Rabbit Proof Fence

Phillip Noyce, 2002

Can I Stream It?

2/5

Set in 1931, Three Aborigine girls are taken from their family in an effort to slowly eradicate Australia of its indigenous population. 

Rabbit Proof has some really great qualities, but is ultimately a film that is lacking to a certain degree. The acting and cinematography really stand out, with the young girls showing durability and endurance while encompassed by superior camera work. The barren Australian Outback really invokes a sense of vast despair for the girls as they try to make their way back home. At times the heat radiates from the surface of the dry earth, reinforcing the unforgiving conditions the poor girls must endure. Sometimes the camera is attempting to focus on the silhouettes of the girls as they appear to almost float above the white surface. The actual fence they follow serves as a symbol in a sense, the descendants of British colonists trying so desperately to efface any anterior heritage. Their eagerness to "breed out" the half-castes is similar to that of the Nazi's Final Solution. But with that being said, the film is guilty of dragging when it comes to the story. Wearisome, sometimes almost feeling like homework. It is by no means an un-watchable film, but it certainly is an overrated one based on the wide critical acclaim it receives. The book likely gives the story much better treatment and probably makes more of an impact. That's what is ultimately lacking in Rabbit Proof. The story itself never seems to create a gripping, emotional impression. At the end of the day, the film at least takes you into a chapter of world history not often explored, it's just a shame it lightly glides through it without leaving you with any deep-seated memories.

Stories We Tell

Sarah Polley, 2013

Netflix

3/5

Sarah Polley (Splice, Dawn of the Dead, Go) turns the camera on her family in this creative and honest docu-drama which uses immersive recreated footage along with personal interviews with her family members. Polley is very curious about some of her family's past, and wants to get their individual accounts as they dig into their memory banks. Interestingly, they have varying interpretations of various family events. Some of the memories are vivid, some vague, some just aren't there. But the Polley family is colorful. Not without some pain, some surprise, some secrets. But it's those provocative elements which make it very human.

The film opens with the arresting falsetto song "Skinny Love" by Bon Iver. The various siblings casually take their seats in consecutive cuts and ask how they look in front of the camera, providing a casual behind-the-scenes approach to the traditional interviewing style of a standard documentary. Polley continues to re-imagine the standard doc with her recreated family footage. The footage is interlaced with authentic footage, the result feeling surprisingly seamless. Quite a bit of the footage shown is of her late mother Diane Elizabeth, who died of cancer when Sarah was 11. Diane is very natural on screen, constantly singing or dancing. The physical resemblance between Sarah and Diane is obvious, and it's very moving at times to see her mother singing to the camera.

It's not really until the second half of the film that Sarah begins to dig deeper into some of the family secrets, looking for answers. Some of the less favorable topics come up: infidelity, divorce, abuse, dishonesty. And while some of the subject matter is emotional, it certainly never crosses the line into the disturbing realm (like similarly constructed doc Capturing the Friedmans). The film shifts back to Sarah interviewing her father while she sits at a mixing board in a sound studio. She asks him to stop and repeat himself during his ongoing narrative on the other side of the glass. When he does, the camera focuses on a side profile of Sarah listening - with those words clearly affecting her emotionally. You get a sense that there is a catharsis happening. This is a film Polley is seemingly making for herself. She asks some very personal questions and receives some poignant answers. But to her credit, she is more than willing to put it all on the screen. She maintains a certain composure, an honesty, and vulnerability through it all. In the end you realize that while the Polley family may not be perfect, very few families are. There are always some scars. Life is very finite and love comes in many flavors, many of which can be complicated. You can spend the rest of your life blaming your relatives for some of the not-so-great things that have happened, or you can lick your wounds and move on. You look around and see what's surrounding you. In this case it's a lot of people who clearly care about each other and aren't ashamed or embarrassed of their heritage.

Confessions of a Dangerous Mind

George Clooney, 2002


3/5

Ambitious television producer Chuck Barris (Sam Rockwell) who created The Gong Show and The Dating Game also moonlights as a CIA operative assassin in this film directed by George Clooney and a screenplay written by Charlie Kaufman. Based on a memoir written by Barris.

Sam Rockwell is a good choice for Chuck Barris. Barris is sort of an unassuming figure. At one point in the film Jim Byrd (Clooney) says to Chuck: "You're a fairly bright guy. You'll figure it out". And that sort of sums up a lot about Chuck. He has the drive, there's no doubt about that. But his youth was full of rejection, and that never really subsided. And life isn't necessarily timed perfectly. When he finally meets the girl who is sincerely attracted to him, Chuck has a lot of fires burning. He wasn't exactly thrilled to take on the job working for the CIA, but does anyway without much defiance. And that's why Jim chose him anyway. He fit the profile. What was the profile? Probably a softy loner who wasn't going to stand out. Someone who nobody really looks at twice. Someone who is quite forgettable. Not one to solicit a second glance. Someone perfect for Sam Rockwell, who is no stranger to playing the "also-ran" type of character.

