PLEASE STAND BY (2017)

(hoopla/kanopy/VOD) I’ll preface this by saying this isn’t exactly a recommendation. I found merit with the film and ultimately enjoyed it, but it is not a perfect work and is, perhaps, inherently exploitative.

PLEASE STAND BY is the story of a young autistic woman, Wendy (Dakota Fanning), who has been placed in Toni Collette’s home for autistic individuals by her older sister Audrey (Alice Eve), who has recently had a kid and self-proclaims that she doesn’t have the time to babysit Wendy as well.

Wendy, who has always been a huge STAR TREK nerd, sorts this out by writing a four-hundred some-odd page STAR TREK screenplay involving the complicated relationship between Spock and Kirk — Spock representing herself, Kirk representing her sister — for a $100,000 competition to celebrate STAR TREK’s 50th anniversary. Shortly after Wendy completes the absurdly long script, she realizes there’s not enough time to mail it, so she has to go on a journey to deliver it by hand.

A personal note: when I was a kid, I -loved- STAR TREK, and I particularly identified with Spock because he struggled with similar emotional issues that I grappled with. So, to see Wendy do the same warmed my heart, even if Spock is one of the easiest autistic analogues.

PLEASE STAND BY mirrors another relatively recent work centered around an autistic protagonist, Mark Haddon’s THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME: autistic person is mostly sheltered, has to venture out in the world, and their life becomes a living hell. It, like CURIOUS INCIDENT, was also written by a dude that found the concept of an autistic character ‘interesting’ and ‘challenging’, and they decided they were the ones to tell this story. In the case of PLEASE STAND BY, writer Michael Golamco was inspired by the New York Times article ‘What Autistic Girls Are Made Of’ to write a one-act stageplay, and then turn that into PLEASE STAND BY. (Similarly, CURIOUS INCIDENT started as a novel, then became a Tony award winning musical.)

CURIOUS INCIDENT frustrated me because of how little research Haddon did. He wanted to tell the tale that he envisioned, details be damned. PLEASE STAND BY frustrates me because it’s a work extolling the creative nature of those with autism, but it’s written, directed, and performed by neurotypicals. It feels inherently disingenuous, despite the amount of research and experts they enlisted.

That said, it’s still an entertaining film, with fantastic performances all around, and it seems to have been well-received by the autistic community, especially since it is a positive portrayal of an autistic woman. Representation matters, but I would rather that it wasn’t via the writerly curiosity of a neurotypical man, regardless of how well-wishing his intents were.

**

THE DUST BOWL (2012)

(hoopla/VOD) When I first heard that Ken Burns was working on a documentary about the Dust Bowl, I was already neck-deep doing research for a very Dust Bowl-centric novel and I thought to myself: “Well, I might as well give up on it now, because soon there’ll be a storm of Dust Bowl novels and the market will be exhausted.’”

For whatever reason, that did not happen. (Also, while I did finish a very rough version of the novel, I ended up abandoning it as it deviated too far from what I wanted it to be.) When Burns’ THE DUST BOWL did come out, it didn’t have the buzz that his recent documentaries have had. Hell, I heard more people talking about Burns’ BASEBALL doc than THE DUST BOWL.

Ken Burns has always been able to turn what could be a dull American history lesson into something immensely watchable; dramatic, even. He even managed to make the story of the creation of the United States National Parks into a riveting six-part documentary series. However, the Dust Bowl itself, just on paper, reads like a horror story. It doesn’t necessary require Burns’ deft touch.

If you aren’t familiar with the Dust Bowl, it’s one of the earliest and one of the worst, man-made environmental tragedies ever. Basically, the US government had a ton of unworked land in the Plains and then handled out lots for folks to head west, to settle and farm. Families rushed out and overworked the land to the point where the soil ended up turning to dust. Then a severe drought arrived and, because nothing could grow, there was nothing to catch the wind in the plains. The winds stripped all of the newfound dust from the ground, causing the ‘dust storms’ that barreled over the lands. Oh, and all of this occurred during The Great Depression.

To be clear: we’re not talking about temporary tornados here; we’re talking about stories-high loads of dust covering the lands for days on end. Houses were literally buried in dust. Everything in your house was covered in dust. You ate and breathed dust. The dust chewed through everything, eroding wood, clothing; farm animals would suffocate on it; children spewed up dirt.

