Stanley Kubrick’s homage to David Lynch has Tom Cruise’s preppy New York doctor stumbling upon an illuminati sex party and coming up against a wall of silence when he begins inquiring about it. Kubrick’s final film is as multi-layered and intense as you could wish for, the kind of immaculate and tightly-wound presentation of the terrifying nature of normality that he was famous for.
When Kubrick, the greatest ever movie director, left this final cinematic statement to the world it was met by critics with some confusion and that turned to indifference. On the surface it is an obscure, surreal fantasy that doesn’t make a lot of sense. But since Bill Burr publicly accused Hillary Clinton of attending ‘Eyes Wide Shut parties’, the world has taken another look at this enigmatic work. Needless to say Kubrick was way ahead of his time, and with the ongoing Jeffrey Epstein ‘QAnon’ horizon, this movie becomes more relevant to the world we live in with every passing minute. Of course Hillary attends Eyes Wide Shut parties, and so do a lot of people!
Kubrick expended his last efforts to focus on that group (whom he had clearly had some experience with) whose power derived not simply from their having more money than anyone else, but from ‘owning’ money, itself.
Unlikely as it may seem and despite its x-rated nudity and perverse themes, ‘Eyes Wide Shut’ is also a statement of monogamy. It presents a Garden of Eden in which both sexes resist the temptation that surrounds them, and argues we should ignore those nagging jealousies and tantalising rabbit-holes because ultimately what they offer is meaningless and a husband and wife already have something worth infinitely more.
This doco covers the career of the demonic, terrior-like Lee Atwater, credited with getting George H W Bush (one of the least appealing candidates in US Presidential history) elected in 1988 against the much more favoured, affable and photogenic George Dukakis. To achieve this feat, Atwater dredged never-before-seen depths of dirty tricks, using attack ads, smears, misinformation and downright lies. The campaign went down in history as the nadir of ‘New Right’ venality and an infamous low in political tactics. Bush was not re-elected in 92 and the 88 campaign was part of the reason.
It’s an interesting if skin-crawling tour through the life of a man with virtually no moral compass, obsessed with succeeding at all costs and possessed of a desperate drive for power and recognition, all of which was music to the ears of the Washington swamp. The film throws intriguing light on the latter years of the Reagan administration and the Iran-Contra affair that cast a shadow over it.
This is a tragic cautionary tale of what happens when a man gains the whole world but loses his own soul. When Roger Stone is the voice of reason and restraint in the film of your life, something is seriously wrong!
Bobby Fischer was one of only two non-Soviet world chess champions between 1948 and 2007 and the only American player ever to hold the title.
Most versions of his story present this simple narrative: obsessive, loner chess prodigy beats the world in the seventies, ‘winning the Cold War’, only to get so caught up in his own vanity and the pressure of global stardom that he is unable and/or unwilling to defend the title, and loses it by default in 1975 to become an infamous eccentric – the archetypical reclusive misfit and ranting conspiracy theorist crackpot.
But ‘Me and Bobby Fischer’ gives a more nuanced picture. It focuses on his rescue from a Japanese prison in 2004 by Icelandic friends he met during his title-winning chess bout in Reykjavik in 1972, and his subsequent repatriation to Iceland. The issue was that the grumpy old chess champ had criticised the George W Bush Government in the wake of the 2001 World Trade Centre attacks, even shockingly expressing approval of them. By the long reach of American international influence he was thereafter detained on trumped-up charges in Japan, by writ and without due process of law. His solution is to pick up the phone and call his old security guy from the 1972 Iceland trip where he won the world championship (who hasn’t heard from him since). It turns out the Icelanders are a force to be reckoned with, and they get him out. But then they have to deal with the reality of an ageing and bitter Fischer as he steps from the plane onto Icelandic soil.
It makes for great reality TV. In between his anti-semitic rambling there’s some great insights into life, death and genius. It’s interesting to note for example that Fischer refuses keep his money in Icelandic national bank Landsbanki even though as his Icelandic friends argue ‘the interest is higher’. The old curmudgeon was one move ahead because shortly after this film was shot in 2008 the global financial crisis smashed the Icelandic banking system and completely destroyed Landsbanki. Such details suggest there may be more to Fischer in Iceland than the washed-up has-been he is usually portrayed as, and the film ends with the strong suggestion that his 2008 death was suspicious and that it may not even be Fischer they buried!
