THE LITTLE HOURS (2017)

July 13, 2017

Oak Cliff Film Festival 2017

 Greetings again from the darkness. It’s not often when the obvious comparison to a movie is the classic 1975 comedy Monty Python and the Holy Grail, and it’s even more unusual for such a film to be making the rounds at festivals (I saw this at Oak Cliff Film Festival) where schedules tend to be loaded with serious and dark subject matter. This outlandish comedy won’t be to everyone’s taste, as it is profane and at times mean-spirited.

The year is 1347 when writer/director Jeff Baena’s story kicks off outside a convent where it takes less than a couple of minutes to realize that these aren’t your usual nuns. Profanity spews forth, as does laughter from the audience. Dave Franco plays a servant who has a good reason to flee from his King (Nick Offerman) and agree to a cockamamie plan suggested by the local priest (John C Riley). The plan has Franco working at the convent pretending to be deaf mute, while struggling to decline the advances from the aforementioned warped nuns played by Aubrey Plaza (the director’s long-time girlfriend), Alison Brie (“Mad Men”), and Kate Micucci (Unleashed).

Plot is barely an after-thought here, and most of the movie plays like interrelated “Saturday Night Live” skits. In fact, Fred Armisen and Molly Shannon are part of the ensemble, along with Paul Reiser and Adam Pally. Just as the characters begin to wear a bit thin, a new character is introduced, resuscitating our interest. Each of the actors deliver, but it’s Armisen and Micucci who are especially fun to watch, as is Riley’s tendency to turn communal wine into a community beverage.

Raunchy medieval comedies filled with debauchery and outrageously misdirected nuns could be classified as a bit of a stretch. However it makes more sense when you learn that Mr. Baena has adapted this from Giovanni Boccaccio’s “The Decameron”, and his use of modern day dialogue and attitudes, delivered by an ultra talented comedic cast, makes this one to watch after a particularly rough day or week of work. Expect an altar filled with f-words and blasphemy with a wink. If you are OK with that, you’ll likely laugh and enjoy the temporary reprieve from real life … even without any killer rabbits or Knights who say “ni”.

watch the trailer:

**I could only find a red band trailer – and ‘nun’ of that is appropriate.

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Posted by David Ferguson

LEFTOVERS (2017, doc)

July 13, 2017

 Greetings again from the darkness. I can’t ever recall a documentary starting with the filmmaker explaining that the subject matter was neither a passion, nor even something he was particularly interested in. But that’s exactly how Seth Hancock opens his film. He claims to never have thought much about aging, yet was asked to make a film on hunger within the senior citizen community, based on his experience as a photographer.

“Food Insecure” seniors was a new description learned during the film. The statistics show 6 million seniors go hungry every day, and there are others who experience uncertainty over the when/where/what of their next meal. These are the ‘lost and forgotten’. It’s a national disgrace. Meals on Wheels was a major backer of the film, as were some other organizations that assist seniors.

Director Hancock divides the film into three parts: Learning to Care, Giving a S**T, and Looking for Solutions. He bounces around the United States and offers segments based in Marin County California, Owsley County Kentucky, Orlando, Detroit, and Austin. Each area has their own issues, but the problems are remarkably similar – we just don’t do a very good job of making sure the elderly have enough to eat, and are properly cared for.

It’s pointed out that these are the folks who fought our wars, built our towns, and educated our populace. They deserve better. There is a particularly interesting interview with Carla Laemmle, a former dancer and actress. She is the niece of the legendary Carl Laemmle who founded Universal Studios. Carla explains that without her daily delivery from Meals on Wheels she would be “stuck” in a retirement center or hospital, instead of living in her own home.

The film mixes in interviews with the CEO’s of Meals on Wheels and AARP, as well as numerous senior citizens and volunteers. Many statistics are provided throughout, and it’s noted that every dollar invested in Meals on Wheels saves up to $50 in Medicaid. Other statistics are equally stunning and eye-opening, including the projected number of seniors in 2020 and the importance of Social Security benefits as the bulk of income for seniors.

