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Video review: Where To Invade Next

After the 2008–11 Icelandic financial crisis, bankers were actually prosecuted.

The movie Where To Invade Next appeared briefly in theaters in New York City and Los Angeles at the end of 2015, but was booked for general release in February 2016. Unfortunately, Michael Moore, the writer/director/star, caught pneumonia around that time, forcing him to cancel activities to promote the film.

Then in May 2016, he emailed MoveOn members, offering them a copy of the video for a donation to the organization, and “tens of thousands… responded.” I was one of them.

The premise of the film is that Moore would “invade” particular countries, and “steal” their best ideas. In Italy, for instance, he interviewed well-paid workers with guaranteed vacation and paid parental leave.

France had delicious-looking school meals and frank sex education. Finland’s education policy, according to the Minister of Education, involved almost no homework and no standardized testing. In Slovenia, the President note that students, including those from other countries, can get a tuition-free, and therefore debt-free higher education.

The Germans have labor rights and a work–life balance, while engaging in an honest national history education about its past, especially regarding the Nazis. Portugal has a rational drug policy and has abolished the death penalty. Norway’s humane prison system applies even to the maximum-security facilities.

Tunisia touts women’s rights, including reproductive health, and women were very important in the drafting of a new constitution in 2014. In Iceland, where women have been in power, the world’s first democratically elected female president came about after a general strike by women.

Of course, the kicker is, in each of these cases, the countries had originally “stolen” the ideas from the United States. For instance, after the 2008–11 Icelandic financial crisis, bankers were actually prosecuted. This came directly from the playbook of the United States after the savings and loan scandal of the 1980s, and in stark contrast with how the US dealt with its subsequent fiscal disaster.

I’ve seen several of Michael Moore’s documentaries. Where To Invade Next is more fun, and far less preachy, than some of his recent films, as he shows what other countries’ choices look like compared with the American dream that seems so difficult to achieve. Yet it doesn’t paint those other countries as total utopias.

Certainly, some will find his examples superficial – I find them even more compelling as the movie progresses – but given the way many Americans know so little about the world outside their borders, this would probably be helpful primer. Not incidentally, there’s a bit about tearing down the Berlin Wall. People from all political stripes may find the film intriguing, a source of conversation even more relevant in light of recent political events in the United States.

MOVIE REVIEW: 20th Century Women

I feel as though, in real life, I actually had met characters like these once upon a time.,

If I were to say that 20th Century Women was a quirky film, which it is, that wouldn’t tell you much. So I’ll you what the woman sitting in front of me at the Spectrum Theatre in Albany told me when the lights came up: “You must really have liked the movie. You laughed a lot.” And I did.

The storyline is about a 55-year-old divorced woman named Dorothea (Annette Bening) trying to raise her 15-year-old son Jamie (Lucas Jade Zumann) and keep the boardinghouse she runs from falling apart in 1979 Santa Barbara, California. One tenant, the young photographer Abbie (Greta Gerwig), is dealing with a potentially devastating medical crisis, while another, the repairman William (Billy Crudup) is seemingly enigmatic to his landlady. Julie (Elle Fanning), the 17-year-old who lives down the road, is at this home more than her own.

While these are specific people, I feel as though, in real life, I actually had met characters like these once upon a time, or maybe I WAS a character like one or more of these, especially in that era. The film meanders at times, but the actors are universally solid, especially the Bening character, who tries to act as though she’s got it all together, unfazed, understanding almost to a fault.

Some stupid review in the National Review complains: “20th Century Women is really a politically correct emotional biography of that 21st-century anomaly: a non-gender-specific male.” In fact, Mike Mills, the writer-director who had made the lovely movie Beginners, was creating a film that was a reflection of his own growing up in a female-dominated household, as he noted on Charlie Rose in December 2016.

Some movies I can say, “I’m sure you’ll like it,” or not. This film I’m not that sure about for you, but I’m glad I went.

Book review: Never A Dull Moment

Jimmy Page explained, “The audiences were becoming bigger and bigger but moving further and further away.”

I received the David Hepworth book Never a Dull Moment – 1971: The Year That Rock Exploded two days before Christmas. I finished the 286-page book before New Years Day.

The premise is that the pop period ended with the Beatles signing essentially their divorce papers from each other on 31 December 1970. Hepworth, who turned 21 in 1971, says that year saw “an unrepeatable surge of musical creativity, technological innovation, naked ambition, and outrageous good fortune that combined to produce music that still crackles today.” The era of rock was born.

Sometimes, he would make references to other cultural events of the time that seemed random, but eventually, it would somehow connect. Hepworth used a few Britishisms that I did not initially pick up on, but I figured out most of them in context.

The book is arranged by month. The albums referred to in that period might have been recorded then, or released then, or the artist was on tour. And not all would become internationally famous. In March, Led Zeppelin was doing tours in small clubs, because as Jimmy Page explained, “The audiences were becoming bigger and bigger but moving further and further away.” Meanwhile, Nick Drake was well-regarded but lacked the stage charisma to become the success his talent might have suggested.

