Review: "HONK FOR JESUS. SAVE YOUR SOUL." is Both Funny and Ruthless

TRASH IN MY EYE No. 2 of 2023 (No. 1891) by Leroy Douresseaux

Honk for Jesus. Save Your Soul (2022)

Running time:  102 minutes (1 hour, 42 minutes)

MPA – R for language and some sexual content

DIRECTOR:  Adamma Ebo

WRITER: Adamma Ebo (based on her short film)

PRODUCERS:  Sterling K. Brown, Jessamine Burgum, Matthew R. Cooper, Amandla Crichlow, Kara Durrett, Adanne Ebo, Regina Hall, Daniel Kaluuya, and Rowan Riley

CINEMATOGRAPHER:  Alan Gwizdowski

EDITORS:  Ali Greer and Stacy Moon

COMPOSER:  Marcus Norris

COMEDY/RELIGION

Starring:  Regina Hall, Sterling K. Brown, Nicole Beharie, Conphidance, Austin Crute, Dever Rogers, Robert Yatta, Greta Glenn, and Selah Kimbro Jones

Honk for Jesus. Save Your Soul. is a 2022 comedy-drama and mockumentary (mock documentary) film from writer-director Adamma Ebo.  The film is Ebo's directorial debut and is also a feature-length adaptation of Honk for Jesus. Save Your Soul, her 2018 short film.  Oscar-winner Jordan Peele is one of the film's executive producers.  Honk for Jesus. Save Your Soul. the film focuses on the first lady of a megachurch as she attempts to help the pastor of the church rebuild his congregation in the wake of a scandal.

Honk for Jesus. Save Your Soul. is largely set in and around Wander to Greater Paths Baptist Church in Atlanta, Georgia.  The film introduces Pastor Lee-Curtis Childs (Sterling K. Brown) and his wife, the church's “First Lady,” Trinitie Childs (Regina Hall).  Lee-Curtis preaches the “prosperity gospel,” and he and his wife live a lavish lifestyle that is a big as their megachurch.

Once upon a time, Wander to Greater Paths (WGP) had about 25,000 congregants, but Pastor Lee-Curtis became embroiled in a notorious scandal that involves multiple sexual misconduct allegations.  Lee-Curtis and Trinitie were forced to close the church after backlash and a mass exodus of congregants.

Now, a year later, the Childs plan to reopen the church in one month on Easter Sunday.  They have also hired a documentary film crew to chronicle their lives and the preparation during the run-up to the reopening.  However, Trinitie finds the crew and its director, Anita Bonet, to be intrusive.  Also, the Childs struggle to get people interested in their return, so Lee-Curtis comes up with an idea for a roadside ministry, entitled “Honk for Jesus.”  Will that scheme save the church … and the couple's marriage?

Some of you, dear readers, are familiar Pentecostal televangelist (television evangelist), Jimmy Swaggart.  Beginning in 1988, a series of scandals, two of them involving Swaggart's relationship with prostitutes, caused him to lose a significant number of congregants at his megachurch, Family Worship Center, in Baton Rouge, Louisiana.  His Jimmy Swaggart Bible College also saw a drastic drop in enrollment, largely in part to his 1988 sex scandal.

A former coworker of mine was a devout Christian, and he considered Swaggart to be a hypocrite because of his scandals.  I told him that I did not quite see it that way.  I argued that the most successful evangelical preachers were probably intimately familiar with sin, especially related to sexual activity.  I said that what made Swaggart a hypocrite wasn't him sneaking around for some kind of sexual contact with a prostitute, but rather that he frequently condemned people who were engaged in sexual activity of which he did not approve.  He insisted that other sinners pay a price for sexual improprieties that he clearly did not expect to pay himself.

Honk for Jesus. Save Your Soul. is not the greatest mockumentary (which is still This is Spinal Tap), but it is a very good comedy about characters that are difficult when laid bare.  Honk for Jesus. Save You Soul. makes it clear that the Childs, especially Pastor Lee-Curtis, are oblivious and lack self-awareness.  Lee-Curtis condemns those engaged in the same kind of sexual activity which brought him down, and his behavior is also predatory.  It is not just the nature of his sin; it is also that he betrayed the trust of the people who relied on him for help.

Sterling K. Brown shines as Pastor Lee-Curtis, depicting him not as evil, but as narcissistic, vain, and material.  His faith, God, the Bible, and his success are about himself and not about salvation or about “saving souls.”  He collects “saving souls” and congregants seemingly the same way he collects Italian suits and clothing, jewelry, and cars.  Brown deftly conveys to the audience that the reopening of Wander to Great Paths is all about shining on Lee-Curtis and not necessarily on God.

