UNDER THE WIRE (2018, doc)

November 15, 2018

 Greetings again from the darkness. With release dates so close together, this documentary from director Christopher Martin makes a superb companion piece to director Matthew Heineman’s film, A PRIVATE WAR – the Marie Colvin biopic with an excellent performance by Rosamund Pike. Heineman’s film really helps us understand what drove Ms. Colvin to become the most courageous and well-known war correspondent of her time, while Martin’s doc provides an incredibly up-close look at the dangerous environment that inspired her reports.

In February 2012, Ms. Colvin and photographer Paul Conroy were smuggled into Syria (journalists were prohibited at the time) and found their way to Baba Amr, an area of Homs, Syria. What they discovered was horrific. What the Assad regime was doing to its own people, its own children, was not what Marie and Paul had known as war. Instead they described it as slaughter. They were determined that “the world must see”, and for the next few days, they discovered “The Widows Basement” where women and children were trapped. They watched a relentless Dr. Mohamed desperately try to stitch the injured back together in a makeshift clinic with minimal supplies.

The film is based on the book of the same title by Paul Conroy. On the day the bombing killed Marie and French photographer Remi Ochlik, and many other civilians, it was Paul and French correspondent Edith Bouvier who survived, despite serious injuries. Mr. Conroy acts as our commentator as much of the footage he shots plays on screen. He admits to carrying the weight and responsibility of telling not just Marie’s story, but also the truth about what they witnessed … it’s a brutal war that continues today.

Some reenactments are blended with Conroy’s footage, and we fully understand the terror they felt in entering the drain pipe that acted as the artery to Baba Amr. The infamous clip of the dying baby shown on Anderson Cooper’s CNN interview with Ms. Colvin is no less devastating now. Paul admits that some described Marie as “scarier than the war we are covering”, but no one doubted her courage and drive to tell the stories of those who were being forgotten. As the Sunday Times war correspondent recognizable by her eye patch, Marie’s work with Paul is the best defense possible for our need for truthful and full journalistic coverage … it should be our protection against forces motivated to mislead or misdirect. Paul’s commentary of his extraction from Syria reinforces what courage is required not just to rush to the story, but also to find a way to tell it.

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Posted by David Ferguson

THE RECKONING: HOLLYWOOD’S WORST KEPT SECRET (2018, doc)

November 8, 2018

 Greetings again from the darkness. The #MeToo and #TimesUp movements are in full force, and if you somehow missed “what happened”, director Barry Avrich’s film will fill you in and get you caught up. As an expose’, it’s a bit late to the party, but as a look at how we got here, it’s pretty much right on the nose. The film opens with a proverbial cold slap to the face of viewers. We hear the Howard Stern interview where movie mogul Harvey Weinstein denies any type of sexual malfeasance exists in Hollywood. Weinstein, of course, is the poster boy for sexual misconduct in the movie industry. He’s a man who has kept the “casting couch” alive for three decades; although as we’ve learned, it certainly wasn’t Weinstein acting alone (unfortunately).

Much of the film is focused on Weinstein, and justifiably so. He is described as talented AND a monster – also as cunning, witty, brilliant, and devastating. This man was such a megalomaniac that he structured his business around two things: making money on independent films and using his position of power and influence to put women in compromising and unsafe situations. He went so far as to utilize “honey pots” – female assistants who could gain the trust of the actresses and help lure them to his web of sleaze. One of these former assistants, Zelda Perkins, is interviewed and sheds light on the process.

Many others are interviewed for the film. Writers, reporters, agents, lawyers, a psychologist, and actresses all tell their stories and insight. Weinstein is not the only name that’s named. The film also touches on: Donald Trump, Bill Clinton, Bill Cosby, Bill O’Reilly, Woody Allen, Louis CK, Aziz Ansari, Olympic Doctor Nassar … and even Pepe Le Pew (from Looney Tunes). A segment is dedicated to the audacity and despicable actions of director James Toback (known as the dream killer), and Tippi Hedren and Joan Collins talk about “that’s the way it’s always been”. We learn Mack Sennett is credited as being the founding father of the casting couch (in the early 1900’s), though numerous studio heads, producers and directors have since preyed on the ambitions of wannabe starlets.

