THE BLUE ANGELS (2024, doc)

May 20, 2024

Greetings again from the darkness. My preferred method of movie watching means no trailer to set the stage prior to the lights dimming. Sometimes this leaves my assumptions a bit off-track, which can result in either a pleasant surprise or a bit of disappointment. Acknowledging that The Blue Angels seem tailor-made for an IMAX presentation, I was prepared for a combination of cool photography and a history lesson. The surprise here was that filmmaker Paul Crowder (probably best known as the Editor for Ron Howard’s 2017 Beatles documentary) chose to only dabble in the history and instead focus on a single performance season of one team.

Without a doubt, the camera work is spectacular and takes full advantage of the IMAX screen. Some of the shots are breathtaking, and yet the awe generated by the actual technical maneuvers performed (regularly) by the team somehow eclipses what would otherwise be more than enough to keep us engaged. Crowder takes us into the prep room as the new team members study techniques that if performed incorrectly, could result in death. Six Navy and one Marine pilot make up each team, and these pilots enter as well-trained and then take it up a notch.

We do learn The Blue Angels were established in 1946 by Chief of Naval Operations, Admiral Chester Nimitz, a Commander of Allied forces during WWII. His original mission for the team remains in place today. The Blue Angels are really a marketing device with a dual purpose: to convince taxpayers that their money is well spent and to motivate youngsters to pursue a career as a Navy pilot. Yes, it’s every bit the recruiting tool of the TOP GUN movies, as The Blue Angels perform 60 aerial shows for hundreds of thousands of spectators around the country each year. If you are curious, this year’s budget for The Blue Angels is $36 million straight from the Department of Defense by way of tax dollars. You might ask if that’s a legitimate use of defense funds, but this movie is not going to answer that or even address it.

The behind-the-scenes and up-close analysis of the pilots and the program is quite impressive, and a hierarchy exists, as one would expect in the military. They are now flying Boeing F/A 18E/F Super Hornets, and the precision involved with their aerial maneuvers is mind-boggling. I won’t give it away other than to say inches are involved at 400 mph, making these visuals look like something out of a video game, rather than the actual sky with actual jets and actual pilots. While we aren’t allowed much insight into the maintenance of the jets, Crowder does emphasize how many are included on the total team. We learn about the 28 deaths that have occurred in the program over the years, and the final act revolves around the selection of the new team (including the first woman, Lt. Amanda Lee) and the transition of leadership. Like the flying, it’s all very precise. One thing becomes quite clear, they are all … “happy to be here.”

THE BLUE ANGELS is playing for one week at IMAX theaters through May 23, 2024, and streaming on Prime Video beginning May 23.

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Posted by David Ferguson

THANK YOU, GOODNIGHT: THE BON JOVI STORY (2024, doc)

April 23, 2024

Greetings again from the darkness. Documentaries on bands, singers, and musicians have become very popular over the last few years, and although filmmaker Gotham Chopra has focused mostly on sports in his previous work, he dives right in with a four-part HULU series covering the forty years of stadium rockers Bon Jovi and their electric lead singer Jon Bon Jovi (nee John Bongiovi). This is not the first documentary on the band, so Chopra takes an unconventional approach. The series jumps around (and weaves back and forth) through the years, with the band’s 40-year anniversary tour acting somewhat as a structuring device, along with Jon Bon Jovi’s struggle with his voice.

Contrasting with a traditional chronological trip through the band’s history, this approach requires a bit more concentration from the viewer. It also makes all four episodes ‘must watch’ TV in order to get the full backstory along with Jon Bon Jovi’s (JBJ) personal journey. It is recommended that those interested commit to all four episodes, as the clips, photos, and interviews are mostly previously unseen. To assist with the overview, this review will break down each of the episodes separately.

Episode 1: New Jersey vs Everybody

The only way this could begin is by reintroducing the 1980’s hair band with clips of their live shows and videos. We then jump to 2022 as JBJ explains the band has rented the now unused Meadowlands Arena for their rehearsals for a mini-tour (15 shows) to prepare for their 40th anniversary celebration. He also discusses his voice struggles and the surgery for his vocal cords. Chopra takes us back to JBJ’s childhood and high school, and we learn about his first couple of bands, along with the crucial role played by (1978) The Stone Pony and Southside Johnny and, of course, Bruce Springsteen in Asbury Park. Four additional key elements discussed here are JBJ commenting on his commitment to the craft of songwriting, the start of a beautiful affiliation with sound engineer Obie O’Brien, the partnership with Richie Sambora – a perfect blend of voice and guitar expertise, and the opportune gap created by the breakup of mega-band Van Halen. We hear very little actual music.