The May chapter details the Rolling Stones’ move to France. “Sex and drugs and rock n’ roll” were never more true. The year Mick Jagger got married did not seem to alter his omnivorous appetites. Meanwhile, Carly Simon was linked romantically to Cat Stevens and others. Later chapters touch on unlikely pairings, such as Leonard Cohen sleeping with Janis Joplin, though he later regretted writing a song about it.

Many things we now take for granted were born in this era. The benefit concert was born with George Harrison’s efforts on behalf of the people in Bangladesh. Since it had never been done before, certainly on that massive scale, mistakes were made, and George became a resource for those planning similar ventures.

Greatest hits albums became much more lucrative, from the Stones and the Who, for instance, presaging the unlikely resurgence of the Beach Boys’ catalog a couple of years later.

I’d write more, but I’ve decided instead to write about some of the albums of the period, and my reaction to them, once a month – I’m already behind!

If you enjoy the albums of the period, and it’s likely that you probably do, even if you were born years after ’71, you’ll enjoy Never A Dull Moment, which has been positively reviewed everywhere I checked, after reading it, of course. I lived through the period and I learned quite a bit.

Movie review: Hidden Figures

After seeing the trailer way back in October 2016, I KNEW I wanted to see the movie Hidden Figures. Unfortunately, it didn’t make it to our neck of the woods until January 6, though it showed in LA and NYC so it could be considered for the Academy Awards. On the ML King holiday, the Wife, the Daughter, and I went to the Spectrum Theatre in Albany.

I’ve seen a lot of movies of late, many of them quite good. But a lot of them were downers, frankly. This adaptation of Margot Lee Shetterly’s book is a solid docudrama depicting the US space race with the Russians in the early 1960s that – no spoiler – we were losing. A group of African-American women working for NASA helped save the day, despite not only the racism but the sexism they faced.

The cast was a great ensemble. Taraji P. Henson (Empire) as Katherine Johnson, Octavia Spencer (The Help, Zootopia) as Dorothy Vaughan, and Janelle Monáe (Moonlight) as Mary Jackson, are all actual NASA staff. At the end of the film, we get to see their real-world accomplishments. Katherine Johnson, for instance, received the Presidential Medal of Freedom from President Obama in 2015.

Other solid performances included Kevin Costner as the supervisor of the project, Kirsten Dunst as the boss of the colored women who were “computers”; i.e., they computed numbers. Jim Parsons, that sweet guy in Big Bang Theory, played a composite character who was less than supportive of Katherine. Mahershala Ali, who, like Janelle Monáe, was in the movie Moonlight, plays a very different role here, Colonel Jim Johnson, a suitor of Katherine.

There are space scenes that were, if not as intense as those in Apollo 13, nevertheless put the viewers on the edge of their seats, even though WE KNOW that they all made it home safely.

Hidden Figures is a feel-good story with great reviews – and see Ken Levine’s take as well – also doing well in the box office. The audience at the showing we saw applauded vigorously. It may not be the BEST film of the year, but it may well be my favorite.

Movie review: Fences, based on August Wilson’s play

Denzel Washington and Viola Davis were Tony winners in the 2010 Broadway version of Fences.

The movie Fences is quite extraordinary. Some critics said it may be the best self-directed film ever, with Denzel Washington as not only star and director, but producer as well.

Troy Maxson (Washington), a garbage collector in 1950s Pittsburgh, who had dreams, and arguably the talent, to have been a major league baseball player, had integration in the sport come sooner. His wife Rose (the magnificent Viola Davis) tries to keep him and their working-class family ship afloat.

Fences is an adaptation of August Wilson’s Pulitzer-and-Tony-award-winning play. James Earl Jones and Mary Alice also won Tonys in the 1987-1998 Broadway production. Washington and Davis were Tony winners in the 2010 Broadway version which also won the award for best revival of a play.

Interesting video comparison between Jones’ and Washington’s performances here or here. Jones’ reading is sterner, while Denzel’s reading is garnering laughs.

I had seen a production of Fences at Capital Rep in Albany during the 1990-91 season with John Amos (Good Times, Roots) in the lead role, and that iteration, as I dimly recall, seemed less intense early on.

Denzel in the movie, though, is as ferocious as James Earl Jones was on the stage; that scene does not garner guffaws. Is it the different media, or six years that have passed that got him to revisit the character, or both, I can’t say. But what it does do is make the chinks in his armor even more profound.

The rest of the cast of Fences, the movie, is also strong. Stephen McKinley Henderson as Troy’s good friend Jim Bono, Jovan Adepo as Troy’s younger son Cory, Russell Hornsby as his grown son Lyons, and Mykelti Williamson as his brother Gabriel creates a fine ensemble.

I knew fellows like Troy Maxson and his friends growing up, mostly the men of the church where I grew up. It stirred some strong emotions throughout. There’s a bit of my father there, for sure.

The Wife and I saw Fences on Martin Luther King’s actual birthday, naturally at the Spectrum Theatre in Albany. The less you know going in, the better. Recommended.