These storms lasted for a decade because, there was no way to stop them without rehabilitating the land and, because of the prolonged drought, that simply couldn’t be done, not the way the current farmers tended their lots. Those lands had literally became deserts. Everyone that had been lead out there by the government, told to farm away with abandon, were left with less than nothing. (Yes, this was definitely Burns’ attempt to bring attention to climate change.)

Burns has always been best at leveraging photos for visual props as opposed to film footage, as photos allow him to unfurl his trademark sense of fireside storytelling at his own pace, but there are more than enough snippets of environmental footage that really hammer home the scale, monstrosity, and devastation of the storms. Anyone could make an effective cautionary tale documentary from that footage because it’s that spectacularly unreal, and it encompasses everything about America at that point in time.

It’s also worth noting that, unlike many Burns’ docs, a number of those who lived through the Dust Bowl are still alive, so there are far more first-person accounts than you’d expect from a documentary of his. It’s an enthralling, often tragic documentary, one which captures the tension of how the US was handling the plains at that time.

I’d imagine the same reason why THE DUST BOWL didn’t gain traction like prior Burns documentaries is the same reason I never learned about the Dust Bowl until later in life. It’s the tale of an American failure on American land that was spearheaded by an American government and resulted in the ruin of many American families and individuals. It’s a man-made disaster that folks just want to sweep under the rug and, yeah, that doesn’t make for the coziest viewing, but it’s history worth knowing.

THE MISFITS (1962)

(hoopla/Pluto/VOD) A few things to know about this film:

  • It was Arthur Miller’s first credited screenplay. He claims he wrote it for Marilyn Monroe, his wife at the time, to star in. She hated her character in the film, and the two of them divorced before the film was finished.
  • It was Marilyn Monroe’s final completed feature before she died.
  • Clark Gable cursed Marilyn for often showing up late (if at all) and, due to time constraints, opted to do many of his own stunts.
  • It was Clark Gable’s final film. He died of a heart attack shortly after filming.

I could summarize it as a film where Clark Gable, Eli Wallach, and a post-car crash Montgomery Ward are all infatuated with a mercurial Marilyn Monroe, and they all head out to a wilderness spot to break a bunch of horses, or you could just watch the ‘paddle ball’ scene:

Or the ‘horse breaking’ scene:

(Or, of course, the trailer below.)

THE MISFITS an oil-and-water mixture of a film featuring actors and a filmmaker (the legendary John Huston) and a writer of wildly differing generations and dispositions grating against each other. While you can feel the tension, the frustration simmering between everyone involved, Miller’s screenplay inadvertently works with it, even fueling the over-stressed feeling of the film.

Miller is clearly working out a lot of personal issues out loud and, by doing so, it becomes a complex tale about men and adapting to change, but Monroe was right to be mad: her character is just a shape in a dress who can’t stand to see hurt in the world. He meant to pen a film for his wife, but only cared to flesh out the men that surrounded her. Good on her to dump the motherfucker.

THE MISFITS’ surprisingly avant-garde trailer:

Lastly, the title sequence is quite remarkable, and it was created by George Nelson and Co. Yes, the industrial designer. You can find more info here.

KATE PLAYS CHRISTINE (2016)

(hoopla/kanopy/VOD) Coincidentally, this was released in the same year as CHRISTINE, but by the radical documentarian Robert Greene, again about Christine Chubbuck.

While I dodged Christine’s life events in yesterday’s recommendation of CHRISTINE, I can’t do so here because it’s the crux of this documentary. So, if you’d planned on watching CHRISTINE, go ahead and do so before reading further.

I’ll wait.

Still waiting.

Pad, pad, padding the post.

Okay, ready?

While giving a news report on the local news network she worked for, Christine diverged from the report and said: “In keeping with Channel 40’s policy of bringing you the latest in ‘blood and guts’ and in living color, you are going to see another first—an on-the-air suicide.” She then shot herself in the head, and died shortly after.

While CHRISTINE is a fictionalized exploration of Chubbuck’s psyche, KATE PLAYS CHRISTINE sees Kate Lyn Sheil (previously mentioned: the STRANGE WEATHER music video, also of YOU’RE NEXT and SHE DIES TOMORROW, as well as previously recommended director Sophia Takal’s debut GREEN) doing research for the role of playing Christine Chubbuck.

If you aren’t familiar withe Robert Greene’s work, he plays with the nature of recreation in documentaries. His follow-up, BISBEE ’17, explicitly explores that as he enlists an entire town to recreate what becomes a xenophobic, union-busting exiling of denizens. As a fan of documentaries, I believe this sort of meta-exploration of the inherent exploitation of documentaries is important, but also potentially fraught with their own sort of problems.