Episode 2: Nowhere to Everywhere

The first (of 15) shows occurs in Omaha, and we also get the first bit of the modern-day Richie Sambora interview. The band reminisces about the early days on the road, and the make-or-break nature of their third album. Of course, they need not have worried as “Slippery When Wet” sold millions and established the band as king of the rock anthem with huge singalong hits, “You Give Love a Bad Name” and “Livin’ on a Prayer”. The band also hit at the peak of MTV, and the combination of hair, catchy tunes, and JBJ’s blinding smile drove their album and ticket sales higher and higher.  In this episode, we learn about the hiring of agent Doc McGhee, the formation of the Make a Difference Foundation, and playing Russia on the global tour. There are flash cuts between different versions of “Livin’ on a Prayer”, and it’s the first we hear of issues with band cohesion.

Episode 3: Brothers in Arms

This episode kicks off with the 15th and final stop of the tour in Nashville. As he comes off stage, his wife tells him, “It wasn’t great”.  Being a perfectionist, JBJ takes it to heart and at that point decides he must move forward with the vocal cord surgery. It’s a huge risk that could end his career … or possibly allow it to move forward. We get the flashback to JBJ and Dorothea eloping to Vegas, as well as various versions of the band breaking up. The family nature of the band is mentioned frequently, and it conflicts with the “I’ll show you” battle of 1990 solo albums by JBJ and Richie Sambora. There is some mention of JBJ’s acting career and desire to write soundtracks, but he never loses sight of what is clear to us: he was born to be a band leader. Much more than a pretty face and booming voice, JBJ had visions for the band and was always strategizing about the next few steps. We can’t help but chuckle as he recalls the hoopla over his haircut, and his reflections on what Elvis went through. A standout point in this segment is the huge international following the band developed as ‘grunge’ took over the rock scene in the U.S. Sadly, the effects of drugs on the band are detailed here as well … including Richie heading to rehab.

Episode 4: Legendary

A fitting final episode takes the split with Richie Sambora head on. His replacement, Phil X, receives plenty of kudos for his stepping in on short notice as the band went on tour. The stress on JBJ, and his desire to carry even more of the burden, is evident. To his credit (albeit only partial credit), Richie’s interview includes an apology to the fans and “the guys”. A reunion occurs at the 2018 Rock and Roll Hall of Fame induction, but it ends there. It’s also in this episode where JBJ discusses his fundraising for Al Gore’s Presidential campaign, which served as his initial foray into politics – leading to more political activism and a heightened social consciousness.

The band’s albums and hits and tours are mentioned throughout the four episodes, but fans should know that this is an informative documentary, not a musical one. Most of the insight here comes from Jon Bon Jovi himself, as well as bits and pieces from the Richie Sambora interview. Band members David Bryan (keyboard), Tico Turner (drums), Hugh McDonald (bass), John Shanks and Phil X (guitarists), and Everett Bradley (percussion and vocals) are given time to comment, as is Bruce Springsteen. Mostly what we are left with is the high regard they each had for JBJ as a leader. The bouncing around of years and eras may be a bit challenging for some viewers, yet Bon Jovi’s music is universal and it becomes quite clear that Jon Bon Jovi cares very much for his legacy … a legacy entrenched through his 40 years of art.

The 4-episode docuseries premieres all episodes April 26, 2024 on Hulu

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Posted by David Ferguson

LITTLE EMPTY BOXES (2024, doc)

April 18, 2024

Greetings again from the darkness. Cinema trends often mirror societal trends (Superheroes being the exception), so it’s not surprising that so many movies over the past few years have dealt with dementia and Alzheimer’s in some manner. In fact, it was just 3 months ago that I watched Maite Alberdi’s Oscar nominated documentary, THE ETERNAL MEMORY, and it was only three years ago that Florian Zeller’s THE FATHER won two Oscars. As the population ages, physical and mental limitations become more prevalent, and it’s the cognitive difficulties that are causing the most challenges for caregivers and medical professionals.

Max Lugavere and Chris Newhard co-direct this documentary that focuses on Max’s mother, Kathy, who is displaying all the symptoms of dementia. The film opens by showing home movies of Max as a kid, and Kathy as an energetic, fun-loving mom. When it cuts to today, we find Kathy’s once lively, twinkling blue eyes are now hollow and lifeless at age 63. She’s chronically tired and her phone conversation with son Max shows her memory is slipping. Max co-authored the book, “Genius Food” with Paul Grewel, and he meets with his Los Angeles publicist to inform her that he’s moving back to New York City to spend time with his mother.

