Category Archives: Film

UPDATE IV: Latest Anti-Man Moaning From Menstruation Lobby (‘The Americans’)

Capitalism, Celebrity, Feminism, Film, Gender, Government, Hollywood, Political Correctness

Just for a change, the menstruation lobby is moaning about the movies and its members’ representation therein: “The latest study on women in front of the camera finds that female characters are still significantly under-represented on the big screen. … The numbers for minority females are even lower. African-American female representation on screen climbed to 14%, from 8% in 2011, but down from 15% in 2012.”

Despite the same lobby’s attempt to ban the word, we women are “bossy.”

I control the remote in the house. My husband, however, is happy to allow it, because we like viewing the same things—except that he is more patient and prone to watch foolish female heroes strut their stuff in stilettos and plunging cleavages while chasing the bad guys. He’s been softened. He believes the schtick.

Other than “Olivia” in “Law and Order”—she’s the only believable woman in a tough-cop routine—I can’t watch females as action heroes because it doesn’t make sense. I’m way too wedded to reality to find women believable in these roles.

As for the presence of minorities in movies: it usually signals a two-hour long, oppressive racial lecture. And “I’m no more inclined to turn to ’12 Years A Slave’ for entertainment, than I am to subject myself to Oprah Winfrey and her M.O.P.E. (Most Oppressed Person Ever) ‘Butler.'”

Maybe other viewers are on to this and agree, because it is quite clear that Hollywood is giving viewers what they want to see: men in lead roles. If film executives listened to loathsome Lena Dunham, instead of to the demands of consumers—the industry would go bankrupt.

In any event, Sean and I both like the Metal and Military Channels, “Investigation Discovery” for the gory real-life murder cases, “Law and Order” (Olivia’s awesome), “The Following,” “Criminal Minds” (the horror compensates for the hens), “Justified,” and, I know the category is wrong, but the Oscars belongs to ….

The Americans.

It is simply superb; TV at its best: no politics, surprisingly, no mega movie stars (who usually can’t act); real foreigners playing foreigners (no fake foreign accent, courtesy of Angelina Jolie), and a great script.

Enjoy tonight’s episode.

UPDATE I (3/13): The Following” is ad hoc, make-it-up-as-you-go garbage. But it’s done well-enough to entertain.

UPDATE II: “THE AMERICANS.” The script and story are so good in The Americans, that you don’t root for a political side—the story is remarkably apolitical, given how political is should be, the halmark of good storytelling—you simply get absorbed in the plot. It’s a great spook story. That’s the experience the movies should deliver. Good narrative, good acting, no wagging finger. However, it is pro-American in the subtle, good, non-rah-rah way, as it shows how the couple is living the life while going through the spook motions. It is wonderful TV.

UPDATE III: The script and story are so good in “The Americans,” that you don’t root for a political side—the story is remarkably apolitical, given how political is should be, the hallmark of good storytelling—you simply get absorbed in the plot. It’s a great spook story. That’s the experience the movies should deliver. Good narrative, good acting, no wagging finger. However, it is pro-American in the subtle, good, non rah-rah way, as it shows how the couple is living The Life while going through the spook motions. It is wonderful TV.

House of Cards: I do not like a lecture: not from the Right, the Left, or from the libertarians (my crowd). And I do not watch any program about politicians, CIA, FBI, NSA. I want to excise these cancers from my life.

UPDATE IV: Some seek an ideology in a story, I seek a good narrative. Not sure what it is about my explanation on Facebook that Friends have failed to get about excising all gov. from my life. CIA, FBI, NSA, D.C.: “Good” or bad, it’s all bad, because it should be abolished. I don’t watch it for “fun.” I write about it.

UPDATED: Hollywood: The No-Good, The Bad & The Beastly

Celebrity, China, Film, Hollywood, Human Accomplishment, Intelligence, Sex, Technology

“Hollywood: The No-Good, The Bad & The Beastly” is the current column, now on WND. An excerpt:

“Glenn Close’s remarks, In Memoriam, at the 86th Academy Awards ceremony, captured the delusions of grandeur held by the “tarts and tards of Hollywood,” and helped by their fans.

The actress (or is it “actor”?) did not thank the dearly departed for merely entertaining the masses, which is all actors and directors are capable of doing. Oh no. Her deities were, instead, acknowledged for “mentoring us, challenging us, elevating us”; “they made us want to be better, and gave us a greater understanding of the human condition and the human heart,” language that should be reserved for the likes of Ayn Rand and Aristotle.

