Tag Archives: review

REVIEW: Rodrigo Cortés’ Buried Amounts to a Pile of Cheap Manipulation

Rodrigo Cortés’ Buried is a Twilight Zone episode for Mother Jones subscribers. Ryan Reynolds plays Paul Conroy, a U.S. contractor — a truck driver working in Iraq — who, at the beginning of the movie, at the end, and for every minute in between, is trapped in a plain wooden coffin with nothing but a cellphone, a lighter, a glow stick and a few other accoutrements. His convoy was attacked by a group of Iraqis; he was knocked out, awakening to find himself buried alive in this little pine box. Because time is of the essence and his air supply is running out, he frantically starts dialing numbers on his little cellphone lifeline — 911, the State Department, his wife — desperate to reach someone who can help.

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REVIEW: Rodrigo Cortés’ Buried Amounts to a Pile of Cheap Manipulation

REVIEW: Howl Gives Allen Ginsberg’s Funky Genius the Collage Treatment

Filmmakers feel an understandable urge to rise to the occasion when committing the lives of ’60s saints and mold-busting mavericks like Bob Dylan and Allen Ginsberg to the screen. Dylan got Todd Haynes’s 2007 deconstruction of the biopic, I’m Not There (in which David Cross appears as Ginsburg in an indelible cameo). And now Ginsberg is the subject of Howl , a collagist treatment of his creation myth. Directors Rob Epstein and Jeffrey Friedman began their account of the conception of Ginsburg’s titular declamatory opus and the 1957 obscenity trial that followed its publication as a straight documentary. After roughing out the usual talking heads and archival footage, it became clear to the directors of The Times of Harvey Milk (Epstein only) and The Celluloid Closet that the best way to honor their subject was to get a little funky.

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REVIEW: Howl Gives Allen Ginsberg’s Funky Genius the Collage Treatment

REVIEW: Ben Affleck Narrowly Misses Greatness with The Town

As cool and straight an entertainment shot as his brother’s recent directing debut was pyrotechnically scattered, Ben Affleck’s The Town has got bangs, bucks and the kind of showy, signature roles aspiring actors pantomime themselves asleep to at night. The movie is as slick and tightly constructed as Affleck’s debut, Gone Baby Gone, was prolix and unruly. But The Town lacks Gone ‘s operatic ambitions. And the irony is that that lack of a grand or even grandiose plan keeps this very good film from being a truly great one.

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REVIEW: Ben Affleck Narrowly Misses Greatness with The Town

Vote to Bring Catfish to Your Hometown

Controversial documentary Catfish is taking the Paranormal Activity marketing route: Distributor Rogue Pictures has set up a website where expectant fans can vote to bring the film to their city. Current standings show Fresno, Calif., leading the pack with 17 percent of the vote, followed by Orlando with 10 percent. Absecon, N.J., brings up the rear with less than 1 percent of the vote. Guess they won’t have to worry about anyone spoiling the secret . [ What Is ‘Catfish’? ]

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Vote to Bring Catfish to Your Hometown

REVIEW: Never Let Me Go Can’t Get a Handle on Its Understated Source Material

For those viewers who haven’t read Kazuo Ishiguro’s novel, and aren’t expecting an elegantly understated, devastating allegory of the human condition, Never Let Me Go might work on its own terms, as a classic love story with a sci-fi twist. But, like last year’s The Road , another loving adaptation of a contemporary classic, Never Let Me Go teases out the novel’s central drama but neglects the mysteries at its margins — the gathering clouds that actually produce the storm.