What sets this film’s approach apart from some others that broach the topic is that Max takes us on the journey with his mom as they explore possible options to improve her situation. It’s explained that she’s on a blend of Parkinson’s drugs and Alzheimer’s drugs, as that has been determined to be the best treatment for her Lewy Body Dementia – a cross between the two diseases. We are there as she fights with the doctor over the brain scan, and we sit in on some of the discussions with specialists in the field. Max tries to answer the question, “Where did this come from?”, as there is apparently no genetic trail or were no early signs (other than a propensity to collect trinkets).

It’s at this point where knowing Max’s background may affect one’s perspective on the documentary. Knowing his public support for some trendy diets and the controversy such diets have caused, moves us away from the caring son and towards self-promotion. While it’s difficult to disagree with the idea that diet and fitness are likely associated with cognitive health, he seems to quickly believe any study that agrees with his personal beliefs. It is interesting to hear the link between post-operative patients and Alzheimer’s, but the ‘adopt a dog’ segment seemed a bit of a stretch.

Many of us have experienced the impact when a loved one begins the slow decline from this silent disease. The idea of fixing the body first so the brain can recover is somewhat logical, but whether it’s red meat, vegan, kimchi, or something else … nothing has yet provided us with the glimmer of hope needed to reduce or slow the effects. Surely, some will benefit from Max taking the camera on the doctor visits and discussions with mom, but the self-promotion is a bit tougher to accept. Re-tracing the NYC locations shown in those home movies makes for a nice final touch.

Opening in NYC theaters on April 19, 2024 and expanding at later dates

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Posted by David Ferguson

WHAT’S NEXT (2024, doc)

April 11, 2024

Greetings again from the darkness. As an avid documentary fan, I typically don’t have much patience for docs that fawn over their subject. The exception to that is this one from filmmaker Taylor Taglianetti, which plays like a family home video, yet the man in focus is so engaging that we hang on his every word. Why is that? Well, at age 100, Dr. Howard Tucker was certified by the Guiness Book of World Records as “the oldest practicing doctor”.

We first see the southpaw doctor throw out the ceremonial first pitch at a game for his hometown Cleveland Guardians (MLB), and though his throws might have been truer when he was younger, his inner-strength is on full display as he walks off the field and declines the use of a wheelchair. This is a man who has made his own way for a century, and isn’t about to take a free ride now.

Dr. Tucker has been a neurologist for 75 years, and if you are curious as to the kind of man he is, you should know that he became a lawyer at age 67 just to say he accomplished it. He’s also the guy who broke his neck snow skiing – at age 87. His grandson, Austin Tucker, is a producer on the film and acts as our guide in getting to know this medical marvel. We also meet the charming “Grandma Sue”, Dr. Tucker’s wife of 65 years … herself almost 90 years old, and still active as a Psychoanalyst.

St Vincent Charity Hospital is where Dr. Tucker teaches residents and conducts research. Well, he did right up until the day the hospital shut down. So, what was Dr. Tucker’s response? Of course, he tells everyone he’s looking for a job!  What else would a centenarian do in this situation? When Dr. Tucker flunks his driving test, he’s mighty disappointed that he can no longer zip around in his classic cherry red MG, and must now be dependent upon Uber.

Dr. Tucker briefly discusses the Jewish bias and antisemitism he has faced over the years, though he refused to be held back. He visits his 96-year-old high school friend who is a car collector, and Dr. Tucker even shows off his own collection … hundreds of the trademark bow ties that he’s worn over the years.  We see some of the video congratulations he received from celebrities on his 100th birthday, a mark he doesn’t seem overly interested in. We understand why Dr. Tucker names Satchel Paige as one of his role models, as they are both men who persevered and accomplished beyond what others said was possible. Two distinct pieces of wisdom are passed along through Taglianetti’s film. “Grandma Sue” tells us “denial” is a useful part of our thinking, while Dr. Tucker reminds us that retirement is the enemy of longevity. Perhaps now you understand why I was so taken with this “home movie”.

Premiered at the Cleveland International Film Festival on April 7, 2024

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Posted by David Ferguson

FOOD, INC. 2 (2024, doc)

April 9, 2024

Greetings again from the darkness. It’s likely director Robert Kenner and producer Melissa Robledo assumed their Oscar nominated documentary FOOD INC (2008) would generate change and improvement in what we eat and how our food supply works. To some extent they were correct, yet here we are 16 years later, and Kenner and Robledo are back with FOOD INC 2, this time as co-directors, to emphasize the dangers of having a few mega-corporations in control of what we eat.