Where a motion picture has indeed transported anyone—it is because it cleaved to a decent script, usually a good book. “Gone With the Wind,” “Doctor Zhivago,” “Midnight Express,” and “Papillon,” are examples.

Still, Hollywood is quite capable of reducing great literature to schmaltzy jingles, belted out by shrill starlets. This was the fate of “Les Misérables,” last year. Lost in the din were a lot of lessons about “the human condition.” The Victor-Hugo masterpiece I read as a kid was about France’s unfathomably cruel and unjust penal system, and the prototypical obedient functionary who worked a lifetime to enforce the system’s depredations—a lot like the powers that hounded Aaron Swartz, the co-founder of Reddit.com, to death, in 2013, and are intent on doing the same to the heroic Edward Snowden.

The dead were deified, but what of the walking dead?

To the Chinese, who appreciate the value of experience, the greater the ratio in a team of “grey hairs and no-hairs” to “black hairs”—the faster and better a task will be completed. The opposite assumption obtains in the youth-obsessed U.S.

On the old, Hollywood performs professional geronticide.

Aging actors are put out to pasture, retired into buffoonish, badly scripted roles (“Nebraska”). The annual Oscar Awards will see at least one old actor trotted out (in 2011, the “distinction” went to Kirk Douglas) from retirement. From the sympathetic thunder clap received by Harrison Ford, 71, this year, I’d say he’s ready to be retired.

Yes, a silly society is a youth-obsessed society. Duly, a precocious kid actor will typically cameo. This year, viewers were spared the spectacle. Tykes did, however, twerk and twirl with the adults in a Pharrell Williams routine, conjuring the current crop of Walt Disney cartoon characters (“Rio 1”). Once-upon-a-time, our beloved cartoons were cute, innocent and mischievous. Think Disney’s Donald Duck, Warner Brothers’ Bugs-Bunny and Amblimation’s Fievel of “An American Tail” fame.

Alas, like The Kids, the animated characters that festoon film nowadays sound and act as if created by another Victor (Frankenstein), combining pixelated bits of the putrefying Bethenny Frankel, and some “Mob Wives,” “Real Housewives,” and “Dance Moms,” for good measure. …

Read on. The complete column is “Hollywood: The No-Good, The Bad & The Beastly”” now on WND.

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* For his help, I thank my young friend, movie maven Kerry Crowel.

UPDATED (3/7): Anyone who praises the Titanic idiocy as a “classic” is lacking critical faculties (see Facebook thread). The scenes of the ship going down are fun and well done. But as to the “story”: It includes the use of “Freudian slip,” before the term was known, among other Americanized inaccuracies, and the upstairs-downstairs dynamic and proletarian insurrection: Whence does that rot come? But then, if you read the comments @ WND Comments (http://www.wnd.com/…/hollywood-the-no-good-the-bad-and…/), you get that our readers are more comfortable with Bill O’Reilly’s “output” or that of Maureen Dowd at the NYT.

UPDATE II: ‘The New Hunger Games: Empty Calories’

Film, Hollywood, Intelligence, Pop-Culture

I was unable to endure more than 15 minutes of the first, much-ballyhooed Hunger Games. Much to the consternation of the company present, I muttered about obedient America in-thrall to DC warfare propaganda. Writes Steve Sailer about the next installment: “Like the Twilight series, Suzanne Collins’s The Hunger Games young-adult novels are aimed at 12-year-old female readers. This puts the movies squarely in the intellectual wheelhouse of average Americans, a sizable fraction of whom don’t read much at all”:

… Perhaps we might eventually see a smile from Jennifer Lawrence (no relation to Francis), the Oscar-winning (Silver Linings Playbook) actress who plays the PTSD-addled heroine Katniss Everdeen.

Much of Lawrence’s star appeal to teenagers comes from being a normal-looking pretty American girl, a Homecoming-Queen-second-runner-up type. Her apple-cheeked face is distinctive mostly for her wide, well-padded cheekbones.

Since she’s only 23, everybody predicts a great career for her. But she strikes me as a girl built more for comfort than for speed, one whom Hollywood will hound to keep her weight down, with unpredictable consequences. Already, they seem to be doing something strange with her face. Lighting? Makeup? Digital manipulation in postproduction? Collagen injections? Beats me, but ever since X-Men: First Class she hasn’t looked the same as she did in her early low-budget films Winter’s Bone and The Beaver.

