Head Of State (2003, C. Rock)

From AllMovieGuide.Com:

Plot Synopsis by Mark Deming
Can a high-attitude African-American politician who says what he thinks stand a chance in a presidential campaign? Mays Gilliam (Chris Rock) is a straight-talking alderman representing a inner-city neighborhood in Washington, D.C. In the midst of a hard-fought race for the White House, the Democratic presidential and vice-presidential candidates are killed in an airline crash, and with little time to prepare a new campaign, the Republican candidate, Vice President Brian Lewis (Nick Searcy), seems all but guaranteed to win. With practically nothing to loose, party head Martin Geller (Dylan Baker) approaches Gilliam and asks him to stand as the Democrat's presidential candidate. While Gilliam is dubious at first, before long his streetwise style and willingness to face the issues head-on earns him surprising figures in the polls, especially after he persuades his short-fused older brother, Mitch Gilliam (Bernie Mac), to join the ticket as vice presidential candidate -- a big jump for a bail bondsman. Gilliam's love life also becomes more complicated as his ex-girlfriend Kim (Robin Givens) decides she wants him back now that he has a shot at the White House, even though Gilliam only has eyes for Lisa (Tamala Jones). Head of State marked the directorial debut for comic and actor Chris Rock, who also co-wrote and co-produced the film.

With Rock's up and down film career, I hoped that his directorial debut would play to his strengths. His politcal/topical humor is amongst his strongest in his stand-up routines and "Head Of State"'s subject matter seemed the perfect vehicle. I wonder went wrong.

It's not to say that the film is bad or unfunny. Because its watchable and has very funny jokes and performances. I was expecting a different plot to the movie (my own fault) and it that lies some of my disapointment. I thought the movie would be about Rock being an actual black president and running things. The film is actually about him running forpresident. Rock says in the commentary that he wanted the film to have a real "campy feel" like Putney Swope, but is neither as biting or as surreal as Downey Sr.'s film. Rock's trademark humor may have been tampered by the studio a little bit (his 2007 interview with Elvis Mitchell alluded to a bit of that), but I do not know for sure.

His running for president plot is where the movie misfires. The opposing candidate is not very threatening. Especially throughout the begining of the race as he refuses to debate Gilliam (Rock). Gilliam and Mitch, his vice-presidential candidate, resort to ambushing Lewis with the press in tow, in order to get him to debate. You would think a seasoned politician (a Vice President!) would relish the oppurtunity to debate an inexperienced alderman. Whatever, plot mechanics...



What was fun about watching this film, was seeing how things Rock and co. wrote about that have seemed to pop up in the current political election. The main argument that the opposing Lewis' campaign has against Gilliam is that he's "inexperienced". Magazine covers show his face with the questions: Are We Ready? Is He Ready? These would be fairly obvious similarities to what Barack Obama has been facing, given the subject matter of the movie, but I was suprised to see a lot more similarities. Gilliam, as an alderman, was dealing with a lot of inner city and lower income people and families. Obama started out doing the same. Lewis is a war hero, as is John McCain. Gilliam's "That Ain't Right" seems to be a more outraged cattle call version of Obama's "Yes We Can!"

But most of all, Rock's message of the film, is being practiced by Obama currently. With "Head Of State", I believe that Rock is trying to say that the people of American wants a president that is going to talk to them like grown-ups and actually listen to what the people have to say. Once Gilliam starts using "his own voice" in his speeches, his approval goes through the roof. Obama's recent speech on race was a real-life example of this, and proves that we have a candidate that shares Rock's hope. That we can have a president talk to us about very sensitive issues, without talking down to us, but inspiring people with the words to actually try to do something different with life.