I think the film really turns on Regina Hall's performance, a mixture of comedy, drama, and pathos.  From start to finish, Hall's performance chronicles the difficulty that is Trinitie's mission to save their church.  Although she is known for comedy, Hall shows serious dramatic chops in conveying the ultimate futility of the couple's quest, especially in those painful scenes in which she faces either their detractors or Lee-Curtis' victims.

Mock or faux documentary films are generally comedies, although they have dramatic and poignant moments.  Writer-director Adamma Ebo pulls off the trick of producing a mockumentary that is more drama than comedy.  Getting a great performance from her cast, especially Regina Hall, is what makes Ebo's film highly original and even more substantive than mockumentary films generally are.  My take is that Honk for Jesus. Save Your Soul. is both a portrayal of a corrupted megachurch pastor and first lady and also a commentary on the megachurches that pedal the prosperity gospel.

Mockumentary films generally always seem to be a tad bit longer than they need to be, and they are at their best in their first acts.  The best energy in Honk for Jesus. Save Your Soul. is in its second half, especially its last act.

7 of 10

B+

★★★½ out of 4 stars

Tuesday, January 10, 2023

The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: "What We Do in the Shadows" Does It Good

TRASH IN MY EYE No. 41 of 2022 (No. 1853) by Leroy Douresseaux

What We Do in the Shadows (2014)
Running time:  86 minutes (1 hour, 26 minutes)
MPAA – R for bloody violent content, some sexual material and language
WRITERS/DIRECTORS:  Jemaine Clement and Taika Waititi
PRODUCERS:  Emanuel Michael, Taika Waititi, and Chelsea Winstanley
CINEMATOGRAPHERS:  Richard Bluck and D.J. Stipsen
EDITORS:  Tom Eagles, Yana Gorskaya, and Jonathan Woodford-Robinson
COMPOSER:  Plan 9

COMEDY/FANTASY

Starring:  Jemaine Clement, Taika Waititi, Cori Gonzalez-Macuer, Jonny Brugh, Stu Rutherford, Ben Fransham, Jackie Van Beek, and Elena Stejko

What We Do in the Shadows is a 2014 New Zealand comic vampire film and mockumentary (mock documentary) written and directed by Jemaine Clement and Taika Waititi.  The film focuses on three vampires who live together in a flat while trying to deal with the mundane aspects of modern life in Wellington, New Zealand.

What We Do in the Shadows introduces four vampires living as housemates in a flat in a suburb of Wellington, New Zealand.  They are 379-year-old Viago (Taika Waititi), 862-year-old Vladislav (Jemaine Clement), 183-year-old Deacon (Jonny Brugh), and 8000-year-old Petyr (Ben Fransham).  A documentary film crew follows them as they prepare for “the Unholy Masquerade,” a ball held by some of the monster secret societies of Wellington.

The vampires struggle with the ordinary aspects of modern life:  overcoming flatmate conflicts, keeping up with chores, dealing with demanding familiars (human servants), etc.  Most of all they struggle to navigate the city's nightclub scene where they hunt for human victims who will become their food.  One of their victims-to-be is Nick (Cori Gonzalez-Macuer), the ex-boyfriend of Deacon's familiar, Jackie (Jackie Van Beek).  Nick is unexpectedly turned into a vampire, and the new bloodsucker brings complications into the older vampires' lives.  Nick even brings his human friend, Stu (Stu Rutherford), whom everyone wants to eat, but likes too much to eat, into the vampire world.

Plus, they still have to attend “the Unholy Masquerade” where they will meet “the Beast.”

The most famous example of a mockumentary and perhaps, the most beloved is director Rob Reiner's 1984 film, This is Spinal Tap.  With the exception of that film, I am usually bored of mockumentaries by the second half of such films.  I was surprised to discover that except for a few places, I found myself thoroughly engaged with What We Do in the Shadows.

I think the combination of the script and the acting really brings the film to life.  The actors seem to create fully functioning people by emphasizing the ordinary aspects of the human character and personality.  Although the film's leads are vampires, they manage to be only a little special, amazing, horrible, and fantastic.  They are interesting and lovable by being only a little above ordinary.  They are not too bright, not smart enough to be conniving, and rather short-sighted, and that all makes them endearing to me.