‘Pawn Sacrifice’ is the underwhelming and prosaic movie version featuring Tobey ‘Player X’ Maguire as Fischer, and covers mainly the early, chess-dominating years.
This epic series, the Cadillac of quality American television, surgically dissects US high society so finely that no subject is left untreated, certainly not politics. ‘The President is a product’ opines one executive. And ‘it’s a ball game’ is protagonist Don Draper’s memorable consolation line to a client after his party’s 1964 election loss to the Democrats. That’s about as succinct and accurate a verdict as you can get.
Mad Men is the most comprehensive deconstruction of American culture since ‘The Godfather’. A forensic examination of the Decline and Fall of the American Empire, it is a towering, subtle, nuanced and labyrinthine study of the evolution of sexual mores and white collar social politics from the tail end of the fifties through to the beginning of the seventies.
Jon Hamm plays the United States of America, in the guise of captain of industry Ad man Donald Draper, whose Gatsby-like mysterious origins, manly silence and suave exterior make him the corporate face of trendy Madison Avenue firm Sterling Cooper. It’s an arrangement that suits the blue-blood New York aristocrats who run the company.
The genius of Mad Men is that on the surface, nothing ever really happens. But if you think this is just a soap opera think again. Everything is in the details. The question behind the drama is: does sexual morality, matter? Is Don and the others’ behavior a normal and acceptable executive convenience, an afterthought, an obvious necessity for the glamorous veneer of corporate hospitality, or are they all partying while Rome burns?
Kids are knifing each other on the streets and getting bombed on hard drugs while America has somehow become an Imperial aggressor bombing third world countries into submission. And who is controlling the ideas that define and originate the terms of this popular conversation and the frame of reference in which it sits? It’s these guys.
Great personal travelogue about one irate Democrat’s journey to understand the 2016 election result. Essentially an extended video diary, this features Chicagoan James Stern criss-crossing the country to seek out the fabled ‘Trumpland’ of America, where the voters James cannot believe actually exist, live. It’s a fun road trip. Stern’s scathing contempt and utter confusion about what is happening in the country is entertaining and also instructive. Of course, his mission into red states ends with insights that he didn’t expect.
It’s also just a fabulous document of the atmosphere of the country outside of LA and the East Coast beltway in the run-up to the election. Stern is a winsome and articulate host and it is fun watching him engaging with what for many Americans is simply ‘reality’.
Stern has also collected some really wonderful interviews here that will last the test of time. They are pure Americana, and add up to an enjoyable and laid-back snapshot of the country in 2016. Putting all these highly distinctive, personal, divergent and colorful opinions about the two candidates together also makes up a profound meditation on the temperature of the country on the eve of the momentous election. Viewing this documentary now four years later above all it seems to offer a gentle invitation for all Americans finally to find some common ground and to make their peace with the democratic will of the American people as a whole, and maybe get on with life!
This movie is a tour de force and stands with the great courtroom dramas of cinema history. It is the career masterpiece of celebrated screenwriter Aaron Sorkin, and will almost certainly win the Best Picture Oscar at next year’s Academy Awards. While we are currently awash with ‘On The Basis of Sex’-style unabashed liberal propaganda pieces, this is something more. Like that movie it is well made, with a large budget and some great performances, however this production is a lot bigger and a lot better all round. It screams quality. The 1968 case in question was a touchstone of modern American history and it gets a luxurious treatment here.
Sascha Baron-Cohen (a dead ringer for a young Elliot Gould) dominates as the wise-cracking Abbie Hoffman, one of the 7 on trial for inciting a riot at the 1968 Democratic National Convention in Chicago, a convention that had denied the rioters their first choice of Presidential nominee Bobby Kennedy by the assassin’s bullet and in a mockery of democracy now replaced him with the establishment candidate Hubert Humphrey. Frank Langella is brilliant as the villain of the piece, reactionary Judge Hoffman (no relation!) The fast pace, epic production design, razor-sharp editing and of course the dialogue – Sorkin’s speciality – are superb, and elevate this effort to instant classic status.