That first documentary has been described as the beginning of “the food movement”, and it’s true that many people have improved their diet by focusing on more natural and organic food sources, and depending less on fast food and processed items. However, it’s also true that mergers and acquisitions have allowed food suppliers to get bigger and more powerful over those years … and the Pandemic contributed as well. That first film highlighted our overdependency on corn products, and has led to more local farmers markets and more organic offerings (although still at elevated prices).

This second film informs us that the pandemic exposed just how delicate (and wobbly) our system is. Supermarket shelves sat empty while farmers destroyed crops and animals. The filmmakers hope this film will be a catalyst for closer inspection on how the mega-food companies are controlling what we eat, with a focus on profits rather than nutrition. Author and journalist Michael Pollan and “Fast Food Nation” author Eric Schlosser are back to lend their knowledge and expertise and concerns. The concern regards monopolies within the various food segments.

Discussion is held regarding President Trump issuing a 2020 executive order citing the Defense Production Act to keep meat packer plants open despite COVID outbreaks. It’s reported here that most of the meat was shipped to China, but U.S. corporate greed and profits remained intact, although no concrete data is provided. Mostly they call for anti-trust laws to be enforced.

Specifics are provided in the various food segments. The filmmakers take us to Immokalee, Florida where mistreatment of migrant workers is the story; Iowa, where the Tyson plant COVID outbreaks are detailed; Wisconsin, where the dairy industry is mentioned; back to Iowa where crops and soil issues are identified; New Jersey, where US Senator Cory Booker of the Agriculture committee is interviewed; and Montana, where US Senator Jon Tester speaks from experience. The demise of family farms is a by-product of the mergers and trend toward bigger, and the most frightening aspect is in regards to “ultra-processed foods” … those with additives and artificial sweeteners. These are the driving force behind diabetes, obesity, and other diseases … and the changes in Brazil diets are especially telling on the last point.

The value in this documentary from Kenner and Robledo is in the information and details. We learn that the big companies are investing in alternative meat and food (such as Impossible Burger), while at the same time taking advantage of research and data focused on sweetness and calories. Foods from science labs may be our future, right along with innovation in “weird” farming sustainability (Stockcropper) and kelp fishing/harvesting in Connecticut. Farm-to-table school lunches in Camden, New Jersey provide us some hope, and we learn about the conflicts with the Fair Food Program and labor relations.

There are no easy answers when billions of people on the globe must be fed. What we must demand is that efforts in the field go towards nutrition and sustainability, and not just profits for a few mega-companies.

Here are some of the provided statistics:

Four companies have a stranglehold on 85% of beef processing.

Three companies dominate 83% of cold cereal.

Two companies control 70% of the carbonated soft drink market.

Two companies control 80% of the baby formula market.

Ultra-processed foods make up about 58% of US adults caloric intake.

Special theater screening on April 9, 2024 and on Digital beginning April 12, 2024

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Posted by David Ferguson

STEVE! (MARTIN): A DOCUMENTARY IN 2 PIECES (2024, doc)

March 28, 2024

Greetings again from the darkness. We are now two full generations past the peak (and end) of Steve Martin’s superstardom as a stand-up comedian. Today, he is mostly known as a banjo player, a writer, or as one of the three co-stars of the hit show, “Only Murders in the Building”. That’s right. At almost 80 years of age, and removed from his two previous fame-inducing careers (comedian and movie star), he “only” has three remaining paths to fame, glory, and gobs of money. Regardless of the Steve Martin era studied, what stands out is his remarkable ability to entertain – something he says captured his fancy the very first time he saw a stage.

Documentarian Morgan Neville won an Oscar for the spectacular 20 FEET FROM STARDOM (2013). He’s also behind WON’T YOU BE MY NEIGHBOR (2018), an excellent profile of Mister Rogers, as well as numerous other documentary projects. With more than a half-century of Martin’s career to somehow cover, Neville takes a “then” and “now” approach with what is effectively two films that split Martin’s fabulous career into the two titular ‘pieces’. “Then” covers the early developmental period, right up until 1980, when Steve Martin shocked the world by walking away from stand-up. “Now” offers a more personal and reflective look at his endeavors since.

