I imagine every generation of teenagers has believed they've had it harder than their parents did. It's par for the course when the smallest things seem life changing, when your social life feels pressurized, when you don't know what you want, and when your experiencing one first after another. Thus is the conflict within an Indiana high school in American Teen (2008).
The film kicks off on the first day of the school year where we're introduced to a cast of characters who initially seem painfully cliche. From the jock to the outsider to the princess - it's clear from the get-go that we're going to be in for a lot of angst. Still, there's something redeeming and unexpected about the approach.
Whether you're a teenager or not it's easy to get swept up in the drama. I remember the stress of trying to figure out where I wanted to go university, the torture of high school politics, and the arrogance and stubbornness that seemed to make daily life more complicated than it needed to be. American Teen isn't about hard hitting facts or specific problems, instead it's a fly-on-the-wall documentary about that awkward, raw, and emotional teenage experience as told by distinct (and suggestively average) cliques.
We're witness to the daily problems of each kid, who really have a lot more in common than any of them are willing to recognize. A highlight of the film is the unexpected romance between the high school pretty boy and the artsy chick with aspirations to go to the big city - a match up that is initially portrayed as never-in-a-million-years. Moments like this help to capture a slice of that feeling you had when you first realized that the world was bigger than you gave it credit for. Seeing each student grow out of their role (however marginal) is what gives this experiment and documentary some weight.
American Teen was filmed over an entire school year, which is impressive in itself, but it's almost a requirement just to escape the day-to-day gossip. At times the documentary feels too superficial, too focused on playing up forced drama, and I couldn't help but think that in the moment the subjects had to know the cameras were there capturing what they were doing. This is most obvious when a high school prank causes 'the princess' to lose her student council position. Who would actually do this knowing that it would be permanently showcased in a mainstream documentary?
Nominated for the Grand Jury Prize for Documentary at the 2008 Sundance Film Festival, American Teen's director, Nanette Burstein, was also an Academy Award nominee for Best Documentary (feature length) for her 1999 film, On the Ropes which she co-directed with Brett Morgen.
In the same way the Hills or other MTV shows have failed at documenting 'actual' reality, American Teen walks a very fine line. I'm not convinced that everything we were shown was entirely truthful, but it's convenient. We want to see the artsy girl leave town, we want the jock to get his scholarship, we want the outsider to gain a bit more confidence, etc. and by showing this that youthful optimism is further emphasized and resonant. In this circumstance, I think that's crucial.
Being a teenager isn't easy, but as we get older it becomes almost comic in comparison to the responsibilites of our day to day lives. American Teen embodies a spectrum of 'frustrations' to show how real life and growing up begins to overshadow the soap opera, how there is a lot to figure out, and how before you know it you're out on your own. It would be interesting to see a follow up in a decade to see what's become of everyone. And, I guess that's the point of what I'm saying - it's fun to watch potential. 7/10
Radiant City (2006) is a film about suburbia, urban sprawl, and the mindset of those who call 'the burbs' home (aka the bulk of the North American population). It's meant to be a slice of life, but there's something else going on here.
What I liked about Radiant City was how it brought my attention to the realistic concern of how long we can continue to grow like this - or view growth as simply a matter of construction. The conservationist movement is becoming more prevalent each year, and yet we continue to build cookie-cutter neighbourhoods farther and farther away from actual services. Our society is so dependent on owning a vehicle now that navigating our cities has become less about interaction and more about forming lines.
I was intrigued by the argument that our new idea of community is conflicted with our desire for privacy. Fenced sub-divisions, private transportation, individual cubicles; these cliches of post-modern living have been the subject of debate for decades, but there's a hint of something here that should've been explored in greater detail.
Radiant City, unfortunately, isn't saying enough. Instead of really diving into the stories behind potential alternatives, or possibilities for refurbishment and smart growth, the film dwindles in its final chapter relying on a gimmick to try and prove a separate point. I can understand the logic behind why the filmmakers decided to go this way, but I can't help but feel it only serves to undermine the points that the rest of the film is based on. It's like they didn't have faith that people really cared about the truth behind something most of us could relate to? The facts become lost in a foggy epilogue that derails the argument for the sake of forced poeticism.