There is some attempt to draw a moral equivalence here between the anti-draft protests of the sixties and the recent ‘Summer of hate’ BLM protests. But that is a specious comparison: protesting the concept of any kind of police and law at all is not the same as protesting being sent around the world to kill or be killed. If anything this movie serves to remind us of the greater character, nobility and purpose of a previous generation’s youth. Although the stated aims of the protesters back then were ostensibly the same: the intentionally vague ‘revolution’, with its irresponsible, naive and/or willful ignorance of history’s witness that such revolutions always result in genocide and the worst kind of tyranny, at least those protesters were attempting to stop an unjust war and prevent American imperialism from oppressing foreign nations. Today’s rioters and looters are not interested in the ongoing oppression of foreign nations, only their own comparatively very comfortable condition that does not in any way require them to go overseas to fight and die, and they have no programme of solution other than destruction and vandalism. The Coronavirus lockdown would be a worthy cause to protest against, but that rarely even gets a mention!
Government corruption! Whatever happened to that issue? Well, as could be expected, it has been tastefully and discreetly dropped. But it hasn’t gone anywhere. This beautiful documentary asks an extraordinary question: what if we look at ‘the swamp’ of Congressional corruption from a bipartizan, neutral perspective? Wow what an idea! Neutrality is incredibly rare in today’s polarised political climate, and this doc just about manages to achieve it.
The main focus is Florida Congressman Matt Gaetz, as pro-Trump a Republican as you could find, but one who also has the amazing idea of working with other Representatives to drain the swamp, even if they are from a different party! Shocker! Much of the film covers his cross-party efforts with Democrat Ro Khanna and how the two of them fare going up against the entrenched interests on the Hill. The film also features other Representatives who similarly recognise that political corruption is not a party issue, it’s an American issue, and it requires everyone to get involved for it to be fixed.
The fun here is getting a peek into the cloistered world of the Capitol (the ‘Death Star’!) and the House of Representatives and seeing how these guys go about their daily activities of fund-raising, voting, pressing the flesh and taking calls from constituents. Fly-on-the-wall gold!
This is a great little documentary about a little-known incident in 1971 when a group of student activists broke into an FBI office in Media, Pennsylvania, stole files and leaked them to national newspapers. Depending on who you listen to, this may have been a very influential event indeed, even beginning the process of unravelling the corrupt Depression generation’s grip on power in the USA. Whether it was or not, this charming and highly watchable movie is a fascinating window into a very different time. A pretty odd and surprisingly dark time of entrenched culture clash and generational warfare where you were either a hairy baby boomer or not. A time when seemingly normal human beings believed they were in a state of siege from an oppressive and tyrannical police state. And, as demonstrated by the files recovered, those fears had some basis in reality. The leaked files exposed to a shocked nation that the FBI were engaging in illegal activities and surveillance against law-abiding citizens.
It’s a superbly well-made film – a class act, and amongst other things assembles some phenomenal footage from the era of a world that had one foot in the fifties and one in the eighties. A shambolic society beaten down and directionless from the strain of social division, in particular from the Vietnam war. This break-in was not only indicative of its time but also perhaps the beginning of the end for the cynical old guard and the final nail in the coffin for the career of FBI head snooper J. Edgar Hoover.
Andrew Breitbart was the teddy bear-like new media guru who became integral to Conservative activism after the election of Barack Obama in 2008. He was the unofficial spokesman of the Tea Party movement and crucial to the founding of what became known as the ‘alt right’. After helping found Drudge Report and HuffPost he spun off his own news website Breitbart.com and was possibly the biggest thorn in the side of the Obama administration as a pundit. It was Breitbart who broke the Weiner sexting scandal story that would eventually contribute significantly to Hillary Clinton’s 2016 election loss. That makes it all the more coincidental that he suddenly dropped dead in 2012.