I also like that What We Do in the Shadows quotes from or references a number of vampire films, including the Blade film series, Bram Stoker's Dracula, Interview with the Vampire, and Twilight, to name a few.  That helps to make it feel like a genuine vampire film, rather than being only a documentary and horror comedy.  I actually started watching (on and off) the FX cable television series, also titled “What We Do in the Shadows,” that is based on the film.  Truthfully, the film is such a delight, it feels like something that has a lot more to offer, so we are lucky to have a TV series.

I would not recommend What We Do in the Shadows to everyone who enjoys the mainstream work of the film's co-writer and co-director, Taika Waititi, such as his Thor films for Disney/Marvel Studios.  I will recommend it to film audiences who are always searching for something different, offbeat, and/or daring in modern independent and foreign films.  For being another in a long, long line of vampire films, What We Do in the Shadows manages to be fresh blood.

7 of 10
A-
★★★½ out of 4 stars

Thursday, July 7, 2022


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Review: "Fear of a Black Hat" Has Fun with N.W.H.

TRASH IN MY EYE No. 165 (of 2003) by Leroy Douresseaux

Fear of a Black Hat (1994)
Running time:  88 minutes (1 hour, 28 minutes)
MPAA – R for pervasive strong language, and for sexuality
WRITER/DIRECTOR:  Rusty Cundieff
PRODUCER:  Darin Scott
CINEMATOGRAPHER:  John Demps, Jr.
EDITOR:  Karen Horn

COMEDY/MUSIC

Starring:  Mark Christopher Lawrence, Larry B. Scott, Rusty Cundieff, Kasi Lemmons, Howie Gold, G. Smokey Campbell, Bobby Mardis, Brad Sanders, Faizon Love, and Kurt Loder

Fear of a Black Hat is a 1994 comedy and music film from writer-director, Rusty Cundieff.  The film is a mock documentary or “mockumentary.”  Fear of a Black Hat chronicles the rise and fall of a controversial hip-hop group, NWH, simultaneously examining the evolution of and the state of hip-hop music in America.

The early 90’s saw two This is Spinal Tap-like parodies of hip hop culture.  The first to make it to the screen was the Chris Rock starrer, CB4, but the funnier of the two was Rusty Cundieff’s Fear of a Black Hat.  Anyone familiar with the culture of rap, especially the rap music and artists of the late 80’s and early 90’s, will find this satire and parody extremely entertaining.

Fear of a Black Hat begins when Nina Blackburn (Kasi Lemmons), a college graduate student, decides to do her thesis on a rap group.  She chooses Niggas with Hats, or N.W.H. as the subject of a documentary film.  Her film follows the vulgar trio:  Ice Cold (Rusty Cundieff), Tasty Taste (Larry B. Scott), and Tone Def (Mark Christopher Lawrence) from their underground success to their ride as one of the top hip hop acts to their obligatory break up and subsequent reunion.

The acting is mostly very good, and the parody is dead on.  Like some rap music and hip hop culture, Fear of a Black Hat is vulgar, rude, insipid, ridiculous, and very fun.  Cundieff is sly.  On one had this is not taken too seriously; on the other, he’s making a lot of pointed commentary about racism, bigotry, and opportunism, and he’s especially skewering how entertainers use violence and hate in crass attempts to gain attention, money, and fame.  Cundieff seemed to understand that rap was often just Black America doing a self-parody of urban African-American culture – the civil rights activism, self-hate, misogyny, bigotry, and violence to make a point and cash.  Not only do the costumes, settings, and characters reflect that, but also the songs by Cundieff and his songwriting collaborator, Larry Johnson, that really hit upon the culture.

Even people who don’t like hip hop or don’t know it could find Fear of a Black Hat uproarious; some of the stuff in here is just absolutely outrageous and can’t help but elicit laughs.  Those who remember the time period that Fear of a Black Hat reflects will laugh as well as feel a little sentimental, maybe even missing acts like N.W.A., Public Enemy, and Ice T, who represented for an invisible American subculture and showed it off to the world.

