With the out-of-nowhere success of 2016: Obama’s America, the nation could finally have a conservative counterpart to Michael Moore. I say the nation rather than the Republicans, because a balanced box office is good for us all, at least as a reminder of our right to oppose the current government and make a profit in doing so. Similar to Moore’s release of Fahrenheit 9/11 during the summer of 2004, author-turned-filmmaker Dinesh D’Souza offers a one-sided, first-person documentary that challenges the incumbent President during his campaign for re-election. Unlike his liberal predecessor, however, D’Souza, who co-directs with writer/producer John Sullivan (Expelled: No Intelligence Allowed), doesn’t have much to fall back on in the way of entertainment value and so only delivers a transient attraction for the anti-Obama crowd.
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[A version of this interview originally ran as part of Movieline's coverage of Sundance 2012.] It says something about how far Ice-T has come since his gangsta rap days that his directorial debut, the hip-hop documentary Something from Nothing: The Art of Rap, premiered in January at Sundance to a house packed with hip-hop heads and white older moviegoers who likely know Ice better from Law & Order: SVU than “New Jack Hustler.” And it says something about the film itself, which explores the historical landscape of hip-hop in intimate detail with over 40 of Ice-T’s fellow rappers, that even the L&O-watching grandmas in the audience were bopping their heads the whole way through.
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Are you obsessed with designer ladies' shoes, or do you know a woman who is? (Aren't we all? Let's go shopping, OMGZ!) Then here's the documentary for you: God Save My Shoes, from director Julie Benasra, which purports to be "the first documentary to explore the intimate relationship that ties women to their shoes." Watch Fergie, Dita von Teese, and a bunch of other real life Carrie Bradshaws gush over their Louboutins in the film's trailer (which, incidentally -- of course -- includes Louboutin himself).
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Before IMAX became a way to boost action sequences — Tom Cruise dangling from the tallest building in the world, the Joker's gang rappelling down from a Gotham City high-rise to rob a bank — the outsized format was primarily the domain of nature films like To the Arctic 3D, which aim to dazzle with large-scale shots of mountains and dolphins and Australia and other impressive-looking things. Forty minutes long and narrated by Meryl Streep, To the Arctic uses spoonfuls of cuteness — featuring walruses and caribou, though polar bears are its primary animal stars — to make its fairly grim environmental message go down a little easier.
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Chimpanzees are the putative subject of Chimpanzee, another in a line of Disney documentaries with big, blunt titles (Oceans, Earth, Nature) and very specific stories to tell. This time out, narrator Tim Allen tells us, our tale promises “drama, sadness, and joy in a world you and I may never set eyes on.” That world is the Ivory Coast rainforest, and we’re pretty much looking at it just then, but it becomes clear early on in the beauteous but outrageously martial Chimpanzee that things might not be what they seem.
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Legendary auteurs, they're just like us! When iconic filmmaker Ingmar Bergman passed away in 2007, he left behind one of the greatest bodies of work known to cinema -- and a vast, meticulously catalogued VHS collection, the subject of the upcoming Swedish documentary Bergman's Video. Among his tapes, somewhere between the Bunuel and the Tarkovsky: Jurassic Park, Ghostbusters, and The Blues Brothers, which at least partially explains the ghosts and Jake/Elwood-esque sibling dynamic in Fanny and Alexander. The dinosaurs, not so much. [Cineuropa via Movie City News]
With the MPAA ruling in favor of upholding Bully's R-rating, the Weinstein Co. has announced that they'll release the documentary as planned on March 30 -- in its full, explicit language-laden unrated cut. The question is, will theaters let minors see it? "I know the kids will come, so it’s up to the theaters to let them in,” said director Lee Hirsch in a press release, with TWC marketing head Stephen Bruno adding pressure to the theaters to "step up and do what's right."