Frustration with government and politicians is expressed many times, as is the good-heartedness of so many folks (many of whom also are frustrated by bureaucracy) who strive to bring a little joy – and food – into the lives of unfortunate seniors. Health Care and Socialization are touched on, as is the contrast in Texas of the applications for handguns (1 page) versus food stamps (18 pages). The issue of hunger for senior citizens is not going away, and it’s time for real solutions – not just because it’s the humane thing, but also because the folks deserve better.

 

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Posted by David Ferguson

WAR FOR THE PLANET OF THE APES (2017)

July 12, 2017

 Greetings again from the darkness. Counting the original in 1968, this is the ninth Planet of the Apes film (sourced from the Pierre Boulle novel), and the third in the most recent reimagining – including Rise of the Planet of the Apes (2011) and Dawn of the Planet of the Apes (2014). That’s almost 50 years of talking apes questioning the role, purpose and intent of humans. Director Matt Reeves (Let Me In, Cloverfield) is back after ‘Dawn’ and clearly has an affinity for the characters and the continuing saga. This one is by far the most personal … if that’s the right term when applied to a species other than persons!

Opening with the film’s best battle scene (and perhaps the most superb and vivid of the franchise); the film stuns us with the realism of apes on horseback and searing violence that rivals any war film. We are immediately drawn in by the thrilling and intimate battle scenes, and the accompanying adrenaline rush. It’s a beautiful and heart-pounding opening that will surely satisfy even the most demanding action-oriented fans. This is also when we notice that Michael Giacchino’s score as a complementary thing of beauty and not just more over-the-top action film music bravado.

The great Andy Serkis returns as Caesar, the leader of the apes, and dare I say, one of the most exciting and dynamic recurring characters in the movie universe. This third film belongs to Caesar and we see his intelligence, personality and skills have evolved in each. His human nemesis this time is Woody Harrelson in Colonel Kurtz psycho-war lord mode. In the years since Dawn of the Planet of the Apes, a simian virus has wiped out much of the human race and now the last two human factions (one led by Harrelson) are preparing for a final epic war, while at the same time, all remaining humans are united against apes.

Apes simply want to be left alone in the forest, but humans focused on their destruction are forcing the apes to fight. One particular attack causes Caesar to erupt in anger and strive for revenge, providing the foundation for a movie with less action than the previous two, and a more concerted focus on story and character. Some may be disappointed in this. Others (like me) will find it fascinating.

Joining Serkis/Caesar for a third round are Terry Notary as Rocket and Karin Konoval as Maurice (orangutan). Also returning is Toby Kebbel as Koba – this time in a manner that really messes with Caesar’s mind. Steve Zahn steals his scenes as the comedy relief chimp known only as “bad ape”, with Judy Greer as Cornelia, and young Amiah Miller as Nova (same name as Linda Harrison in the original). Nova is a human girl who seems to fit much more with the apes than the warmongering humans. Fans of the original will also note Caesar’s son is named Cornelius (the same as Roddy McDowell’s ape in the original). Director Reeves delivers what would be a fitting end to a trilogy, but there is likely to be yet another if fans can appreciate that the series has evolved every bit as much as the apes.

watch the trailer:

 

 

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Posted by David Ferguson

CITY OF GHOSTS (2017, doc)

July 9, 2017

Dallas International Film Festival

 Greetings again from the darkness. Oscar nominated director Matthew Heineman delivered the stunning documentary Cartel Land in 2015, and here he once again proves his expertise as the messenger of important (and dangerous) stories that need to be told.

The film begins in the Syrian city of Ragga in 2012, and we see the beginning of the revolution against the Assad regime. The sayings “Death is Death” and “Danger has a special taste” come into play, and by the end of the film, there is a clarity that is devastating.