For those of us who were around in the 1970’s, “Then” is not just a nostalgic look back at how one man reinvented stand-up comedy (though it is that). It’s also a fascinating look at Martin’s childhood and his early pursuit of finding his place in the entertainment world. We hear Martin state, “I guarantee you I had no talent.” Of course, whether that’s accurate is debatable, but what he certainly had was persistence, ambition, and a desire to make it. As a 15-year-old working at Disneyland (he was born in Waco, Texas but raised in southern California) he learned the basics of magic and balloon animals through observation and relentless practice. He admits his educational background in Philosophy gave him a unique perspective in understanding himself and audiences. He gave himself until age 30 to “make it”, and a fortuitous turn of events, made that birthday a special moment. He worked and massaged and practiced his routine – refining such silliness as an arrow through the head, happy feet, “Excuuuuuse Me!”, King Tut, and “Wild and Crazy Guy” – all while wearing a white suit and sporting premature gray hair. In 1976, Lorne Michaels invited Martin to host a relatively new comedy show called, “Saturday Night Live” (something he has now done 16 times). Soon after, Martin released the first two comedy albums to ever go Platinum. This led to the first of his many movie roles in the classic comedy, THE JERK (1979). Director Neville highlights each step of Martin’s amazing ascension via rare clips and input from Martin himself. And just like that … comedy’s first rock star walked off stage at age 35 and on top of the world.

“Now”, the second entry in Neville’s in-depth documentary, is much less about Steve Martin’s varied career and much more about Steve Martin the person. To emphasize the contrast between ‘Then’ and ‘Now’, this second piece begins in Martin’s kitchen showing him poaching two eggs (heavy on the pepper) for breakfast. Does that sound like showbiz? It’s an entirely different approach as we watch Martin and Jerry Seinfeld have a conversation about comedy, while Tina Fey, his sister, and others give brief insight into their paths crossing with Martin. Even his wife, Anne Stringfield, offers up some personal scoop on the man who has protected his privacy all these years … although it should be noted that their daughter only appears as a cartoon stick figure.

Much of this segment revolves around Steve Martin and his friend and “Only Murders in the Building” co-star, Martin Short, as they collaborate on jokes for their stand-up show … all while jabbing each other with friendly one-liners. Short says the reason Martin hasn’t aged is because he looked 70 when he was 30. It’s that kind of friendly banter between friends. A most poignant moment occurs as Martin is going through his bound copies of movie scripts. PLANES, TRAINS, AND AUTOMOBILES (1987) takes him back to his close friendship with the late, great John Candy, and the memories are almost too painful for Martin to bear.

It’s fascinating to hear Martin talk about his humiliation when PENNIES FROM HEAVEN (1981) failed, and learn more about his devotion to fine art. To emphasize the personal change Martin has gone through, the director shows an interview clip from decades ago where Martin refuses to discuss the first painting he bought, and then juxtaposes it with a contemporary clip where he eagerly expounds on that painting and others. Martin doesn’t appear to carry as much pride in his movie career as he should, and we see him working with illustrator Harry Bliss on a collection of memories and anecdotes from each film.

Morgan Neville likely underestimated the project when it began. He certainly benefitted from Steve Martin’s willingness to open up and share his personal archives. A man of many talents and interests, with multiple careers spanning decades may be a challenge for a biographer, but for viewers, it’s pure joy to stroll through the many reinventions of Steve Martin. His work is worthy of admiration, as is his willingness to open his life and reveal the hard work and dedication that goes on behind the curtain.

The film will be on Apple TV+ on March 29th.

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Posted by David Ferguson

CAROL DODA TOPLESS AT THE CONDOR (2024, doc)

March 21, 2024

Greetings again from the darkness.  Co-directors Marlo McKenzie and Jonathan Parker have teamed up for one of the most ‘revealing’ documentaries you’ll ever watch. OK, all I can do is try my best to minimize the use of puns and double entendre as the review progresses. But that won’t be easy as the filmmakers strip away the excess and serve up a bouncy peek at one of the more influential figures driving cultural change in San Francisco during the 1960’s.

Carol Doda became famous for more than two reasons. She was the first topless dancer in the Bay Area, and was so popular her name was a permanent fixture on the neon sign at the Condor Club in North Beach. Archival footage and photographs are used to take us back sixty years to 1964 when multiple battles were being fought: the Vietnam war, the Civil Rights Movement, and Feminism. The film uncovers Carol’s transition from spirited cocktail waitress to featured stage go-go dancer to, ultimately, the main attraction. She would make her much-anticipated entrance as a baby grand piano descended from the ceiling, slowly revealing a topless Carol Doda dancing on the instrument.  She was truly a popular tourist attracting in San Francisco, second only to the Golden Gate Bridge.