Unfortunately this film is not really worthy of its mercurial subject. While it gets there by the second half, finally jumping into the nitty gritty of Breitbart’s pugnacious activism with the Andre Carson/ John Lewis ’N’-word issue, the first half is way too slow, hanging around its subject reality TV-style in an uncritically fawning attitude that is tedious. There are also not really enough insights into the nuts and bolts of his online methodology, that was somewhat revolutionary at the time, and how he brought it to bear on the causes that fired him up. It’s a bit of a glorified home video in the final analysis, with inadequate depth and variety of perspective.
Nevertheless because of its subject matter, and because it provides a unique window into a zeitgeist, this doco is still really fun and absorbing to watch. Overly familiar to its subject and with not enough of the real substance of Breitbart nor the spice of hearing from his political opponents it may be, yet so far it is the only serious onscreen attempt to profile a man whose career crystallised the change from old media to new media, and who in the process became incredibly influential and shone very brightly for a brief moment in time.
JFK assassination triple-header! These films seem to have been made before good posters were a thing. But despite that, these are the three to watch – a movie and two documentaries, if you want to go into greater depth about the 1963 coup d’etat (state takeover) in the USA that deposed President John Kennedy and replaced him with his arch-enemy Lyndon B Johnson, in order for Johnson to reverse the policy direction of the US Government thus launching the Vietnam war from which Johnson’s family stood to make $25m.
Watch them in order, as there’s an escalation of detail. ‘Executive Action’ is a lean and mean play-by-play of how the conspiracy to murder the President developed. It is a brilliant, brutal film. You have probably not heard of it, because it was barely publicised! Maybe too close to the truth. It’s a stripped-down, bare-bones version of the story that avoids explicitly bringing in LBJ or the CIA and many points are left deliberately vague or are inaccurate, but they were dealing with what they knew then in 1973 and from what they had at the time it is incredibly well done and has the feel of a docu-drama. Burt Lancaster plays a William Harvey-type figure, with crime movie legend Robert Ryan as the Allan Dulles-esque behind the scenes kingpin and Will Geer as the Murchison-style oil tycoon.
Then there’s the two docos. The world of Kennedy documentaries is a vast quagmire with an almost endless number of films purporting to reveal new secrets or show some new perspective. An exhaustive survey of them would take a lifetime. However watching these two gives you what you need to know. The first was made during the ‘second generation’ investigation, by the House Select Committee on Assassinations in 1978, that concluded that there was, after all, a conspiracy to kill Kennedy and more than one person had been involved in the shooting. Like the report, that exposed the 1964 Warren Commission as having been a whitewash (that in fact to a considerable extent the Warren Commissioners themselves were the killers!) the doc is incisive and devastating in blowing the murderers’ crude deception apart.
The grand-daddy of them all though and final climax to all onscreen meditations on the Kennedy assassination is the landmark British-made documentary series ‘The Men Who Killed Kennedy’. This is a 9-part epic that goes into depth about a whole array of issues relating to the coup from start to finish. It is not perfect, for example it gives screen time to some witnesses that are not now considered credible such as Ed Hoffman, Beverley Oliver, Ruth Paine and Judith Baker. It also could use an update as the last episode was made in 2003 so the series does not include new evidence that has come to light in the last 20 years, in particular Howard Hunt’s bombshell confession. But this is incidental. To all intents and purposes the murder is solved in this series. (If you want to skip to the ending, just watch Episode 9!)
All in all this is a powerful and important body of work that chronicles an event that as one witness describes it ‘nullified’ American democracy and enslaved the American people to a gang of criminals. On this day the USA became a banana republic and so it will remain until the truth is shouted from the rooftops that ‘the criminal Lyndon Johnson murdered JFK in a dirty coup d’etat for venal personal gain’. For America ever to recover there would need to be a genuine truth and reconciliation process about this issue, bringing the truth to light and unveiling the culprits publicly and for the record. And how about a memorial in the middle of the parking lot behind the picket fence with the names of the over 100 Americans murdered by the perpetrators of this coup? Many of them honest, upstanding and brave citizens simply doing their duty to their country. Indeed, one positive that comes out of this story is the great character of citizenry that was (before 1963) inherent in the United States and Texas population. The leader that achieves such feats of justice and openness will be a permanent hero of the Republic.
Until then this loathsome crime is a black stain of guilt and shame that dishonors every American.