Yes the suburbs are big, yes they're wasteful, and yes there are interesting stories as to why we live this way. I wish this documentary was more like the trailer I watched after seeing the film though instead of simply stereotyping the suburban experience as the pursuit of a fantasy - there's more to it than that. People also just need places to live.
While I wouldn't recommend Radiant City based on its merit as an informative documentary, it would still make a great film school lesson in that it offers a lot of material for debate on the choices the filmmakers made in constructing their argument - see the IMDB forum for spoilers on why this is.
In the end the film makes light of suburbia, as it should, to point out that there are perks when living in the sprawl. However, Radiant City ultimately falters on providing a perspective with enough focus to pin-point actual urban development solutions and simply doesn't trust itself enough to be genuine with subject matter this abundantly revealing and available. 5/10
If there was one celebrity I would have loved to meet, it would have been Charlie Chaplin. The man and his little tramp character are not only still recognized internationally, but Chaplin acted, wrote, directed, produced, and composed the music for a range of films (many his own) that are now regarded as the classics of early cinema.
He was an independent man who wanted to do it himself, and on a path that took him from poverty to international success he acquired the means to do just that. I have nothing but respect for Chaplin's accomplishments and am amazed at how a single man was able to so dramatically change the landscape of a burgeoning entertainment industry.
It's incredible that Modern Times is now over 70 years old, and even more incredible that it's still capable of garnering laugh-out-loud reactions. True, slapstick is slapstick, but what made Chaplin such a force is how he merged social concerns, in this case unemployment and the mechanization of the workplace, into elaborate gags. You may recall the famous scene where Chaplin slides between a series of giant gears after failing to keep up with a conveyor belt that was going too fast. Or, a scene where a small flag falls off the back of a truck, and after picking it up Chaplin finds himself leading a group of striking workers.
The basic setups are simple, but there's always something endearing and honest about watching Chaplin's struggling little Tramp - the character he's most remembered for. So much could be suggested by showing the light and dark sides of a man who was down on his luck, or often just in the wrong place at the wrong time. Films like Modern Times established a connection and understanding with those real folks who at the time of this films release were smack-dab in the middle of the Great Depression.
I couldn't say it better than Nick Davis does in an excerpt from his review, noting, "[Modern Times] finds the comedy in the dashing of hopes, though it has both the verve to be funny for funny’s sake when it feels the urge, and the fortitude not to tidy up or erase every dark stroke in the picture. Orphans are not un-orphaned, and some of them permanently vanish. Lovers on the lam stay on the lam. The sidewalks and roads all feel dusty, as well they might in 1936. Though this is hardly The Bicycle Thief, Chaplin shows real conviction in evoking the dehumanizing routine of the assembly line, the political roils of factory strikes and Communist agitation, and the chintzy desperation of Depression-era have-nots".
When you consider how heavy some of these issues must have been in the mid-30s it seems incredible that Chaplin constructed such a successful comedy. Constructed seems to be the right word too because the structure of the film is clearly unbalanced; motivated by a series of smaller skits strung together in lieu of a classic plot arch. Yet, the film works because of the moral clarity of the Tramp.
It's not just the story of a funny little man, it's quite honestly the story of 'modern times' and the hardship that can accompany them. This tale of frustration took courage to tell, especially when the subject matter came from a man who had become wealthy playing a hobo. But, perhaps it took a man who had seen both sides of the coin to really understand the weight and levity of what was going on. In my opinion, Modern Times was Chaplin's most pitch perfect film.
And despite all the seriousness, at the end of the day Modern Times is a comedy that sticks with me. Chaplin and the feeding machine may in fact be one of the funniest moments in movie history, and I was literally in tears the first time I saw it. All the ingredients are clearly there - this is a comedy that will never go out of style.