In an awkward segment, acting legend Meryl Streep admits “I’m taking some hits” after having been targeted by street artist Sabo with #SheKnew posters. If nothing else, this underscores just how difficult it has been for women to speak up … at least until now. Dozens and dozens of women have come forward with their stories, leaving us hopeful that this blight on the industry might be over for good. Leonard Cohen’s biting song “Everybody Knows” is put to good use here.

When one of his victims recalls the story where he gifted her a copy of Fitzgeralds’ “The Last Tycoon”, and Weinstein bluntly stated, “that’s me”, we begin to understand that this monster was not just about control … he was out of control. He lost his barometer on right and wrong, and it became about what he was entitled to in his position at the top of the movie making world. Thanks to some courageous women, he no longer has that power position, and with forums like this film from director Avrich, it’s likely no other predator in this industry will ever again be able to abuse the power to the extent we’ve seen from Harvey Weinstein.

watch the trailer:

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Posted by David Ferguson

SEARCHING FOR INGMAR BERGMAN (2018, doc)

November 2, 2018

 Greetings again from the darkness. Despite his being one of the most productive and influential filmmakers of all-time, it’s understandable if you are concerned that a biopic of Ingmar Bergman might be a bit dry or difficult to connect with … you know, kind of like his movies. The happy truth is that Margarethe von Trotta, Felix Moeller, and Bettina Bohler have collaborated on this very interesting dig inside the mind and process of this remarkable Swedish artist.

Mr. Bergman’s best known films include: THE SEVENTH SEAL (1957), WILD STRAWBERRIES (1957), PERSONA (1966), CRIES AND WHISPERS (1972), SCENES FROM A MARRIAGE (1973), FANNY AND ALEXANDER (1982). It’s likely you have either seen all of these or none, but either way, as long as you have some interest in the history of cinema, you’ll be hooked on the multiple interviews and clips provided here.

Among those interviewed are actress Liv Ullman (she turns 80 this year), who appeared in 10 (she says 11) Bergman films. She cheerfully recalls the first time she met the director and how it led to their first collaboration, PERSONA. We also hear insight and personal stories from director and fellow Swede Ruben Ostlund (director of the terrific FORCE MAJEURE), Swedish documentarian Stig Bjorkman, and two of Bergman’s sons, Daniel and Ingmar Jr. On the personal side, we learn the legendary filmmaker was son to the Parson of a local church, married 5 different women and fathered 9 children via 6 women (his 5 wives plus Liv Ullmann), and that he wasn’t close to any of his children. He was described as viewing childhood through his own, rather than that of his kids. On his 60th birthday, there was an unusual gathering of all 9 children, many who had never previously met.

Maybe some of this is explained by Bergman’s own definition of art as “therapy for the artist”. This makes sense as so many discuss his insecurities and his own concerns with never being good enough. This despite a career of 50 plus films (many of which are studied in film classes) and nearly three times that many stage productions. Being wrongfully accused of tax evasion in 1976 affected his health and career, as well as his love of homeland Sweden. He moved to Germany before living out most of his life on the island of Faro – where he also filmed many movies.

The interviews presented here by Ms. Von Trotta (herself an accomplished filmmaker and actress) are each informative, though additional interviews from Max von Sydow, Bibi Andersson (each appeared in 13 Bergman movies), and Woody Allen (the American filmmaker most closely associated with Bergman) would not just have added flavor, but were also kind of expected. The end result is that we view Bergman as the ultimate brooder, and one who had much respect and admiration for actors. Though he passed away in 2007 (the same day as director Antonioni), we are now even more convinced that Ingmar Bergman was a master of both the written word and on screen imagery.

watch the trailer:

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Posted by David Ferguson

DAUGHTERS OF THE SEXUAL REVOLUTION: THE UNTOLD STORY OF THE DALLAS COWBOYS CHEERLEADERS (2018)

November 1, 2018

 Greetings again from the darkness. The story kicks off (at least according to legend), at a 1967 Dallas Cowboys home game, with adult entertainer Bubbles Cash walking down the aisle holding her cotton candy and catching the eye of many at the game … including team president Tex Schramm. This was a mere 4 years after the assassination of President Kennedy made Dallas the most hated city in America. Ever the opportunistic salesman and promoter, Schramm took note and decided a shift from high school and college cheerleaders might prove beneficial.

