Tag Archives: Film

Before there was Darfur

29 Mar

Before there was Darfur

Around the world

By TOM MEEK  |  January 17, 2007

With the US bogged down in Iraq and anti-American sentiment sweeping the globe, it’s hard to find an affirmative story about our country’s place in the world. John Dau has one to tell. Ten years ago he was languishing in a refugee camp in Kenya; today he’s building a house, working on a college degree, and providing for the people he was formerly powerless to help. “This country has people who are kind, they like to help others,” says Dau of the US.

A graceful, 6’8” expatriate, Dau is the subject of God Grew Tired of Us, a documentary that chronicles the journey of several Sudanese “Lost Boys” brought to the US through relief agencies. The title of the film falls from Dau’s lips as he tries to rationalize the dire situations he and 27,000 other boys endured when civil war broke out in the Sudan during the ’80s. The Islamic north had made it a priority to target young males in the Christian south to cull off future fighters. As a result the boys banded together and fled, traveling more than 1000 miles to refugee camps in Ethiopia and Kenya. En route, disease, hunger, wild animals, and the enemy decimated their ranks. Dau, who had been forced to flee at the age of 13, was among 3000-plus Lost Boys chosen for resettlement in the US in 2000-’01.

Dau became the focus of the film by chance. “They list the names on a board, and when I was looking, I saw some journalist, people carrying cameras and I didn’t know anything to do with journalism before, so I thought that the government of United States might have sent these people.” The man with the camera was director Christopher Quinn. “He asked me if he could ask me a few questions, and I said, ‘Okay.’ I only thought it would be two or three, but I never got rid of him.”

The transition to a “better place” — he ended up in Syracuse, New York — was not without its pitfalls. At first, says Dau, “coming to America was like a honeymoon. Every day the helper came to our apartment to show us how to cook, to show us how to go to the grocery store.” But after three months, when he was required to start his first job, requests for aid back home started pouring in. “Many of the Lost Boys in Africa know that we are working, so they call us,” he says. “So here you are, you have money, and bills, and people in Africa. If you say no to them it is against our culture, so when you pay the bills it really pulls you down.”

Since then Dau, now 34 and married, has helped raise more than $180,000 for a health clinic in his homeland and in December was appointed director of the Sudan Project, which is raising funds to rebuild Southern Sudan. He also has a similarly titled book coming out and has applied for US citizenship. “When I was in Africa, I was there. Did I do anything?” says Dau passionately, “No. So it is better to be an American citizen and help people back there, and that is very important.”

Violence in Darfur is still severe, but for now there is peace between the north and south. Dau notes the situation’s tenuous nature and points to 2011, when the South Sudanese will vote to unify with the north or secede. “I will go back to campaign to secede. Be independent. That will cut off the problem,” he says. “Let’s live side by side as neighbors.”

God Grew Tired of Us

29 Mar

God Grew Tired of Us

A devastating and uplifting documentary

By TOM MEEK  |  January 17, 2007

Back in the ’80s, long before Darfur became a word linked with genocide in the Western media, the Islamic north waged a bloody campaign against the Christian farmers and tribesmen in the south, targeting young males. Known as the Lost Boys, some 27,000 youths fled more than 1000 miles to a UN refugee camp in Kenya. Along the way, many fell victim to hunger, lions, and enemy attacks. Eventually some 3600 made their way to the US. Narrated by Nicole Kidman, this documentary from Christopher Dillon Quinn and Tommy Walker follows a clutch of Lost Boys relocated to Pittsburgh and Syracuse. Their journey is telling of their culture, as well as our own. After the initial helping hand, many struggle to pay back their debt. And there’s the duress of isolation and not knowing whether family members are alive. John Dau, the film’s main subject, is an affable soul, full of wisdom and hope. After so much devastation, his grace and perseverance is an uplifting example for all.

Spring Breakers

22 Mar

‘Spring Breakers’: Harmony Korine’s Day-Glo road trip to hell

“Spring break forever” and “pretend it’s just like a video game” are just a few of the naive, saccharine-sweet platitudes that roll off the lips of a quartet of sexually budding coeds in Harmony Korine’s cautionary tale of innocence adulterated and gone grotesquely awry, “Spring Breakers.” By the end of the film, those flighty mantras expand and take on a prophetically deep meaning that their utterers and the audience could not have predicted or prepared for. It’s one of the many charms Korine imbues into the Day-Glo road trip to hell.