… Perhaps The Hunger Games works best as an allegorical critique of poor dumb Red State Americans volunteering to serve in the Capitol’s wars without even getting a cut of the Beltway’s black-budget contracts.

Thus the heroine is never tempted to side with the rich and powerful, although you can’t really credit her for that considering their taste in couture. The Capitol denizens are addicted to godawful conspicuous consumption rather than to the current status system in which you show off what esoterica you notice (how much carbon was emitted bringing your carrots to market, for instance) and all the massive facts you ostentatiously fail to notice.

Conversely, the movie’s portrayal of West Virginians is straight out of a Works Progress Administration writers’ project. The mountaineers are all hardworking coal miners. Nobody is on disability due to morbid obesity. The working class isn’t trapped in a web of invisible debt, they aren’t having their heavy industry jobs outsourced, nor are they having new populations insourced. In other words, there’s little to unsettle contemporary viewers in The Hunger Games. …

MORE.

UPDATE I (11/29): Facebook thread. I hate allegories; libertarian, left or right. They’re cumbersome, inorganic, artificial—all the more so when done by dumb Hollywood types. A movie has to present a good script and story and be well acted and well-put together. I don’t want symbolism. Stay away from politics, Hollywood. Above all, to please my tastes, it has to resemble reality. That’s the general rule, although I have been known to lose myself in “Avatar” lately. Never watched it when it came out. I think it’s b/c the actual scenario is a possibility; man destroying other civilizations and animals has happened—still does. Kerry: You are right. I deserve a medal for watching the bit of Hunger foolishness I watched.

UPDATE II: Kerry Crowel, I was a kid when Ingmar Bergman was popular in Israel. I recall trying to read subtitles and figure out the agonized themes and plots. (And fiddle the bunny rabbit TV antenna to get a picture.) A lot like a Nordic Chekhov he was. Actually, whatever he did, Bergman was way too sophisticated to compare to “Hunger Games.” More in the league of Fellini, who also delivered plots that made you forget the symbolism behind it. It wasn’t labored. You could still get absorbed in the plot. The reason I like a straightforward plot these days (then I was able to watch Bergman starring Liv Ullmann) was b/c simple is all the current crop can manage. I do like thrillers. I confess.

UPDATE II: ‘The Americans’ Is Awesome TV

Communism, Film, Hollywood, Intelligence, Pop-Culture, Socialism

I was wrong. “The Americans,” a period drama from the FX network, is not trite TV. I should not have fallen so fast into dismissive mode—but, then, can you blame me? Hollywood’s record of producing abysmally acted, amateurish, sub-intelligent scripts is solid. It speaks for itself.

In “The Americans,” Keri Russell kicks more than corporeal ass as a complex, introverted (now that’s novel), and most interesting character.

Matthew Rhys as her spook husband is magnificent; intense, authentic and manifestly conflicted.

The plot, script and attention to detail deserve high marks too.

And lo and behold, the Russian characters in the series are not just American extras with bad accents; they’re for real, accent and all.

So good is “The Americans” that Holly Taylor and her slightly less offensive brother, as the spy couples’ horrid kids, do not spoil the viewing experience. The children are straight out of 2013, down to their awful vernacular (lots of “like” to preface every sentence), and the staccato tart tones of Taylor’s voice.

“The Americans,” as I see it, is better entertainment than “Justified,” whose protagonist is well-acted (but I don’t like him one bit; I like the “Drew Thompson” outlaw and the prostitute he rescues from a sure death).

It’s all good TV courtesy of Sony Pictures Television and FX Productions.

UPDATE I: From the Facebook thread. “Nicki Fellenzer: Tell me more. I can’t get enough of this series. I’m a fan. Good, fun TV, harking back to a better time in our American history. The fact that Keri Russell looks so all-American works in her favor and with the script: Of course her Russian handlers would have chosen an American-looking Russian girl to be the spy next door. More Nicki.

UPDATED II: We were cheated out of the new episode tonight. Sorrows were duly drowned in the delights of the Sheldon Cooper character from The Big Bang Theory. Cooper is an animated, wonderful creation (which Wikipedia delights in maligning as a sicko. What’s new?).