American Movie (1999)

* * * *

The Jist
American Movie is a film about a film. Filmed in small-town Wisconsin in the mid 90s, it is a documentary that follows Mark Borchardt, an amateur film-maker, as he tries to make his film Coven with the help of his friends and family. The camera tracks the making of Coven from pre-production through filming and includes confessional style interviews with the main characters.

What's Good
While most widely-distributed documentaries tackle broad subjects involving politics or well-known events, American Movie tracks small-town nobodies trying to do big things. When the film was made in the mid and late 90s, America was a different place than it is now. The economy was booming, there was a sense of prosperity, and things in general seemed to be on the rise. American Movie captures the can-do American spirit in unemployed landscaper/writer/director Mark Borchardt, but also reminds that even during one of the richest times in the country's history, there was still a large group of people struggling to pay the bills and achieve the American dream. Director Chris Smith does a good job presenting both the struggle to live and create and the forces behind the struggle. All documentaries strive to compress multitudes of footage into a watchable film, and at 107 minutes American Movie is just long enough to tell Borchardt's story of humor, drama, information, and tragedy, but mostly humor. American Movie is thoroughly entertaining. To see strange, small-town people speak honestly to the camera about their bizarre friend/director, and then follow their comments with something equally ridiculous, illustrates the flaws and desires in the people we live with and walk past everyday.


What's Bad
Although the film is a documentary in every sense, American Movie is so outrageous, at times it seems unbelievable that the subjects weren't prompted to say or do the things that happen. Some of the situations seem just too good to be true, and aside from the first-person interviews, no one ever notices the camera following them. For people who seem so astonishingly simple-minded, it is hard to believe they didn't have trouble looking into the lens constantly following them, especially characters that appear only once or out of the blue.

What's Memorable
The subjects of American Movie are characters more than people, and show that at times life is more entertaining than art. Anyone who grew up in a small town knows someone like Mark Borchardt; the guy who has great intentions and big dreams but seemingly no concept of reality. Despite his flaws which include drinking too much, an inability to hold a job, and a tremendous lack of focus, Borchardt is essentially the definition of a struggling artist trying to bring his vision to life. All future film-makers should watch American Movie, as director Smith captures the frustrating process of creation and the continual journey toward the satisfaction of making something from nothing. If you think Borchardt is strange, his friends and family are another story. His ancient Uncle Bill, Borchardt's source of financing, somehow gets caught up in the action and a handful of memorable scenes involve the slow-moving old man doing something completely out of place for someone who can barely walk or see. Borchardt's best friend Mike Schank says some outrageously ridiculous things that could be quoted for days, and some of his stories and one-liners are funnier than anything a screenwriter could come up with. There is no shortage of memorable lines and situations, and American Movie is laugh out loud funny. What makes American Movie relevant is the eccentricity of the characters; they are real people doing real things. The film has just as much to say about filmmaking as it does about small-town America. Borchardt may be delusional, but he knows film, and to see him both in command and way over his head is incredibly entertaining but also informative. American Movie captures the creative spirit and shows a glimpse into America in the 1990s; a time when even the down-trodden believed the route to happiness was very tangible and just around the corner.

Good for: film-makers, documentary fans, anyone who lives or lived in a small-town

Bad for: someone with no sense of humor, snobs

The Gallery
The Writer * * * * *

The Wrestler (2008)

* * * * *

The Jist
The Wrestler chronicles Randy "The Ram" Robinson, a former champion wrestler, as he struggles with the reality of his career coming to a close. The battles he faces outside the ring weigh heavier than those in the squared-circle as he tries to mend broken relationships and make ends meet.