The courageous and dedicated Citizen Journalists are divided into two groups: the internal who risk their lives in Ragga uploading news stories and videos of ISIS actions and, the external who are based in Turkey and Germany and post regularly to social media outlets. Both groups live vagabond lives – always on the move in an effort to avoid capture. Their combined efforts and risk taking allow the real story to be told from their home city mostly cut-off from the outside world – as evidenced by the satellite graveyard.

Some quite graphic and violent video clips are used to bring poignancy and meaning to the words spoken by the brave individuals (rebels in the best sense) being interviewed. The clips are also in contrast to the quietly dignified, yet urgent approach they take in reporting developments.

RBSS (Ragga is Being Silently Slaughtered) is the movement spreading the truth about ISIS atrocities – including public beheadings, shootings, and bombings. It’s a terrifying story, never more so than during the professionally produced recruiting ISIS videos featuring young children. These courageous folks have had friends, family and neighbors slaughtered which inspires them to continue fighting the guns and bombs with the power of words. It’s breathtaking.

watch the trailer:

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Posted by David Ferguson

MAUDIE (2017)

July 8, 2017

 Greetings again from the darkness. As the saying goes, “opposites attract”. It seems the bond between Canadian folk artist Maud Lewis and her reclusive employer/husband Everett Lewis prove this so – at least at first glance. However, digging deeper, as director Aisling Walsh and writer Sherry White do so expertly here, we discover an abundance of subtle similarities and life events that connect these two … showing yet again that real life is often stranger than fiction.

Sally Hawkins delivers her best performance to date (and a slam dunk Oscar nomination awaits) as Maud. She somehow manages to look even smaller on screen and capture the twisted, painful posture and movements of one stricken with severe arthritis. Ethan Hawke is Everett, the local fish peddler who lives like a hermit in his one-and-a-half room shack on the outskirts of town. Our first glimpse of Maude has her sneaking a cigarette on her Aunt’s porch while she listens to family members argue about who has to care for her. We first see Everett has he stomps into the general store demanding the shopkeeper write out and post his job opening for domestic help.

Filmed in Canada and Ireland, cinematographer Guy Godfree captures the harshness of the seasons and, more impressively, the claustrophobic and sparse living conditions of Maud and Everett’s tiny home (nothing like the HGTV segments). Maud’s sweetness and never-ending ability to find joy in the moment contrasts with Everett’s cantankerous and even initially cruel approach. These polar opposites are both societal outcasts, but eventually develop respect and yes, even love (though such a word would never be exchanged between the two). Hawkins and Hawke share two especially fabulous scenes – their initial meeting in his house, and a many-years-later emotional exchange on a bench. Hawke’s character is a bit challenging for the audience, but Hawkins captures our heart immediately.

Supporting work is minimal, yet effective, as Zachary Bennett plays Maud’s brother Charles, Gabrielle Rose is her Aunt Ida, and Kari Matchett is Sandra – the New Yorker with the fancy shoes who first spots Maud’s talent. Much of the story focuses on Everett’s pride and Maud’s joy/spirit, while slowly they both gain a bit of fame thanks to her artistic talent and their living arrangement.

Ms. Hawkins has long been an underrated actress (despite last year’s Oscar nomination), and her turn in Happy-Go-Lucky (2008) was proof she could carry the lead. Here, seeing her hoist such a real life character and story on her hunched back is a thing of beauty and is not to be missed. It’s an artful movie about an artist and making the best of life. The film’s music is perfectly understated and features acoustic guitar, violin and piano. It should be noted that the end of the film features a clip of the real Maud and Everett, and their house has been preserved and displayed at the Art Gallery of Nova Scotia.

watch the trailer:

 

 

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Posted by David Ferguson

MAN IN THE CAMO JACKET (2017, doc)

July 8, 2017

 Greetings again from the darkness. It’s doubtful any other film blends these elements: 1980’s rock music, cancer, a band break-up, a love story, In Vitro Fertilization, The Sex Pistols, Mount Everest group climbing, bone marrow donors, and an inspirational message. The convergence of these elements in director Russ Kendall’s documentary comes courtesy of Mike Peters and his life story and mission.

