Shattered Politics #83: Milk (dir by Gus Van Sant)

Posted on February 9, 2015 by Lisa Marie Bowman

For the past three weeks, I have been in the process of reviewing, in chronological order, 94 films about politics and politicians. It’s a little something that we call Shattered Politics.

And while I’ve had a lot of fun doing it, it does worry me a bit that I may have made the Shattered Lens into a far more cynical site to visit. That’s largely because I don’t trust politicians or the government in general and, despite the fact that we started off with Abraham Lincoln and Mr. Smith Goes To Washington, the majority of the films that I’ve reviewed have reflected that fact.

So, in order to combat that cynicism, I’m going to recommend a film from 2008 that, despite being a biopic about a politician, is actually rather inspiring. I am, of course, talking about the 2008 best picture nominee, Milk.

Milk tells the story of Harvey Milk who, in 1977, became the first openly gay man to be elected to a major public office. Now, just consider that. Up until 38 years ago, nobody who was openly gay had been elected to public office. Nowadays, the idea of an out gay man or a lesbian running for public office is only shocking to a dwindling minority of homophobes. Even down here Texas, which everyone up north always smugly assumes to be so intolerant, nobody is surprised when a gay or a lesbian not only runs for office but wins as well. Sheriff Lupe Valdez has served as sheriff of Dallas Country for over ten years and, though she’s been controversial, none of that controversy has concerned her sexuality. Meanwhile, Annise Parker has served three-terms as mayor of Houston, making Houston the biggest city in America to have an openly gay mayor.

However, before Lupe Valdez could be sheriff or Annise Parker could be mayor, Harvey Milk had to serve on the San Francisco Board of Supervisors.

Milk follows Harvey (Sean Penn, who won an Oscar for his performance) and his much younger boyfriend, Scott (James Franco) from the moment they first meet in New York to when they moved to San Francisco in 1970. We see how Harvey first found fame as a neighborhood activist and how he challenged both the political and gay establishment of San Francisco in his campaigns for political office. When he finally wins a seat on the Board of Supervisors, he does so at the cost of his relationship with Scott. He enters into another relationship with the self-destructive Jack (Diego Luna), which ends tragically.

By winning office, Harvey becomes a spokesman for gays everywhere. When a sinister state senator (Denis O’Hare) attempts to pass a bill that would forbid gays from teaching school, Harvey leads to opposition. And, while Harvey’s career continues to rise, the career of another supervisor — Dan White (Josh Brolin) — plummets.

Elected at the same time as Harvey, Dan is an uptight former cop. Though he and Harvey originally strike a somewhat awkward friendship (Harvey is the only supervisor to come to the christening of Dan’s child), Dan soon comes to resent Harvey. (At one point, Harvey suggests that Dan might be closeted and Brolin’s tightly coiled performance certainly implies that Dan is repressing something.) Eventually, Dan shoots and kills both the mayor (Victor Garber) and Harvey.

Though the film ends in violence and anger, it also ends with hope. Though Harvey may be dead, the activists that he inspired are there to carry on.

Because the film was directed by a gay man, written by a gay man, and tells the story of a gay man, Milk is often dismissed, even by critics who liked it, as just being a gay film. But, actually, it is a film that should inspire anyone who has ever felt like they’ve been pushed into the margins of our national culture. By the film’s end, Harvey Milk has emerged as not just a gay hero but as a hero to anyone who has ever been told that their voice does not matter. When Harvey says, repeatedly, “You’ve got to give them hope,” it’s hope for all of us.

Review: The Walking Dead S5E09 “What Happened and What’s Going On”

Posted on February 8, 2015 by Arleigh

“Paying the high cost of living.” — Tyreese

[spoilers within]

The Walking Dead returns tonight after taking a weeks-long hiatus. We left the group as down as we’ve ever seen them after having lost another one of their people. This particular loss seem to have hit the group even harder than their previous losses. Beth Greene had become a symbol of hope for the group and, to a degree, for the audience who needed someone else other than the hardened killers most of the survivors have become.

