version that presents it as audiences experienced it in 1968. And, not missing an opportunity to make me re-purchase it for the 6th time (VHS, DVD, “remastered” DVD, Blu-ray, and “remastered” Blu-ray) Warner has released a “restored” Blu-ray (as well as a pricier 3-disc set that adds a 4K-UHD version).

This review is based on the 2-disc Blu-ray set (one disc is for the extras). There are no technical notes included; so I can’t confirm this is a 4K scan.  After an A/B comparison with my copy of the 2007 Warner Blu-ray, I can confirm the new scan is spectacular, with vibrant color grading, rich deep blacks and sharp contrast. Audio has also been upgraded. Extras are identical to the 2007 version (Warner is historically stingy with those) but it’s worth the dip for those who want the best possible home viewing experience of the film.

Blu-ray reissue: 12 Monkeys ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 15, 2018)

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12 Monkeys – Arrow Video Blu-ray

Another wild ride from the vivid imagination of Terry Gilliam, this 1995 sci-fi thriller (inspired by Chris Marker’s classic 1962 short film, La Jetee) has become a cult favorite.

Set in the year 2035, it’s the story of a prison inmate (Bruce Willis) who is “volunteered” to be sent back to the year 1996 to detect the origin of a mystery virus that wiped out 99% of the human race. Fate and circumstance land Willis in a psych ward for observation, where he meets two people who may be instrumental in helping him solve the mystery-a psychiatrist (Madeline Stowe) and a fellow mental patient (Brad Pitt, in an entertainingly demented performance).

I like the way the film plays with “reality” and perception. Is Willis really a time traveler from 2035…or is he what the psychiatrist is telling him-a delusional schizophrenic actually living in 1996? There are many more surprises up Gilliam’s sleeve here.

Arrow Films’ 4K restoration is a marked improvement over Universal’s previous Blu-ray; picture and audio quality are outstanding. The commentary track (by Gilliam and Charles Roven) and an 87-minute documentary (The Hamster Factor and Other Tales of Twelve Monkeys) have been ported over from the Universal edition, but Arrow adds several new features-including a video appreciation by Ian Christie and an image gallery.

Blu-ray reissue: True Stories ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 15, 2018)

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True Stories – Criterion Collection Blu-ray

Musician/raconteur David Byrne enters the Lone Star state of mind with this subtly satirical Texas travelogue from 1986. It’s not easy to pigeonhole; part social satire, part long-form music video, part mockumentary. The episodic vignettes about the quirky but generally likable inhabitants of sleepy Virgil, Texas should hold your fascination once you buy into “tour-guide” Byrne’s bemused anthropological detachment.

Among the town’s residents: John Goodman, “Pops” Staples, Swoosie Kurtz and the late Spalding Gray. The outstanding cinematography is by Edward Lachman. Byrne’s fellow Heads have cameos performing “Wild Wild Life”. Not everyone’s cup of tea, perhaps- but for some reason, I have an emotional attachment to this film that I can’t even explain.

Finally, “Someone” (in this case, Criterion) has done justice to Lachman’s lovely cinematography by giving this film a properly matted 1:85:1 transfer (for years, the only version available on home video was a dismal “pan and scan” DVD). The newly restored 4K transfer was supervised by Byrne and Lachman, and it’s gorgeous.

The 5.1 surround DTS-HD Master Audio also lends a crucial upgrade to the soundtrack quality (all those great Talking Heads songs really pop now!). Extras include a CD of the complete music soundtrack, deleted scenes, written essays, and documentary shorts (new and archival).

Blu-ray reissue: Shampoo ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 15, 2018)

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Shampoo– Criterion Collection Blu-ray

Sex, politics, and the shallow SoCal lifestyle are mercilessly skewered in Hal Ashby’s classic 1975 satire. Warren Beatty (who co-scripted with Robert Towne) plays a restless, over-sexed hairdresser with commitment issues regarding the three major women in his life (excellent performances from Lee Grant, Goldie Hawn and Julie Christie).

Beatty allegedly based his character of “George” on his close friend, celebrity hairdresser Jay Sebring (one of the victims of the infamous 1969 Tate-LaBianca slayings).

This was one of the first films to satirize the 1960s zeitgeist with some degree of historical detachment. The late great cinematographer Laszlo Kovacs infuses the L.A. backdrop with a gauziness that appropriately mirrors the protagonist’s fuzzy way of dealing with adult responsibilities.

Criterion’s Blu-ray features a 4K restoration (previous DVDs have been less than stellar in picture and sound quality). Extras include a conversation between critics Mark Harris and Frank Rich and a 1998 TV interview with Warren Beatty from The South Bank Show.

Blu-ray reissue: The Man Who Cheated Himself ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 15, 2018)

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The Man Who Cheated Himself – Flicker Alley Blu-ray

This marks the third collaboration between releasing studio Flicker Alley, the Film Noir Foundation, and UCLA Film and Television Archive in their mission to unearth and restore forgotten film noir gems from the classic noir cycle (it was preceded by Too Late for Tears and Woman on the Run).

The ever-gruff Lee J. Cobb stars as a bad, bad cop (a noir staple) who gets in the middle of a kerfuffle between his girlfriend (Jane Wyatt, cast against type as a femme fatale) and her estranged husband. The incident ends badly for hubby, and love-struck Cobb scrambles a cover-up. Adherent to the Rules of Noir, the more he tries to cover it, the deeper the hole gets. Having his straight-arrow rookie homicide detective brother (John Dall) by his side working so enthusiastically to solve the case doesn’t exactly quell his anxiety.

While I wouldn’t call this 1950 effort from prolific director Felix E. Feist (perhaps best-known for his cult noir The Devil Thumbs a Ride) a classic genre entry, it’s still quite involving, the performances are solid, and it’s always noble to rescue a forgotten noir. The real star is ever-cinematic San Francisco; some of its most iconic locations are used to great effect by DP Russell Harlan (especially the Golden Gate Bridge and Fort Point).

Extras include a mini-documentary about the original production, a “then and now” virtual tour around contemporary San Francisco scouting out original locations for the film, and a souvenir booklet.