Mr. Peters, the iconic Welsh rock musician who first made his name in music as leader of The Alarm, has an engaging and ever-present smile, and epitomizes the term magnetic personality. He is described as a truly genuine person and one who builds bridges between folks – bringing people together for a cause.

Director Kendall filmed over an 8 year period, and of course, we get even earlier clips of The Alarm – replete with the spiked hair and spiritual bond with fans. Instincts are mentioned a couple of times by Peters in regards to his songwriting (writing about what matters) and his childhood guitar playing (possibly viewing it as a way out of a challenging neighborhood). The revolution of punk rock music is what convinced a young Peters that it was possible to remake yourself – become what you want to be, instead of what you are. His charming mother Martha mentions she was “horrified” for him.

Childhood friend and songwriting partner Eddie McDonald co-founded The Alarm with Peters, and though they never reached the mass success of some super groups, the respect of other musicians and fans was above reproach. The all-too-common inner-band power struggle (with Dave Sharp) led to the 1991 breakup of the band, and Peters simply started over – playing his music in smaller venues and reinventing himself as a solo act.

1996 brought his first cancer diagnosis, non-Hodgkin’s lymphoma. Peters’ spirit really begins to show his true colors as he chooses to “go to war” against his cancer. As a way to display his approach, he dons a military camouflage jacket and vows to wear it until he is cancer-free. His lovely (and strong) wife Jules supports him as they balance music, health and the pursuit of kids through IVF.

The “new” Alarm band forms in 2000 and in a remarkable strategy, exposes ageism within the music industry, forming the foundation for the film “Vinyl”. It’s not until 2005 when Peters receives his second diagnosis – Leukemia. His chemo treatments and continued musical outings are documented, but it’s his Love Hope Strength Foundation that inspires an increase in bone marrow donors (“Get on the List”). One of the most fascinating segments of the film has Peters organizing the world’s “highest” gig – a musical concert at Mount Everest Base Camp after a 10 day group climb. The event also raised funds for the construction of a new clinic in Kathmandu.

The film really captures the live-life-to-the-fullest spirit of Mike Peters, and how he remains dedicated to making the world a better place and helping others fight cancer. The increase of donor pools is crucial to treatment and it’s a virtuous and vital mission … by a man who understands both the challenges of cancer and the power of inspiring through music and actions. He describes himself as blessed despite the obstacles he has faced – and battles he continues to fight.

watch the trailer:

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Posted by David Ferguson

BEST OF FIRST HALF 2017

July 5, 2017

It’s time for a quick mid-year look back at my favorite movies from the first six months of 2017. We all understand that most movies vying for Oscar attention are released in the 4th quarter, but every year there are some terrific movies released early in the year that deserve a bit more attention and a bigger audience. Below is a breakdown of my favorites from the 118 (new release) movies I watched between January 1 and June 30, 2017. These are listed alphabetically by genre so as not to spoil the year-end Iist.

DOCUMENTARY

 Abacus: Small Enough to Jail – rather than “too big to fail”, this is the story of the only financial institution indicted for their role in the 2008 mortgage crisis.

City of Ghosts – RBSS (Raqqa is Being Slaughtered Silently) is a faction of citizen journalists risking their lives to report on ISIS activities.

Ella Brennan: Commanding the Table – tracing the fifty year path to success of a determined New Orleans restaurateur

Score: A Film Music Documentary – renowned film composers offer insight into the process of creating effective and beloved film scores

True Conviction – three wrongly convicted ex-cons create a kind of detective agency to serve and assist others who are in the same situation

 

INDIES and/or QUIRKY COMEDIES

 Band Aid – a husband and wife try to save their marriage by communicating, laughing, and arguing through their musical jams

Katie Says Goodbye – a nice girl in a small dusty town does what she thinks she has to do in order to escape to the west coast and start over

La Barracuda – Half sisters, both daughters of a dead music legend, struggle to bond and find peace or satisfaction in their father’s legacy

Mr. Roosevelt – Austin based comedy centered on a pet tragedy and one woman’s desperate attempt to make peace with the past

 

ROM-COM/DRAMA

The Big Sick – a true relationship story filled with laughter and drama that brings something new to a genre where quality stands out.