If the show has been consistent about one thing it is that good-natured people tend to not last long in the zombie apocalypse. It’s a new world where one’s humanity will forever be at war with one’s will to survive at all cost. There are no more police or military to protect you from harm. No more hospitals to treat one’s wounds and sickness. No firefighters to call on in case of emergency. It’s a world where one must learn to do what goes against one’s nature if one is to survive.

We saw Dale as one of the first of those “good people” to die. His stubborn need to remain civilized and stick to his principles of always doing the right and moral thing made him unable to cope of what Rick and the rest of the group were willing to do to keep on going. Next to go was Hershel last season. While he finally was able to understand that the necessity of doing awful things to survive doesn’t really mean abandoning one’s true nature, but he never truly got the chance to put that into practice as he was soon dispatched by the Governor.

Then there’s Beth Greene. Sweet, innocent Beth who many saw as a sort of singing albatross that could only lead to getting some of the more capable members of the group killed by her very lack of survival skills. The show was able to redeem Beth’s character by having her spend some quality time with one of it’s ultimate survivors in Daryl Dixon. This showed in her growth as a character and a survivor. Yet, just like her father Hershel, what she’s learned became too little too late as her need to stick up for those seen as weak led to her own demise.

Tonight saw the exit of one of the last few principled and moral centers of the show. Tyreese has always been a sort of mystery. He’s this big, hulking man who could escape a mob of zombies with just a hammer and come out of it unscathed. Yet, this is also a man who hesitates in killing another human even if it means doing so was the logical and safest thing to do. We saw this in full detail when he refused to kill Martin from Terminus who had threatened to kill baby Judith in this season’s premiere episode. Killing Martin would’ve mean tying up a loose end that might’ve kept the group safer from Gareth and his hunters. It wasn’t in Tyreese to kill another person even one who would’ve killed him and those he cared for without hesitation.

Tonight’s episode saw Rick and a handpicked group taking Noah back to the gated community that he had called home in hopes of reuniting the young man with his people and also finding a new place to call home. This wouldn’t be the Walking Dead if everything turned out peaches and cream. During Noah’s internment with Dawn at Grady Memorial Hospital in Atlanta, his home at Shirewilt Estates (a nice shout out to the Wiltshire Estates from the comic book) had fallen to the zombies due to some unknown group of raiders that had breached their walls.

It’s during Noah’s attempt to learn the fate of his family that Tyreese would meet his inevitable end. Some would say that Tyreese’s character wasn’t as well-established and well-written to elicit sympathy the way Hershel’s and Merle’s death meant so much to the show. Yet, his very death symbolized the death of hope and optimism the group began to have once they had gotten back together after Terminus. His death meant another person who could’ve kept Rick and the rest of the group from tipping over into the darkside. He was the symbol of forgiveness for the group which has begun to show lack of empathy.

Chad Coleman was always a welcome addition to the cast. Maybe the problems previous showrunners had in creating fully-realized characters had limited his character’s growth, but it’s to the new-found focus of current showrunner Scott M. Gimple that we finally get to know Tyreese and what made him tick. It’s just a shame that just when we’re really getting to know the character he was taken away in a heartbreaking manner.

The series hasn’t even dealt with the after-effect of Beth’s death to the group and now they will have to find a way to cope with the death of Tyreese as well. If the group truly does go on forward just trying to survive towards the next day will all these important deaths wear away on their humanity.

Will some in the group just give up and let it all end? Or will it spur them even more to try and find a new safe place to call home? We have seven more episodes left in this season and if Washington really is the goal then we may just get both.

Notes

Tonight’s episode, “What Happened and What’s Going On”, was directed by Greg Nicotero and written by series showrunner Scott M. Gimple.
Glenn picking up the baseball bat could either be a throwaway moment or an ominous foreshadowing of things to come. Readers of the comics will understand.
I was half-expecting to see every character who died to show up during Tyreese’s hallucination.
There was almost a sense that Tyreese might pull through and take the place of Rick as the one-handed man (which Rick was in the comics), but the way the episode unfolded it was inevitable that he wasn’t going to live.
The radio reports (BBC Radio, I think) that Tyreese was hearing during his hallucination made for a nice parallel to the events that Tyreese had seen during his time on the series.
The song being sung by Ghost Beth is “Struggling Man” by Jimmy Cliff. A song about a man struggling with grief and the need to move on. Very appropriate for what became Tyreese’s swan song episode.
It seems like Tyler James Williams’ character Noah going to get a rep as being the grim reaper of the group. He’s already been the cause for the death of two of Rick’s group: Beth and Tyreese.
Talking Dead returns with guests series producer/director Greg Nicotero and Tyreese’s own Chad Coleman (in a way to keep viewers from thinking a cast member was leaving the show due to character death it was announced that Ron Perlman of Pacific Rim and Hellboy fame was going to be one of the guests)

Season 5

“The Town That Dreaded Sundown” (2014) : Everything Old Is New Again — Or Is It?