Interviews are conducted with surviving dancers, staff, and club owners. The admiration these folks have for Carol is impressive. Her mounds of courage at being the first topless dancer is obvious, and her gut-feeling for what was entertaining demands respect. We see in her interviews just how lovely, charismatic, and playful she was – always with a quip about her assets. The filmmakers also tie in Carol and others to the dance and song inspired by “The Swim”, ultimately recorded by Bobby Freeman. We also get a history lesson on ‘the Monokini’, a topless swimsuit designed by Rudi Gernreich, as well as Carol’s acceptance of silicone injections. She viewed this as a marketing necessity as these took her from a 34B to a 44DD, allowing for a competitive advantage. The 1964 Republican Convention at the Cow Palace featuring Barry Goldwater is discussed, as are Condor Club regulars such as Liberace and Walter Cronkite, and Carol’s relationship with Frank Sinatra.

Historically speaking, prior to WWII, women’s legs (Betty Grable, Betty Boop) were featured as the sexual attraction for men, while afterwards, attention shifted a bit higher thanks to Marilyn Monroe, Jayne Mansfield, and others. It was Carol Doda who capitalized on this trend with her live performances. We learn of the influence of her manager, Davey Rosenberg, and how, as they do, times shifted yet again, causing Carol to adapt to the times (bottomless), even as she aged. Very little of Carol’s personal life is covered here, though most admit they found her to be a bit of a loner, focused mostly on her career. I was a bit disappointed that Carol’s appearance in Bob Rafelson’s movie with The Monkees, HEAD (1968) wasn’t mentioned, but overall this is anything but a bust … instead a worthy history lesson and a lovely tribute to a woman who made her own way, despite the backlash from the feminist movement – those who should have been applauding her entrepreneurial spirit.

Opening in limited theaters on March 22, 2024 and expanding to more cities on March 29.

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Posted by David Ferguson

PITCH PEOPLE (1999/2024, doc)

February 29, 2024

Greetings again from the darkness. It’s been 25 years since this documentary from Stanley Jacobs made the festival rounds, and now his 1999 film has gained an “anniversary” release in theaters and on 4K digital. Those of us of a certain age recall our favorite TV shows being interrupted with commercials for the latest “As Seen on TV” products. Ginsu knives and Pocket Fisherman were two of the most prominent, yet there were dozens more that gained airtime. What stood out was the excitement of those presenting the products, making that day’s miracle seem like a must-have for everyone … well except the Ronco Salad Shooter held little appeal for my younger self. But a Ginsu knife that cut through tin cans? I could find a use for that!

Jacobs’ tracks the origins of pitch people back to the days of traveling ‘Medicine Men’ and their cure-all potions, to the untrusted ‘Snake Oil’ salesmen (who were often the same folks). What’s clear is that we humans have always (and continue to) been enticed by anything promised to make our daily lives easier and better … or as PT Barnum (supposedly) said, “There’s a sucker born every minute.” Of course, one need not have traveled in a covered wagon or even grown up with limited network TV in the 1970’s to have been mesmerized by the best (or even mediocre) pitch people. Every county and state fair, and most every trade show, car show, and conference, features the entertaining sideshow of a pitch person and their slight-of-hand, fast-talking presentation of some gadget. What Jacobs shows us is that these masters of oratory skills typically take great pride in their talent and results.

Pitchers, hawkers, grafters, barkers, salespeople … it matters little what label is applied. Their job is to draw folks in, set the hook, and make the sale. The more fun you have with the pitch, the more likely you are to part with greenbacks (or tap your card these days).  Ron Popeil (and his RonCo) may be the most famous and successful, and here, Jacobs details Popeil’s dad as well as the birth of the infomercial. Ed McMahon of Johnny Carson fame gets his own segment, and we experience how the pitch, once mastered, stays within the pitch person. We also hear from many others who work in this profession, some you’ll recognize, others you’ll feel like you should.

Slicers and dicers, miracle mops, and cookware, as well as anything “-O-Matic”, are big players in this market, and we find it entertaining to watch the pitch, but also see the reactions of those gathered around the booth at the fair. It’s quite a phenomenon, and one that Stanley Jacobs expertly captured in this documentary from many years ago … one certainly due a resurgence.

