Reviews

The Weather Underground presents a well-balanced view of the militant faction of the 1960s anti-war group that orchestrated a series of direct actions (including bombings) in protest of the Vietnam War and American imperialism.

To its credit, the film is not overly sympathetic to the members of the group. Rather, it portrays them in a direct and logical manner that tends to explain their more violent activities as the desperate attempts of extremely dedicated activists to engender dynamic change in lieu of those "publicly-sanctioned" methods which they felt were not sufficiently powerful to stop the war machine (i.e., non-violent demonstrations). It should be mentioned that none of the group's bombings resulted in injuries to people, with the notable exception of 3 WU members who were killed accidentally while making a bomb that was destined for an ill-advised attack on military personnel - a seminal moment the the organization's history that "opened their eyes" to the darkness they were headed towards. One cannot help but wonder what would have transpired had that attack been carried out - this is the chilling central lesson of the film, poignantly described by one former member who plainly stated that "the violence didn't work."

At the screening I attended the audience had the good fortune of listening to two of the Weather Underground's key members in person: Bernadette Dohrn and Bill Ayers. This proved particularly interesting, as both individuals, while still espousing their anti-militarism/anti-imperialism views to strong effect, did not express the need for radical tactics as one would imagine they may (given the current climate gripping the nation). Instead, they talked of engaging the issue through learning, organized activism, personal growth and social consciousness/responsibility.

It is this dialectic that makes this film so important right now, and I think that the directors have made an important step towards educating Americans in the subject of social awareness. My only complaint is that this lesson needs a counterpoint, something to break the ultimately sad feeling that one is left with when the screen flickers off at the end. Perhaps if viewed in tandem with a film that explores the victories that have been made through non-violent protest "The Weather Underground" can achieve its best potential.

Recent movies such as American Beauty and The War Zone have made new inroads into the possibilities for filmmaking to explore the psychology of social and sexual politics.

Michael Cuesta's L.I.E. continues in this vein, and is successful in doing so.

The viewer will find herself or himself alternately entertained, confused, and (quite possibly) horrified by Cuesta's vision; A world where a socially marginalized character - a pedophile - can assist a young man in discovering his self-worth.

It is a story about isolation and prejudice transfigured by desperation, faith and the limitations of the human condition.

Michael Cuesta has produced a brutally honest film, excellently thought out and well delivered. It crosses the line drawn by those who refuse to consider all points of view as part of the collective subconscious, and should be avoided by those who are uncomfortable in doing so.

Morally, Joan Allen's character's position and actions are undeniably noble. Furthermore, the film's depiction of male chauvinism and its role in American politics is interesting and timely. However, since this film chose to make its point in the political arena lets take a close look at what its really saying POLITICALLY. By having the main character's fate be decided not by her own actions but by the omnipotent benevolence of the film's central male character the entire political logic collapses miserably into melodrama. This film is insulting to the legacy of the women's civil rights movement and to women in general. I would say to "The Contender's" makers that they need to wake up and realize they are addressing a 21st century audience.

I was particularly impressed with the control and depth Ben Stiller brought to his role, here was a masterpiece of understatement delivered with honesty and attention to detail. Other characters in the film were similarly offered by Winona Ryder et al. I say this because the screenplay was rather technical in its approach and development (check out Ryder's off-kilter grin as she relates to her friend "We're in trouble here" - I think she's referring more to the production than to the plot). From your stereotypical exorcism scenes to your Joel Peter Witkin imagery to the standard talk show interview to drive the plot along - this film borrows just a little too much inspiration from earlier works. However, to be fair, I found that the scene where Stiller relates his dream to his family refreshing and off-beat (mostly due to how he carried it off).

On the up side is the film's dynamic, driven by truly visionary cinematography. I understand from other IMDb commentors that this is the director's background and it is obviously his strong suit. The camera takes an active role in the film and its movements and logic command attention, demonstrate capability, and give meaning where it would otherwise be lacking. After the film I drove home and all sorts of curious details of everyday life unfolded before me - glances through the windows of passing cars, the hypnotic cadence of the streetlights gliding past - a testament, I believe, to the powerful vision of the filmmaker's artistic ability. I fully expect better things from this director in the future.

This film is a remarkable study of a subject that few films dare approach in a direct manner. While incest is occasionally addressed in movies, it is often depicted in a somewhat exploitative fashion. Such depictions may serve to shed light into dark regions of human behavior, but do so only peripherally and are of little worth in and of themselves. This is not the case in The War Zone.

Already considered an actor of prodigious skills, Roth has now proven himself to be fully capable as a director. He has coaxed this a brilliant cast to deliver of themselves with a subtle fury building to madness. Each character is living with a horrible secret that is slowly consuming them, striving to find a way to wish it away or confront it head on. In the end, with all of their illusions wiped away, the essence of their personas remain for the audience to consider. Only with an actor as director, I believe, could such a vision be brought to life.

The writers, cast and crew of this film should be applauded for the honesty and bravery of their effort.

I recently saw this film as part of a retrospective of Mr. Morris' films. Once again, he has produced a gem. This film is perhaps his most complex to date, carefully drawing out the dark nature of this strange man while avoiding over-sensationalizing the issue at hand (which would minimize the impact of the message). The entire "plot" of Mr.Death is balanced and dignified, and is enriched in particular by the eloquent narratives delivered by Mr. Van Pelt, a holocaust historian. I highly recommend this film.