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REVIEW: Never Let Me Go Can’t Get a Handle on Its Understated Source Material

AP, Crutsinger Publish Three Clear Falsehoods in August Report on Deficit

I tried to find a nicer way to put it in the headline. But I can’t. At the Associated Press, Economics Writer Martin Crutsinger’s apparent plug-and-play report less than an hour after the issuance of Uncle Sam’s August Monthly Treasury Statement on Monday (his item is time-stamped at 2:56 p.m., which follows the Treasury Department’s 2:00 p.m. release by less than an hour) contains three obviously false statements that a news organization which really subscribes to its own ” Statement of News Values and Principles ” would retract and/or correct. The specific AP standard in question is whether it has violated its promise not to “knowingly introduce false information into material intended for publication or broadcast.” The only conceivable excuse at this point is that Crutsinger and his employer don’t realize what they have done. The three falsehoods involved are not arcane or open to interpretation. Rather, they are significant obvious, irrefutable, and in need of correction. What follows are the three statements, the first of which contradicts itself in the report’s own subsequent sentence: 1. ” Deficits of $1 trillion in a single year had never happened until two years ago. The $1.4 trillion deficit in 2009 was more than three times the size of the previous record-holder, a $454.8 billion deficit recorded in 2008.” The fiscal year that ended on September 30, 2008 was “two years ago.” The reported deficit that year was $454.8 billion, as reported. $454.8 billion is less than $1 trillion. There was not a $1 trillion deficit “two years ago.” 2009 was one year ago. That’s the year the deficit first topped $1 trillion for the first time. There is no way to twist the meaning of the bolded statement above to make it true, because it’s false. Is this breathtaking carelessness, or an indicator that AP is bent on assigning any and all economic blame to the previous administration? 2. “Through August, government revenues totaled $1.92 trillion, 1.6 percent higher than a year ago, reflecting small increases in government tax collections compared to 2009. ” Tax collections have not increased, as shown in the following graphics: The first graphic comes from Page 2 of the Monthly Treasury Statement, and identifies the major sources of federal receipts. The second contains the August 2010 detail of “Miscellaneous Receipts” obtained from “Page 5(2)” of this year’s Statement, and compares it to the related year-to-date detail found in the August 2009 Monthly Treasury Statement (there is a $235 million difference between the two reported “Miscellaneous Receipts” amounts that is not relevant to this post). The third boils things down, and proves that tax collections have declined. Even if one dubiously considers every line except “Deposits of Earning by Federal Reserve” to be “taxes,” those Federal Reserve Deposits are not. Don’t take my word for it. Here is how the Congressional Budget Office described these deposits in its Monthly Budget Review last week: In case the AP and Martin Crutsinger need to be reminded: “Profits” are not “taxes.” Thus, as seen in the final graphic above, deposits from the Fed must be excluded when comparing year-over-year tax collections. When one does that, the result is that tax collections are down from a year ago by over $9.5 billion, or about 0.5%. Crutsinger’s statement that the overall increase in federal receipts “reflect(s) small increases in government tax collections compared to 2009″ is false. 3. ” Spending has totaled $3.18 trillion, down 2.5 percent from the same period a year ago.” Yes, reported “outlays” — a contrived term the government uses as a proxy for “spending” (but is not the same thing) — are down. But Crutsinger wrote that “spending” is down. The definition of “spending,” taken from the word ” spend ,” involves “pay(ing) out, disburs(ing), or expend(ing) funds.” As described back in April (at NewsBusters ; at BizzyBlog ) after it occurred in March, Uncle Sam’s reported “outlays” were reduced by means of a $115 billion non-cash entry to reflect the government’s revised estimate that it will ultimately lose less on its Troubled Asset Relief Program “investments” than originally thought. This entry did not involve “spending,” nor did the extra identical amount incorrectly added to “outlays” last year. As I wrote in April: In essence what happened is that the administration pushed as much “bad news” (asset writedowns) as it could into last year’s (i.e., fiscal 2009’s) financial reporting, since last year was going to be a disaster no matter what. But since they overdid it with the writedowns last year (”Gosh, how did that happen?”), they can make this year (fiscal 2010) look better than it really has been. Good old Martin played along by calling it “dramatic.” As noted, Crutsinger and AP should know about this $115 billion item. After all, the AP reporter discussed it in his April report on the March Monthly Treasury Statement. After appropriately adjusting for the non-cash item, “spending” (the word Crutsinger chose to use) has not totaled $3.18 trillion; it has really been $3.29 trillion. Last year’s “spending” wasn’t the $3.26 trillion shown in Table 3 of August 2010’s Monthly Treasury Statement; it was $3.15 trillion. “Spending” is not “down 2.5 percent from the same period a year ago,” as the AP reporter claimed. “Spending” is up by $.14 trillion ($3.29 tril – $3.15 tril). That’s a 4.4% increase ($.14 tril divided by $3.15 tril). Since “spending” means what the dictionary says it means, Crutsinger’s statement about federal “spending” is false. As seen in the graphic at this link , which shows Monthly Treasury Statement data comparing 2010 and 2009 spending in all major functional areas, spending is up in the large majority of them. The following is supposed to represent what the Associated Press does when it commits errors of fact in its reporting: CORRECTIONS/CORRECTIVES: Staffers must notify supervisory editors as soon as possible of errors or potential errors, whether in their work or that of a colleague. Every effort should be made to contact the staffer and his or her supervisor before a correction is moved. When we’re wrong, we must say so as soon as possible. When we make a correction in the current cycle, we point out the error and its fix in the editor’s note. A correction must always be labeled a correction in the editor’s note. We do not use euphemisms such as “recasts,” “fixes,” “clarifies” or “changes” when correcting a factual error. A corrective corrects a mistake from a previous cycle. The AP asks papers or broadcasters that used the erroneous information to use the corrective, too. For corrections on live, online stories, we overwrite the previous version. We send separate corrective stories online as warranted. The three demonstrably false statements described here have misled and will continue to mislead readers and other news consumers into erroneously believing that trillion-dollar deficits go back to 2008; that fiscal year-to-date tax collections are greater than last year; and that federal “spending” in 2010 is down from 2009. AP has “introduced false information into material intended for publication or broadcast” — something it says it won’t “knowingly” do. Your move, guys and gals. You know what you should do. Will you do it? If you choose to do nothing, could you guys at least spare us the sanctimony and remove your “Statement of News Values and Principles” web page? Cross-posted at BizzyBlog.com .