Posted on February 8, 2015 by Ryan C. (fourcolorapocalypse)

Trash Film Guru

We may as well be clear about one thing right off the bat — director Alfonso Gomez-Rejon’s 2014 film The Town That Dreaded Sundown (now available via instant streaming on both Netflix and Amazon Prime — before it’s even out on Blu-ray or DVD!) isn’t so much a remake of Charles B. Pierce’s 1976 “true-crime slasher” of the same name as it is an updated take on more or less the same material (to such an extent that original screenwriter Earl E. Smith is even given a story credit here) that semi-cleverly incorporates its cinematic progenitor into the proceedings as a “metafictional” trope in a way that almost makes the new flick closer to a sequel than anything else — but not quite.

For the sake of those who absolutely must categorize this in some way, shape, or form, let’s just call it an “extension” of Pierce’s movie and leave…

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Birdman wins at the DGA!

Posted on February 8, 2015 by Lisa Marie Bowman

For those of you following the Oscar race, Birdman‘s director, Alejandro Gonzalez Inarritu, won the Director’s Guild Award last night. Over the past few weeks, Birdman has pretty much swept the guild awards, also winning the PGA and the SAG awards.

(Interestingly enough, Michael Keaton was not named Best Actor at SAG. That award went to Eddie Redmayne for The Theory Of Everything.)

So, it would appear that — as far as 2014 was concerned — Boyhood was the critics favorite and Birdman was the industry’s favorite. And, since it’s the industry who votes on the Oscars, Birdman has to be considered the Oscar front-runner as well. For all the talk about how the Oscar race is wide-open this year, it’s actually proving to be pretty predictable.

(Unless, of course, those rumors of a sudden surge for American Sniper prove to be true…)

Myself, I prefer Boyhood to Birdman and I think that future film students will agree with me. But, I can understand why the industry would embrace Birdman. After all, it’s about an artist who is unfairly targeted by a vindictive critic and who is still suffering because he was forced to appear in a mindless blockbuster. I imagine that’s the way that a lot of Academy voters probably think of themselves. There’s really not much going on underneath the surface of Birdman but never doubt the value of appealing to the industry’s ego.

Shattered Politics #82: An American Affair (dir by William Olsson)

Posted on February 8, 2015 by Lisa Marie Bowman

Though the names may have been changed, the 2008 film An American Affair is clearly based on the true story of Mary Pinchot Meyer.

In the early 60s, Mary Pinchot Meyer was a celebrated member of the Washington D.C. social scene. A talented painter, Meyer was also the ex-wife of CIA officer Cord Meyer and was an early proponent of LSD. She also happened to the mistress of John F. Kennedy and reportedly use to smoke weed with him in the Oval Office. It’s also been reported that she kept a diary, which mysteriously disappeared after Mary’s still unsolved murder in 1964. Needless to say, many a JFK assassination conspiracy theory has featured Mary Pinchot Meyer as a supporting character.

In An American Affair, Meyer is renamed Catherine Caswell (Gretchen Mol) and she lives across the street from 13 year-old Adam Stafford (Cameron Bright). While Catherine has secret meetings with the President and deals with her alcoholic ex-husband (played, quite well, by Mark Pellegrino), Adam watches from his bedroom window. Eventually, Adam goes across the street and offers to work in Catherine’s garden. Realizing that Adam has a crush on her, an amused Catherine agrees. While the future of America is being determined all around him, Adam learns about life, love, and art from Catherine.