What's Good
It seems that redemption stories come and go in Hollywood week after week, but with his debut screenplay, Robert D. Siegel makes the unlikely choice of framing the redemption theme around the world of professional wrestling in the most creative screenplay of the year. Simply put, The Wrestler is a great story; great characters working through difficult situations that are unique but always understandable, and most importantly, real. The script contains so much attention to detail, both in terms of recreating the world of wrestling and the image of a flawed man. Siegel's creation of Randy "The Ram" will surely go down as his best character. The Ram is perfectly rounded, a flawed man and father, but a good friend, worker, and mentor. We see his nearly countless failures, but also just enough of his sense of humor and passion to make him an incredibly sympathetic character. With a story like this its nearly impossible to avoid cliche, but The Wrestler goes through them so honestly and brutally without over-dramatizing events that even when the audience sees something coming, it still reverberates with true intensity. Characters like Randy's daughter Stephanie, played by Evan Rachel Wood, seem destined to fall into mediocrity, but the script allows Wood to deliver a believable performance as a neglected child with a grudge without going over the top. Todd Barry's character Wayne, Randy's non-wrestling employer, personifies the indifference of the outside world, and his un-sentimental and restrained performance fuels Mickey Rourke's tour de force. The cast of bit parts played both by actors and real amateur wrestlers create a window into the wrestling community, and shows that the characters on screen and in the ring are real people with real problems.

What's Bad
Despite the Wrestler's strong plot, the dialogue, at times, is a bit dull. Some will find the writing to be honest without trying to glamorize the characters and situations, but others may get bored with the trudging conversations. A few of the situations begin to get repetitive, such as Randy's continual trips to the strip club, but none of the film's flaws take away from its brilliant direction and acting.

What's Memorable
Mickey Rourke's performance has been sensationalized beyond belief, and the idea of his life intersecting with art in the form of the title character will forever be associated with the film. But when true genius is exhibited, due praise is deserved, and there are few performances more deserving than the devastating, soul-bearing portrayal of Randy "The Ram" by Rourke. Rourke has created one of the most enduring characters in film history, a modern day Terry Malloy, inspired by all of the great down-and-out characters that have come before him. Watching Randy, the once great superstar of the ring, lower himself to community center events in small towns just to scrape together enough money to pay his trailer rent, all while trying to rekindle the relationship he never had with his daughter, reeks of pain and suffering, but we can't take our eyes off the screen because of Rourke. Randy "The Ram" is real, someone we've watched on Pay-Per-View, read about in the papers, and seen behind the deli counter, and Rourke totally becomes him. The performance is flawless; beyond intimate and inspiring, both beautiful in its subtlety and crushing in its honesty. The Wrestler is Mickey Rourke, but don't forget about Marisa Tomei. The role of Cassidy, a stripper and friend of Randy, was demanding physically and mentally, and Tomei brings a delicacy that softens the blow of Randy's failures. She complements Rourke's amazing performance without ever overshadowing it, half because of Rourke's overriding greatness and half because of Tomei's calculated acting. Lost in the Rourke hysteria, however, has been Darren Aronofsky. Known for his powerful, boundary-pushing films like Requiem for a Dream and the Fountain, The Wrestler is his most traditional and focused work to date. Whereas in the past Aronofsky's ambitions may have outweighed his decision making, The Wrestler shows him at his most constrained, which happens to coincide with his creative pinnacle. The film is great in its efficiency, not wasting one of the 110 minutes and not needing a single frame more to deliver the punch. The plot moves slowly, but at an appropriate pace for the sequence of events, and despite its dark overtones, the film has just enough style. The sound editing and handheld camera work give the situations authenticity, and the editing is spot-on, particularly the phenomenal conclusion. The Wrestler is the fusion of stunning acting and great directing, and a triumphant document of human failure and redemption from the opening sequence illustrating "The Ram's" zenith, to the heart-wrenching final scene.

Good for: all movie-goers, fans of drama, wrestling fans, actors

Bad for: overly emotional movie-watchers, the easily bored

The Gallery
The Surfer: * * * * *
The Writer * * * *

Doubt (2008)

* * * * *

The Jist
Doubt is set in the 1960s, and centers around a nun (Meryl Streep) who suspects a priest (Philip Seymour Hoffman) of having a questionable relationship with a young male student at the Catholic school she oversees. A younger nun, played by Amy Adams, tries to maintain good will at the school while regarding the integrity of all parties involved in the questionable affairs.