At first I hated American Beauty. I saw it as a depressed, ego driven, modern fairytale about lives meandering out of control and the hopeless unfulfilled desires that make up the human experience. It's exactly what the movie is, but I thought what kind of view is that?
Blame it on the optimism of my 15 year old self, but at the time I didn't want to view life like that. I still don't. The funny thing is that when I did end up watching the film again I was able to see the wit that really makes American Beauty such a joy to watch. Depressing only as a dark comedy can be, the core message of the film is really about shaking ourselves of the daily apathy we comfortably surrender to. I think I had to grow up a bit to really appreciate this.
To me, American Beauty is still one of the best cinematic examples exploring themes of desire, image, and perception. The need to hide, cover up, and lie are fundamental to the illusion of perfection. It's no wonder that when we strive for this we end up continually hurting ourselves. American Beauty sets up numerous brilliant scenes with this notion in mind - the scene at the drive thru window for example.
The hilarious dramatics of the characters are essential to both building up and then destroying the barriers that we all create. The core meltdown that takes place within American Beauty is really about bringing the complexity back into the 'image' of modern life, and as explored literally in a scene between actors Thora Birch and Wes Bentley, standing naked for the world to see us for who we really are. Thinking of yourself in these terms can be frightening, but it's also what makes the film so poignant.
It's not all so heavy though. As much as the concept is captivating, the strength of American Beauty is wrapped up in the impulsive comedy that keeps the film fresh. The family dynamic is wonderfully chaotic thanks to the performances by Kevin Spacey and Annette Bening, whose relationship in the film fluctuates between forced civility, contempt, and brutal honesty with some of the best dialogue in recent memory. The discussions around the dinner table are priceless.
Ultimately, I feel the need to come back to the fairytale of it all. Looking at this film realistically tells a depressing story about the state of things, and even though I'm not crazy about that post-modernist 'everything sucks' mentality, there is a light at the end of this tunnel. We're made to realize just how precious our own existence is and that it really is largely through our own choices and perspectives that we learn how to appreciate it. The greatest upsets are the things we deny ourselves in the face of who we really are. While the superficial fantasy can be fun, beauty simply has to be more than what's on the surface to be truly fulfilling.
I don't think I could actually stand any of these people if they were real. However, in this bubble they all play off of each other like fire and gasoline, which is pretty exciting to watch. They're all perfectly messed up in an 'aren't-we-all' kind of way, and for the sake of my own delicate emotions, I think it's something that we should all get a little bit more comfortable with. Imperfection is the one thing we all have in common.
One of the greatest buddy movies of all-time, Steven Spielberg's E.T. (1982) makes my list of Desert Island Flicks for numerous reasons.
E.T. was one of the very first movies I remember seeing as a kid. It seemed to perfectly capture the adventure and mystery of finding an alien while maintaining the perspective of a wide-eyed kid like Elliott. It made the world seem bigger, while reminding us that there's nothing quite like home.
The unlikely friendship between Elliott and E.T. is just as entertaining and heart-felt today as it was over 25 years ago. Finding a movie that holds up from childhood to adulthood is rare, and in my experience is full of more disappointment than surprise - but maybe I was destined to love E.T. from the beginning. As a kid, even before I even knew E.T. was a movie, we had various E.T. toys in the house. Born in 1984, my age timed me well for the releases on VHS. If E.T. was good enough as a plastic figurine, it was only cooler when I first saw him move.
By all accounts, E.T. is and was a blockbuster success so I'm hardly the first person to bring it to your attention. However, you may find yourself wondering what E.T. is like after all these years. It was actually someone elses' review that had me pop in the DVD again. Here's the excerpt from Collin Souter's article that sparked my interest: "I believe in a good time as well as a thought-provoking challenge. I have always said that the best films are those that manage to be both (and by “good time,” I mean a laugh and a cry, because, let’s face it suckers, we secretly love to cry at the movies). “E.T.” may not be an intellectual’s smorgasbord, but it does showcase a director at the very top of his game. By the time Spielberg made “E.T.,” he had learned all his lessons from his previous hits (“Jaws,” “Close Encounters,” “Raiders of the Lost Ark”) and misses (“1941,” which I know is debatable). For this movie, he turned inward, put his camera at child-eye level and went for the quiet moments whenever he could. And, still, he didn’t let us leave the theater until we felt as though we had just been on the greatest roller-coaster ride of our lives".