That’s why, with KATE PLAYS CHRISTINE, Greene’s smartly — and just as potentially problematically — documentary puts it entirely on Shell’s shoulders, and — if what we’re shown is to be believed — really puts her through the wringer. Shell is recreating Christine, physically and mentally, and it takes its toll.

It’s worth nothing that KATE PLAYS CHRISTINE is partially constructed around the urban legend that Paddy Chayefsky’s NETWORK was inspired by Christine’s on-air suicide, which is complete and utter bullshit — Chayefsky had been workshopping NETWORK well before her suicide — but something Greene defends as “being not quite true seems completely appropriate.”

It’s also worth noting that the dramatic re-enactments are terribly scripted, feel stilted and, apart from a few scenes, probably should’ve been excised completely, even if they were intentionally mawkish. That seemingly undercuts all of the work that everyone — especially Sheil — has done, but I get the feeling Greene doesn’t care.

Before writing these two recommendations, I’d felt that KATE PLAYS CHRISTINE was the ‘better’ film versus CHRISTINE; it conceptually tackles more; it’s more artfully, abstractly constructed; the intent is to take a magnifying lens to why we want to examine this story. Today, I’m not so sure.

At the end of the day, it’s still just a bunch of dudes reappropriating Christine’s story for their own reasons, for reasons she Christine herself probably wouldn’t agree with, which seems like the biggest sin here. Fundamentally, this is a story about a woman trying to live the life she’d set out for herself. The fact that she lived in a masculine world of journalism, or that she killed herself in what would be considered a masculine way, shouldn’t require a masculine retelling, but instead we received two re-appropriations of the tale.

“You have to tell me why you want to see it. … Are you happy now?”

JUDY & PUNCH (2019)

(Hulu/hoopla/kanopy/VOD) One trend that I love with genre films nowadays is how many women actors are getting chances at directing their own pieces. I just mentioned Brea Grant yesterday — still probably best known for her performance in HEROES — but also BLACK CHRISTMAS (2019) director Sophia Takal, HAPPIEST SEASON director Mary Holland, cult comedian and PREVENGE’s Alice Lowe, THE WOMAN’s Pollyanna McIntosh helming DARLIN’ and, also, Mirrah Foulkes who directed JUDY & PUNCH, but has also appeared in THE CROWN, TOP OF THE LAKE: CHINA GIRL, and ANIMAL KINGDOM.

As you may suspect from the name, JUDY & PUNCH is a revenge twist on the British puppet theater/domestic violence mainstay, while still taking place in the 17th century, but also has witches (of a sort). It’s an odd genre film with very specific music choices, including a very idiosyncratic soundtrack that includes a lot of anachronistic synth covers, and an oddly unnecessary cover of LAIBACH’s cover of OPUS’ -Life is Life-. It’s not perfect, and there is a lot of abuse, but I’ll take weird swings like this any day of the week.

Sadly, the film runs a bit long — the middle feels more than a little padded — but when you have Mia Wasikowska (CRIMSON PEAK, STOKER) and Damon Herriman (ONCE UPON A TIME IN HOLLYWOOD, but he’ll always be Dewey Crowe from JUSTIFIED to me), I’d also be tempted to fight to include every scene you shot.

THE QUIET EARTH (1985)

(hoopla/kanopy/tubi/VOD) THE QUIET MAN is a ‘last man on earth’ story (loosely based on Craig Harrison’s novel), one that wouldn’t feel out of place in THE TWILIGHT ZONE, but it justifies its existence by featuring an electric performance from Bruno Lawrence, being set in New Zealand, and by containing a number of interesting and cerebral twists, including one hell of an ending.

There’s a trailer, but it’s essentially a condensed summary of the entire film, so I’d refrain from watching it until -after- viewing the movie.

HOTEL ARTEMIS (2018)

(hoopla/VOD) HOTEL ARTEMIS is about a hospital for criminals masquerading as a hotel. Sure, that may make you think about JOHN WICK. Doesn’t make me think about JOHN WICK, but I’ve only seen the first so far, and the design, style, and intent of HOTEL ARTEMIS seems completely different than JOHN WICK.

While it’s centered around a criminal-centric hospital, HOTEL ARTEMIS also takes place in the ‘not-too-distant future’ where folks are rioting about water allocation in LA and, well, really, the only way you can tell this is in the future is because all of the criminals have cool toys. The titular hotel is a gilded age throwback (inspired by LA’s Hotel Alexandria) featuring plenty of art deco flourishes and vintage wallpaper, resulting in an extremely attractive feat of production design, and again, the only way you can tell the hotel exists in the future is because of all of the cool toys The Nurse (Jodie Foster) has to help heal her patients.