 

WIDE RELEASES

Baby Driver – it’s funny, charming, and a little odd, but mostly it’s a wild ride featuring old school car chases and a lead-footed savant

War for the Planet of the Apes – the best of the most recent trilogy cementing Caesar (Andy Serkis) as one of the best recurring characters in movie history

Wonder Woman – some terrific Act One sequences, tributes to 1978 Superman, a couple of stellar action sets, and a likeable hero. The movie that saved DC comics.

 

BIO

A Quiet Passion – while there is nothing quiet about Cynthia Nixon’s portrayal of Emily Dickinson, the film helps explain her life and what inspired her writing.

Chuck – the real life inspiration for Stallone’s Rocky Balboa, Chuck Wepner (The Bayonee Bleeder) was known for taking a punch. The movie delivers one.

 

DRAMA

The Hero – it could be seen as a tribute to Sam Elliott’s career … or a glance at the challenges of finding one’s place as the years advance.

The Lost City of Z – beautiful photography and sustained tension make for a wonderful adventure film based on the explorations of Col. Percival Fawcett.

Wakefield – if you’ve ever thought about putting your life on hold, or just enjoy commentary on suburban living and career pressures, this one is for you.

 

HORROR

Split – a return to form for M. Night Shyamalan, and a nightmarish look at what it would be like to be kidnapped by someone with 23 personalities.

 

WORLD CINEMA

 Frantz – Francois Ozon’s version of one man’s quest for a clear conscience after WWII left him burdened with guilt. His trip is not a simple one.

Julieta – An estranged daughter, recollections of her life, and painful self-evaluation provide the palate for this latest from Almodovar.

Toni Erdmann – the comical shenanigans of a prankster father as he attempts to inject life lessons into the stressful daily career life of his daughter. Oscar nom last year

Truman – a terrific script and one of the most realistic films ever about long-term male friendship and being there when it matters

 

Underrated: Free Fire

Overrated: John Wick 2

 

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Posted by David Ferguson

THE BIG SICK (2017)

June 30, 2017

 Greetings again from the darkness. Those of us who tend to avoid Hollywood Romantic Comedies honestly have nothing against them in theory (no really, it’s true). The problems with the genre stem from (years of) cringe-inducing clichés, story structure re-treads, and inane dialogue – all of which is usually accompanied by acting that comes across as significantly short of believable. So when a rom-com (like this one) hits the silver screen and it provides emotionally dramatic moments, organically generated laughter, and multiple characters that we genuinely care about … expect the accolades to start flowing.

Real life husband and wife Kumail Nanjiani (“Silicon Valley”) and Emily Gordon have collaborated on the script; an autobiographical re-telling of the saga known as the beginning of their relationship. It’s a story that starts simply enough with a meet-cute in a Chicago comedy club where Pakistani-American Kumail is performing his stand-up routine (in between Uber-driving shifts), and Emily is in the audience firing off some mild heckling which progresses to flirting and then … well, activity that leads to both saying “this can’t happen again”.

Director Michael Showalter continues to prove that he doesn’t mind breaking the mold for relationship movies. Hello, My Name is Doris was one of last year’s more creative films in this genre, and now Showalter has taken another step forward with this true life script. Kumail plays himself, and rather than a larger-than-life presence, he comes across as exactly life size. Zoe Kazan (granddaughter of legendary director Elia Kazan) plays Emily. The two actors are believable together (and apart) and allow us to buy in to them as a couple – and as not a couple. Their relationship shines a spotlight on religious and cultural challenges, and family pressures that those from a traditional Muslim family carry. For some, moving to the U.S. doesn’t override religious and cultural traditions such as arranged marriages and preferred professions. The script addresses this beautifully and without pulling punches – although some humor does help.