6 of 10
B

Updated:  Friday, August 14, 2015


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Review: "A Mighty Wind" Sounds Good

TRASH IN MY EYE No. 173 (of 2004) by Leroy Douresseaux

A Mighty Wind (2003)
Running time:  91 minutes (1 hour, 31 minutes)
MPAA – PG-13 for sex-related humor
DIRECTOR:  Christopher Guest
WRITERS:  Eugene Levy and Christopher Guest
PRODUCER:  Karen Murphy
CINEMATOGRAPHER:  Arlene-Donnelly Nelson (D.o.P.)
EDITOR:  Robert Leighton
Academy Award nominee

COMEDY/MUSIC

Starring:  Michael McKean, Harry Shearer, Christopher Guest, Eugene Levy, Catherine O’Hara, Bob Balaban, Jane Lynch, John Michael Higgins, Fred Willard, Ed Begley, Jr., Don Lake, Deborah Theaker, Larry Miller, Jennifer Coolidge, Bill Cobbs, Parker Posey, Rachael Harris, and LeShay Tomlinson

The subject of this movie review is A Mighty Wind, a 2003 comedy-drama from director Christopher Guest.  This mock documentary captures the reunion of a 1960s folk trio, as they prepare for a show to memorialize a recently deceased concert promoter.

Christopher Guest’s film A Mighty Wind is the third in his popular series of mock documentary films, or mockumentaries, as fans know them, which also include Waiting for Guffman and Best in Show.  Guest and co-stars Michael McKean and Harry Shearer were also the band in the Rob Reiner’s famous mockumentary, This is Spinal Tap.  This time the comedic trio comprises another movie group, the folk trio The Folksmen.

The neurotic and fussbudget son (the sublime Bob Balaban) of a folk music record company mogul, with some help from his siblings, organizes a reunion of three of his father’s biggest acts:  the aforementioned The Folksmen, The New Main Street Singers, and the very popular duo Mitch and Mickey.  As the groups prepare for a nationally televised show (on public TV) staged at Town Hall in New York City, old tensions and conflicts that caused breakups or hard feelings start to arise.  Will everyone have his or her act together in time to show the nation that folk music is alive and well?

Some consider this to be the least among the Guest-Levy comedies, and A Mighty Wind is often too polished and too smooth.  The documentary aspect of the film is also just window dressing; the film is better when it’s more about personal relationships and less about characters being observed by a camera.  The documentary makes the characters appear to be shallow when they’re obviously more interesting than just the surface appearance.  In the end, the players are more interesting than the film’s conceit.

However, there are times when Guest and Levy deal their wit using only the sharpest instruments of satire and farce, but the brilliance in the writing of this film is that Guest and Levy, for all the fun they poke, actually make folk music quite appealing.  The screwy, peculiar, neurotic, and sometimes wacky characters are all quite loveable.  I found myself laughing good-naturedly more than in derision at the cast.  Would that more movies were so endearing even when they skewering.

The film earned an Oscar® nomination for “Best Music, Original Song” for the fabulous and poignant “A Kiss at the End of the Rainbow,” song by Mitch and Mickey.  Guest, McKean, and Levy, however, did win a Grammy® Award in the category of “Best Song Written for a Motion Picture, Television or Other Visual Media” for the movie’s title track, “A Mighty Wind.”  These two songs and many others in combination with a musically talented and funny cast make A Mighty Wind a must see for viewers who want their comedy a notch above profanity and gross out.

6 of 10
B

NOTES:
2004 Academy Awards, USA:  1 nomination: “Best Music, Original Song” (Michael McKean and Annette O'Toole for the song "A Kiss at the End of the Rainbow")

Updated:  Wednesday, February 19, 2014


The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Review: "Death of a President" Riveting, Troubling

TRASH IN MY EYE No. 62 (of 2007) by Leroy Douresseaux

Death of a President (2006)
COUNTRY OF ORIGIN:  UK
Running time:  97 minutes (1 hour, 37 minutes)
MPAA – R for brief violent images
DIRECTOR:  Gabriel Range
WRITERS:  Simon Finch and Gabriel Range
PRODUCERS:  Simon Finch, Gabriel Range, and Ed Guiney
CINEMATOGRAPHER:  Graham Smith
EDITOR:  Brand Thumim
COMPOSER:  Richard Harvey

DRAMA/MYSTERY/THRILLER

Starring:  Hend Ayoub, Brian Bolland, Becky Ann Baker, Robert Mangiardi, Jay Patterson, Jay Whittaker, M. Neko Parham, Chavez Ravine, and Malik Bader

In his mock documentary (also known as a “mockumentary”), Death of a President, director Gabriel Range presents a scenario in which U.S. President George W. Bush is assassinated in October of 2007.  Death of the President pretends to be an investigative documentary that examines the key players and events surrounding the killing of President Bush, several years after the as-yet-unsolved murder occurred.