What's Good
John Patrick Shanley has already received a Pulitzer Prize and Tony Award for the theatrical version of Doubt, and who better to enlist to ensure a strong big-screen adaptation than Streep and Hoffman in the lead roles. A great script draws great actors, and the casting was excellent. Streep is one of the best actresses of all-time, Hoffman may be the greatest character actor of his generation, and Amy Adams is a legitimate up and coming actress about to become a major figure. Not all plays work as films, but Shanley's efficient direction shows that he has a wide variety of talents beyond just writing. There are limited settings, as one would expect from a theatrical adaptation, but the dark cathedrals, ancient Catholic school classrooms, and quiet rectories work well on the big screen, providing just the right atmosphere for the characters to thrive in. The story moves at just the right pace, slow but steady, and from the opening frame to the credits the tension builds to a thought-provoking climax.

What's Bad
The script drives Doubt, and while most will be mesmerized by the dialogue, some may be bored by the lack of action. Along the same lines, Doubt feels like a play; so those bored with the dialogue will also grow tired of the repetitive scenery and long scenes. There are signs that Shanley is a first time director, but some of the questionable decisions in terms of plot and subtext were risks most first time directors wouldn't take. Overall, there isn't much wrong with this film.

What You'll Remember
As one would expect, the acting is phenomenal. Hoffman and Streep steal the show, and their scenes together are electric. Streep is a lightning rod and plays Sister Aloysius with a fervent intensity that will call to mind childhood memories for anyone who grew up in a Catholic school. Hoffman plays Father Flynn so sharply that no one knows whether he is a good-intentioned progressive priest or a deceiving fake, but just like the kids in his class, the audience will want him to come back for time and again. Amy Adams, a subordinate both in character and in practice to Hoffman and Streep, is great as Sister James. The part demanded both tender passivity and stark veracity, and although Streep and Hoffman's characters draw most of the attention, Adam's Sister Flynn is who the audience will relate to. The only other character with a significant role is Viola Davis as Ms. Miller, the mother of the boy in question with Father Flynn. Davis is only on-screen for nearly ten minutes, but she is unforgettable as a mother at a crossroads. A look at the awards this script has already won tells you all you need to know about it, but Shanley's writing propels the great performances, presents a thrilling plot, and is one of the most thought-proving films of the year. Amidst the mystery surrounding Father Flynn are overarching themes of faith, religion, and morality, and there are many questions left unanswered. The ambiguous nature of these fickle issues mirrors the way they are addressed in reality, and Doubt will likely tell the viewer just as much about him/herself as it does about the characters on the screen. In the end, Doubt brings so much to the table; it's a cautionary tale, a fable, and an ethical dilemma, all with driving intensity both in plot and in performance. It is the rare suspense film that asks hard questions, leaving the viewer to ponder them after the brilliant conclusion.

Good for: theater fans, actors, fans of sharp dialogue, suspense fans, philosphers

Bad for: the easily bored, someone not looking to think in the theater

The Curious Case of Benjamin Button (2008)

* * * *

The Jist
Adapted from an F. Scott Fitzgerald short story, The Curious Case of Benjamin Button is the story of a boy born old, who from the time of his birth ages backwards from an elderly man to a young infant. His life is full of unexpected events, as he encounters people and situations from a unique perspective.

What's Good
David Fincher's mid-late nineties stretch of great films is ten years behind him, but with Benjamin Button, the man who adapted the mind-trap that was Fight Club has showed that he can also adapt an emotional, heart-wrenching tale. Benjamin Button is an epic in terms of length and vision, and with the help of veteran screenwriter Eric Roth, Fincher has created an enduring and enjoyable fable. Having the likes of Brad Pitt and Cate Blanchett as leads surely helps, and both deliver the performances audiences have come to expect. Pitt steps up to plate for the demanding role and plays the title character from old age to prepubescence with nuance and affection. Blanchett once again reminds us she is the best actress of her time by bringing much more to the role than the what was written on the page. Taraji P. Henson, as Benjamin's adoptive mother, steps into the limelight with an intimate, motherly performance well beyond her actual age in years and wisdom. The strength of Benjamin Button lies in the story, however, which is well crafted by Roth and will appeal to a broad audience.