Opening in select theaters in 4K beginning March 1, 2024

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Posted by David Ferguson

THE HOBBY (2024, doc)

February 15, 2024

Greetings again from the darkness. As a kid and blossoming baseball fanatic, there were few things more exciting than ripping into a new pack of baseball cards. While some friends used clothes pins to attach them to bike wheels for a cool sound, I preferred to study the cards, especially the statistics and brief bio on the back. Often, the flat panel of bubble gum included was so stale it would snap in two, but the smell of a pack remains ingrained in my olfactory memory bank all these years later. In this documentary, Morgan Jon Fox explores the difference between traditional card hobbyists and new age collectable card investors, and introduces us to the people who have driven the changes.

New York Times reporter Paul Sullivan starts things off by recounting the investigative series he published on the collectable card industry. He admits to being shocked that not only were some cards selling millions of dollars, but also of how the card market had become just that … a true marketplace. No longer was it just adolescents swapping a Robin Yount for a Reggie Jackson. Where there had once been passionate collectors as hobbyists, there were now passionate investors – only they weren’t passionate like fans of the players on the card, instead they were passionate and focused on making money. RBI stats had been replaced by ROI, and these people were serious. Even the product evolved – trading cards were now collectable cards. And no one was putting them on their bicycle spokes.

Filmmaker Fox provides a bit of history for us. Cards date back to 1869 and were included in tobacco, candy, and gum packs. It was Topps who invented the modern-day collectables in 1952. This is also the year of the infamous Mickey Mantle rookie card that caused values, and the card market, to explode. The story behind this is quite surprising and detailed in the film. As the market for cards grew, more companies joined in. Competing with originator Topps were Fleer, Upper Deck, and Panini, and in 2021, the industry shifted again. Powerhouse retailer Fanatics and co-founder Josh Luber gained exclusivity for football, baseball, and basketball. Trade shows, podcasts, and websites all led to the growth in values which then led to popularity. What was once childhood fun, was now big business.

This was filmed in 2021-2022 when collectable cards were showing tremendous value jumps, and at the time, it was estimated that the market could be worth $100 billion by 2027. Not long after, values for many cards, and for the industry as a whole, plummeted. The rarest cards held up, but the mass market continues to struggle. The concern from insiders is that the market could ‘age out’ like stamp collecting has. Efforts are underway to draw more kids into collecting, and also expand the ‘non-sports’ market, which includes cards like Pokemon, Star Wars, Marvel, and Harry Potter. Fox even shows us some old Presidential collectables that feature Abraham Lincoln. While the line has certainly blurred between investor and hobbyist, it appears those who focus on a specific segment are now the most successful … say, shrewd curation of a Nellie Fox shrine.

Available TVOD on February 16, 2024

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Posted by David Ferguson

SLAMDANCE FILM FESTIVAL 2024

January 31, 2024

Every year I find myself with more appreciation for the Slamdance Film Festival. Celebrating innovative independent filmmaking, the lineup always features creative and unconventional movie projects – often from filmmakers just beginning their journey. Below are brief reviews on some of the films I caught virtually through this year’s festival.

BRANDO WITH A GLASS EYE

This story from writer-director Antonis Tsonis is based in Greece, where we find two brothers in dire need of funds. Luca (Yiannis Niarros) is a talented actor who has just received notice that he has been accepted into a prestigious method acting program based in New York City. He needs money for the trip, the tuition, and living expenses. Alekos (Kostas Nikoulis) has a dream of starting his own business. The two come up with the not-so-brilliant idea of a heist to secure the necessary funds.

Predictably, the heist goes bad for these two (previously) non-criminals, and in the ruckus, an innocent bystander gets shot in the stomach. The brothers manage to get away without being caught or identified. Already burdened with the guilt of his mother’s passing, Luca tracks down the gunshot victim, Ilias (Alexandros Chrysanthopoulos) and visits him at the hospital. These visits are a bit funny and quite uncomfortable – making them intriguing to watch. Soon, Luca and the well-to-do Ilias have formed a strange bond of unexpected friendship.

One of the entertaining pieces here is the Luca is always playing a role. Famed method actor Dustin Hoffman is referenced a few times via MARATHON MAN and DOG DAY AFTERNOON, as is the titular Marlin Brando (thankfully no scenes with butter). Luca’s acting exercises make for good entertainment, as both Nikoulis and Chrysanthopoulos are excellent in their roles. We are told that theater is about giving everything to art, and Tsonis has done that with his first feature-length film.

DARLA IN SPACE

Original with a big “O” (wink-wink, nudge-nudge), this zany film from co-writers and co-directors Eric Laplante and Susie Moon is offbeat and humorous while making a statement about money and ethics. It also manages to make orgasms as unsexy as possible.

