Movies

FRAMING JOHN DELOREAN: a pulpy story, partly rehashed

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John DeLorean in FRAMING JOHN DELOREAN

Ever since the myth of Icarus, we have understood that audacity can take you only so far – but it often makes for a great story. The biodoc Framing John DeLorean tells PART of the story of a man whose audacious risk-taking invented the muscle car, propelled a meteoric corporate career, led him to found an automaker and to become a global celebrity and to marry a supermodel. And then to stumble into criminal prosecution, bankruptcy and divorce.

Framing John DeLorean leads through the familiar DeLorean story of his rise and flame-out and General Motors, the founding of the DeLorean Motors Company and the FBI videotaping him in a hotel room with $6.5 million of cocaine. We hear from Bill Collins – DeLorean’s engineering whiz for the Pontiac GTO and the DeLorean – and from DeLorean’s son and daughter. (But not from Cristina Ferrare, DeLorean’s celebrity trophy spouse). There a few unfamiliar nuggets, like DeLorean’s getting cosmetic surgery to enhance his jaw – and make him look like the swashbuckler that he was.

However, there’s a massive hole in Framing John DeLorean. A sketchy deal with a company called GPD is mentioned, but even with a forensic accountant as a talking head, the film doesn’t answer, or even pose, some questions that come immediately to mind. This article in Car and Driver provides more insight into the real story than does Framing John DeLorean.

The actor Alec Baldwin claims that DeLorean himself once suggested that Baldwin play him on screen. Framing John DeLorean has Baldwin play DeLorean in re-enactment scenes (along with Josh Charles as Bill Collins). The scenes with Baldwin add nothing to the film. I suspect that these Baldwin scenes were added only to use Baldwin’s drawing power to create a more marketable, not a better, film.

Framing John Delorean repeatedly asks why a narrative feature film has not been made about DeLorean and his pulpy story. But there isn’t a clear answer, and asking that question should be left to the audience of any documentary.

If you don’t know anything about John DeLorean, Framing John DeLorean is a decent primer. If you already know the story, I’d recommend the Car and Driver article instead. Framing John DeLorean is available to stream from Amazon, iTunes, Vudu, YouTube and Google Play.

ROCKETMAN: just a jukebox musical, but that’s okay

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Taron Egerton (center) as Elton John composing Your Song in ROCKETMAN

The tagline to Rocketman pretty wells captures the movie: “A musical fantasy about … Elton John’s breakthrough years”. Emphasis on the musical fantasy. It’s not the standard showbiz biodrama like Ray or Walk the Line – it uses the form of a musical (characters bursting into song) to illustrate Elton John’s creative rise, his descent into substance abuse and his recovery.

Taron Egerton (and juvenile actors Matthew Illesley and Kit Connor) play Reggie Dwight, who must battle a pair of unsupportive parents and his pasty, pudgy, hirsute and bespectacled appearance – all while coping with being gay in an unwelcoming culture. What Reggie has going for him is that he is a musical genius. Paired with a song-writing partner, his brother-from-another-mother Bernie Taupin (Jamie Bell), he explodes into popular culture as Elton John. Suddenly making kazillions, he buys a lot of booze and drugs, and that – as we know – doesn’t usually go well…

Of course, the best reason to see Rocketman is the Elton John songbook. The best numbers are the recreated composition of Your Song and Elton’s debut at the Troubadour Club with Crocodile Rock. The latter – a magical moment – is depicted as literally magical. Tiny Dancer is fine, but my favorite screen version is still the one on the tour bus in in Almost Famous.

Taron Egerton actually sang the songs himself and did well; most importantly, he captured Elton’s on-stage flamboyance. As I wrote about Elisabeth Moss in Her Smell and Elle Fanning in Teen Spirit, given that Rami Malek just won an Oscar for lip-syncing, we should bestow a Nobel upon Egerton. 

[And when did it become okay for Bryce Dallas Howard to portray somebody’s middle-aged mom?  I’ve barely gotten used to Ron Howard having an adult child.]

Elton John’s story is a good one, Taron Egerton’s performance is convincing and appealing and two hours filled with Elton John songs make Rocketman a fun diversion.

DEADWOOD: THE MOVIE

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Timothy Olyphant in DEADWOOD: THE MOVIE

The series Deadwood ranks among the best of episodic television because of its vivid characters, along with its ruthless violence and its florid – and unexpectedly foul – language. It is the apogee of the Loquacious Western.