Much has been made of the film’s casting, which dips into the well of Disney and transforms girly icons Selena Gomez and Vanessa Hudgens into wanton purveyors of hedonism. This is Justin Bieber’s ex and the wholesome lead of “High School Musical” running around in bikinis, snorting coke and kissing other girls. But what else would one expect from the scripter of the l’enfant terrible eye-opener “Kids” and his subsequent turns as director of such psalms of sociopathy as “Gummo,” “Julien Donkey-Boy” and “Trash Humpers”?  Continue reading

Sucker Punch

20 Mar

Review: Sucker Punch

Loud, sexy, and inane

By TOM MEEK  |  March 31, 2011

The words “loud, sexy, and inane” pretty much sum up the latest from Zack Snyder. The director of 300 and Watchmen has plenty of visual panache, but when it comes to storytelling, he’s a bombastic hack. Sucker Punch is the dark ballad of Babydoll (Emily Browning), a sulking waif committed to a mental institution by her nefarious stepfather after her sister is found dead. A lobotomy awaits, and to gain her freedom, or some semblance of justice, Babydoll drops into alternative planes of reality that involve a sweatshop bordello, where her dance skills rival those of Salome, and a fantasy landscape where she and several other scantily clad inmates battle Nazis, orcs, and dragons. The visuals, backed by a hip soundtrack, offer a ripe spectacle, but the trivial framework and insipid dialogue rupture the spell so often that no dance, no matter how titillating, can punch it up.

Crash

20 Mar

Road kill

Paul Haggis gives America the Crash test
BY TOM MEEK

Crash

Written and directed by Paul Haggis. With Matt Dillon, Sandra Bullock, Don Cheadle, Terrence Howard, Thandie Newton, Brendan Fraser, Ludacris, Larenz Tate, and Michael Pena. A Lions Gate Films release (107 minutes). At the Boston Common, the Fenway, the Fresh Pond, and the Circle/Chestnut Hill and in the suburbs.

tmp-crash
YOU THINK YOU KNOW WHO YOU ARE, but it turns out you have no idea.

In Sidney Lumet’s unheralded 1990 police drama Q&A, Nick Nolte delivers a blistering portrait of hate as a racist cop who struts through a New York City precinct with Machiavellian bravado, roasting minorities with racial epithets. No one dares touch him, not the higher-ups or his peers. The film may be about dirty cops and corruption, but underneath it all, Lumet lets us know that tribalism is alive and well in the urban jungles of contemporary society.

In Crash, Matt Dillon plays a similar character roaming an equally stark landscape, yet writer/director Paul Haggis, who sailed to the top of Hollywood’s It list after penning Million Dollar Baby, isn’t concerned with departmental politics. Instead, he slices into the racism and the elitism that are rife in America today.

Continue reading

We Are Marshall

20 Mar

We are Marshall

More than a football film

By TOM MEEK  |  December 20, 2006

In 1970, a plane carrying the Marshall University football team crashed, killing all on board. Director McG (Charlie’s Angels) tenderly re-creates the rise from tragedy as the university head (David Strathairn), an injured player who missed the flight (Anthony Mackie), and an idealistic coach (Matthew McConaughey) rebuild the West Virginia team in short order. Their biggest obstacle is the school board, which thinks it’s too soon; the upshot is that the film deals more with the nature of grief than with moving the ball downfield. McConaughey combines flakiness with optimism, and Matthew Fox (Jack on Lost) delivers the details as Red Dawson, the remorseful team recruiter, who can’t get over his decision to surrender his seat on the plane to someone in a hurry.

Bike Porn

20 Mar

Bike Porn cranks your gears in Cambridge

Blown tires?

By TOM MEEK  |  April 14, 2010

1040_bikes-main

The Combat Zone’s been cleaned up and paved over. The days of the porn-movie house went out with the Internet. But if you still want to view steamy cinema in a public setting, we have a festival for you. Provided, that is, that you’re okay with hot bike-on-bike action.