Nightfall (1957, J. Tourneur)

All Movie Guide:

Plot Synopsis by Bruce Eder
Commercial artist James Vanning (Aldo Ray) and his friend, Dr. Edward Gurston (Frank Albertson), are on a hunting and fishing trip in Wyoming when they stop to help two men whose car has crashed. The pair, John (Brian Keith) and Red (Rudy Bond), turn out to be escaped bank robbers, on the run with 350,000 dollars in stolen cash after a clean getaway, and they don't plan on leaving any witnesses -- Gurston is shot dead by Red, using Vanning's hunting rifle, but Vanning survives by accident, knocked cold but alive. He awakens to discover the stolen money, accidentally left behind, and runs with it from the returning killers -- he gets away but loses the bag in the blizzard that hits. He manages to make it to the nearest town, but not before the doctor's body is found, with a bullet in it from Vanning's rifle. Now the prime suspect in the murder, Vanning takes it on the lam, hiding out for months -- unbeknowst to him, however, he's been under observation for most of that time by Ben Fraser (James Gregory), an investigator from the insurance company whose policy covered the bank that was robbed; and has been found by John and Red -- and all of them think that Vanning can lead them to the missing money. But John and Red are perfectly prepared to torture and even maim Vanning to get the money, and they get their chance when he lets his guard down one night to talk to Marie Gardner (Anne Bancroft), a young model he meets in a bar. He manages to get away from his captors after a fierce struggle and makes his way to her place; after convincing her that it's not the police he's running from (which is not entirely true), they take off together, with Fraser and the two hoods only a half-step behind, headed to Wyoming and the spring thaw so he can hunt for the bag and the missing money and prove his innocence.

"Nightfall" is a solid B-level budgeted Noir picture that Jacques Tourneur directed in the late 1950's. I read that this was somewhat of a rare Tourneur picture, never released on a home video format. So I jumped at the chance to see it on Turner Classic Movies when they aired it recently. It is your typical noir storyline; guy on the run from something tragic that happened in his past. Add a girl and some bad guys: voila! But Tourneur keeps the pace chugging along and has some good set pieces; amongst them Aldo Ray and his partner's first encounter with the bank robbers, and a shootout amongst the snowlands. I can't believe I've never seen Aldo Ray in anything before. I looked over his resume on IMDB and nothing looked familiar; I may have to do some deep digging. His voice reminds me of Marty Funkhauser on Curb Your Enthusiasm. Anne Bancroft plays the not-quite-femme-fatale and it was nice to see her in something other than Mrs. Robinson.

VOTE FOR OBAMA

I caucused in Seattle for Obama. It was the first caucus I've ever taken part in as Oklahoma only participated in primaries. It was a very unique experience and the vibe that afternoon was very positive with people exercising their democracy and right to vote. This election cycle has proven to be very exciting and entertaining. I will post relevant political posts as I feel them important. But right now, I'm fired up and ready to go!!!

Top Ten Albums Of 2007

Short bursts. Not a lot of insight. Sorry guys. I'm getting these lists out late, and I'm sure you're as tired of reading them as I am. But I just want to get them out there. For posterity. So I can look back and cringe...




1. The New Pornographers "Challengers"

They are on a roll right now. I love the laid back, easy going songwriting this time around.



2. The Apples In Stereo "New Magnetic Wonder"

They're back! And poppier than ever. Mangum and Bill Doss even make appearances! This just might be their best album. I'm suprised that this slipped under so many radars this year. Do you like pop music? Don't be a jerk.




3. The White Stripes "Icky Thump" & "Conquest EP"

Fresh from The Raconteurs, White reaffirms the Stripes live and live large. The album was a solid work but what really appealed to me were the down home (Beck's home) recordings found on the "Conquest EP".




4. Britney Spears "Blackout" & Fall Out Boy "Infinity On High"

Some hold their nose to pop. I believe you must know what is popular is you truly want to be on the pulse of all things music. Both of these albums you must immerse yourself in. They have crazy lyrics, wacko song titles, and melodies that stick in your head for days. "Blackout" also gets the honor of representing Britney musically through this mental-breakdown period.



5. Radiohead "In Rainbows"

Most Accessible album since...? OK Computer? What a nice suprise when it came out, no Hype!