For fans of Deadwood, there is now Deadwood: The Movie, an affectionate update of our frontier friends – both vile and righteous. Deadwood: The Movie is just as character-rich as the series. If you already know the characters, that is. And one of the denizens utters the line, “Does brevity exist in your repertoire?

More than a decade has passed since the events of the Deadwood series. The occasion of South Dakota’s statehood has brought back merciless George Hearst with another monopolist scheme, this one based on the new technology of telephone wires. Motivated by old grudges and new greed, he threatens a spate of Deadwood stalwarts: Charlie Utter, Trixie, Sol Star, Marshal Seth Bullock, Samuel Fields and Mr. Wu.

At last, Al Swearengen’s life of dissolution has taken its toll on his health. But his personality still comes through his slurred speech, and he observes all from from his balcony – the Oracle of Deadwood.

It’s all an entertaining swan song for our favorite characters; Calamity Jane, Joanie Stubbs, Mrs. Ellsworth, Doc Cochran, Tom Nuttall and E.B. Farnum all show up, too.

Deadwood: The Movie is broadcast on and can be streamed from HBO.

THE FALL OF THE AMERICAN EMPIRE: pointed satire in the form of a heist movie

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Alexandre Landry and Maripier Morin in THE FALL OF THE AMERICAN EMPIRE

In the pointed satire The Fall of the American Empire, Pierre-Paul (Alexandre Landry) chafes at his dead-end blue-collar job as an express freight delivery driver; he feels that, with his PhD in Philosophy, he has been unjustly screwed out of a much better life by the System. He may be right, but he’s also a self-absorbed putz, who is justifiably dumped by his girlfriend. But then he happens across a windfall fortune of ill-gotten cash – and keeps it. The critical questions, of course, are how he can escape from the ruthless gang and the corrupt police who want to recover the money, and how will he be able to spend the money without getting caught? Pierre-Paul is a heads-in-the-clouds intellectual, and he is totally over-matched.

Fortunately, Pierre-Paul makes the acquaintance of a criminal mastermind, Sylvain ‘The Brain’ Bigras (Rémy Girard), who has just been released from prison. Pierre-Paul also can’t resist blowing some of his newfound treasure on Montreal’s most expensive escort, the astonishingly beautiful Aspasie (Maripier Morin). She used to be the mistress of the powerful banker Taschereau (Pierre Curzi), and soon Pierre-Paul has a team of confederates with real know-how.

Veteran French-Canadian writer-director Denys Arcand portrays a society corrupted head-to-toe by the capitalist imperative to acquire more and more money. And all of the characters make a point of insisting getting theirs in American dollars. The two older guys – one a lifelong outlaw and convict and the other a socially and politically prominent banker – hit if off immediately; after all, they’re both crooks.

Arcand comes at his films from the the Left, but he skewers the doctrinaire Left with equal glee. He pokes fun at the personal foibles of individuals on the Left, but saves his savagery for the inequalities of Capitalism. While he is sending up the entire Capitalist system. he makes his points without descending into a screed. All the fun in The Fall of the American Empire is dotted with realistic – and some real – plight of the homeless – depicted neither with finger-wagging or as maudlin.

The satire fits into the formula of a heist film – the assembling of a team to pull off a job. Of course, here they already HAVE the money, and they don’t need to steal it. To get the benefit of the money, they need to launder it and hide it from tax authorities.

Rémy Girard in THE FALL OF THE AMERICAN EMPIRE

Arcand stalwarts Rémy Girard and Pierre Curzi both give superb performances. Vincent Leclerc, as a homeless man who volunteers at a soup kitchen, has an especially moving scene.

Arcand is known for his trilogy The Decline of the American Empire (1986), The Barbarian Invasions (2003 and Oscar-winner for Best Foreign Language Film) and Days of Darkness (2006 – which I haven’t seen).

While the love story between Pierre-Paul and Aspasie and the Robin Hood aspect of our heroes’ plans are fantasies, The Fall of the American Empire has an authenticity at its core – the impact of disparity of wealth in a system rigged in favor of the Haves. And it’s damn funny – progressively funnier as the money-laundering scheme takes shape. The Fall of the American Empire opens June 7 in the Bay Area, and will spread to more local theaters in June.