An American Affair is an odd mix of conspiracy film and coming-of-age dramedy but it actually work pretty well. Gretchen Mol gives a good performance as the poignantly unstable Catherine and, despite the fact that Adam is kind of a creep at times, Cameron Bright manages to make the character sympathetic. However, the film’s best performances come from James Rebhorn and Pellegrino, playing two menacing figures who always seem to hovering in the shadows.

An American Affair is a surprisingly good film. I saw it on Netflix and so should you.

Shattered Politics #81: Charlie Wilson’s War (dir by Mike Nichols)

Posted on February 8, 2015 by Lisa Marie Bowman

I hate to say it but Charlie Wilson’s War did not do much for me.

I hate to say that because this 2007 film is fairly well-acted, well-directed, and well-written (by Aaron Sorkin, whose scripts usually get on my last nerve). And it deals with an important subject. Taking place in the 80s, the film details how a Texas congressman (Tom Hanks), working with a profane CIA agent (Philip Seymour Hoffman) and an eccentric socialite (Julia Roberts), managed to create popular and political support for giving weapons to the Afghan rebels who were fighting the Soviet invasion of their country. By doing so, Wilson helps to weaken the Soviet Union but, when his efforts to provide humanitarian aide to Afghanistan are less successful, he also contributes to the subsequent rise of the Taliban.

It should have been a film that I would normally rave about but … I don’t know.

I watched Charlie Wilson’s War. I laughed at some of Tom Hanks’s facial reactions. (Hanks is playing a womanizer here who may, or may not, have been high on cocaine when he first learned about the Soviet invasion of Afghanistan and it’s obvious that Hanks really enjoyed getting to play someone who wasn’t a traditionally upright hero.) As I watched, I again considered what a loss we suffered when the brilliant Philip Seymour Hoffman died. And, as I watched Julia Roberts, I again wonder why, despite the fact that she’s from Georgia, it is apparently impossible for Julia to sound authentically Southern.

(Of course, I’m sure some would argue that Julia wasn’t playing Southern here. She was playing a Texan. Well, I’m a Texan and I’ve never heard anyone down here sound like that. Tom Hanks, meanwhile, actually managed to come up with a decent accent. Wisely, he underplayed the accent, whereas I don’t think that Julia has ever underplayed anything in her life.)

And, at the end of Charlie Wilson’s War, I knew I had watched a good film but it was also a film that left me feeling curious detached. To be honest, I almost think the film would have been better if Hoffman’s CIA agent had been the main character, as opposed to Hanks’s congressman. Hoffman’s character, after all, is the one who nearly lost his job over his belief that the Afghan rebels should be armed. All Hanks really has to worry about is whether or not he’s going to be indicted for using cocaine in Vegas.

However, I do think that Charlie Wilson’s War does deserve praise for one very specific reason. Excluding the films made by native filmmakers like Richard Linklater and Wes Anderson, Charlie Wilson’s War is one of the few films that I’ve ever seen that actually portrays anyone from Texas in a positive light. Even more shockingly, it’s a positive portrayal of a Texas politician!

(I know it must have been tempting to change history and pretend that Charlie Wilson was originally elected from somewhere up north…)

But, overall, Charlie Wilson’s War didn’t do much for me. But, if you’re into military history and all that, you might enjoy the film more than I did.

(Plus, all you boys will probably enjoy Emily Blunt’s scenes….)

At the very least, you can watch it for Philip Seymour Hoffman.

What Lisa Watched Last Night #112: Megachurch Murder (dir by Darin Scott)

Posted on February 7, 2015 by Lisa Marie Bowman

Earlier tonight, I watched the latest Lifetime original film, Megachurch Murder!

Why Was I Watching It?

First off, it was on Lifetime. And secondly, I had read that the film was supposedly based on Hamlet!

What Was It About?

Something’s rotten in the state of Denmark … Denmark, Georgia that is. Shortly after resisting the efforts of Michael Beach to expand his church, Pastor Malcolm Jamal-Warner dies under mysterious circumstances. Soon, Beach is having an affair with the pastor’s widow (Tamala Jones) and the pastor’s daughter (Shanica Knowles) is convinced that there’s been a murder. Complicating things: Knowles is dating Beach’s son, Romeo Miller.

What Worked?

To be honest, the best thing about Megachurch Murder were the tweets. This is one of those films that seemed to bring out the best of twitter.