6. Aqueduct "Or Give Me Death"

Amazing songwriting. I could be biased.




7. The Arcade Fire "Neon Bible"

This is a solid followup. Great songwriting. This is less anthemic than the debut, more mournful, but great nonetheless. Still an amazing live band, even in a festival setting.



8. Wilco "Sky Blue Sky"

I saw Jeff Tweedy walking around Lollapalooza alot this year, and all I wanted to shout at him was: "Hey Jeff! I don't care what Pitchfork says! Sky Blue Sky fucking rules!" Dad rock? What does that even mean?




9. Rivers Cuomo "Alone: The Home Recordings Of Rivers Cuomo"

Demos! Finally! Mastered! "Blast Off!" on CD/Mastered MP3! Solid songs, though I'm an apologist.





10. Of Montreal "Hissing Fauna, Are You The Destroyer?" & The Shins "Wincing The Night Away"

Indie Mania! Of Montreal gets freakier, and better. The Shins take their songwriting to that next level, up, up, and away! I really thought this would have a longer shelf life but...?

The Best Movies Of 2007

This is by no means my argument that these are absolutely the best films made in 2007. I must qualify that I have not seen everything that has been released this year. My touring schedule kept me on the road and away from the silver screen for about 1/4th of this year. I have not seen "Michael Clayton", "American Gangster", "Atonement", "The Diving Bell and The Butterfly", "Lars And The Real Girl", and others. Some of these on this list, I did not get to see in the theater. I completely missed "Zodiac", although it was one of my most anticipated.
These are my favorite films that I watched this year. All the usual suspects are present (except for that Alaskan girl), and I cannot add much to them at this time that hasn't been written about already. That will take a little more time and definently more viewings. There is an Apatow production on the list; though not one you'd suspect. Apatow had the golden touch this year and the backlash is in effect with the mildly negative critical and internet blogging/talkbacking of "Walk Hard: The Dewey Cox Story". I must say before this list begins, that it pained me to leave "Superbad" off of the list. It was one of the best theatrical comedy-going experiences I'd had in recent years (measured up to the "Borat" experience), and further proves to me that certain (if not all) movies need to be seen with a crowd. A large post regarding that theory will be coming (much?) later, but for now...

1. No Country For Old Men (E. & J. Coen)


The Coens are back!(?)! I add that question mark because; did they ever really go away? I saw some of "The Ladykillers" on cable the other night and was sucked right in. It is odd (Coens=of course), with a deliciously strange performance by Tom Hanks and it got me thinking...What was all the hub-bub about them losing the plot circa. 2004...? There is not a wasted moment in "No Country For Old Men". The all-silent discovery of the Mexican shootout/money had me wondering what the Coen's all-silent movie idea would've been like. One of two movies I saw twice in the theater this year. The other being...

2. Grindhouse: Planet Terror & Death Proof (R. Rodriguez, Q. Tarantino)


Two movies that tasted great together. The fake trailers, the scratchy prints, the missing reels. Though "Planet Terror" should not be discounted (the Carpenter-like photography, the casting, and the creative genius that is Rose McGowan's machine-gun leg make this film incredibly watchable), "Death Proof" is another Tarantino masterpiece. And we didn't have to wait six years for it. I got to have good theatrical experiences for this both times I saw it. First, opening weekend at a multiplex in Times Square in NYC, pleasantly buzzed and with my band. Second, on the Cinerama, back home in Seattle, with a guy having a coughing attack next to me the duration of "Planet Terror".

3. Zodiac (D. Fincher)


I can never hear "Hurdy Gurdy Man" without thinking of the Zodiac coming out and killing me. Thanks alot Fincher. And thanks for giving Downey Jr. and Mark Ruffalo juicy roles.