BOOKSMART: fresh, smart and funny

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Beanie Feldstein and Kaitlyn Dever in BOOKSMART Credit: Francois Duhamel / Annapurna Pictures

In Olivia Wilde,’s wildly successful comedy Booksmart, Molly (Beanie Feldstein) and Amy (Kaitlyn Dever) play super-achieving kids who have followed every rule and refused to be distracted by high school frivolity; appalled to learn that their more conventionally fun-loving classmates have also gotten admitted to elite colleges, Molly and Amy decide to consume four years of teen fun in one night of graduation parties. This is an entirely fresh take on the coming of age film, and a high school graduation party romp like you’ve never seen.

Booksmart is the directorial debut of actress Olivia Wilde, and was written by Emily Halpern, Sarah Haskins, Susanna Fogel and Katie Silberman. The impact of the all-female creative team, to my eyes, is not in any particular scene or character, but woven throughout. These women have gotten the rare chance to make a movie, brought their talent and fresh eyes to it and knocked it out of the park.

Beanie Feldstein and Kaitlyn Dever in BOOKSMART

Kaitlyn Dever and Beanie Feldstein are special talents. Dever played one of the most compelling characters in TV’s Justified as Loretta McCready and was excellent in the Lynne Shelton drama Outside In. Feldstein sparkled as the protagonist’s high school best friend in Lady Bird. Here’s a particularly fun NYT interview with Dever and Feldstein.

Others in the relatively underseen cast – especially Diana Silvers, Molly Gordon, Billie Lourd, Austin Crute, Noah Galvin and the skateboarder Victoria Ruesga – bring interesting presences to the film. One wonders if Booksmart will become an American Graffiti/Animal House/Fast Times at Ridgemont High/The Breakfast Club phenomenon, and launch a cohort of movie careers.

Booksmart is smart, funny and a very fulfilling start to 2019’s slate of summer movies.

BURNING: hypnotically compelling

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Ah-in Lee , Jong-seo Jun and Steven Yeun in BURNING

Burning is a hypnotically compelling 2 hour, 28 minute slow burn that begins as a character study, evolves into a romance and then a mystery, and finally packs a powerhouse punch with a thriller climax. It’s a superb achievement for director and co-writer Chang-dong Lee.

Jong-su  (Ah-in Lee) is a young man living an isolated, unfulfilling life when, on a shopping excursion, he encounters a childhood schoolmate, Hae-mi (Jong-seo Jun). She is as blithe and fun-loving as he is introverted and socially awkward. Sex turns Jong-su’s fascination with Hae-mi into a worshipful adoration.

She heads off to a long-planned African vacation, and returns with a new acquaintance, Ben (Steven Yeun); to Jong-su’s profound chagrin, Hae-mi and Ben, a rich playboy, have clearly become intimate.

Ben invites Jong-su to join along with Hae-mi and his other friends in a cavalcade of partying. Jong-su senses – as does the audience – that Ben is not a good guy. Jong-su, an aspiring writer, calls Ben a “Great Gatsby”. But Gatsby, while rich and impossibly cool, was also vulnerable –  hiding his past and aching for Daisy. Ben doesn’t seem to care about anything enough to be vulnerable, and there’s just something “off” about him.

Jong-su also smolders with the feeling that Ben is not good enough for Hae-mi (up there on Jong-su’s imagined pedestal). Jong-su lapses into the jealousy and obsession that a young man feels for a woman, who more beautiful that he ever could hope to woo, has granted him the grace of sexual intimacy.

Jong-su now finds Ben fascinating, too, and, when Ben casually discloses a disturbing hobby, Jong-su embarks on an investigation that leads to more mysteries and even more disturbing revelations.

One particular scene in Burning is perfect. After the three characters smoke some pot, Hae-mi takes off her shirt and dances, alone and topless, before the men, silhouetted against a purple, blue and orange twilight sky. As Hae-mi sways in her mesmerizing dance, we glimpse a character’s brief – and disturbingly revealing – yawn! As Burning goes on, Chang-dong Lee perfectly builds the story; we become more and more uneasy until we gasp at the ending.

Jong-seo Jun in BURNING

Jong-su is trying to write his first novel. If he were going to “write what you know”, then it would be a very boring book. But by the end of Burning, he has the material for a seething, blockbuster page-turner.