The film at times offers a taste of classic film noir. At other times its more of a character study. And other times it feels like a black comedy mixed with a crime drama. Clooney is quite capable in the director's chair, there's no doubt about that. The scene where the camera pans while introducing the various contestants really gives the feeling its all one continuous shot. The cinematography by Newton Thomas Sigel plays with a lot of color, at times an absence of it. There's a certain stylistic quality to the film that at times feels almost Sin City-like. You get a sense that the entire film has a lot of skillful people behind the camera, and it's realized quite early on that everyone in front of the camera is more than capable. It's not going to be a film for everyone, and it's certainly not Kaufman's best screenplay, but it's a film that should certainly be appreciated for the production-value.

Behind the Candelabra

Steven Soderburgh, 2013


3/5

Soderburgh creates a glittery performance-driven picture, one that not only showcases the talent of Liberace the beloved American performer but also a figure who was very human - at times flawed and tempestuous. When the stage lights were on, the applause was loud. But when the curtains were closed, you see that the Liberace world was not all glamour. The qualities you see in Liberace's romantic life are qualities seen in any flawed relationship. Jealousy, manipulation, ego getting in the way. Unfortunately he lived in a place and time where he was bound to secrecy, fearing that if his sexuality was exposed it would be the end of his career. This of course would have elements that would spill into his relationships. His relationships would appear to be quite cyclical, when he's introduced to the new boy you can certainly see his past standing on the other side of the room.

Scott Thorson (Matt Damon) clearly comes off as a sympathetic figure in the film. Having to endure a turbulent upbringing, he's introduced to Lee and basically forced into a relationship with him. He's promised wealth and security. He later finds that those benefits will come at a high price. He finds he's also living in a world where he's not alone with Lee. There are many people the periphery - from managers, to assistants, to house staff. Soderburgh does a good job in pacing the genesis and the inevitable decay of the relationship. The arch of Scott's character feels quite authentic from the innocent eager-to-please young boy to the paranoid cocaine addict. 

Douglas gives one of the best performances of his career. Hopefully this does not overshadow Damon's performance because that was probably AS good. The editing is quite impressive, given that you assume Michael Douglas cannot play piano that well. Luckily there were not any distracting close shots of a pair of hands clearly not his. At first it almost looked as if Douglas' head was unevenly placed on the actual piano player, but it soon dissolved. There are also some great performances by Rob Lowe (probably the funniest character he's played), Dan Akroyd and Bob Black. It's disappointing that Soderburgh could not get funding for the film from the major studios (they said it was "too gay"). HBO came to the rescue, but the struggle seemed to have pushed him into his much publicized film sabbatical with a bad taste in his mouth. It should ultimately prove once again that we are now in a world where big-budget theatrical distribution is not the only release channel and there are now many avenues where a film can still be seen by many.

Venus and Serena

Maiken Baird & Michelle Major, 2012


3/5

Baird and Major direct this documentary about the Williams sisters that follows them through their 2011 tennis season, but also peppers in archival footage dating all the way back to their youth in Compton, CA.

It's an interesting film that catalogs a truly American story. Two sisters grow up in the rough neighborhood of Compton. Their overprotective father really wants whats best for his daughters, helping them cultivate their skills and carve a niche for themselves so they can elevate their lives to the point that they can get out of the rough neighborhood. The early footage of them as two little girls really shows the long road they've traveled to get to where they are. The innocence of the two standing on the sun-cracked courts in Compton is captivating. Of course the confidence builds at an early age, and their success is known. The documentary does a good job of capturing them behind the scenes, in some intimate moments. Serena struggles through injury and the film does a good job of capturing the frustration and anticipation. You see the competitive nature of the two sisters, but also the comradery and support of each other. They may defeat each other on the court, but there is no jealousy or animosity. While Richard Williams may not have been the best husband, its without question that he was and still is a good father to Venus and Serena. He raised them with a sense of pride and integrity that they have refined over the years. He raised them to have a healthy sense of competition. He also raised them with a religious foundation - as Jehovah's Witnesses. The absence of traditional American holidays only reinforced their all-in mentality with Tennis. Venus even stated herself in the film that they missed out on a lot of things growing up, but she has no regrets. Richard Williams surely draws a lot of comparisons to Earl Woods, father to Tiger Woods. The comparisons are very fitting. Both fathers wanted their kin to make an impression in a mainly Caucasian-dominated sport, and pushed them to do so from an early age. Both fathers also maintained a presence as a mentor/coach into their professional careers. Unfortunately the dilemma the two sisters face is a problem felt by many professional athletes: Father time. As they've become older, they've been reminded of their own mortality. Their 30-year-old bodies are not as agile as their 20-year-old bodies, and they are constantly reminded of that. Issues that didn't exist before are now in the foreground. The film itself is edited nicely, with a fitting soundtrack. There are some interesting interviews (ie. Chris Rock, Bill Clinton, John McEnroe) that reinforce the sisters effect on popular culture as well as their effect on American sports. It's an entertaining film that follows two sisters whose tennis careers are certainly not over, but have certainly passed some important milestones.