Spielberg is what pulls me even closer to this film now. What I've always respected in his work is, quite simply, his storytelling. Be it dinosaurs, sharks, raiders or aliens, it all makes me feel like I'm watching the work of someone who really knows what it's like to dream big, to imagine, and to take full advantage of what the movies are and can be. There's no doubt that E.T. embodies this spirit.
I think Spielberg's intent is to surprise and please his audience by building on classic concepts and universal themes - friendship, love, loss, growing up, etc. His characters and subjects have been constructed (sometimes literally) so well that they become destined for countless pop culture references. As one of the most bankable directors in history he's clearly been doing something right, and I find it inspiring to immerse myself in the work of a director that managed to take the mainstream route to success without sacrificing quality or originality. E.T. is a simple but powerful story, with endearing characters, an underlying theme of tolerance and friendship. It makes me feel like a kid when I watch it, not just because I was when I first saw it, but because the film captures that innocence and playfulness that brings out the kid in all of us. It really is an amazing example of inspired storytelling and direction. And you want to talk legacy? Who didn't pretend their bike could fly?
In what I consider to be one of the most original and entertaining concepts for a screenplay, Good Bye Lenin directed by Wolfgang Becker, chronicles the rapid change in East Germany after the Berlin Wall falls and western ideology invades. While you may be thinking this sounds like a history lesson, the real twist is that it's about a woman who falls into a coma before the wall came down and wakes up after the bulk of the change has occurred.
The story centres around Alex, played by Daniel Bruhl, whose mother is the woman in the coma. Due to her fragile heart and weak condition she's bed-ridden and doctors warn that any shock could do her in - clearly an issue when almost nothing is the way it was.
Becker's film takes place in East Berlin which gives us a front row seat to the sweeping changes that occur while Alex's mom is out. For a young guy in his twenties, the shift is both energizing and overwhelming. The invasion of western culture is initially revealed tongue and cheek (hey, look at all the choices in the supermarket now!) but the onslaught becomes a burden to Alex's situation and creates a strong message for how despite the new found freedom, it wasn't really the Godsend promised either. To keep his mother stable, Alex retrofits her flat back to its East German glory - from the nightstands to the curtains and various Communist paraphernalia. In her weakened state Alex's mother's room becomes a microcosm of the country that was. Although, finding her old favorite foods is now made more difficult when the single brand she had been used to has been replaced with an entire row of options - ironically, all the wrong options for Alex's predicament.
Becker's film, while both lighthearted and upbeat, is actually quite successful at examining this defining moment in German history. The situation that Alex finds himself in gives him the opportunity to create the best of East Germany for his mother, the country that it was supposed to be, the country that he never really understood like she did. There's optimism in the message, reminding everyone that it was supposed to be so much better than what had become of it. I think it's easy to historically classify East Germany or the GDR as intrinsically evil (especially if you're from the West). With a communist government, they were a rival for just over 40 years after all. However, what Good Bye Lenin does so successfully is highlight the ordinary people behind the system who were really just trying to live their lives as happily as possible. Let me make it clear, Becker doesn't make excuses for the country or the powers that were, but instead he paints a picture that contrasts the ideologies from an East German perspective. The film explores how in many ways the invasion of consumerism and a free market really just created a new form of disparity - further emphasizing the radical transition. Imagine being in East Germany and suddenly seeing western business take over, the range in selection, the quality and choice increase. At the same time, picture the tackiness of it all, suddenly Burger Kings and Coca Cola everywhere you look, secure government employment replaced by minimum wage retail positions, and a shift in thinking from 'the good of the people' to the consumer driven 'me lifestyle'. While there are significant flaws in both systems, the point is that neither side got it right. And while the west paints the end of the GDR as a victory, the film simply suggests that being East German didn't mean or doesn't mean that your history isn't worth valuing. It's both hilarious and heartbreaking to see Alex cope with his mother's condition, hiding the truth outside, and maintaining the reality he's created inside. He goes as far as filming fake news reports, and getting the neighbours and old friends to go along with the lie. It's a human story that reminds us of the values that we should uphold no matter what the system of government. At it's heart, Good Bye Lenin is really about moving forward. Alex's story is about paying tribute to all those who had their lives turned upside down in the chaos. It's about giving East Germany, and all those people who grew up there knowing nothing else, a send off, a glimpse at what it was supposed to be, and perhaps most importantly, recognition of a new unified German history for a country that's only been re-unified for twenty years now.