This should be a star-making turn for Jong-seo Jun. Amazingly, this is her ONLY screen credit. Her tangerine-peeling pantomime is amazing. Her dance, though, is one of the most unforgettable moments in 2018 cinema. Steven Yuen and Ah-in Lee are excellent, too.

Jong-seo Jun in BURNING

What is “burning” in Burning? There is literal burning (as in arson), but the deepest burning is that of obsession. Jong-su isn’t fully alive until he is ignited by that obsession.

This film was critically praised after it won a prize at the 2018 Cannes Film Festival. I had missed Burning, which I had thought of as “the Korean ménage à trois movie“, in theaters last year, but I’ve now added it to my Best Movies of 2018. You can stream Burning now from Netflix, Amazon, iTunes and Vudu.

AN AMERICAN STORY: NORMAN MINETA AND HIS LEGACY

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AN AMERICAN STORY: NORMAN MINETA AND HIS LEGACY

An American Story: Norman Mineta and His Legacy traces the life and times of Norman Mineta, who amassed a startling number of “firsts” and other distinctions in America history:

  • The first Asian-American mayor of a major U.S. city.
  • The first Japanese American member of Congress elected from the 48 Continental states.
  • A Cabinet Secretary in both Democratic and Republican Administrations.
  • The nation’s longest-serving Transportation Secretary.

The achievements were even more remarkable given that, as a child, Mineta was imprisoned by his own US government in a WW II internment camp. And given that his political base had, during his career, an Asian-American population of far less than ten percent.

This didn’t happen by accident.  Norm Mineta is a driven man. At the same time, his ambition and will is tempered by his buoyancy and ebullience.

Documentarians Dianne Fukumi (director and co-producer) and Debra Nakatomi (co-producer) embed the story of Japanese-Americans, from immigration through internment, and on to reparations.

AN AMERICAN STORY: NORMAN MINETA AND HIS LEGACY

The defining event for Mineta’s Nissei generation was the WW II internment of 120,000 Americans by their own government. The central thread in the Mineta story is that the injustice of Mineta’s internment informed George W. Bush’s resistance to treating American Muslims that same way in the aftermath of the 9/11 attacks.

Mineta being sworn into the US House of Representatives by House Speaker Carl Albert in AN AMERICAN STORY: NORMAN MINETA AND HIS LEGACY

The film’s most delightful moment may be the octogenarian Mineta sunnily taking his luggage through security at Norman Y. Mineta San Jose International Airport.

[Full disclosure: I have known Norm since I served in his 1974 primary campaign and interned for him on Capitol Hill in the mid 70s.]

I saw An American Story: Norman Mineta and His Legacy at an October 2018 special screening with Norm Mineta, Fukumi and Nakatomi in San Jose. A brisk 60 minutes, it will be broadcast on PBS in May 20.

https://vimeo.com/266805068

LONG SHOT: to be remembered as minor Theron

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Seth Rogen and Charlize Theron in LONG SHOT

The romantic comedy Long Shot looked eminently skipable to me until I read Manohla Dargis’ NY Times review, which concluded that the unexpected pairing of Charlize Theron and Seth Rogen worked. We didn’t like it as much as Manohla did, but The Wife and I had a moderately good time.

Charlize Theron and Seth Rogen play folks who grew up next door to each other as kids. Twenty-five years later, he has gone on to become a talented muckraking journalist of minor note and uncertain employability. She has become the US Secretary of State and a presidential hopeful, a glamorous celebrity and the most powerful woman in the world. When their paths cross as adults, the Beauty and the Beast connect, sparks fly and comic stations ensue. The most biting gags send up Rupert Murdoch and Fox News.

The drop-dead-beautiful Theron, of course, won the Best Actress Oscar for playing the not-drop-dead-beautiful serial killer Aileen in Monster. She has also become cinema’s best action star (male or female) with Mad Max: Fury Road and Atomic Blonde. But she’s also made two of the smartest comedies of the century in Young Adult and Tully, both times bravely playing an unsympathetic character. Long Shot is easily within her range, and she’s predictably excellent.

Rogen is always good in a comedy, and he’s fine here, too. Director Jonathan Levine previously directed two even better comedies, 50/50 and Warm Bodies.