Mesrine: Public Enemy #1

Jean-Francois Richet, 2008

4/5

          Part Two of the Mesrine films (sequel to Killer Instinct), Public Enemy #1 is a continuation of the story of Jacques Mesrine. Mesrine continues to elude police, successfully rob banks, and uses his quick-wit and charm to attract beautiful women. 

          A satisfying and consistent sequel to the original. While Part one possessed more story, Part two certainly provides more action. The film jumps head-first into the action within the first twenty minutes. Very effective, erratic cinematography through suspenseful street-chases. Vincent Cassel continues to be chameleonic in his role, with his mood changing as quickly as his disguises. Mesrine, who is consumed by the fame, becomes complacent with it. His hunger grows for something MORE than notoriety, something more than glory. His unpredictable, violent nature becomes radicalized and begins to shift into a more political mind-set. His ideals shift from anti-establishment to a more anarchistic motivation. He even turns on the press, the one loyal force that had always embraced him. But the women on the other hand, always embrace him. His charismatic abilities have a magnetic ability with the women who are looking for the bad-boy. It takes him little time to seduce Sylvia Jeanjacquot, even in disguise.

          The final moments are a book-end conclusion, with an expected call-back to the opening scene in Part One. The fact that it's seen in a different perspective gives it a fresh feeling. Mesrine is the "French Robin Hood", "The Man of  Hundred Faces". In the end it's quite clear that he was a danger to society, a clear sociopath. But the fascination with a notorious criminal is clearly a global phenomenon. 

Senna

Asif Kapadia, 2010


4/5

Archival footage fuels this documentary that tells the story of Ayrton Senna, the champion Formula One racer. The film uses a combination of interview footage, in-car camera footage, and news footage to paint a fast-paced, compelling picture. I was guilty of not knowing anything about Senna going into this film, but that only made it better. I am also guilty of not being a fan of racing, but I was on the edge of my seat throughout it. Senna was a talented, humble, reserved figure with a high racing IQ. He was determined to make his mark in the sport, and it didn't take long to do so. Clearly a prodigy-type, he was born to excel at Formula One. I liked the honesty of finding out that Senna came from a privileged background, but never had to make any excuses for himself. He was an intimidating force on the track without having to be an intimidating figure off of it. Some fly-on-the-wall shots of pre-race discussions do a good job of displaying Senna's confidence and ability to assess the conditions of the racetrack. The noticeable sense of animosity from other the other racers really showed Senna's threatening ability.

The method used in making this film is so refreshing. I've never seen a documentary that is made using 100% archival footage, and I'm eager to see more films like this. The wealth of footage provided a perspective that helped to quickly identify with Senna. You literally see the physical evolution of his persona, from a teenage go-kart racer to a confident Formula One racer at the peak of his career. He was not only a racer but an inspiring patriotic figure to poverty-stricken Brazil. The imagery of a nation behind a single figure is quite powerful.

This is a documentary with no faults, at least none that I can think of. Even the soundtrack, done by Antonio Pinto, was perfectly fitting. It was present without being too pronounced and distracting - reminding me of a more ambient Chemical Brothers. This one sat on my Netflix queue for over a year, even after hearing many people raving about it. Wish I had watched it then, but happy I did now.

Candyman: The David Klein Story

Costa Botes, 2010


3/5

This documentary captures the genesis, growth, and corporate buyout of Jelly Belly Beans according to the creator himself, David Klein. Klein is a real-life Willy Wonka, who has all of the idiosyncrasies of a genius who lacks self-defending business tactics. His story is tragic. He was the brains behind the creation of the very popular confection, only to get bought out by the very people that closely watched him build his company from the ground up. His eccentric behavior is inviting, and you get behind him early on in the film. He fought tooth and nail to give the Jelly Bellies legs, legs that eventually made their way to the White House when Ronald Reagan needed to kick his cigar habit.

Every documentary needs its bad guy, and these are the typical white collar corporate bad guys. These people are not the innovators, they are not the creators. They sit there strategizing, seeking out that one vulnerability that will make it easy to put the company in their hands. Your first thought when you are introduced to David Klein is "why is he living in this tiny house? Shouldn't the creator of Jelly Belly be in a mansion? Shouldn't he be wearing better clothes?". The answer is yes. But perhaps that's irrelevant. If David Klein WASN'T bullied into selling his trademark, and he had the money... he probably wouldn't be living in the big house. He probably wouldn't be wearing the fancy clothes, or driving the fancy car. He would just be Dave. And that's what makes him better than the "other guys". We need more people like David Klein in the world, but I won't go as far to say we need more attorneys. He just needed one in the room with him that day.