I appreciated that the film pretended to be based on Hamlet, even though the story itself had next to nothing in common with Shakespeare’s play. That said, two youth group leaders did show up as the Megachurch Murder equivalents of Rosencrantz and Guildenstern.

Most of the actors seemed to just be going through the motions but Michael Beach did a good job in the role of Clay King. He made for a great villain.

What Did Not Work?

All through the movie, whenever Hannah had to get away from it all, she always went to the exact same bridge. At first, it was funny that she was always standing on that bridge. But, after the 20th scene on that bridge, I started to wonder why nobody else in the town of Denmark ever seemed to use the bridge. Finally, by the time that Clay was demanding to know where Hannah was, I found myself shouting at the TV, “She’s on the bridge! She’s always on the damn bridge!”

Plus, Romeo Miller … actually, to be honest, I think Romeo Miller could give a good performance if cast in the right role. But, in this film, I kept expecting him to start talking about ICDC college. Whenever he was comforting Hannah, I kept waiting for him to say, “You can major in criminal justice or homeland security…”

Finally, I was surprised to discover that, at the end of the film, people were still attending the church. After three violent deaths, I’d probably change parishes.

“Oh my God! Just like me!” Moments

To be honest, and no one is more shocked by this than me, this is probably the first Lifetime film that I’ve ever watched that featured absolutely no moments that made me go, “Oh my God! Just like me!” I guess it’s because I was raised Catholic and didn’t have to deal with any murders while I was growing up.

It is true that, much like Hannah, I did go through my rebellious phase and I would snap at any adult who tried to speak to me. However, Hannah had an excuse. She was dealing with her father’s murder whereas, in my case, I was just a brat. So, it really doesn’t count as a “OMG! Just like me!” moment.

Lessons Learned

Big church = murder.

Shattered Politics #80: Bobby (dir by Emilio Estevez)

Posted on February 7, 2015 by Lisa Marie Bowman

A few years ago, I was on twitter when I came across someone who had just watched The Breakfast Club.

“Whatever happened to Emilio Estevez?” she asked.

Being the know-it-all, obsessive film fan that I am, I tweeted back, “He’s a director.”

Of course, I could not leave well enough along. I had to send another tweet, “He directed a movie called Bobby that got nominated for bunch of Golden Globes.”

“Was it any good?” she wrote back.

“Never seen it,” I wrote back, suddenly feeling very embarrassed because, if there’s anything I hate, it’s admitting that there’s a film that I haven’t seen.

However, Shattered Politics gave me an excuse to finally sit down and watch Bobby. So now, I can now say that I have watched this 2006 film and … eh.

Listen, I have to admit that I really hate giving a film like Bobby a lukewarm review because it’s not like Bobby is a bad film. It really isn’t. As a director, Emilio Estevez is a bit heavy-handed but he’s not without talent. He’s good with actors. Bobby actually features good performances from both Lindsay Lohan and Shia LaBeouf! So, give Estevez that.

And Bobby is a film that Estevez spent seven years making. It’s a film that he largely made with his own money. Bobby is obviously a passion project for Estevez and that passion does come through. (That’s actually one of the reasons why the film often feels so heavy-handed.)

But, with all that in mind, Bobby never really develops a strong enough narrative to make Estevez’s passion dramatically compelling. The film takes place on the day of the 1968 Democratic California Presidential Primary. That’s the day that Robert F. Kennedy won the primary and was then shot by Sirhan Sirhan in the kitchen of the Ambassador Hotel. However, it never seems to know what it wants to say about Kennedy or his death, beyond the fact that Estevez seems to like him.

(Incidentally, it’s always interesting, to me, that Dallas is still expected to apologize every day for the death of JFK but Los Angeles has never had to apologize for the death of his brother.)

Estevez follows an ensemble of 22 characters as they go about their day at and around the Ambassador Hotel. As often happens with ensemble pieces, some of these characters are more interesting than others.

For instance, Anthony Hopkins plays a courtly and retired doorman who sits in the lobby and plays chess with his friend Nelson (Harry Belafonte). It adds little to the film’s story but both Hopkins and Belafonte appear to enjoy acting opposite each other and so, they’re fun to watch.