This isn’t cinema for the ages, but Long Shot contains plenty of chuckles and several hard guffaws.

coming up on TV – A BUCKET OF BLOOD: time capsule from the Beatnik Era

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hip cats digging it in A BUCKET OF BLOOD

A Bucket of Blood is a campy, minor horror film from 1959, but it’s most interesting as window into beatnik culture.  Turner Classic Movies will air A Bucket of Blood on May 13.

In 1959, the Beat Movement had been alive for a decade, but had just begun to be recognized by the mainstream culture.  Beatniks, before the usage of that word, had been glimpsed in the 1950 classic noir D.O.A. and in 1957’s Roman Holiday.   The word “beatnik”, usually a pejorative used by squares, was resisted by the Beat generation artists and thinkers.  According to Wikipedia, the term was coined by Herb Caen in his San Francisco Chronicle column of  April 2, 1958. Of course, the popular stereotype of a Beatnik stems from the character of Maynard G. Krebs (played by Bob Denver of later Gilligan fame) on TV’s Dobie Gillis (1959-63).

By 1959, beatnik consciousness was ripe for exploitation by low-budget movie wizard Roger Corman, who produced and directed A Bucket of Blood.  The story is about a loser who covers a dead cat with plaster of Paris and is acclaimed as a talented sculptor.  He embraces the hoax and starts hunting victims to cast into human “sculptures”; hence the horror and the bucket of blood.

“Beatnik” conjures up 20-somethings adorned in black turtleneck sweaters (and black leotards for women), berets, goatees and dark glasses; they’re in coffee houses snapping their fingers to applaud poetry and jazz.  And they’re conversing in hip cat patter.  Watch A Bucket of Blood and you’ll get a dose.

Can you dig it?

[Ubiquitous game show host Burt Convy, as a young actor, played Lou in A Bucket of Blood.]

MEETING GORBACHEV: uncritical but humanizing

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Mikhail Gorbachev in MEETING GORBACHEV

Meeting Gorbachev is Werner Herzog’s admiring biodoc of Mikhail Gorbachev, unquestionably one of the 20th century’s most pivotal figures. Herzog filmed three conversations with the then 87-year-old Gorbachev in 2018.

Gorbachev is revered in Germany – particularly by Werner Herzog – for allowing the peaceful, and startlingly quick, reunification of Germany. This biodoc is, to a fault, uncritical. At one point, Herzog even tells Gorbachev, “I love you”.

As the leader of the USSR, Gorbachev’s concepts of Perestroika and Glasnost transformed the political, economic and foreign policy of the Cold War superpower. More than any other individual, Gorbachev can claim credit for ending the Cold War, abolishing and destroying mid-range and short-range nuclear weapons, and the unchallenged independence of the Iron Curtain countries.

Gorbachev is also a tragic figure of Shakespearean proportions. He was intending to reform the USSR, not to destroy it. A coup by fossilized communists knocked him out of power but couldn’t be sustained, spinning out of control and leading to a chaos taken advantage of by the strong man Putin,.

Herzog’s film is excellent in its well-researched and well-told story of the rise of Gorbachev from a modest agricultural backwater – a talented achiever on the rise. Herzog’s irreverent sense of humors, as always, peeks through in the state funerals of Gorbachev’s predecessors, each more absurdly funny than the last.

The greatest gift of Meeting Gorbachev is, as the title suggests, is the unfiltered Gorbachev himself – now a grandfatherly raconteur. We get to appreciate his intellectual curiosity and his clarity of thought and direction. His charm and charisma, even at 87, help us understand how he rose to world leadership.

Werner Herzog and Mikhail Gorbachev in MEETING GORBACHEV

Herzog was a charismatic and innovative leader of German New Cinema. Between 1972 and 1982, he created the art house hits Aguirre:The Wrath of God, Strozek Nosferatu the Vampyre, and Fitzcarraldo.

In 1997, Herzog switched gears with the underrated documentary Little Dieter Needs to Fly and followed it with great docs like Grizzly Man and Encounters at the End of the World. Most remarkably, Herzog has also become one of the greatest narrators of English language documentaries; somehow, his German-accented narrations are hypnotic. (In 2007, Herzog slipped in Bad Lieutenant: Port of Call New Orleans with Nicholas Cage in the Klaus Kinski wild man role and cinema’s funniest iguana hallucination.)

Meeting Gorbachev played at the San Francisco International Film Festival (SFFILM). I saw Meeting Gorbachev at Silicon Valley’s Cinema Club.