Death of a President follows the events leading up to the assassination and its aftermath, and the film also features a bevy of talking heads, which includes the people around the president, murder suspects, and their families.  In his hypothetical film, Range focuses on the fallout that follows Bush’s murder – specifically the media’s reaction, the rush to convict a Muslim as the assassin, and the machinations of newly installed President Cheney to grab more presidential powers.

Since its appearance at the 2006 Toronto International Film Festival, Death of a President has been highly controversial, and the producers had a difficult time finding a company to distribute the film to U.S. theatres.  Ultimately, Newmarket Films, which handled Mel Gibson’s The Passion of the Christ, distributed the film in the U.S.

I like this movie, although I did find the scenes in which President Bush was shot and the ones occurring at the hospital where he later died to be in poor taste.  Like him or not, he is (as of this writing) a sitting U.S. President, and to portray his death in so brutal and perhaps cavalier fashion is to traffic in mean-spiritedness and carelessness.

On the other hand, what takes place before the assassination and after is riveting stuff.  In the scenes leading up to the shooting, director Gabriel Range creates a riveting thriller that quietly races to its damnable turning point.  After Bush’s death, Range and his co-writer Simon Finch display a knowledge of the American mass media, of law enforcement (in particularly the FBI) and how they work and react to big events that is surprising considering they are not Americans.  Their spin on how Vice-President Dick Cheney would react if he became President after an assassination is dead-on (and maybe a little obvious considering Cheney’s actions as Vice-President).  Who doesn’t think Cheney would move to consolidate more power for himself with a Congress and a country reeling from shock, reluctant to challenge him, and desperate for leadership in such a time of crisis.

Range apparently specializes in these kinds of dramatizations of probable future events, such as his TV film, The Day Britain Stopped (which I’ve never seen).  He’s so-so at presenting interviews with the fictional talking heads involved in the events of Death of a President.  Some of the interviewees don’t come across as authentic, so the film sometimes feels phony.  Still, Range has created an engaging, unforgettable “what if,” and he smartly realizes what is most frightening about a U.S. president being assassinated.  Such an event could very well mean the definite beginning of the certain end of this grand experiment called the United States of America.

7 of 10
B+

Wednesday, April 11, 2007

NOTES:
2007 BAFTA TV Awards:  1 nomination:  “Best Visual Effects”

2007 International Emmy Awards:  1 win: “TV Movie/Mini-Series” (UK)

Updated:  Sunday, November 10, 2013

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Review: "Surf's Up" Has Impressive Animation

TRASH IN MY EYE No. 136 (of 2007) by Leroy Douresseaux

Surf’s Up (2007) – computer animation
Running time: 85 minutes (1 hour, 25 minutes)
MPAA – PG for mild language and some rude humor
DIRECTORS: Ash Brannon and Chris Buck
WRITERS: Don Rhymer and Ash Brannon and Chris Buck and Christopher Jenkins; from a story by Christopher Jenkins and Christian Darren with Lisa Addario and Joe Syracuse
PRODUCER: Christopher Jenkins
EDITORS: Ivan Bilancio and Nancy Frazen
Academy Award nominee

ANIMATION/COMEDY/SPORTS with elements of drama

Starring: (voices) Shia LaBeouf, Jeff Bridges, Zooey Deschanel, Jon Heder, James Woods, Diedrich Bader, Mario Cantone, Brian Posehn, and Dana Belben

The subject of this movie review is Surf’s Up, a 2007 computer-animated film directed by Ash Brannon and Chris Buck. The film is a mock documentary or “mockumentary” (with This is Spinal Tap being the most famous example). It was one of three 2007 films to receive best animated feature Oscar nominations (a category Ratatouille won).

A documentary film crew follows a young penguin who loves to surf in Surf’s Up, the computer-animated film from Sony Pictures Animation (Open Season) which takes the notion that penguins invented surfing.

Cody Maverick (Shia LaBeouf) is not like the other penguins in Shiverpool, Antarctica. He’d rather surf than process fish all day. Opportunity arrives when he talks his way into the Big Z Memorial Surf-Off, an international surf tournament named in memory of Cody’s idol, the legendary surfing penguin, Zeke “Big Z” Topanga.