Bike Porn 3: Cycle Bound, The Backlash Tour is rolling into Boston (well, Cambridge, at the Brattle Theater) on April 21, with its fusion of fetish-fueled erotica, art-house amateurism, and bikes. Not to be confused with the Boston Bike Film Fest or the Bicycle Film Festival, this freaky tour’s curator, Reverend Phil Sano, and his posse literally roll into each of the 50 cities it is visiting, as they come in on two wheels. Often that bicycle parade collects a mass of fans and other riders transmuting the tour’s arrival into an impromptu carnival on wheels.  Continue reading

Get Carter

20 Mar

R: ARCHIVE, S: MOVIES, D: 10/12/2000,

Get Carter

Sylvester Stallone trying to fill the thespian shoes of two-time Oscar winner Michael Caine? That’s what this remake of the mod 1971 British noir is all about. Caine even gives it credibility by lending his mug to a supporting role. At least Sly doesn’t try out a cockney accent — the setting has been transposed to cyber-hip Seattle, where his Jack Carter, a heavy for the Vegas mob, has returned home for the funeral of his brother. The alleged car accident doesn’t play well with Carter’s instincts; he suspects foul play and starts poking around. Caught up in the gnashing revenge mix: Miranda Richardson as the widow in mourning, Rachael Leigh Cook as her punked-out daughter, Mickey Rourke as the porn king, Alan Cumming as the flamboyant start-up geek, and Caine as the avuncular overseer with a hidden agenda. The aged Stallone, robotic and thuggish, is almost admirable, and Stephen Kay’s direction is visually slick, but the insipid dialogue and inane plot development do him in. Why would anyone attempt a straight-up remake of one of the truly great British gangster films? I just don’t get it.

— Tom Meek

Blood and Wine

20 Mar

R: ARCHIVE, S: REVIEWS, D: 02/20/1997, B: Tom Meek,

photo

 

Sterile ‘sequel’

Rafelson’s Blood & Wine runs thin

by Tom Meek

BLOOD & WINE. Directed by Bob Rafelson. Written by Nick Villiers and Alison Cross, based on a story by Rafelson and Villiers. With Jack Nicholson, Judy Davis, Michael Caine, Stephen Dorff, and Jennifer Lopez. At the Nickelodeon, the Harvard Square, and the Circle and in the suburbs.

Bob Rafelson and Jack Nicholson mesmerized audiences with Five Easy Pieces in 1970; two years later they struck again with the bitter, dark The King of Marvin GardensPieces featured Nicholson as the kind of self-concerned, sardonic antihero that was so prevalent at the time (The GraduateEasy Rider). In Gardens, Rafelson took a chance and cast him as the introverted, intellectual brother opposite Bruce Dern’s pie-in-the-sky shyster — a gonzo role that seemed tailor-made for Nicholson’s on-screen persona. Now, some 25 years later, Rafelson and Nicholson have reunited to conclude an unofficial trilogy that journeys through the veins of dysfunctional bonds.

For all that Blood & Wine is a complex and engaging drama, it feels contrived.Pieces and Gardens flowed naturally; here Rafelson seems to struggle with the standards of ’90 sensationalism. Nicholson’s Alex Gates, a Miami-based wine merchant, is a one-dimensional character: he’s on the brink of financial ruin, his marriage is in shambles, but he continues to indulge in a life beyond his means with a sporty BMW and a sultry mistress.  Continue reading

Bullworth

20 Mar

R: ARCHIVE, S: MOVIES, D: 05/21/1998,

Bulworth

Warren Beatty’s brave, if ramshackle, political farce tackles the dirty business of racial inequality and corporate greed with the tenacity of a pit bull. As Senator Jay Bulworth (named loosely after Teddy Roosevelt’s Bull Moose Party), Beatty, who also writes and directs, plays an extension of himself: a Kennedy liberal in the ’60s, now disillusioned by the political environment of the ’90s, where big money and favoritism suffocate activism and social advocacy.

Sick of all the hypocrisy and in the midst of a re-election campaign (it’s 1996, as Dole and Clinton duke it out), a sleep-and-food-deprived Bulworth makes a back-room deal for a $10 million life-insurance policy to benefit his daughter, then takes out a contract on himself. His imminent demise gives him the freedom to speak his mind: he tells the parishioners of a black South Central church to “put down their chicken wings and malt liquor”; he calls a group of Beverly Hills entertainment executives “big Jews” and brands their product “crap.” From there Bulworth angles his moral rebirth as a “White Negro,” pursuing a sultry flygirl (the always alluring Halle Berry), hanging out at hip-hop clubs (where they mistake him for George Hamilton), and even taking on a pair of racist cops, but the funniest incarnation comes when the middle-aged white guy starts rapping his anti-big-business sentiments at a chi-chi fundraiser.

As a piece of social commentary, Bulworth has an edgy, in-your-face texture somewhere between Network and Do the Right Thing. And though the plot contrivances — like the self-initiated hit — are old-hat, the dead-on performances, Vittorio Storaro’s kinetic cinematography, and Beatty’s nervy social agenda make this film a provocative tour de force in political incorrectness. 

— Tom Meek