I’d still recommend HOTEL ARTEMIS for the production design and all of its plot and character machinations, but they also wrangled a hell of a cast clearly loving their time at the hotel. Not only does the film have Foster adopting an awkward running gait (and donning surprisingly decent age makeup), Dave Bautista is the stern-but-kind-eyed orderly glue that holds the hotel — and the film — together, Sterling K. Brown is the sympathetic bank robber, Jeff Goldblum is a cheshire-grinning mobster, Sophia Boutella is the stylish assassin, and other surprises.

The ensemble, as well as the use of throwback needle drops, certainly gives off a whiff of Tarantino fetishism, but HOTEL ARTEMIS is more concerned with escalating tension, as opposed to luxuriating in its mood and dialogue.

The film doesn’t completely hold together — really, how many of the great heist films do? — and it ends on a whimper — how many of the great heist films don’t? — but the well-honed action, atmosphere, and charming performances made me forget those shortcomings.

“This is America. 85 percent of what I fix is bullet holes.”

THE WILD BLUE YONDER (2006)

(hoopla/Prime/tubi/VOD) The few folks who saw this film after first being exposed to Werner Herzog via his masterful documentary GRIZZLY MAN must have walked out of the theater feeling very confused. THE WILD BLUE YONDER doesn’t fall into Herzog’s lighthearted docudramas, but instead lands closer to his doomsaying visual photo montages, such as the better known LESSONS OF DARKNESS (1992) which took an abstracted, hellish look at the oil fields and general destruction of nature in Kuwait after the Gulf War.

THE WILD BLUE YONDER goes one step further by bringing in Andromedan extraterrestrial Brad Dourif as your personal tour guide through arctic and NASA footage. Herzog’s always been exceptional at crafting visual narratives, but having Dourif here to verbally stitch the montages together is a real treat. That said, if you’re looking for anything resembling a proper narrative, look elsewhere. My wife and I debate to this day as to whether the Gene Siskel Film Center accidentally played the reels out of order.

IT STARTED AS A JOKE (2019)

(hoopla/VOD) I’m an easy laugher, and I also tear up easily. (Often both at the same time.) Really, I’m an emotional person in general, but that’s okay because alternative comedian Eugene Mirman is too.

The first half of IT STARTED AS A JOKE is a ’behind the curtain’ comedy documentary, showcasing the end of an era as Eugene Mirman wraps the 10th and last Eugene Mirman Comedy Festival. This last festival is a star-studded affair, but all of the prior ones were too (just a lot of folks didn’t know it at the time, including some of the performers). We’re talking about Janeane Garofalo, Reggie Watts, Kumail Nanjiani, both Michaels: Ian Black and Showalter, Wyatt Cenac, Kristen Schaal, the list goes on. There’s a lot of great footage of older fests, interviews and bits you’d never have seen otherwise.

The second half deals with how he and his wife Katie (who has also been heavily involved with the comedy scene) deal with her cancer and how they, and comedians in general, deal with finality.

It’s a very sincere and heartfelt tribute from seasoned news and doc producers but first-time directors, Julie Smith Clem and Ken Druckerman celebrate the groundwork Eugene and Katie have created.

IZZY GETS THE FUCK ACROSS TOWN (2018)

(hoopla/peacock/tubi/VOD/Vudu) I don’t know how many favors debut writer/director Christian Papierniak asked to nab this amazing cast, but I wouldn’t be surprised if he’s now indebted to 80% of LA. I’d watch any film that featured just -one- of the following performers:

Mackenzie Davis
Carrie Coon
Dolly Wells
LaKeith Stanfield
Kyle Kinane
Alia Shawkat
Rob Huebel
Annie Potts

Somehow he managed to wrangle all of ‘em for this chaotic ‘one fuckup’s last gasp at attaining an old flame’ film. I’ll grant that it’s overworked — did we really need inter-titles for every scene? — and if Mackenzie Davis wasn’t the lead the film probably wouldn’t work, but she is and ultimately it does. Also, Mackenzie and Carrie Coon ‘reunite’ and play a HEAVENS TO BETSY cover that features -many- layers and that scene alone is worth the price of admission. (I’ll save you the search.)

“I’m not going to wish you good luck.” “No, no one in their right mind would.”