Darla (Alex E Harris, director Laplante’s wife) is on her 18th business. This serial entrepreneur has cut a commercial for her Kitty Kasket, an artsy, customized product for the remains of deceased pet cats. We see the commercial and it’s as cringeworthy as you would imagine. A trip to the CPA reveals Darla owes a tax lien of a staggering (and unusual) $349,002 thanks to the selfish actions of her overbearing and irresponsible mother (Constance Shulman).

In a most head-scratching turn of events, while mopping in the required figure 8 motion, Darla stumbles on a ‘sentient orgasm-granting kombucha scoby’ named Mother (voiced by JS Oliver) that’s been hidden in a warehouse container. Picture a huge flapjack or pancake and then visualize Darla covering up with it and being treated to a Timothy Leary-inspired orgasm. Darla and Mother cut a deal so that Mother will help Darla raise the money to pay off the tax lien, while Darla will assist Mother fulfill the inexplicable dream of going to space.

Of course, we recognize Mother’s speech pattern as a nod to HAL9000 of Kubrick’s classic 2001: A SPACE ODYSSEY, but that’s about all we recognize here. Another character, Dr Brittney St Clair (Jenn Lyon) seems to always be on TV and is Darla’s inspiration, along with the “Yeah, OK” book. For those of us who respect creativity and risk-taking, filmmakers Laplante and Moon deliver a whopper.

THE ACCIDENT

How do we react when it seems the world is conspiring against us? Do we seize the opportunity to cheat the system if it means gaining an advantage that has eluded us? Does it matter if we are a kind and gentle person just trying to stay afloat? Italian filmmaker Giuseppe Garau delivers a film that offers one set of answers, while asking other questions, and reminding us that there is always a price to pay when our decisions skirt the bounds of ethics.

Marcella (a wonderful Giulia Mazzarino) is a stressed-out woman. Separated from her husband, the demands on her time cause her to be late picking up her daughter and ultimately losing her job. She possesses what we used to call a doormat personality – one who just seems to get walked on and taken advantage of at every turn. In hopes of digging herself out of a hole, Marcella goes into debt to purchase a used tow truck. Unprepared for the backlash from fellow “rescuers”, things turn ugly as her truck is vandalized and she is assaulted. Her claim that Italy is a “civilized country” clearly doesn’t apply to all citizens.

Mr. Garau’s unconventional storytelling is accompanied by an even more unconventional shooting style. Much (probably three-fourths) of the movie is shot inside the truck cab with the lens aimed at Marcella’s profile. We as viewers are literally riding shotgun on her daily adventures. We have such empathy for kind Marcella … right up until the tone changes. An opportunity pops up and she can’t resist, despite knowing this crosses a line of morality that she would have never previously dreamt of crossing. Does this decision prove her mettle, or does it cast her in a true light? We want people to be inherently good, and when they prove they aren’t, we can’t help but be disappointed. However, in Marcella’s situation, we (and she) can’t help but wonder if these actions are forgivable … until the moment we (and she) know they aren’t. It’s a terrific thought-provoking film with one of the best final lines you could ever ask for. The film won the Narrative Feature Grand Prize at Slamdance 2024.

INVISIBLE NATION (documentary)

The festival’s closing night film selection was this penetrative documentary by Vanessa Hope (granddaughter of producer Walter Wanger and classic film actress Joan Bennett). Given the state of global geopolitics at the moment, this inside glimpse of Taiwan through the eyes of its first female President, Tsai Ing-wen couldn’t be more timely.

It’s tough to decide which is more heartbreaking: watching high school students proclaim their identity through a Taiwan they view as an independent nation, or China President Xi Jinping stating, “Taiwan is China”, and that reunification is inevitable. Taiwan has been a democracy for decades, but it’s also a de facto country, one that isn’t even allowed to use their own name at the Olympics (Chinese Taipei).

We immediately gain respect for President Tsai Ing-wen as an exceptionally smart and wise and tough leader. On a daily basis, she deals with suppression from China, and has to walk a fine diplomatic line between supporters and detractors. We learn a bit more about The Sunflower Movement, a student-led rebellion and what role that has played in recent history. Unfortunately, this well-made and informative documentary reinforces the dread we feel towards the future of Taiwan as an independent nation.

1 Comment | Comedy, Documentary, Drama, World Cinema/Foreign | Tagged: , , , , , , , , , , , | Permalink
Posted by David Ferguson

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