4. The Darjeeling Limited / Hotel Chevalier (W. Anderson)


I don't understand the backlash towards Wes Anderson. Could it be due in part to the imitators of his filmmaking style that starting producing knockoff films and commercials complete with subject-centered photography and British Invasion soundtrack? The general backlash towards all things "twee"? Or when people outgrow their idols and/or move on to the "NEXT COOLEST!!" thing on the block to suck the blood from... I think this is a step up from "The Life Aquatic", whatever that means. I believe that you should watch the short film first, and then the feature. It fills out Schwartzman's character and adds a melancholy edge to him in the feature. I look forward to seeing this again on home video.


5. There Will Be Blood (P.T. Anderson)


My most anticipated. Tied with Tarantino, but I had all year to get excited. Then all Oscar season as the early critics came all over themselves over its magnificence. I was setting myself up for disapointment. I was at risk of learning about milkshakes and all, but managed to keep myself clear and clean. I was not disapointed in the least and saw the ending as a natural evolution of character. This was a great year for silent pictures, between "No Country" and this film's opening twenty minutes.


6. Runnin' Down A Dream (P. Bogdonovich)


I'm a Petty fan. Not hardcore or anything, but I own most the albums and hold him in very high regards as an excellent and consistent hit songwriter. He had hits through four decades and continues to conquer far and wide (witness 2008 Super Bowl). This documentary by Captain Ascot himself (who previously had not been a Tom Petty fan!), is an in-depth four hour look at the man, his band, and their long-running history and how they keep it going. While the Heartbreakers didn't leave a life of high drama and massive excesses, they do have an interesting story to tell. I learned alot about their early history and ties with Tulsa, which I had only passing knowledge of. Petty tries to keep his music honest and true to the fans and his constant battles with the record companies (on behalf of helpless ex-Byrds too!) are as entertaining as they are admirable. The guy just wrote great songs!


7. Breach (B. Ray)


I never thought a Ryan Phillipe movie would wow me. Like the Zodiac's story, Robert Hansen's story fascinated me when it broke on the national news in the late 1990's. I thought it woud be a great movie and was pissed when I heard one was being made (with Phillipe no less!). I didn't see this until home video, but was sucked in right away and it stayed with me for days after I finished watching it. Chris Cooper's performance is chilling as it seems like he is constantly judging everyone in scene. This film had a really great tone, and felt like one of those awesome political thrillers from the 1970's/80's I grew up watching on HBO.


8. The TV Set (J. Kasdan)



This Apatow production flew under the radar earlier this year. After watching Kasdan's other film released this year, the aforementioned "Walk Hard: The Dewey Cox Story" it seems to me like Kasdan has two parallel movie-directing careers. "The TV Set" seems like the true follow-up to his debut feature "Zero Effect" (in the fact that they are more subtle and biting with their humor), while "Dewey Cox" feels like a follow up to "Orange County" (both mainstream audience studio comedies), "Zero's" real-follow-up. Confused yet?
"The TV Set" has great performances by Sigourney Weaver and David Duchovny as programming executive and aspiring showrunner respectively. This is a deft satire on what it takes to get a show up and running through the network process and onto the air. The DVD audio commentary with Kasdan and Apatow, talking about their experiences on "Freaks and Geeks" and "Undeclared" is also worth its weight in gold.


9. The Assassination Of Jesse James By The Coward Robert Ford (A. Dominik)


I have never seen "Chopper. It is now on the top of my Netflix queue. This film is more than it's photography. There are great moments for all the main characters involved in this film. That there are many moments given to actors like Paul Schneider and Sam Rockwell makes this film all the more meaty and developed. But, Roger Deakins does outdo himself with his photography. The "nightime train robbery/train coming down the tracks" shot should win him the Oscar alone.


10. Hot Fuzz (E. Wright)


What I liked was that this was much more subtle than the television advertising was leading me to believe. There is a lot of quiet (and layered) humor in this film. I would've loved to have seen this in a theater in a small town in England after a couple of pints.