What's Not
The most obvious fault of Benjamin Button is its length. Roth and Fincher popped off the delete key to take Fitzgerald's short story and turn it into a nearly three hour long epic. Its hard to say which scenes shouldn't have made the final cut, but its clear that the story wouldn't have lost too much with about thirty minutes less material. Comparisons have been made to Roth's past screenplay, Forrest Gump, and the similarities are legitimate. Substitute a mentally challenged lead with a reverse-aging man, and most of the themes and even circumstances are very similar. Although the story is engaging, Fincher rounded off the sharp edges that can be found all over his past work. Chances were taken from a technical aspect, but thematically and artistically, Benjamin Button is pretty conservative and looks like a safely made film meant to make some money.

What You'll Remember
Movie-goers have become accustomed to outrageous special effects, but the costume and design team for Benjamin Button pulled off one the most unique and challenging tasks in a non-action film to date. Thanks to incredible prostheses and costume design, the star-power of Brad Pitt fades away into a geriatric man, and a mere two hours later, Pitt, who is in his 40s, looks not a day older than 16. The combination of Pitt's believable performance and the stunning make-up job make Benjamin Button a very memorable character. The best part of the film, though, is the source material. Fitzgerald's fable, even if extended hundreds of pages beyond the original, will resonate with nearly everyone, and the idea of celebrating life rather than destroying it is one not often found in popular cinema. Even if Fincher and Roth played it close to the belt, the story and moral behind Benjamin Button is one most viewers won't soon forget.

Good for: the average movie fan, Pitt fans, someone down on their luck

Bad for: people who don't like long films, people who cry at movies

The Gallery
The Surfer: * * *

Rachel Getting Married (2008)

* * *

The Jist
Rachel Getting Married is not so much the story of Rachel, but the story of her drug and tragedy addled sister Kym, played by Anne Hathaway. Kym is home from rehab for the first time in years for her sister's wedding and confronts her past mistakes as she tries to recapture a sense of normal life. The nature of coping, forgiveness, and the structure of family relationships are explored as a dysfunctional family is reunited for a weekend.

What's Good
Directed by Jonathan Demme, best known for Silence of the Lambs, Rachel Getting Married may be the most honest film of the year. The events of a weekend wedding, from rehearsal dinner to reception, aren't sugar coated or dramatized whatsoever, but presented as they really occur, for better or worse. The "take it as it is" approach Demme utilizes allows his cast to disappear into their characters which yields several solid performances. Bill Irwin, as Kym's dad Paul, turns in a strong performance as a not so in-touch father always trying to look at the bright side of things, and Tunde Adebimpe (of TV on the Radio) is surprisingly good among veteran actors as Rachel's husband-to-be. The script, by debut screenwriter Jenny Lumet, is blunt and dark but also has a few light-hearted moments, just like the dysfunctional family it involves. The situations are real and believable, and the direction, script, and performances allow the viewer to feel as if they are within the scenes.

What's Not so Good
At times, Demme's "home video" filming style leads to scene's dragging on way beyond their welcome, at times minutes longer than the audience would expect or desire. The rehearsal dinner, which has its share of crucial moments for the film, feels like literally the entire rehearsal dinner. And just like the real thing, where the toast speeches start to run dry after the second or third one, the stories begin to grow old fast and by the time Kym delivers her powerful speech, it has been tainted by all the unnecessary footage that came before it. Almost every main scene drags on as the camera continues to follow the action well beyond what would be necessary to advance the plot in order to deliver the "window into reality" perspective. The film easily could have been 15-20 minutes shorter, and would have been a much tighter, more fierce portrayal of the weekend, even if some of the intimacy of the moment was lost.

What You'll Remember
This film is Anne Hathaway's announcement to the world that she is the real deal. She was a major figure in Brokeback Mountain, but until now, Hathaway was just the girl from Princess Diaries. But with this performance as Kym, likely the best of the year by any actress, she has proven that she can bring depth and range to a role. Kym is high strung but burnt out, desperate to change but stuck in a rut, apologetic but bitter, hopeful but defeated, and Hathaway delivers the full spectrum with great intensity in nearly every scene. Her performance is up against the odds of tedium, but a great role and a solid supporting cast provide the perfect recipe for her career-best effort.