Lindsay Lohan plays a woman who marries a recently enlisted soldier (Elijah Wood), the hope being that his marital status will keep him out of Vietnam. The problem with this story is that it’s so compelling that it feels unfair that it has to share space with all the other stories.

Christian Slater plays Darrell, who runs the kitchen and who spends most of the movie talking down to the kitchen staff, the majority of whom are Hispanic. Darrell is disliked by the hotel’s manager (William H. Macy) who is cheating on his wife (Sharon Stone).

And then, you’ve got two campaign aides (Shia LaBeouf and Brian Geraghty) who end up dropping acid with a drug dealer played by Ashton Kutcher. Unfortunately, Estevez tries to visualize their trip and it brings the film’s action to a halt.

Estevez himself shows up, playing the husband of an alcoholic singer (Demi Moore). And Estevez’s father, Martin Sheen, gets to play a wealthy supporter of Kennedy’s. Sheen’s wife is played by Helen Hunt. She gets to ask her husband whether she reminds him more of Jackie or of Ethel.

(Actually, Martin Sheen and Helen Hunt are cute together. Much as with Lohan and Wood, you wish that more time had been devoted to them and their relationship.)

And there are other stories as well. In fact, there’s far too many stories going on in Bobby. It may seem strange for a girl who is trying to review 94 films in three weeks to say this but Emilio Estevez really tries to cram too much into Bobby.

At the same time, too much ambition is better none. Bobby may have been a misfire but at least it’s a respectable misfire.

Shattered Politics #79: Man of the Year (dir by Barry Levinson)

Posted on February 7, 2015 by Lisa Marie Bowman

The 2006 comedy Man of the Year is a difficult film to review. Some of that is because it’s not that interesting of a film. It’s simplistic and predictable. In fact, the only reason that I’m reviewing this film for Shattered Politics is because I needed an example of a bad, mainstream political film.

However, that’s not the only reason why it’s difficult to write about Man of the Year. The bigger reason is that Man Of The Year stars Robin Williams and, in many ways, it’s typical of one of his later lesser films. After his tragic death, it’s even harder to watch Robin Williams waste his talents in a bad film.

And, make no mistake about it, Man of the Year is a bad film.

Robin Williams plays Tom Dobbs. Dobbs, we are told, is the most famous political commentator in America. Watching the film, it’s obvious that Dobbs is meant to be the film’s equivalent of Jon Stewart and Stephen Colbert. However, the difference is that Stewart and Colbert are both obviously liberal whereas, from what little we see of Tom Dobbs show, Dobbs doesn’t appear to have any positions beyond the few vague platitudes that pass for political thinking in most mainstream films. Dobbs is against special interests. He’s against career politicians. He’s against … well, he’s against everything that most people are against and for everything that most people are for. About the closest that Tom Dobbs come to being edgy is when he makes a stupid joke about Pope Benedict being German.

Anyway, Dobbs is recruited to run for President and he manages to get on the ballot in 13 states! And he’s even doing well because, apparently in this film’s version of reality, Catholic voters have no problem supporting someone who makes fun of Pope Benedict for being German. And he’s even invited to take part in a presidential debate. When asked his first question in the debate, Dobbs starts talking and, because he’s being played by Robin Williams, he doesn’t stop. The debate spirals out-of-control. Dobbs goes on and on about the state of America, all the while assuming weird accents and slipping in and out of different personalities.

“Oh my God,” I thought, “he’s had a nervous breakdown.”

Except, of course, he hasn’t. And, since this is a movie, everyone in America loves his performance. On election night, Tom Dobbs apparently wins all 13 of his states and he’s elected President!

Except, of course, he hasn’t been. It turns out there was an error with the voting machines. Eleanor Green (Laura Linney), who works at the company that built the machines, figures out what happened. In order to keep her from revealing the truth, the company drugs her and attempts to destroy her credibility and…

Wait, this is a Robin Williams comedy, isn’t it? Well, it is and it isn’t. Half of the film is devoted to Tom Dobbs saying things that are supposed to be funny but the other half deals with Eleanor trying to expose a giant cover-up without getting killed. Director Barry Levinson can’t seem to figure out whether his film is supposed to be an unfunny comedy or a boring drama. So, he tries to do both and … well, taken by that criteria, the film actually works. If Levinson set out to be unfunny and boring, he succeeded.

