The Class

I need to think more–and have more time to try to compose some kind of response to–Laurent Cantet’s The Class, but it is the best film I’ve seen in some while, even following my great experience the other evening with Happy-Go-Lucky. I could have watched the film for hours; it felt like we’d fallen into a world, and in its short running time the film worked the kind of wondrous challenging representation of the experience of public education undertaken over the course of the whole of season 4 in “The Wire.” (I actually have no idea how long the film was, as I felt both lost in it for some while and surprised/saddened as it came to a too-fast close.)

The first great film I’ve seen this year. And I guess actually better than anything I saw last year, to boot.

Gomorra

I (sort of) enjoyed this film, directed by Matteo Garrone and based upon the book by Roberto Saviano–the much talked about exposé of organized crime in Naples. The film adopts the multi-plot structure. The story of a war between two factions within the Camorra (hence the title–in Italian, the C is soft like a G) is told from five perspectives. One is of a grocery delivery boy named Totò. He manages to work his way into one of the factions by returning a gun and some cocaine that was dropped by a gangster during a police chase. Another is of Pasquale, a tailor who makes high fashion knock-offs (one of the big sources of cash for the Camorra) who then sells his talent to a rival, a Chinese-Italian who runs a factory making even cheaper high fashion knock-offs. Continue reading Gomorra

Battle in Seattle

A decade after the events that gave us the name took place, along comes this deeply disappointing movie. Battle in Seattle is a fictional account of four days at the heart of the anti-WTO protests. It is, to some extent, a vanity project of Charlize Theron and her husband, Stuart Townsend, who wrote and directed the movie. There is an aspiration to be something like the wonderful Bloody Sunday, a docudrama that shows both sides (or multiple sides) of a dispute in a gritty street-level drama. Continue reading Battle in Seattle

The Mighty Boosh

This might be my favorite British TV show since The League of Gentlemen (Not that I’ve seen a lot since then. Though Peep Show was funny).
It’s going to start running on Comedy Central in April, and like League it also came from a live stage show and radio program. It’s somewhat akin to Flight of the Conchords since there are songs, and it focuses on a duo, one more handsome than the other. Continue reading The Mighty Boosh

What needs to be done

Is anyone else watching 24 these days? Does it strike you that it plays to a right wing desire to not only feel self-righteous about taking the necessary “harsh” measures but to feel martyred as well (weak people don’t understand; the most noble man is victimized, etc.)? In the last episode it even includes a visit by Jon Voight (whose movies get worse the further right he goes?).

Bad Late Night Decisions

One of my favorite moments from Family Guy is when Peter Griffin beats Jimmy Fallon nearly to death for constantly laughing and smirking at his own jokes.  Remember those appalling bits with Horatio Sanz, another guy whose ability to amuse himself far outstripped any talent? Now the guy gets a late night gig, while Conan, a desperately bad interviewer, gets bumped up to 11:30. What goes on in a TV programmer’s mind?  Will Triumph be on the tonight show or does he skew too nasty?

Eastbound & Down

Anybody watching this hilarious, profane television show on HBO? It is completely wrong in so many good ways. Episode 1:2 featured a somewhat forced cameo from Will Farrell but was very, very funny nonetheless (directed by David Gordon Green). Good stuff (and maybe as good as “Summer Heights High” which is now out on DVD and worth the effort).

Oscars

I’m holding an Oscar party in my mind. If I win, each of you owes me $10.

 Everyone is so convinced that Heath Ledger will win Best Supporting Actor posthumously that the online odds for him are 1-20 (for you non-gamblers this means that you have to put out $20 for each $1 you would get on a winning bet on Ledger).  The odds aren’t much better for Slumdog as Best Picture and Boyle as Best Director (1-10 and 1-6, respectively).    I’m holding out for longshots Leo (Best Actress) and Tomei (Best Supporting Actress).  Each is 15-1.  

 Jerry Lewis is getting the Jean Hersholt Humanitarian Award (proving you can call someone an “illiterate fag” and still be a nice guy).  10-1 on whether he holds up the Oscar and says “Don’t lick it!”

Religulous

So to Bill Maher’s kind-of documentary about religion. It makes no pretense to being even-handed, nor does it try to persuade anyone who might be wavering (though I think Maher would argue that no amount of balance would penetrate the deep levels of denial necessary for religious belief). It is uproariously funny, and often very powerful. It follows the style of his HBO show with humorous interviews followed by periodic rants which mount in intensity and passion. The final four minutes, with images of nuclear conflagration and ecological disaster accompanying Maher’s almost prophetic (in the good sense) argument about the destructive power of religion left me wordless.

One can question some of the interviewing. Early on he uses subtitles to undermine the legitimacy of one of his interviewees, and some of his sexual innuendo falls very flat on muslim audiences. But he captures the essential comedy of religious belief, and that is his main goal. It is just so incredibly ridiculous. He has a series of interviews with people representing truly obscure religions, usually involving space ships, which are all relegated to the deleted scenes. A pity, because adding them into the main film would have reinforced his point that those religions are not inherently less plausible than the major world religions.

Maher mostly goes after Christianity, and that is where he is most comfortable, but around a third of the film does short takes on Mormonism, Judaism and Islam. On the latter, he mostly mines (bad pun) the role of violence. There is a very early scene in which a black Christian preacher urges young men to stop thinking about women and sex, and direct their passion to religion. It is immediately followed by jolting footage of a car bomb.