Good for: fans of dysfunctional family films, Hathaway fans, filmmakers, addicts

Bad for: people who sleep through movies

The Gallery
The Surfer: * * * *

Man on Wire (2008)

* * * *

Is it possible to make an entire documentary out of a tightrope walk that spanned less than one hour over thirty years ago? James Marsh says yes, and has made the best documentary of the year, the enthralling Man on Wire. In 1974 Philippe Petit and two friends secretly made his way to the top of the World Trade Center, suspended a rope between the two buildings. Petit walked, danced, and laid upon the rope for 45 minutes. Floating in the clouds a quarter of a mile above the streets of New York City, Petit completed his life dream, came down, was arrested, released, and returned to France. Man on Wire captures the remarkable images of a man balancing his life within millimeters on the most unlikely stage. Petit's act has been called a criminal stunt, the act of a madman, and an image of profound beauty. The documentary explores how this fascinating dream came to be, what motivated it all to happen, and how the act was planned and executed over a span of months. Starting in a dental office, Petit realized his dream of completing the biggest tightrope walking challenge in the world, and he began his steps toward realizing it. His story is told both through actual footage, past interviews, and new interviews of Petit and his friends made for the film. Most of the film is in English, but some of the interviewees speak only French which is subtitled. Petit's uncanny passion and perspective on life drive the film, and the true story becomes more of a thriller than a documentary. The film chronicles his development as a tightrope walker, starting on a rope in a field and moving to buildings, bridges, and eventually the world's tallest buildings at the time, the World Trade Center. The years of planning, the emotional roller coaster of his crew, and their willingness to help their friend realize his dream are inspiring, and the build-up to the climactic walk will have everyone holding on to the edge of their seats. To Petit and his crew, the daring act was a heavenly ballet, the zenith of the human mind and body, and although few may feel see things this way before the film, the raw images of the act will convert many. Petit explains that accomplishing ones purpose in life is worth anything; what more glorious way to die than in the effort of achieving one's dream. This spirit carries Man on Wire to great heights, and the humanity of the effort and act are jaw-dropping and invigorating. A great story is only great if it is told the right way, and Marsh puts the pieces of this fabulous puzzle together just right.

Good for: all movie-goers, documentary fans, fans of thrillers

Bad for: people who don't like subtitles, the easily bored

The Gallery
The Film Maker: * * * *

Son of Rambow (2008)

* * *

Films with a primarily pre-pubescent cast are behind the eight-ball from the start. Toss in British humor and the remaining audience willing to watch such a film is sparse. But Son of Rambow is more than just a comedy for kids, its a tribute to youthful adventure and the spirit of creativity. The film stars Bill Milner as Will Proudfoot, a young boy raised in a overwhelmingly strict religious household in 1980s Britain. Will's mother keeps him in check both at home and at school, and his life of constant order has made him extremely shy and quiet. A bully in his grade, Lee Carter, played by Will Poulter, saves him from trouble one day by taking the blame in the principal's office. In return, Carter demands that Milner act and assist in creating his homemade full length feature "Son of Rambow." The situations and drama that ensue is a mixed bag of hearty laughs and predictable plot twists, all spiced with British dialogue and humor. Poulter and Milner, both in their acting debuts, deliver solid performances considering the circumstances, and the friend/foe chemistry between them drives the plot quite a ways. Director Garth Jennings guides the cast of mostly children into believable performances, and his witty script is both deadpan and satirical. Jennings love for film-making is apparent in the detailed references Lee Carter espouses in his quest to make a full-length movie. The story is cute and there is plenty to laugh at, but the final third of the movie devolves into typical children's movie conclusions most everyone has seen far too many times. The film is much more effective in highlighting artistic passion and exploration than familial relationships and decision making. The energy and playfulness of the film can only carry the story so far, however, before it becomes more of the same. Jennings has improved over his dreadful interpretation of Hitchhiker's Guide to the Galaxy, but Son of Rambow still leaves something to be desired. Expect to see more of Poulter and Milner, however, as their onscreen tag-team is reminiscent of a young Simon Pegg and Nick Frost.

