Movies to Watch After You Vote

Posted on November 4, 2024 at 7:59 pm

After you vote, take a break from red and blue maps to enjoy some movies about politics and portrayals of real US Presidents on screen.

Fictional movies about elections include The Best Man, with Henry Fonda and Cliff Robertson as rivals perhaps inspired by Adlai Stevenson, JFK, and Richard Nixon. There is an unforgettable scene with stand-up comic Shelly Berman as someone accusing a candidate of then-career-ending homosexuality. The screenplay is by Gore Vidal, who knew something about being gay in a homophobic world and something about politics as the author of books about history and as a relative of Jackie Kennedy. Vidal appears briefly in the film as a delegate.

Wag the Dog is a satire with Dustin Hoffman and Robert DeNiro. Ryan Gosling is an idealistic campaign staffer in Ides of March.

The War Room (Clinton) and Primary (JFK) are two of the best Presidential campaign documentaries. Primary Colors has John Travolta and Emma Thompson as characters inspired by the Clintons. Game Change has Julianne Moore as Sarah Palin, VP candidate selected by John McCain.

Daniel Day-Lewis won an Oscar for Lincoln. I’ve already written about some of the many other movie versions of Lincoln’s life. “Wilson” stars Oscar nominee Alexander Knox in a dignified tribute to the 29th President. Gary Sinese gave a powerful performance in the HBO movie, Truman. Rough Riders has Tom Berenger as Theodore Roosevelt, leading Cuban rebels against Spain.

Perhaps the most fanciful portrayal of a real US President is “The Remarkable Andrew,” with William Holden as an honorable accountant who discovers a discrepancy in the town books and is visited by the ghost of his favorite President, Andrew Jackson (Brian Donlevy), who provides guidance and support.

President Kennedy’s WWII experience was the subject of PT 109, starring Cliff Robertson. He was also the subject of 13 Days, about the Cuban missile crisis. Oliver Stone has directed movies about Nixon, played by Anthony Hopkins (who also played a memorably cagy John Quincy Adams in “Amistad”), and George W. Bush, played by Josh Brolin. President Nixon has been portrayed in a number of other films, from the acclaimed Frost/Nixon to the humorous but touching Elvis and Nixon and the wild satire Dick. And of course he is the subject of the Oscar-winning Best Picture All the President’s Men, though he is only glimpsed in archival footage.

The Butler is based on the true story of a man who worked in the White House for eight Presidents, and we see everyone from Eisenhower to Reagan portrayed in the film. Of course Reagan himself was an actor before he went into politics. His best films include “King’s Row” (his own favorite), “Hellcats of the Navy” (co-starring with Nancy Reagan), and, yes, “Bedtime for Bonzo.”

There are some great President movies made for television: Gary Sinese gave a superb performance in Truman and Bryan Cranston was outstanding in the role he originated on Broadway, Lyndon Johnson in All the Way.

President and Mrs. Obama were portrayed in a film about their first date, Southside With You. (For the real story of what happened that night, see this adorable column by my dad, who was there.)

According to TIME Magazine, Lincoln has been portrayed most frequently on screen but perhaps the President most memorable on film is Franklin Roosevelt, the only man to be elected four times, with Sunrise At Campobello, Eleanor and Franklin and its sequel, Warm Springs, Hyde Park on Hudson, and, of course, Annie! (TIME notes that the only US President never to show up as a character in a movie is Warren G. Harding.)

Fly Me to the Moon

Posted on July 11, 2024 at 12:12 pm

A-

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for some strong language and smoking
Profanity:	Some strong language
Alcohol/ Drugs:	Alcohol and smoking
Diversity Issues:	Issues of perception, expectations, and treatment of women
Date Released to Theaters:	July 12, 2024

Unless you care more about historical accuracy than a rollicking good story, I think you will really enjoy this movie, one of the most purely entertaining films of the year. And some of it is even true.

There are many places to get the real story of the moon landing. This has some of the story right, and some enhanced for dramatic, comedic, and romantic purposes, all of which are very well served.

Scarlett Johansson, who also produced, plays Kelly, an advertising executive who has the right combination for success in that field: she always understands her market/target/audience and she will say or do whatever it takes on its behalf. She can spin anything and that includes selling her own services.

She is approached by a mysterious man who says his name is Moe Berkus ( Woody Harrelson) and that he works for President Richard Nixon. John F. Kennedy promised an American man on the moon by the end of the decade and the end of the 60s is approaching. For the politicians, this is an essential achievement for the Cold War battle for supremacy of capitalism and democracy. If that sounds more like branding than public policy, you understand why, in the midst of some of the most divisive and troubled years of the 20th century, someone might decide that what NASA needed was an expert in marketing. After all, selling a product, whether breakfast cereal, car, or the space program, is about making the product real, immediate, personal, and aspirational. Kelly and her assistant arrive in Cocoa Beach, ready to sell the moon.