The supporting cast is excellent and plays a substantial role in the story, especially as Emily (Kazan) lay quite ill in the hospital. Holly Hunter and Ray Romano play her parents, and deliver an emotional wallop, even while dealing with their own marital issues – one of which allows Romano and Kumail to bond a bit. Kumail’s parents are played by Anupam Kher and Zenobia Shroff, while his brother is played by Adeel Akhtar. They each capture the shock and disappointment that follows when Kumail seems to choose Emily over the family. Since this is a rare multi-dimensional script where characters can’t just be labeled “boyfriend” or “best friend”, Kumail’s cohorts at the comedy club are played by Bo Burnham, Aidy Bryant, Kurt Braunohler, and David Alan Grier – each bringing more depth to the story.

Expect the best giraffe and 9/11 jokes you’ve likely ever heard, but mostly rejoice in the graceful balance between life and death, comedy found in daily life, and the real relationship struggles. It’s not even the first coma-centric romantic-comedy (While You Were Sleeping, 1995), but here, the human feelings on screen remind us that most decisions in life are complex, and we all make mistakes of the heart. Kumail is caught in “no man’s land” between family obligations and his own identity. Hopefully life hasn’t stuck you in Kumail’s spot – hanging out in the hospital waiting room with the parents of your ex as she lay comatose down the hall as you slowly come to realize that she’s the girl of your dreams (and your parents’ nightmare). It may not sound like the makings of a traditional rom-com, but that’s what makes it so exceptional.

watch the trailer:

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Posted by David Ferguson

BABY DRIVER (2017)

June 29, 2017

 Greetings again from the darkness. If his movies are any indication, writer/director Edgar Wright would be fun to hang out with. He thrives on action and humor, and seems committed to making movies that are entertaining, rather than philosophical life statements. Many know his work from Three Flavours Cornetto trilogy (Shaun of the Dead, Hot Fuzz, The World’s End), while others are fans of Scott Pilgrim vs. the World. High concept, high energy and a creative use of music are identifiable traits within Mr. Wright’s films, all of which are crucial to the success of his latest.

Ansel Elgort (excellent in The Fault in Our Stars) stars as Baby, a freakishly talented getaway driver paying off a debt to a no-nonsense crime boss Doc played by Kevin Spacey. Baby has an unusual movie affliction – a childhood accident killed his parents and left him with tinnitus. He compensates for the constant ringing in his ear by listening to music through ear buds attached to one of his many iPods (depending on his mood). In fact, his insistence on finding just the right song for the moment adds a colorful element to each escape route.

The film opens with what may be its best car chase scene and the hyper-kinetic approach sets the stage for something a bit different than what we usually see. There are no car drops from airplanes or train-jumping (I’m looking at you Fast and Furious franchise). Instead these are old school chases in the mode of Bullitt, or more precisely, Walter Hill’s 1978 The Driver (Mr. Hill appears briefly here as a courtroom reporter). A heist-romance-chase film with a diverse and truly remarkable selection of songs, high energy, more than a few comedic moments (the Mike Myers mask sequence is brilliant) and a recurring Monsters, Inc quote requires a strong lead, and young Mr. Elgort aces the test. Baby is the DJ to his own life, and possesses a moral compass that others on his jobs can’t comprehend. It’s a heart of gold in a bad spot.