Good Bye Lenin! is a charming, funny, and unique movie that brilliantly incorporates the chaos and excitement that surrounded the end of the Cold War. It's no wonder that it's regarded as one of the revival films for German cinema. Whether you're in the mood to just kick back or sink your teeth into something a bit heavier, Good Bye Lenin seems to balance these traits with the best of them. Simply, the Cold War never seemed quite so wonderfully innocent.
When lead singer David St. Hubbins deadpanned, "There's such a fine line between stupid and clever" I knew I was hooked. With the pitfalls and brief moments of success experienced by the band, there perhaps isn't a better quote to sum up the brilliance that is the rockumentary This is Spinal Tap.
The fictional metal group Spinal Tap was first brought to the big screen by fictional director Marty DeBergi (Rob Reiner) in 1984's This is Spinal Tap. I first saw it back in 2002, and at the time didn't have much of an idea what a mockumentary (fake documentary) really was. Shows like The Office and Reno911 now have the format down to a science, and even Christopher Guest, who plays one of the members of Spinal Tap, went on to star in and direct popular fake-docs like 2000's Best in Show and 2006's For Your Consideration.
It's without question that part of my love for This is Spinal Tap comes from its historical context - how it was one of the first mainstream attempts at the mock-genre, how it fused comedy with profound themes about identity and misogyny in rock/metal culture, and how along with mocking and playing into the stereotypes of rockstars, actually managed to create a successful/memorable group (outside of the movie Spinal Tap actually toured briefly).
I remember back in 2003 I wrote an essay about the film for a documentary studies class, commenting on Tap's handling of themes like sexuality, masculinity, and pop culture in general. My paper may have just been an excuse to watch the movie over and over again to call it research, but there is a message. Spinal Tap's charm and some of the most insightful moments come from the groups social commentary about their own position (raising questions like are rockstars really supposed to be role models?). These messages are delivered in an often blunt and precarious manner leading to laugh after laugh (as the group shows, a life of excess often makes it difficult to stay grounded enough for anyone to take you seriously). Complications for the group revolve around their failing US tour, a racy new album cover, a Yoko-esque girlfriend, problems in management, and a series of mishaps on stage. It's an homage to rock history and the struggles that have plagued hundreds of groups. As a fan of almost all music, I found it easy to get sucked into this realistic world inhabited by characters desperate to fulfill their unrealistic expectations.
The boys of Tap are generally quite content in their bubble, but the realities of the world outside the tour bus seem to overwhelm them as every problem is merely a symptom of a much larger and ongoing conflict. They just want to live 'the dream', but little hiccups (which continue to snowball into bigger ones) keep interrupting. The documentary format allows for some great improvisation and banter, and although it's staged it comes across as relatively honest and revealing. You may not respect the group, but you do come to feel for them.
In yet another set back, the manager declares, "They're not going to release the album, because they've decided the cover is sexist" to which bandmate Nigel replies, "What's wrong with being sexy?".
The layers of the film are fun to explore. The history of the group is well established from their flower-child start in the sixties to their later transition into metal in the late seventies and early eighties. With brief interviews about their various albums and transitions, their lust for the stereotypical rock'n roll lifestyle ultimately comes into question and addresses how important the music really is.