One of the biggest dangers of making a film about a comedian is that, for the film to work, you have to believe that people would actually find the comedian to be funny. When the jokes aren’t funny, it doesn’t matter how many reaction shots of people laughing that you stuff into the film. Man of the Year is full of reaction shots. During the debate, we continually see Eleanor’s teenage son laughing. (How many teenagers, other than the weird ones and the ones assigned to do so for homework, actually watch a presidential debate?) During one particularly painful moment, Tom starts rambling while traveling on the campaign bus and we are subjected to countless reaction shots of Christopher Walken and Lewis Black laughing so hard that they look like they might faint from exhaustion.

The problem is that it’s rare that a few hundred people will all start laughing and stop laughing at the exact same time. Whenever you listen to a truly good comedian, you always hear a few giggles that indicate that at least a few audience members are still thinking about the last joke or else that they’re anticipating the next joke. Often times, when a comedian says something especially funny or unexpected, you don’t even hear laughter. You might hear a gasp of shock. You might hear tittering. You might hear applause. You might hear someone shouting like they’re at a sporting event.

What I’m saying is that everyone reacts to humor in their own individual way. Everyone has a laugh of their very own. Uniform laughter, like the laughter in Man of the Year, sounds fake because it is fake.

Add to that, nothing that Tom Dobbs says is particularly funny.

So, no — don’t watch Man of the Year. Watch Dead Poets Society. Watch Good Will Hunting or Awakenings. You could even watch Cadillac Man! But don’t watch Man of the Year.

Shattered Politics #78: American Dreamz (dir by Paul Weitz)

Posted on February 7, 2015 by Lisa Marie Bowman

Nothing ages worse than heavy-handed satire and, if you need proof of that, just try watching the 2006 film American Dreamz. American Dreamz is a satire of two things that are no longer exactly relevant, the presidential administration of George W. Bush and Simon Cowell-era American Idol.

Dennis Quaid plays President ~~George W. Bush~~ Joseph Stanton. Stanton has just been reelected to a second term. One morning, he impulsively decides to read a newspaper for the first time in his life and he ends up having a nervous breakdown. “The world isn’t black-and-white,” he declares, “Instead, it’s gray.” Sinking into a deep depression, Stanton isolates himself from the American people and his approval rating starts to plunge. His evil Chief of Staff (William DaFoe, made up to look like Joe Biden but, I’m assuming, meant to be Dick Cheney) comes up with a plan to restore Stanton’s popularity. President Stanton will serve as a guest judge on his favorite television show, ~~American Idol~~ American Dreamz!

(To be honest, I think Obama would be more likely to show up as a guest judge than Bush.)

The host of American Dreamz is a self-loathing Englishman named Martin Tweed (Hugh Grant). Tweed hates both the show and himself. Early on in the film, he’s literally seeing begging for American Dreamz to be canceled. However, American Dreamz is the number one show in the country and the show must go on.

Along with President Stanton, the latest season of American Dreamz features a group of contestants who all have dramatically compelling backstories. Sally Kendoo (Mandy Moore) emerges as a favorite, largely do to her ability to manipulate the camera and the fact that her well-meaning but simple-minded boyfriend (Chris Klein) was wounded in Iraq.

Oh wow — reality shows manipulate reality and contestants are rarely as innocent as they seem!?

Tell me more, American Dreamz!

Also competing on American Dreamz is Omer (Sam Golzari), a former jihadist who proved to be too clumsy to take part in the various propaganda videos being shot by his terrorist cell. Omer was sent to America, where his love for show tunes eventually landed him on American Dreamz. With the finale rapidly approaching, Omer has been instructed to blow both himself and the President up on national TV.

The satire of American Dreamz really wasn’t all that sharp when the film was first released and now, 9 years later, it feels even weaker. Quaid and Grant both give good performances but the film’s attempts at humor largely fall flat because they’re all so predictable. It’s not exactly mind-blowing to say that reality TV is fake or that politics has a lot in common with show business. The film attempts to add some bite to its message by ending with a surprisingly dark twist but it’s just not enough. Even a dark ending has to be earned.