Director Dana Adam Shapiro was nominated for an Oscar for his 2005 documentary MURDERBALL, and here he provides a multi-faceted film: a biopic of Suzanne Mitchell, a forum for former cheerleaders to tell their story, and a socio-political look at a bygone era – one with some connective tissue to the modern day world.

Suzanne Mitchell was Tex Schramm’s secretary, and the director of the Dallas Cowboys Cheerleaders (DCC) from 1976-1989. She has been described as a den mother and dictator, one who ran a tight (almost militaristic) ship and also cared very much for the ladies in her organization. Although she has passed away, we get many clips of her interviews over the years. By the end, we believe we know just who this woman was and what she stood for. She was committed to making sure the DCC were proper ambassadors for the Dallas Cowboys organization, while also making sure they were on the right path as people.

This was the ultimate blend of sex appeal and feminism. Every former cheerleader interviewed here makes it clear they were proud of their time with DCC, and that the team and Ms. Mitchell had been a positive influence on their lives. What makes this so fascinating is we are also provided recollections of the pushback the team received from religious groups (it is the bible belt after all) and feminists … claiming exploitation and degradation. It’s not so different than today where so many try to thrust their opinions and beliefs on others – jumping to conclusions about what harm is being done either to the individual or society as a whole.

In addition to the interviews with Ms. Mitchell and the cheerleaders, two knowledgeable writers provide more insight: Mary Candace Evans, author of “A Decade of Dreams: Dallas Cowboys Cheerleaders, and Joe Nick Patoski, author of “The Dallas Cowboys: The Outrageous History of the Biggest, Loudest, Most Hated, Best Loved Football Team in America”. These two share much of the research for their books, and also provide perspective on the era, and just what an impact DCC had on the team, the league and TV entertainment in general. Also interviewed is long time local sportscaster and former Dallas Cowboys announcer Dale Hansen. He provides the local flavor, as well as a personal story about crossing Ms. Mitchell, known as “The Iron Butterfly”.

We learn that CBS made the conscious decision to feature the cheerleaders during the Super Bowl X telecast, and the infamous on screen “wink” is credited with creating the explosion of interest in DCC. What followed were TV appearances (including “The Love Boat”), charity events, other promotional events, USO tours, and many hospital visits to the bedsides of sick children. All of this occurred under the burden of numerous rules created and enforced by Ms. Mitchell. She and Tex Schramm were committed to ensuring this was an inclusive and diverse organization for women of all backgrounds and race. At the same time, the rules regarding weight and body shape were tough and challenging, and the pay was minimal.

TV shows, magazine covers, posters, and calendars all contributed to the mystique and popularity of the cheerleaders – the perfect mixture of innocence and sex appeal. Perfect that is, until the organization was exploited by the porn industry (DEBBIE DOES DALLAS) and Playboy magazine. Lawsuits became prevalent.

Ms. Mitchell’s ability to hold steadfast to her beliefs and standards for what the DCC represent is quite impressive and easy to respect … a respect that grows even stronger when we learn she walked out only 4 months after Jerry Jones bought the team. A new culture arrived and it was one she, and a number of cheerleaders, refused to be a part of. You may think you know the story … you may think you know the cheerleader “types” … but director Shapiro’s film is likely to teach you a few things. But whatever you do, don’t chew gum!

watch the trailer:

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Posted by David Ferguson

HORN FROM THE HEART: THE PAUL BUTTERFIELD STORY (2018, doc)

October 21, 2018

 Greetings again from the darkness. Even the grainy concert footage and somewhat muffled audio of the opening clip do nothing to offset the raw energy and power of Paul Butterfield and his blues harp. If you are a blues lover, you are already familiar with his music, and you’ll likely learn more about the man. If the blues aren’t your thing, it’s still fascinating to see someone so talented and committed to their art.