When Cody arrives on Pen Gu Island, he realizes that he doesn’t really fit in very well because he is a small wave surfer in a big wave event. He quickly earns the ire of a mouthy surfing promoter, a hedgehog named Reggie Belafonte (James Woods), and the 9-time reigning champion, the utterly arrogant penguin Tank “The Shredder” Evans (Diedrich Bader). Cody does manage to make a fast friend in Chicken Joe (Jon Heder), a surfing rooster from Michigan, and also attract the attention of sexy lifeguard, Lani Aliikai (Zooey Deschanel). However, it’s when he meets the mysterious Geek (Jeff Bridges), a reclusive penguin who lives on the other side of the island that Cody learns there is more to discover in surfing than just how to win a tournament.

Although on the surface it resembles leftovers from the Oscar-winning computer-animated hit, Happy Feet (2006), Surf’s Up is actually a good film on its own. It is an entertaining comedy that not only has some really cool surfing scenes, but also has a nice message about friendship. Shia LaBeouf and Jeff Bridges have excellent chemistry, which may be due to the fact that the voice actors recorded their dialogue together in one room – a rarity in feature film animation. As the burnt-out, but wise teacher, Geek, and his stubborn pupil, Cody, Bridges and LaBeouf respectively add solid dramatic weight and traction to the characters’ relationship with their voice performances. Each actor brings both gentle sarcasm and humor to their roles, but they both know when to add a somber touch when the story calls for it.

As for the rest of the cast: Jon Heder manages to seem fresh, although even here he is pretty much playing the same kind of goofy dude part he’s been repeatedly playing for the last three years. Zooey Deschanel is always a nice presence – somehow managing to add a touch of sweetness to any film in which she appears. James Woods is shrill and his character, Reggie Belafonte, is way more annoying than he needs to be.

The aforementioned surfing scenes are surprisingly good – a testament to how supernaturally skilled these programmers, software guys, and animators who make computer-animated films are. That they make the surfing look so good with penguins on the surf boards adds to the amazement.

6 of 10
B

Saturday, November 10, 2007

NOTES:
2008 Academy Awards: 1nomination: “Best Animated Feature Film of the Year” (Ash Brannon and Chris Buck)

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Review: "This is Spinal Tap" Never Stops Being Funny (Happy B'day, Rob Reiner)

TRASH IN MY EYE No. 106 (of 2005) by Leroy Douresseaux

This is Spinal Tap (1984)
Running time: 83 minutes (1 hour, 23 minutes)
MPAA – R
DIRECTOR: Rob Reiner
WRITERS: Christopher Guest, Michael McKean, Harry Shearer, & Rob Reiner
PRODUCER: Karen Murphy
CINEMATOGRAPHER: Peter Smokler
EDITOR: Kent Beyda and Kim Secrist

COMEDY/MUSIC

Starring: Christopher Guest, Michael McKean, Harry Shearer, Rob Reiner, June Chadwick, Tony Hendra, RJ Parnell, Fran Drescher, Patrick MacNee, Bruno Kirby, Ed Begley, Jr., Billy Crystal, Dana Carvey, Howard Hessman, Fred Willard, Paul Shaffer, Gloria Gifford, and Anjelica Huston

The subject of this review is This is Spinal Tap, a faux documentary that parodies rock documentary films. Directed by Rob Reiner, the film also satirizes the behavior and attitudes of members of hard rock and heavy metal bands.

This is Spinal Tap basically says that, “It’s time to get personal with one of music history’s greatest and loudest rock bands… Spinal Tap.” Documentary filmmaker Marty DiBergi (Rob Reiner) is making a “rockumentary,” a rock documentary of the band’s 1982 tour in support of the release of its 15th album, but the band has falling on some hard times. They’re playing smaller venues in front of an ever-shrinking audience, and the band’s front men: guitarist/co-songwriter David St. Hubbins (Michael McKean), lead guitarist/co-songwriter Nigel Tufnel (Christopher Guest), and bassist Derek Smalls (Harry Shearer) are older and struggling with inner band turmoil. DiBergi’s documentary gives them a chance to talk about themselves, their history, and their music and gives the audience a behind the scenes look at rare footage and a chance to hear lots of music. Will Spinal Tap survive, or will we die laughing first?

This is Spinal Tap, Rob Reiner’s faux documentary, created a film genre, the “mockumentary” or mock documentary. This is Spinal Tap is a fake documentary that follows the life and times of an aged metal band on an less-than-successful American tour, and everyone involved, especially the band comes across as twits. They don’t, in all seriousness, see themselves as pathetically funny as they actually are. Reiner, Christopher Guest, Michael McKean, and Harry Shearer wrote all the songs for the fake band called Spinal Tap (which some movie audiences initial thought was a real band), and with the rest of the cast, adlibbed most of the dialogue.