You could say the people in NASA were not happy about this, but perhaps a better term would be horrified. Their culture is about secrecy (national security), science, and control. The person in charge is Cole Davis (Channing Tatum) and he does his best to discourage Kelly. In other words, the ideal set-up for romantic sparks, and when it’s Tatum and Johansson, it’s more like fireworks. They are wonderful together.

The sharp, witty, and wise screenplay is by third-generation Hollywood writer Rose Gilroy (her grandfather was “The Subject Was Roses” screenwriter Frank Gilroy and her parents are Dan Gilroy of “Real Steel,” “Kong: Skull Island,” and “Nightcrawler” and Rene Russo). It skillfully balances the romantic comedy with the dramatic themes and the inherent tension in the goal everyone is working toward. Even if we know that indeed Neil Armstrong and Buzz Aldrin will indeed walk on the moon the question of public support, we get caught up in the surprising challenges along the way. Who could guess that having astronauts sell watches, cars, and underwear — and, of course, Tang — would make them so relatable Americans would start to root for them? What will they have do and which Senators will they have to persuade to get the funding they need? Is there a way to sell space not as a distraction but as an unassailable story of American heroes and know-how?

Cole and Kelly have real differences that give this film a welcome depth. Both on the personal and professional level, the issue of what the truth is and how and when to tell it is presented thoughtfully and with the complexity it deserves, but it is never pedantic or preachy. Jim Rash plays a temperamental commercial director Moe insists join the team to make a back-up for the broadcast. The stunning technological innovations from a group of engineers with an average age of 26, working to solve the biggest jigsaw puzzle in the history of the world, in a building tall enough to enclose four Statues of Liberty on each other’s shoulders.

And there is a wonderful black cat. Plus Johansson’s husband, Colin Jost, in a brief, funny cameo. This movie is romantic, funny, exciting, and meaningful, filled with joy, honoring the heroes of the voyage to the moon for their dedication, innovation, and courage. And it has heartwarming compassion for the vulnerability of its characters that resonates with us long after the movie is over.

Parents should know that this film has some strong language, references to criminal behavior and a shooting in self-defense. For historical accuracy, there is a lot of smoking and a character talks about the impact on his health.

Family discussion: Who changes more, Cole or Kelly? Who is currently in the International Space Station today? Would you like to go to the moon? Visit the Smithsonian’s Air and Space Museum, where you can touch a real moon rock and see the NASA capsules.

If you like this, try: Other films about the Apollo 11 program, including “The Dish,” “Hidden Figures,” “First Man,” Tom Hanks’ excellent miniseries, “From the Earth to the Moon,” and the documentaries “Earthrise” and “Apollo 11”

Bad Faith: Christian Nationalism’s Unholy War on Democracy

Posted on April 24, 2024 at 5:31 pm

B +

Lowest Recommended Age:	Middle School
MPAA Rating:	Not rated
Profanity:	Some strong language
Alcohol/ Drugs:	None
Violence/ Scariness:	News images of violence including January 6, 2021
Diversity Issues:	A theme of the movie
Date Released to Theaters:	April 26, 2024

This is a very scary movie, and the scariest part is that the people it is about will never see themselves in it. At less than 90 minutes, it can only touch the surface of some of the issues behind the undermining of democracy by a toxic stew of billionaires seeking less regulation and more tax cuts, white evangelicals who have been persuaded that a holy war will put a stop to whatever previously gave them a sense of cultural primacy, and power brokers who recognize that their views are in the minority and the only way they can get the authority they want is a combination of disinformation and voter suppression. But it does a very good job of documenting history that will surprise even the most sophisticated political observers.

For example, most people tend to think that abortion fueled the uprising of white evangelicals groups that had previously had very little interest in politics and did not tie voting to faith. But directors Stephen Ujlaki and Christopher Jacob Jones make it clear that abortion was not the precipitating factor. It was a few years before, the Supreme Court’s ruling that the Internal Revenue Service (IRS) could deny tax-exempt status to schools with racially discriminatory policies. This struck at the heart of the evangelical groups led by people like Jerry Falwell, but they knew advocating for segregation was not a winning argument. They finally figured out that they could get the rank and file excited by using extremist language about reproductive health.

Later, attacks on various “woke” concepts like same-sex marriage, inclusion, and combatting climate change created opportunities for the wealthy to agitate the white evangelical base on their behalf.