Throughout this back story a recurring joke continues to pop-up about the band's past drummers, who only ever last a few years because of completely random and haphazard deaths. In an interview with DeBergi, Nigel recalls the passing of one drummer and quips, "You can't dust for vomit".
And who can forget the ever popular, "but this goes to eleven, it's one louder" from the hilarious interview scene between Nigel and DeBergi. Delievered with the confidence (or rather ignorance) of a rockstar, the scene in which DeBergi gets a demo of some of the bands equipment only reaffirms that nothing is ever easy to explain when it comes to sex, drugs, and rock'n roll.
If you have a love of music, or really, just a love of comedy it seems hard to go wrong with Tap. For all that the film did in paving the way for the mock-doc genre, for it's comment on rock culture, for it's own strong contributions to music (the soundtrack is also full of original and brilliant material), and for the wit and ignorant charm delivered by the boys of the group, This is Spinal Tap is undoubtedly in my rock, and movie hall of fame.
If you happen to pick up the DVD be sure to listen to the commentary track where the boys explain (in character) how DeBergi edited the film to make them look bad. It's like a brand new movie to hear them comment on the experience of being filmed.
In my experience the open road leaves no shortage of time to talk, listen, argue, laugh, and to get to know your fellow travelers a bit better - much is true for the cast of characters journeying to California in their bright yellow VW Microbus in Little Miss Sunshine directed by Jonathan Dayton and Valerie Faris.
At first glance it's easy to dismiss. You'd assume from the previews that the characters are sufficiently quirky, deliver sharp one-liners on cue, and ultimately see the error of their ways to reform their flaws by the closing credits. While the formula may be recognizable, in actuality this refreshing dramedy allows its subjects to remain wonderfully flawed in an effort to explore just how bold you have to be to embrace your own diversity.
To me Little Miss Sunshine embodies a simple honesty making it easy to digest while still giving you something to sink your teeth into. On a road trip to the Little Miss Sunshine pageant we're taken on a journey of weakness, uncertainty, and realization, covering all our bases with the mash-up of personalities along for the ride. But the drive of the movie, quite literally, is a story about finding comfort in your own skin and pushing through the unexpected speed bumps - bumps that are potentially too heavy to handle alone.
From a mother's inability to keep her family focused, a son's dashed dreams, or a father's struggle to live up to his own words, the characters in Little Miss Sunshine all have a common awareness of their limitations. Although there's no clear cut resolution or easy answer to any of their problems, it's through brief moments of clarity that they each begin to see that the lives they lead are of value to those around them - the domino effect of these discoveries only helps to broaden the story in addressing the universal nature of their woes.
They're messages we've heard over and over again: be happy with what you have, be happy with yourself, love, accept, share . . . and these are tough sentiments to crack. But, those messages are developed in Little Miss Sunshine in small gestures; a supportive hand on a shoulder, a few kind words, simple expressions, and moments of silence. A slow drive provides the perfect backdrop for the solace and reflection required. The movie says everything you want to hear without much glorification, political correctness or grandeur. It's about underdogs that you feel for, relate to, and believe in. On screen it feels genuine.
On top of all this (thankfully) it has a comedic sense that encourages you to laugh at everyday life and those little occurrences and slip ups that when personally experienced we only find the humor in after the fact. Mind you, if you've actually seen anything like the climax of this film in reality you're probably in a more select group than the rest of us. We can continue to dream though.
The characters are twisted, but not overbearing; they're outcasts, but they compliment each other perfectly. It's a combination that clicks perfectly into place making it fun to watch time and time again. In an optimistic euphoria, Little Miss Sunshine is a bit of reassurance that no matter who you are everything is going to be alright - I for one believe it's true. We should all be so lucky to discover our own 'Super Freak'.
I imagine every generation of teenagers has believed they've had it harder than their parents did. It's par for the course when the smallest things seem life changing, when your social life feels pressurized, when you don't know what you want, and when your experiencing one first after another. Thus is the conflict within an Indiana high school in American Teen (2008).