Good for: British comedy fans, parents with children, film-makers

Bad for: people who don't like kids, those who don't get British humor (humour)

Slumdog Millionaire (2008)

* * * *

Sometimes a film's premise can be so original and clever that the list of faults is overshadowed by a propulsive wave of storytelling toward a powerful, even if already predicted, conclusion. Slumdog Millionaire is just that film, the screen adaptation of an Indian novel (Q&A) directed by Indie film vet Danny Boyle. Boyle's most noted works, Trainspotting and 28 Days Later, are intense, dark, and gritty films, but in Slumdog, Boyle translates his intensity behind the camera into a story of hope and determination. Slumdog is centered around Jamal Malik, played masterfully by Dev Patel, and is set on location in India. Jamal is a contestant on the Indian version of "Who Wants to be a Millionaire?" and the film chronicles his life as he answers the questions up to the million dollar question. The hook is that his life experiences inexplicably prepare him to answer increasingly difficult questions despite his treacherous childhood and lack of education. The story is captivating and is one of the most original coming-of-age stories in quite some time, and the way the camera captures the Indian landscape, both desolate and majestic, is breathtaking. The cast is entirely unknown, but includes several great performances, particularly Patel's breakthrough. The story follows Jamal through three time periods, so each main character is portrayed by three different actors, and the child actors are incredible, performing unflinchingly in bizarre situations. Aside from Patel, the stunningly beautiful Freida Pinto stands out as the young-adult version of Jamal's childhood love interest Latika. Slumdog has a fair share of political and social commentary, and at times feels like a thriller, but is essentially a love story. Patel's performance as Jamal, in desperate search of love (Latika) and life (freedom), drives the film through both the good and bad scenes. The story is a breath of fresh air and the locations are original, but at times the film seems to drag. The two hour movie could have easily been 15-20 minutes shorter. Most of the situations seem plausible separately, but the order in which they occur, all to one individual, is beyond unlikely. The last ten minutes are so heartwarming that they overcome the fact that everyone knew exactly how they would happen for the previous ninety minutes. Slumdog is 75% english without subtitles and 25% subtitled. The subtitles are colored according to character, which is a simple but effective touch, but in a few select scenes the accents can make the spoken English difficult to understand. Despite the difficult circumstances Jamal encounters time and time again, the film maintains a strong theme of hope which burns bright in Patel's performance. A completely offbeat music video as the credits roll feels like a slap in the face after a thoughtful conclusion to an emotional film. However, the original framework within which the plot resides, the smart story, and the intimate feel of the direction and cinematography make Slumdog one of the most unique film experiences of the year.

Good for: foreign film fans, fans of romantic dramas

Bad for: the easily bored, those looking for a fluffy film

The Gallery
The Surfer: * * * *
The Writer * * * *

Milk (2008)