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Josh Fox, whose Oscar-nominated 2010 documentary Gasland investigated communities affected by natural gas drilling, was arrested today while attempting to film a public House hearing on hydraulic fracturing, or "fracking," according to Politico (via Indiewire). "This is a public hearing," Fox said as he was being handcuffed. "I'm within my First Amendment rights, and I'm being taken out."
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It says something about how far Ice-T has come since his gangsta rap days that his directorial debut, the hip-hop documentary Something from Nothing: The Art of Rap, premiered at Sundance to a house packed with hip-hop heads and white older moviegoers who likely know Ice better from Law & Order: SVU than “New Jack Hustler.” And it says something about the film itself, which explores the historical landscape of hip-hop in intimate detail with over 40 of Ice-T’s fellow rappers, that even the L&O-watching grandmas in the audience were bopping their heads the whole way through.
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A quick update on the flurry of Sundance deal-making of recent days, with well-received documentaries and less acclaimed but star-driven (read: marketable) narratives sitting pretty with distribution agreements. Will this be, as pundits predicted, a high-volume buying year in Park City?
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One of the most fascinating and intimate moments in Frederick Wiseman’s Crazy Horse, a peek behind the shimmery veil of Paris’s legendary semi-nude cabaret, is the one in which the club’s no-nonsense manager, Andrée Deissenberg, tells a reporter that women find the performances just as compelling as men do, if not more so – that watching this highly orchestrated display of beauty on-stage speaks to them in a way that goes far beyond garden-variety titillation. “The key to eroticism is the woman,” she says flatly, a statement the reporter doesn’t seem to fully agree with, though he at least has the good sense to bow to her authority on the matter.
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Over at the New Beverly Cinema in Los Angeles, tonight's double feature is a particularly inspired pairing of simian cinema from 2011: the cautionary thriller Rise of the Planet of the Apes and the equally harrowing doc Project Nim. What lessons can be taken from this matching of monkey movies?
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Now that everyone has grown tired of touting the allegedly thrilling promise of 3-D, we may have some chance of figuring out exactly what its future might be. While I still think 3-D is almost less than a gimmick, I've come to think that its real promise lies not in big-budget filmmaking along the lines of The Adventures of Tintin or even a picture as wonderful as Hugo, but in the hands of directors working on a more modest scale who simply have a good idea and a spark of enthusiasm for the medium. Wim Wenders has brought that spark to a rather unlikely subject, the late German modern-dance choreographer Pina Bausch. For years, Wenders and Bausch, longtime friends, had been working on a movie together. Bausch died suddenly in 2009, at age 68, and Pina is Wenders's tribute to her, less a strict documentary than a heartfelt -- and visually gorgeous -- celebration of Bausch's work and her mode of working.
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Where does appreciation end and exploitation begin? Gorgeous and disquieting, the documentary Bombay Beach wobbles between the two like a beginner gymnast on her first attempt on the balance beam. On one side, it's a poetic, freeform examination of the lives of a few of the residents of the area of the title, located by the Salton Sea in the Southern California desert. On the other, it's an uncomfortable fetishization of the community's outsider status, dictated by poverty, by location and by an inability or unwillingness to exist elsewhere. Israeli-born director Alma Har'el, who comes from a background of music videos and commercials, doesn't just bask in this abundance of scenic, decaying Americana, she shapes it into choreographed dance interludes with the subjects, who twirl outside their mobile homes and don carnival masks to cavort in an outdoor gazebo. It's a bit of whimsy as pretty and problematic as the film as a whole.
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The Joel Edgerton-Mary Elizabeth Winstead prequel The Thing hits theaters this Friday, so if you need a refresher on the events of the John Carpenter 1982 original -- which takes place three days after the new film -- what better way to relive it than through the Cliff's Notes version, as sung in the style of Frank Sinatra from the point of view of the dog? Just go with it. Watch Jon and Al's John Carpenter's The Thing: The Musical, then stick around for more Buzz Break.
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