Documentarian John Anderson does a nice job of blending interviews from family members and band members with video clips and historical data, mostly in chronological order. Mr. Anderson also acted as editor of “The Super Bowl Shuffle” video of the 1985 Chicago Bears, as well as numerous projects with Brian Wilson of The Beach Boys. This time out, he captures the essence of a musical genius not nearly enough people have tuned in to.

Broken into segments (1942-65, 1966-71, 1972-1987), the film takes us through Butterfield’s childhood in the Hyde Park area of Chicago, and through his final on stage appearance just a couple of weeks before his death. Along the way, we hear from bandmates like Elvin Bishop and Nick Gravenites, Paul’s two sons and his brother Peter, as well as his former wife Kathryn, who describes him as the love of her life. One of Paul’s sons shows us the now-vacant lot where the club once stood in which a teenage Paul played with the likes of Howlin’ Wolf. It helps us understand where his love for the blues developed, how he formed one of the earliest integrated bands (with Jerome Arnold and Sam Lay), and how the great Muddy Waters became his life-long mentor and friend.

We get to hear the earliest known recording of Butterfield from 1962, and then footage of him at Newport Folk Festival in 1965, Monterrey Pop Festival in 1967 (where he debuted a horns section), and of course, Woodstock in 1969. It’s the 1965 story that is perhaps the most interesting, as it took an impassioned plea from Peter Yarrow (of Peter, Paul, and Mary) to get Butterfield a spot in the festival, and then he and his band electrified (pun intended) the folk audience with powerhouse blues. This is the same festival where Bob Dylan shocked the audience by “going electric” (with Butterfield’s band as back-up). The music landscape shifted from the messages of folk music to a more rebellious and harder sound.

Other interviews include David Sanborn, Al Kooper and Bonnie Raitt … each more effusive than the other when discussing Butterfield’s talent and stage presence. We see Butterfield’s own high school yearbook quote, “I think I’m better than those trying to reform me”, and we hear a clip from his “Blues Harmonica Master Class” recorded in 1984 (released in 1997).  It was 1976 when Butterfield joined The Band’s farewell concert for “The Last Waltz” (movie and album), and we hear about Paul’s continued and numerous efforts to find the right sound and band in the second half of his career.

Legendary Producer Paul Rothchild, known for his work with The Doors and Janis Joplin, certainly recognized greatness in Butterfield and helped with some of his best recordings. Sadly, the 1980’s brought about severe peritonitis which led to various stomach and intestinal surgeries for Butterfield, which in turn, led to alcoholism and drug abuse. We get a clip of Butterfield on stage with Stevie Ray Vaughan in 1987, mere days before Paul died of a heroin overdose at age 44. Fortunately for us, the musical recordings live on for a man often described as a force of nature on the blues harp.

watch the trailer:

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Posted by David Ferguson

LIVING IN THE FUTURE’S PAST (2018, doc)

October 2, 2018

 Greetings again from the darkness. Director Susan Kucera and producer/narrator Jeff Bridges are smart enough to avoid cramming another preachy, guilt-laden, ‘destroying the world’ documentary down our movie-going throats (which is where popcorn belongs). Instead, they deliver a thought-provoking look at who we are, where we have come from, and where are we headed based on our actions and decisions of today.

Breath-taking photography is on display throughout the film – much of it in the beautiful National Geographic style we have become spoiled with over the years. Some of it is even more dramatic and impactful. There are images of the ocean, the earth and of space. When Bridges’ familiar and warm voice tells us “The sky itself is not the limit”, we realize this movie is something different than expected.

Many experts are paraded out, and they come from various segments of society: Ecological writer and researcher Timothy Morton, former NATO Supreme Allied Commander General Wesley Clark (if I messed up that title, I hope he forgives me), Ethnobotanist (had to look that up) Mark Plotkin, Astronaut Piers Sellers (since deceased), Physicist Leonard Mlodinow, as well as other scientists, politicians, and professors. The conceptual links between evolution and energy are a bit esoteric at first, but explanations and examples bring clarification.

Perhaps the most interesting aspect of the presentation is the blend of the scientific with the philosophical. The theory that what we “need” or “desire” drives our motivation on decisions and actions seems more than plausible. It is explained that we are “cultural beings” and our inherent need for group identity leads to the mass consumerism of society.