* * * * *

If Brokeback Mountain opened the door for same-sex relationships to be viewed from the same emotional perspective as heterosexual relationships, Milk, the true story of San Francisco activist and politician Harvey Milk, blasts the door down with a marching parade and bullhorn, bringing the gay rights movement front and center in a deeply human context. Whereas Brokeback showcased the personal affairs associated with a homosexual relationship in an intolerant society, Milk highlights the social struggle homosexuals have faced and the barriers they have both overcome and still face, and takes no prisoners in the process. Whether you know the story of Harvey Milk or whether you come to the film blindly with no idea what is about to happen (as I did), the levity of the actual events and the artistry behind the filmmaking will stun you. Gus Van Sant, who has made other controversial and powerful films such as Elephant, directs Milk with a fevered passion that captures the spirit of Harvey Milk and the sentiment of the movement. This works both to Van Sant's advantage and disadvantage, as Milk contains truly electric and heartwrenching scenes, but also at times seems to preach. Van Sant seems to be telling the audience how and when to feel at select moments in the film, when the sheer brilliance of the acting does more than enough to convey the emotional overtones. Despite the few flaws, Van Sant captures the atmosphere of the 70s and San Francisco with great sets and locations, a well-chosen soundtrack, and the use of real footage to give the film a sense of reality. His choice to not cast an actress to play antagonist Anita Baker, but rather to let her actual footage play her part is a genius move that exhibits her wickedness in a way no actress could express, and is deserving of high accolades alone. Van Sant also chose to use choice filmstock to give many scenes a "Wonder Years" type vibe, which is incredibly effective. His best decisions, however, were his choices in casting. There are few words that can be used to describe Sean Penn's performance in the title role; only perfect comes to mind. Absolutely no one could have played this part but Penn, and this is clear from the opening scene. He embodies Milk, and his performance is physical, emotional, spiritual, and shames most actors in the business. Penn's performance is a complete transformation, portraying Milk as a human; proud but flawed, ferocious yet charming, silly and clever, loving and funny. Up against a monumental challenge, the supporting cast complements Penn's performance nearly across the board. Emile Hirsch delivers a name-making performance as Cleve Jones, Penn's campaign volunteer and was clearly inspired by Penn's virtuosity. James Franco is strong as Scott Smith, Milk's love interest and friend, and shows that his acting chops are starting to develop. Diego Luna's portrayal of Jack Lira, Milk's other companion, is the only questionable turn in the otherwise solid cast. Luna's character is eccentric, but the performance comes across as over the top and even somewhat amateur next to Penn's Milk. The supporting cast as a whole complements Penn appropriately, but Josh Brolin, as Dan White, is the only other actor to hold his own and put himself on the same playing field as Penn. In what is without question the most important supporting role in the film, Brolin has proven once again he is a serious, big-time actor with incredible talent. Brolin's portrayal of a deeply troubled man is both moving and haunting, and a scene in which he approaches Milk while intoxicated stands out as one of the best from this year. Thirty years later, some may wonder why it took so long for Milk's story to be told to a mass audience. What matters, though, is that the story was told, and not just told, but proclaimed beautifully with precision and care. The passion and fire of Harvey Milk are personified by Van Sant and company in what is a proper tribute to a great man. Although the conclusion of the story comes as no surprise (even those who didn't know about Milk find out when Van Sant tells them minutes into the film), the despair of the final moments of Milk will weigh heavily on anyone with a heart. But what makes the film and the legacy of Harvey Milk vital is the hope they inspire.

Good for: everyone, film junkies, historians, civil rights activists, Penn fans

Bad for: the intolerant

The Gallery
The Economist: * * * *
The Surfer: * * * * *
The Writer * * * * *

Religulous (2008)

* * * *

With no Michael Moore documentary (at least released in theaters) this year, and no other big name releasing a major film in the genre, Bill Maher of HBO's Real Time has stepped to the plate to tackle the issue of religion in his typical cynical, offensive, no-holds-barred style. Maher collaborates with director Larry Charles, of Borat and Seinfeld fame, to travel the world in search of mystery behind the nature of religion and faith. Those familiar with Maher already will know that he is a devout atheist and he does nothing to hide this throughout the film. This isn't an investigation into the good and bad of religion; this is Maher examining how religion has corrupted societies across the globe and contradicted its own foundations. Those who unflinchingly disagree with Maher may have trouble seeing through his rock solid bias, as his interviews involve half serious discussion of religion and half "are you serious?" mockery. His goal, however, seems to be more oriented toward opening up the conversation about the potential negative aspects of religion rather than driving home a distinct point like a Moore documentary. As the title suggests and the interviews reveal, there is a lot to be said about the irrationality behind some of the world's major religions. Religulous features shots at many of the world's most important "Holy Grounds" and contains interviews touching upon most of the major religions from leaders of those religions to average devotees like truck drivers. Although Maher always backs up his argument with factual information, he and Charles are comedians at heart and Religulous is the funniest religious movie you'll find on Netflix. There is no trickery here such as that which Charles' masterfully executed with Borat; microphones and cameras are intentionally shown on screen to make clear that all of the interview subjects were aware of the circumstances surrounding the film. Charles edits in many brief, seconds-long clips from the news, old movies, and old television shows between and during interviews that are often sarcastic, biting, and hilarious. Maher's deconstruction of religion from his own childhood and maturation reveal how those raised in faith may be attracted to new ideas. And in the long run, Maher's goal is simply that, to bring light to new ideas often trounced by political correctness or adherence to tradition. It's hard to find a large audience with a documentary, particularly one that openly mocks religion. But with Religulous, Maher has raised the dialogue about atheism and religious criticism from zero to something slightly above that without boring his audience and providing plenty of laughs with intellectual conversation.

Good for: Maher fans, open-minded thinkers

Bad for: the easily offended