This is a very traditional documentary, archival footage and experts. But the experts are exceptionally well chosen, starting with a blonde woman who begins by telling us that faith is the center of her life. We expect her to be one of the Christian nationalists the movie is about. Instead, she is a former official in the Trump-era Department of Homeland Security who, we see later, was aghast when President Trump refused to make the threat of domestic terrorism a priority. A minister whose faith leads him to support policies that help the poor and marginalized, another who was trained by a Christian nationalist group but left, and journalists and scholars with have deep knowledge in this area make some well-documented assessments. Longtime Republican consultant Steve Schmidt says what these people are working toward is Margaret Atwood’s “Handmaid’s Tale.” We learn about the “multi-facted operation of tremendous sophistication” used to spread mistrust and disinformation, funded by the ultra-wealthy and promoted by FOX and Sinclair Broadcasting, based on data mining of church rosters, not just of the names of members but of their most personal information and shared confidences.

But nothing is as chilling as the footage where we hear evangelical leaders and their political consultant counterparts say what they really think. They insist “America was founded as a Christian nation” (not true), that that concept of separation of church and state is not based in the Constitution but in a “stinkin’ letter” (Representative Lauren Boebert) (also not true), and that we need a “war” to impose a particular white Christian Protestant religion on everyone. And they answer a question many outside the white Christian evangelical world ask, why people of faith are so committed to Donald Trump, who promises to support them but whose life violates some of the values they say are essential; there are many in this group who do not want a man who follows Jesus. They want a chaos agent to undermine the most fundamental foundations of democracy, because democracy means majority rule and they know they cannot win that way.

Parents should know that this film includes discussions of bigotry, Christian nationalism, voter suppression, and abortion, with some footage of the insurrection on January 6, 2021.

Family discussion: What surprised you in this movie? Who did you find most trustworthy and why?

If you like this, try: “Slay the Dragon” (about gerrymandering), “All In: The Fight for Democracy,” “Rigged: The Voter Suppression Playbook,” “Answer the Call,” and other documentaries about attacks on democracy

The Hunger Games: Ballad of Songbirds and Snakes

Posted on November 16, 2023 at 5:45 pm

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for largely bloodless child death and disturbing content
Profanity:	Mild language
Alcohol/ Drugs:	Some alcohol, drunkenness
Violence/ Scariness:	Extended and graphic peril and violence including teens murdering teens. Characters are shot, impaled, poisoned, bitten by snakes, and hung.
Diversity Issues:	A theme of the movie
Date Released to Theaters:	November 17, 2023

The Hunger Games prequel is a villain origin story. The popular trilogy centered on rebel Katniss Everdeen (Jennifer Lawrence), in a dystopic world ruled by Coriolanus Snow (Donald Sutherland). Author Suzanne Collins was flipping channels one night and saw both sports events and news footage of the Iraq War. This inspired her idea of a future society where entertainment — and the fundamentals of a totalitarian society — rest on a television show with teenagers competing to the death like gladiators. The grotesquery of the competition is reflected in a perverted concept of the selection process as patriotic and the young competitors paraded in glamorous attire before the “games” begin.

Collins has said she was drawn to “the idea of an unjust war developing into a just war because of greed, xenophobia and longstanding hatreds.” With this new installment, we get a better look at how that happens, on both a structural level and a personal one. Young Coriolanus Snow (Tom Blyth), whose name harks back to the title character in a Shakespearean tragedy about a general who is a hero in battle but becomes resentful that he is not honored enough by his community and then loses his own honor. As this story begins, he is a senior at the country’s prestigious school, barely scraping by with his grandmother (Fionnula Flannagan) and cousin who is like a sister (Hunter Schafer as Tigris). He does his best to keep up appearances as he hopes to win the school’s lucrative top prize for academic achievement. But there is an announcement — the prize has been canceled. The games, in the 10th year and much less elaborate than the ones we know from the original trilogy, are losing their audience. And so the candidates for the prize will each be assigned a games contestant to “mentor.” The contestant who does best — that means “spectacle, not survival.” The mentor who wins will be the one whose contestant gets the most support from the audience.

At this point, Coriolanus is devoted to his family and a loyal friend. He meets his assigned contestant, Lucy Gray (“West Side Story’s” Rachel Zegler) and quickly shifts from wanting her to be spectacle to wanting her to survive. Lucy is the songbird of the title, a roots-style singer with spirit and a strong sense of community.