The difference between adapting to our environment versus controlling it, is made clear by the comparison of bees and ants to our own mega-growth cities. Mr. Bridges’ long time home was recently destroyed by the Montecito mudslides, but that fact is not part of the film. Ms. Kucera’s film is not a lecture about climate change or how humans are ruining the planet, although it is certainly intimated. Instead, this is more about humanity – what makes us tick and what environmental challenges do we face now and in the future? How do we shift our decision-making from based on our own comfort and convenience to long term sustainability of our species (and others)? The film is presented well, thought-provoking, and yes, quite beautiful to look at.

watch the trailer:

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Posted by David Ferguson

A GREATER SOCIETY (2018, doc)

September 22, 2018

 Greetings again from the darkness. President Lyndon Johnson used the term “The Great Society” to describe the series of domestic programs designed to minimize poverty and racial discrimination, and offset the medical obligations of seniors (through Medicare and Medicaid) in the U.S. It was compared to FDR’s “The New Deal” (including the Social Security Act of 1935). Co-directors Craig Colton and Stacy Goldate titled their film as a twist on these programs, because the focus is the actions of some senior citizens who fight for the programs that are needed to protect their demography.

The Wynmoor Retirement Community in Broward County, Florida was developed in 1973, and marketed to seniors in New York and the entire northeast as a wonderful place to live out those golden years in warm weather and with modern amenities. A funny thing happened along the way … the residents of Wynmoor changed the politics of the area. And therein lies the most important message of the film: senior citizens can wield substantial political power through organization and commitment. Keep in mind that many of these folks are more than 90 years old. One of the most interesting that we meet is Rose. She was born in 1916 during Woodrow Wilson’s term in office.

Those we meet range from children of the depression era to children of the 60’s, and though that’s quite a diversity in sociological upbringings, it’s clear that they embrace the need to engage politically … even, and perhaps especially, these days. The cameras follow these men and (mostly) women as they strive to “get out the vote” for the 2014 midterm elections and the Florida gubernatorial race between Rick Scott and Charlie Crist.

Most of those we get to know are hardcore democrats, but there is one conservative gentlemen thrown in for contrast. Despite his being well spoken and educated on the issues, he gets little camera time. Co-directors Colton and Goldate are both highly successful editors, mostly on TV projects. Their expertise in how to put a movie together is obvious, as even though it’s slowly paced, that pace seems to mirror the process of these volunteers so dedicated to the political cause.

Broward County Public defender Howard Finkelstein offers recurring commentary during the film, but it’s really the Wynmoor residents who are the most interesting. We see the generational changes occurring within the community as new residents replace the older ones. The New York Jewish community is fading while there is an increased Latino presence. The challenge is for Wynmoor to retain the political power and dedication that has long defined it. In what is really a tribute to their efforts, the film acts as a kind of “how to” in gaining community involvement; though it’s Rose who gets the last word by reminding us of the message of “My brother’s keeper”.

watch the trailer:

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Posted by David Ferguson

AMERICAN CHAOS (2018, doc)

September 13, 2018

 Greetings again from the darkness. Politics in the United States is an embarrassment to any citizen who is paying attention these days. And by “these days”, I’m referring to at least a couple of generations, if not even more. The bickering between and within political parties is more closely related to playground arguments than debates among statesmen. The most effective wall being built is the one between the two sides – it’s a wall that has little to do with reason or “the greater good”, and everything to do with standing steadfast in one’s belief that an opinion is a fact that should be shared by all. Enter stage and film producer Jim Stern … a self-described political junkie.

Mr. Stern grew up in a house of “Kennedy Democrats” and all but worships former President Barack Obama. He opens his film with clips of past Presidents, dating back to Theodore Roosevelt, and states his purpose as a desire to understand how so many Americans could vote for Donald Trump. It’s an admirable mission, and Mr. Stern is to be commended as one of the few extremists (on either side) willing to listen to what the other side is saying. It’s 9 weeks after the election, and Stern is in the audience for Obama’s farewell speech. He (Stern) has tears in his eyes, as the man he so admires is being replaced by one who inspires little faith or respect.