Being There (d: H. Ashby, 1979)

All Movie Guide:

Plot Synopsis by Hal Erickson
Having lived his life as the gardener on a millionaire's estate, Chance (Peter Sellers) knows of the real world only what he has seen on TV. When his benefactor dies, Chance walks aimlessly into the streets of Washington D.C., where he is struck by a car owned by wealthy Eve Rand (Shirley MacLaine). Identifying himself, the confused man mutters "Chance...gardener," which Eve takes to be "Chauncey Gardiner." Eve takes him to her home to convalesce, and because Chance is so well-dressed and well-groomed, and because he speaks in such a cultured tone, everyone in her orbit assumes that "Chauncey Gardiner" must be a man of profound intelligence. No matter what he says, it is interpreted as a pearl of wisdom and insight. He rises to the top of Washington society, where his simplistic responses to the most difficult questions (responses usually related to his gardening experience) are highly prized by the town's movers and shakers. In fact, there is serious consideration given to running Chance as a presidential candidate. Both a modern fable and a political satire, Being There was based on the novel by Jerzy Kosinski and costars Melvyn Douglas, who won a Best Supporting Actor Oscar as Eve's aging power-broker husband.

Being There is what's considered Ashby's last great film. I haven't seen any of his subsequent films, but I can say that this is indeed a great film. For those that can get into the groove of his film (because it can be slow and non-action oriented), it opens up into a very sly satire that still seems as current as the day it was made.

Peter Sellers shows that he can put away his "silly face" and play a character straight and subtly. This is not the Sellers of the Pink Panther series. The comedy in this film does not come from what Sellers does, as much as it comes from reaction from what he does. Misinterpretation is a big theme in this film, as the film also is rich with images and stories rich for interpretation. I really need to watch this film another time in order to go into specifics.

The ending of the film is one of many interpretations. Roger Ebert comments on this in his review of the film in his Great Movies series. I invite you to watch the film, read Roger's review, and tell me what you think.

Knocked Up (d: J. Apatow, 2007), Superbad (d: G. Mottola, 2007); How To Put Maturity Off The Apatow Way

What can be said about Knocked Up and Superbad on a film blog that hasn't been hashed out already, and in more opinionated places, so really what's the bother?

I loved both of these films and enjoy the editions that I presently own on DVD. It is nice to see Tulsa homeboy Bill Hader so well represented on both discs. I am looking forward to seeing him in Hot Rod, as well as listening to him on the Knocked commentary track. The "making of" supplements on these films' discs are as wonderfuly inventive comedically as the features. I actually feel bad for Apatow and Co. (or do I feel bad for the people who buy the disc and --->) because some might buy these discs and actually think that Universal Pictures hired director Bennett Miller to "rein in" an out-of-control Apatow on the "Knocked Up" set. That Michael Cera is really some obnoxious kid. That Apatow went through five or six leading men before ending up with Seth Rogen. I may be giving more jokes away than necessary, but you should really seak out the 2-Disc Editions of these.

Judd Apatow seems to be on a Sturges like roll this year (although a favorite of mine, this year's The TV Set, which Apatow exec-produced, came and went in a few theaters earlier this year), between these two films and the upcoming Walk Hard: The Dewey Cox Story (directed by the same director as the above-mentioned "The TV Set"), Apatow has already set himself up for backlash as long ago as July. Not so from these corners.

Both of these films are about young males trying to put off impending maturity by refusing to deal with/ignoring it like it'll go away. In "Knocked Up"; it is the pregnancy. In "Superbad"; it is graduation and the eventual division of the two boys to alternate colleges. Although "Superbad"'s ending isn't quite as poignant as those in American Graffiti or Dazed and Confused, it is still earned and balanced. It may even portray a positive message towards the high-school subject of "The Drunk Make-Out". "Knocked Up" may have some character problems, but it made up for in laugh and a likable cast, including the man I think should be in every film ever made: Mr. Paul Rudd.

Walk Hard looks like it may tread in the same "putting off adulthood" vein as these films although some may accuse the film is trafficking in the "doofus film" category. This remains to be seen, but after hearing Kasdan and John C. Reilly's Fresh Air interview with Terry Gross on NPR and hearing samples of the songwriting; I think we are in for a wild ride.