The “games” are nowhere near as flamboyantly extravagant as the ones we have seen in the earlier films, and it is intriguing to see the foreshadowing and origins of the familiar elements. Jason Schwartzman as oily weatherman/magician/emcee Lucky Flickerman is not as outrageous as Elizabeth Banks’ Effie Trinket, but we can see the origins of the gulf between the “entertainment” and lethal in the tone of the events. Coriolanus himself is responsible for coming up with some of the most significant elements of the later games. Viola Davis has a lot of fun as mad, gene-splicing, snake-loving scientist Dr. Volumnia Gaul (Ms. Collins is quite the name-giver!) and Peter Dinklage shows us the terrible compromises of the school’s Dean, (another bonkers name) Casca Highbottom.

Fans of the series and the book will appreciate this faithful version, but others may find the relentless butchery outweighs the lessons about morality, trust, and resilience, leaving open the question of whether lethal gladiator games, even by proxy, are inevitably seen as entertainment.

Parents should know that this film includes intense and graphic violence including many murders with teenagers attacking other teenagers and military attacking civilians. Characters are shot, impaled, poisoned, bitten by snakes, and hung. The MPA’s “largely bloodless” rating is an inadequate description of the images, many of which are graphic and disturbing.

Family questions: Were there any indications in the early scenes that Coriolanus might turn out the way he did? Was he trustworthy? Why did he record Sejanus? What made Lucy Gray change her mind?

If you like this, try: the other “Hunger Games” movies and the books

Landscape with Invisible Hand

Posted on August 17, 2023 at 11:30 am

B +

Lowest Recommended Age:	High School
MPAA Rating:	Rated R for language and brief violent content
Profanity:	Strong language
Alcohol/ Drugs:	Alcohol
Violence/ Scariness:	Suicide by gun
Diversity Issues:	A theme of the movie
Date Released to Theaters:	August 18, 2023

Wherever you think this is going, I can guarantee you will be surprised. Based on the book by National Book Award winner M.T. Anderson, “Landscape with Invisible Hand” is a story about the aftermath of an alien invasion of Earth, but not like one we’ve seen before. This is not about evil invaders like “War of the Worlds,” “The Tomorrow War,” “Independence Day,” or benign, wise aliens like “The Day the Earth Stood Still,” “Close Encounters of the Third Kind,” and “E.T.” These aliens, called vuvv, do not look like giant insects, robots, or humans. They look like a cross between a big slab of pink tofu and a rectangular sofa cushion, with two big front teeth. One character calls them “squishy coffee tables.” They communicate by scraping their flippers together and the rasping sounds are translated by little bluetooth speaker-like boxes.

The movie takes place a few years after they have colonized the Earth and siphoned off its wealth and resources. We are brought up to date over the opening credits, with a theramin-influenced score that is a throwback to 50’s sci-fi. We see a series of drawings, labeled as though they are in a museum, with titles, dates, and identification of media. The first is a very young child’s portrait of his family, and then we see his skill grow over the years. There is a drawing of a family Christmas. There is a drawing of a bustling market. And then there is a drawing of the market after the arrival of the aliens. It is empty of food and customers.

The artist is Adam Campbell (Asante Blackk), a high school student who lives with his mother, Beth (Tiffany Haddish) and sister Natalie (Brooklynn MacKinzie). Like most adults who have not sold out to the vuvv, Beth is unemployed, but they still have their home, which makes them much better off than most people. Adam impulsively offers their basement to Chloe Marsh (Kylie Rogers of “Yellowstone”), a new classmate who has been living in the family car with her anxious father (Josh Hamilton) and surly brother Hunter (Michael Gandolfini). Chloe and Adam like each other, and that creates an opportunity.

The vuvv are curious about human culture, especially romance. They pay to watch it. So Chloe and Adam attach sensors to their foreheads and start racking up views and money. That does not go well, And then things really take a turn.

That turn is strange and it gets stranger, in smart and interesting and thought-provoking ways I will not spoil. It is refreshing especially in what is usually the slowest time of year for movies to see one that is willing to challenge the audience. That applies to the small details, from the design of the vcvvs and their settings to the mixture of humiliation and resentment in the male Marshes, the way some humans adjust their appearances to more closely resemble the vuvv, the difference between two characters, each seen only in a single brief scene calibrate their priorities about their interactions with the aliens. And its message about art and its significance to those who create it and those who observe it, comes through with great clarity.

Parents should know that this film includes some strong language and a suicide by gun. It is offscreen but we see the blood splatter. There are some sexual references and brief underage drinking.

Family discussion: What parallels are there between the vuvv and historical colonizers? What does this movie say about the importance of art?

If you like this, try: The book by M.T. Anderson and the film “Upside Down”