We now flashback to 6 months prior to the election. Stern paraphrases Atticus Finch from TO KILL A MOCKINGBIRD, and pledges to try and understand the other side by getting to know their point of view. His road trip takes him from Florida to Cleveland to West Virginia to Arizona. Stern’s approach is to present himself as a neutral interviewer so that folks don’t get defensive, and instead just open up about their views. He speaks to a man who is a legal immigrant from Cuba, a Midwest Pastor who is every bit as adamant in his beliefs as Stern is in his own, a conservative radio talk show host in Arizona who eloquently states her case, and folks in West Virginia who just want the coal mines back up and running so that they might escape poverty. One of the men he speaks with is part of the infamous Hatfields and McCoys feud, and he admits to voting for Obama twice – but is now convinced Trump is the best hope for rescuing the state’s economy.

Stern uses the ongoing campaign as the structure for his road trip and story, and doesn’t shy away from admitting Hillary Clinton’s “basket of deplorables” speech was a turning point … as was the last minute renewing of the FBI investigation into her actions. But since we know all of that, what is most fascinating here is listening to regular folks … voters … providing insight into their viewpoints. These mid-America citizens are tired of politicians being bought and sold. Trump was saying what these people were thinking – he was reaching out to (mostly white) disaffected voters. Stern is stunned at the ovation Trump receives at the Republican convention in Cleveland. He is surrounded by tens of thousands of Americans who don’t believe what he believes. It’s a powerful moment for him and the film.

“They hate her (Hillary) and they hate Obama too.” Stern is hit with the harsh reality that his idol is not idolized by all. His most accurate statement is that blue state voters and red state voters simply do not understand each other. With so many of one group clustered in California and the northeast, while the others are spread across the middle of the country, it’s really no surprise that these citizens have different views and needs. It’s also not surprising that since the “mainstream media” is equally clustered in those two geographic areas, that information distributed is skewed towards those views and issues. Abortion and gay rights appear to be non-factors in his discussions, while jobs, corruption and illegal immigration are what matter.

Again, Mr. Stern is to be commended for letting these citizens speak their mind. It’s a nice contrast to another high profile documentarian renowned for editing to prove his own well-publicized views. Stern’s brother was a key negotiator in the Paris Accord, so he certainly has a personal stake in the drastic political change. In fact, we often see his true emotions despite his ability to remain impartial to those speaking on camera. Election night with violin music is a bit too much, but for the most part, Jim Stern and Atticus Finch work together here to enlighten the “other” side.

watch the trailer:

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Posted by David Ferguson

HAL (2018, doc)

September 6, 2018

Oak Cliff Film Festival 2018

 Greetings again from the darkness. There may never have been a director with a comparable streak of 6 films in terms of quality and variety as Hal Ashby delivered between 1971 and 1979. At least 4 of those films would be included on a list of my all-time favorites. Ashby was a maverick filmmaker during an era when filmmaking style and tone shifted, and he was at least partially responsible for some of that change. Amy Scott (fittingly trained as a film editor) chose to make Ashby the subject of her directorial debut, and we can only assume her admiration for his work and curiosity about his later career was her inspiration.

HAROLD AND MAUDE (1971), THE LAST DETAIL (1973), SHAMPOO (1975), BOUND FOR GLORY (1976), COMING HOME (Best director nomination, 1978), and BEING THERE (1979) are the films that comprise the aforementioned “streak”, and are also the projects that afforded Ashby the opportunity to work with such industry talents as writers Robert Towne, Jerzy Kosinski, and Waldo Salt; cinematographers Haskell Wexler, Michael Chapman, and Caleb Deschanel; and actors such as Ruth Gordon, Jack Nicholson, Warren Beatty, Lee Grant, Jon Voight, Jane Fonda, Shirley MacLaine, Melvyn Douglas, and Peter Sellers. All of these folks contributed to the edge in independent filmmaking that arose in the 70’s.

Director Scott works diligently to paint a full portrait of Ashby the man, so that we might better understand the odd career arc. A challenging early family life pushed him to grow up too fast, and with 5 marriages balanced by 5 divorces, it’s likely that Ashby was never destined to be a settled down family man. His drug addictions served to undermine what was already his difficult and demanding style on set, and his trademark look of long scraggily hair and unkempt beard ensured he was never mistaken for an industry insider.