Anyone with more than a passing knowledge of heavy metal music and the eccentricities of metal’s most famous practitioners will double over in laughter at this “behind the scenes” look at band infighting, groupies, cancelled concerts, impractical stage sets, musical and performance pretensions, tight pants, misogynistic music, and the long hair and makeup. Even if you don’t like music, This is Spinal Tab is still funny; in fact the magazine, Entertainment Weekly, named it the #1 cult film of all time.

The film’s strength is in the music; one is actors playing the front men are all competent musicians. Spinal Tap’s songs are so funny and so dead on rock and roll and heavy metal, that for all that they are satires of metal songs, they also work quite well as actually metal music. Great parodies have to work as the thing they are parodying; Mel Brooks has made a career on getting the setting right in such films as Young Frankenstein, which looked like the classic black and white Universal Studios Frankenstein films and Blazing Saddles, which looked and acted like a western. The film’s other strength is the cast. Everyone is so good at playing so many absurd situations and saying so many ridiculous things with the straightest faces, as if the entire Spinal Tap scenario were all real and serious. This is Spinal Tap is a must-see for lovers of comedy.

8 of 10
A

NOTES:
2002 National Film Registry: National Film Preservation Board, USA

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Review: "C.S.A.: The Confederate States of America" is Unforgettable

TRASH IN MY EYE No. 198 (of 2006) by Leroy Douresseaux

C.S.A.: The Confederate States of America (2004)
Running time: 90 minutes (1 hour, 30 minutes)
Not rated by the MPAA
WRITER/DIRECTOR: Kevin Willmott
PRODUCER: Rick Cowan
CINEMATOGRAPHER: Matt Jacobson
EDITORS: Sean Blake and David Gramly

COMEDY/DRAMA/HISTORICAL

Starring: Evamarii Johnson, Larry Peterson, Patti Van Slyke, and Rupert Pate

Writer/director Kevin Willmott’s blistering comedy, C.S.A.: The Confederate States of America, is a so-called “mockumenatry” (a mock documentary). Willmott (an assistant professor at the University of Kansas) puts forth a provocative vision in which the South (or the Confederacy or the Confederate States of America) won the Civil War (the War Between the States?), and slavery is still legal and liberals and free blacks have fled to Canada.

In this film within a film, a C.S.A. television station, Channel 6, decides to show the controversial British documentary, C.S.A., a documentary history of the Confederate States of America, which begins with the Civil War and ends in present day C.S.A. In between the documentary, the station broadcasts commercial advertisements for a number of products with racist brand names and logos and/or inherently racist in nature as they are geared towards pacifying slaves (including a prescription drug available from veterinarians, Contrari, which makes troublesome darkies docile). The C.S.A. documentary features archival footage of the capture of the disposed Union President Abraham Lincoln (in black face and on the run with Harriet Tubman), of the C.S.A. conquering Latin America and exporting its own brand of apartheid there, and of a C.S.A. alliance with Adolf Hitler, among other things.

The best-known “mockumentary” is probably This is… Spinal Tap. Christopher Guest, one of Spinal Tap’s co-creators, has also directed a trio of critically acclaimed mockumentaries including the recent Oscar-nominated A Mighty Wind (a fourth is due Fall 2006). Other examples of mockumentaries are CB4 and Fear of a Black Hat. While C.S.A.: The Confederate States of America is in the tradition of the aforementioned films, it more closely resembles two Robert K. Weiss-produced comedies, The Kentucky Fried Movie and Amazon Women on the Moon both in tone and in temperament. The alternative racial history aspect of C.S.A. is very much like some of pseudo-historical sketches from Dave Chappelle’s now-defunct Comedy Central series, “Chappelle’s Show,” like the one in which black Americans received reparations for slavery.

C.S.A. is, in the end, its own beast. Using humor, some of it relentlessly scathing and much of it surprisingly droll, Willmott comments on more than just race (read: skin color), racism, and race relations in the United States with the C.S.A. as an allegorical stand in. Willmott also discusses imperialism, war, greed, nationalist propaganda, crass commercialism, and ethnic and religious bigotry. Many of the racist products featured in the faux commercials are actual racist products from American history including the ones for the fried chicken franchise, Coon Chicken Inn, and the furniture polish, the Gold Dust Twins.