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AP, Crutsinger Publish Three Clear Falsehoods in August Report on Deficit

Thespians, Take Note: Chris Klein was Spellbinding in Street Fighter: The Legend of Chun-Li

Movieline’s Week in Review: The Saddest Music in the World

A short week at Movieline calls for a short Week in Review, so let’s just go ahead and jump on in. Tune in this weekend for more coverage of the Toronto Film Festival and, as always, scintillating news and commentary from Dixon Gaines. The rest of the gang will be back Monday. Toodles!

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Movieline’s Week in Review: The Saddest Music in the World

Hollywood’s 5 Most Well-Done Responses to 9/11

Hollywood was in a precarious position in the months and years following Sept. 11, 2001: Completely ignore the event and a filmmaker might seem callous or, at the very least, out of touch. Center an entire film around the tragedy and that same filmmaker could be accused of being exploitative. The industry obviously had to respond, but it had to be done right. There’s quite a difference between good filmmaking and a 9/11 reference only for the sake of tugging at already existing emotional strings (I’m talking to you, Remember Me ). It’s cheap. Though, some were done very well. We assembled a few examples of films over the last nine years which went about addressing those events of 2001 in a unique, thoughtful or poignant way.

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Hollywood’s 5 Most Well-Done Responses to 9/11

REVIEW: With Resident Evil: Afterlife, There’s Not Much Thrilla Left in Milla

Sorry to disappoint the fanboys, but this is the first film in the Resident Evil series in which Milla Jovovich neither begins nor ends the movie stark naked. That said, her skintight ass-kicking ninja outfit doesn’t exactly leave much to the imagination, and her most sensual features — her feline eyes and liquid mouth — are as available and expressive as ever. For the fourth consecutive film in the franchise, she’s a whirling, swirling, zombie-killing baby doll, and remains the only reason to visit Paul W.S. Anderson’s dopily grim dystopia. It’s a fact that Anderson tacitly acknowledges in the film’s opening scene, populating the screen with dozens of careening Jovovich clones.

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REVIEW: With Resident Evil: Afterlife, There’s Not Much Thrilla Left in Milla