Much of what we learn comes from the voice of Ashby himself, courtesy of audio tapes. Other insights and remembrances come from interviews with: Judd Apatow, Rosanna Arquette, Jeff Bridges, Beau Bridges, Lisa Cholodenko, Caleb Deschanel, Jane Fonda, Lou Gossett, Lee Grant, Dustin Hoffman, Alexander Payne, David O Russell, Cat Stevens, Jon Voight, and Haskell Wexler. We also hear from legendary director Norman Jewison, who gave Ashby his first job as film editor. Ashby later won an Oscar for Best Editor on Jewison’s IN THE HEAT OF THE NIGHT (1967) … and the clip shown of him accepting the award highlights a man who barely resembles the man we would come to recognize over the next few years.

We learn that his ever-present battle with studio executives likely led to his not getting the opportunity to direct TOOTSIE, and more importantly to me, we get an explanation of what happened to Ashby’s 8 MILLION WAYS TO DIE (1986) – a film I always thought was oh-so-close to being a great 80’s movie, but instead was a bit of a mess. And now we know why. There may not be a more revered and respected filmmaker and influencer of other filmmakers … certainly not one who is less discussed. Ashby’s BEING THERE ranks with the very best political satires of all-time (yes, even DR STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB), and few could juggle comedy and drama any better. Hal Ashby died from cancer in 1988 at age 59. Was it his uncompromising manner or was it the effects of drugs that brought his career to a halt, and prevented him from achieving the blockbuster status of his peers Coppola, Scorsese, and Spielberg? We’d like to think it’s the age old ‘art vs. commerce’ argument, but that simply doesn’t hold up. Regardless, for a few years, no one did it better than Hal Ashby, and he did it his way.

watch the trailer:

 

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Posted by David Ferguson

DO YOU TRUST THIS COMPUTER? (2018, doc)

August 16, 2018

 Greetings again from the darkness. When asked if they believe a computer could ever be conscious, two young woman combine to respond: ‘No. Unless they program it that way’. And that answer is at the core of director Chris Paine’s (WHO KILLED THE ELECTRIC CAR?) latest exploration of Artificial Intelligence. Are we controlling the machines, or could they end up controlling us?

Early on, the point is made that science-fiction has numbed us to the potential pitfalls and risks of A.I. Fingers are pointed at some favorites such as TERMINATOR 2: JUDGMENT DAY, 2001: A SPACE ODYSSEY, WARGAMES, EX MACHINA, THE MATRIX, and ROBOCOP. We have come to accept A.I. as high level entertainment rather than acknowledging the inroads being made by firms such as Google.

It is explained that Google search is actually a form of Artificial Intelligence and the algorithms are collecting more data than we have stopped to realize.  For a film like this, expert talking heads are a necessity, and director Paine delivers. We hear from AI experts, writers, journalists, and doctors. The lineup includes Jonathan Nolan, Elon Musk, and Stuart Russell, and each offers fundamental insight for the topic, leaving us with the notion that A.I. is capable of ‘incredible miracles, as well as incredible horrors’. We are also informed that “it’s not the future, it’s the present”.

Specific areas impacted by A.I. and explored here include: self-driving cars, medical applications, military weaponry, and financial market data. Weaponized drones are an example, and one surgeon provides a real life case study of how a computer would have an advantage over him. Time is spent on the “Jeopardy” experiment where IBM’s Watson (created by David Farucci) goes up against the top contestants and wins. Robotics are also a focus here, and the impact goes far beyond the loss of factory jobs.

Well known documentary writer Mark Monroe (ICARUS, FED UP, THE COVE) helps director Paine with the presentation structure since so many topics are touched upon. The electronic score is a bit overbearing at times, and we can’t help but question the motivation behind the film’s dedication, “In Memory of Stephen Hawking”. The film could be viewed as high tech fear-mongering, however, it’s more of a wake-up call to pay attention to the developments that are occurring (and how data is being collected and processed). The last thing we want is for the film’s opening quote to come true: “You are my creator, but I’m your master” (Mary Shelley from “Frankenstein”).

watch the trailer:

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Posted by David Ferguson

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