Keeping in mind what George Bernard Shaw said about using comedy to tell truths because it keeps the audience from killing the storyteller (which Willmott quotes at the beginning of this movie), Willmott exposes the ugly truths about bigotry, doing it all with a disarming sense of humor. Some people will automatically be defensive about this film (especially hypersensitive white Southerners), but this is simply an excellent political and social comedy. It stumbles a bit, and its low budget only occasionally hurts the movie. Still, C.S.A.: The Confederate States of America is an exceptional, offbeat film for those with a taste for black, bold and outspoken.

7 of 10
A-

Sunday, September 17, 2006

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Review: "Borat" is a National Treasure from Another Nation

TRASH IN MY EYE No. 48 (of 2007) by Leroy Douresseaux

Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)
Running time: 84 minutes (1 hour, 24 minutes)
MPAA – R for pervasive strong crude and sexual content including graphic nudity, and language
DIRECTOR: Larry Charles
WRITERS: Sacha Baron Cohen & Anthony Hines & Peter Baynham, and Dan Mazer; from a story by Sacha Baron Cohen & Peter Baynham & Anthony Hines, and Todd Phillips (based upon a character created by Sacha Baron Cohen)
PRODUCERS: Sacha Baron Cohen and Jay Roach
CINEMATOGRAPHERS: Luke Geissbuhler (director of photography) and Anthony Hardwick (director of photography)
EDITORS: Craig Alpert, Peter Teschner, and James Thomas
2007 Academy Awards nominee

COMEDY

Starring: Sacha Baron Cohen, Ken Davitian, and Luenell

In the film: Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, writer/actor/comedian Sacha Baron Cohen takes one his most popular characters from his HBO comedy series, “Da Ali G Show,” the Kazakhstani reporter Borat, and sends him on a road trip across America. Cohen-as-Borat then engages real Americans in this faux documentary prompting them with seemingly innocent questions and his outrageous (and sometimes boorish) behavior into revealing their worst prejudices and attitudes. Along the way, Borat even runs naked through a hotel.

Borat Sagdiyev (played by Cohen in a role that won him a 2007 Golden Globe) is Kazakhstan’s sixth most famous man and a leading journalist for the State run TV network. Borat wants to travel to the U.S., what he calls “greatest country in the world,” and learn things that might benefit Kazakhstan. Camera and film crew in tow and joined by his cameraman/sidekick, Azamat Bagatov (Ken Davitian), Borat lands in New York City and heads south encountering the fruit of American citizenry. However, another quest subsumes Borat’s original purpose for coming to America. He is determined to travel to California where he will find and marry Pamela Anderson.

Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan lives partially in that esteemed sub-genre of film comedies, the mock documentary or “mockumentary,” the most famous example being This is…Spinal Tap. This is, however, firmly a fake documentary in which the documentary filmmakers mean to fool the subjects of the documentary. As Borat, Cohen is relentless and doesn’t give a sucker an even break when dealing with his clueless American subjects. These people apparently have no shame in displaying their petty bigotries and silly prejudices on camera. Were these people not ashamed to show their ugly sides because they assumed Borat was a just a dumb foreigner and his film would only be seen in another country?

Cohen shrewdly picks his targets, discerning the ones who would make great theatre – an example being the rich, Southern white suburbanites who lived in a neighborhood where one street was named “Succession Lane.” The fraternity boys who appear towards the end of the film are a hoot, and they’re carbon copies of the ones I knew when I attended a major, formerly segregated, Southern state flagship university.

Borat is certainly a lout, and his loutish behavior occasionally grates on the nerves, but the vast majority of the time, his encounters with people lead to double-side-splitting comedy. With Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, Sacha Baron Cohen proves once again that he is a genius when it comes to revealing the just plain awful, ugly, vain, and intolerant side of people – a side they’re all too willing to display for the camera. Lovers of movie comedy shouldn’t miss this comic social commentary that is worth watching at least twice.

8 of 10
A

NOTES:
2007 Academy Awards: 1 nomination for “Best Writing, Adapted Screenplay” (Sacha Baron Cohen, Anthony Hines, Peter Baynham, and Dan Mazer; from a story by Sacha Baron Cohen, Peter Baynham, Anthony Hines, and Todd Phillips)


2007 Golden Globes: 1 win: “Best Actor in a Motion Picture-Musical or Comedy (Sacha Baron Cohen) and 1 nomination: “Best Motion Picture-Musical or Comedy

Wednesday, March 07, 2007