Spacey plays Doc with his chilling dead-eyed stare, and even has his own moment of action sporting an automatic weapon during a violent shootout. Spacey’s various crime teams (he varies the pairings) include psycho-lovebirds Buddy (Jon Hamm in his continuing effort to distance from Don Draper) and Darling (Eiza Gonzalez), Jon Bernthal, Flea, and an aptly named Bats (Jamie Foxx), who is not the clearest thinker of the bunch. Other supporting work comes courtesy of the rarely seen songwriter/actor Paul Williams, musician Sky Ferreira (as Baby’s beloved mother), young Brogan Hall as Doc’s talented nephew, and CJ Jones as Baby’s foster father. Mr. Jones is one of the few deaf movie actors and he adds much to Baby’s life outside of crime.

The crucial role of Baby’s love interest goes to the very talented and likable Lily James (Pride and Prejudice and Zombies) as singing waitress Debora, who introduces him to Carla Thomas’ “B-A-B-Y” song, while he plays “Debora” from T.Rex for her. She and Baby share the not overly ambitious life plan: “to head west in a car I can’t afford and a plan I don’t have”. They are good together and that helps make up for the always cringe-inducing red flag of “one last job” prior to the lovers running away together.

Buried in the Miscellaneous Crew is Choreographer Ryan Heffington, who deserves at least some of the credit for the most unique and creative aspect of the presentation. This appears to be a movie fit to the music, rather than music fit to the movie. There are some astounding sequences where the drum/bass beats are right on cue with the action – gunfire, driving, and character movements. “Harlem Shuffle” plays as Baby playfully dances past graffiti and sidewalk obstacles that perfectly match the beat and lyrics. We see what is likely the best ever movie use of “Bellbottoms”, and without question, the most creatively brilliant use of “Hocus Pocus” by Focus. At times exhilarating to the senses, the infusion of comedy shots and new love help offset the tension of crime jobs and the thrill of the chase.

watch the trailer:

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Posted by David Ferguson

THE REAGAN SHOW (2017, doc)

June 29, 2017

 Greetings again from the darkness. More film footage exists of Ronald Reagan’s eight years as President than the previous five administrations combined. Under the guise of pulling back the curtain on how this was orchestrated by the actor-turned-politician, co-directors Sierra Pettengill and Pancho Velez instead seem more focused on delivering a hatchet job on the 40th U.S. President known as “the Great Communicator”.

With the exception of a few talking heads (Tom Brokaw, Walter Mondale, Peter Jennings, Sam Donaldson, etc), the film exists almost entirely of archival video and film footage from Reagan’s time in office. It kicks off on December 21, 1988 as Reagan and film crew prepares for his final interview with David Brinkley. The closing sequence shows Reagan’s final day in the White House as he leaves the Oval Office for the last time … and how it was choreographed for the cameras.

Two things are quite evident in showing what the filmmakers were after: an emphasis on the Cold War and the PR battles between Reagan and Mikhail Gorbachev, and the parallels and comparisons to the current U.S. President … though Donald Trump is never mentioned. Gorbachev was the only politician up to that time who could match, or even eclipse, Reagan’s comprehension of the value in controlling the public relations (as opposed to media relations). As a precursor to the Reality TV era, the 1988 Moscow Summit even featured TV shirts made in the United States!

The Trump comparisons seem endless and lightly-veiled as we see Reagan manipulate and clash with the media, while also strategically evading when necessary. With a slew of Democrats, journalists, and broadcasters casting aspersions and doubt on Reagan’s competency and commitment, there is even the accusation that he depended on his staff too heavily. This stands in stark contrast to what these days is reported on Trump – someone who doesn’t depend enough on staff and advisers. We can’t help but take note of how it’s always the media and opposing party making these determinations and judgments.

Additional pot shots occur around the Iran ‘arms for hostages’ scandal, and it comes across as if the filmmakers think the close relationship between Ron and Nancy (“I thought I married an actor”) somehow proves their point that he was disengaged as President. That’s right, the point of the documentary has little to do with how Reagan played to the camera (which is the premise being sold), but rather how they judge him to be style over substance. The footage utilized is excellent and the film is well structured, but most documentary viewers would prefer the filmmakers be upfront about their mission. Own it.

watch the trailer:

 

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Posted by David Ferguson

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