I.O.U.S.A.

Posted on April 7, 2009 at 8:00 am

Two guys who are super-smart and super-rich, Warren Buffet and Pete Peterson and one guy who is just super-smart, former Comptroller General of the United States David Walker have a message for Americans — don’t spend money you don’t have.

Think of Maxed Out, the terrifying documentary about the way credit card companies exploit the weak, the vulnerable, and the spendthrifts, crossed with An Inconvenient Truth, the terrifying documentary about the way the century following the industrial revolution has caused irreparable damage to the earth’s ecosystem, and you have “IOUSA,” which shows us irrefutable evidence that the biggest balloon payment in history is about to come due.

Using the now-familiar combination of folksy faux-archival educational movies, person-on-the-street interviews with completely clueless citizens (“I thought the US was lending money to other countries,” one says when asked about the size of our debt), bad news from a lot of very erudite talking heads and some really, really scary charts, “IOUSA” tells us that while we have been lowering taxes and increasing benefits we have been pushing onto our children and grandchildren the fastest-growing debt load in history. We finance this by selling our debt securities to countries that can afford them, like China. Foreign interests hold more than half of U.S. debt. China owns more than $500 billion worth. So does Japan. The movie says that the inability of Great Britain to defend the Suez Canal in 1956 was in part due to its vulnerability caused by post-WWII debt. It is certain that having countries like China, Japan ($583.3 billion), and the oil exporting countries ($170.4 billion) holding our I.O.U.’s puts a worrisome burden on our ability to engage in diplomatic negotiations.

Most troubling is that the Enron-like accounting that hides the real debt level for political expediency. Just as Enron used “special purpose entities” to keep its debts off the balance sheet, the government does not include Social Security and the costs of other benefit programs in its financial statement. The entitlement programs currently in place will bankrupt the system when the baby boomers start receiving benefits.

It is difficult to make a dry and disturbing subject like budget deficits seem interesting and vital. There are no cuddly polar bears trying to hold on to shrinking ice caps or visceral individual stories like those in Michael Moore’s movies. But this movie makes a devastating case for the consequence of our current “rob Peter to pay Paul” budgetary shell game. It is like fiscal musical chairs; when the music stops, there will be no place to sit.

America has redefined the rules and shown the world new possibilities since our beginning. Now we face the direst challenge in our history — to reverse what has always been the inevitable cycle of history and create sustained growth and prosperity. This movie asks the important questions and makes it clear that it is we who must answer them.

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Yes Man

Posted on April 7, 2009 at 8:00 am

Carrey-ologists will enjoy poring over the semiotics of “Yes Man,” in one sense a very slight variation of one of Jim Carrey’s biggest hits, 1997’s Liar Liar. In both films, he plays a divorced professional man who has in essence checked out emotionally and spiritually. In the first he simply says whatever will get him what he wants, even if it is not true. He does the same here, except that it’s all the same lie: “I’m busy.” Like Melville’s famous character Bartleby he responds to all offers and invitations, one way or another, “I prefer not to.” Just as in a wish in “Liar Liar” turns him into a man who can only tell the truth, in this film a “no” character commits to saying “yes” to everything, from spam invitations to try out persianwife.com to a very big guy in a bar asking him if he wants to step outside for a fight.
Both films have wives who with new significant others who make the Carrey character feel diminished, and in both a large part of the screen time and all of the humor comes from Carrey’s squirming through the consequences of his reversal and the way he must deal with the larger consequences of his previous bad behavior. As always, Carrey makes some funny faces and uses his rubbery limbs to good comic effect.
But with nearly a decade between the two films, Carrey and Carl, his character, bring a more poignant sense of longing and lost chances. It is significant that this film does not require any hocus-pocus to get the story started. It just establishes that Carrey is a no-guy, feeling sorry for himself and turning down just about everything. Fortunately, he is a bank loan officer, so this tendency has professional benefits. But in his personal life, he says no to his friends and would-be friends (his nerdy boss) to stay home and watch DVDs and feel sorry for himself.
And then one day an old friend suggests that he go to a motivational seminar led by a man named Terrence (played by Terence Stamp, no idea why the character name has two r’s and the actor has just one) who persuades him to start saying “yes.” To everything. That means giving a ride to a homeless guy and going to his boss’s Harry Potter party, taking Korean lessons, and learning to fly. Not to mention approving a lot of loans. It seems to him that there is a pattern because each of those yeses leads to something unexpected and wonderful, the best of all being a free-spirited girl named Alison (Zooey Deschanel), a natural yes-er. Just a hop skip and a jump to the getting-to-know-you montage, the second act complication, and a happily-yessing-ever-after conclusion with a little gratuitous nudity.
The characters around Carl and Alison don’t add much and her character does not have much depth, but the Carrey and Deschanel have an easy chemistry that gives the film a strong center. And the film nicely hints at the interconnection of all things and the way the messages we send out to the universe — whether yes or no — reverberate and return to us.

(more…)

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Comedy Inspired by a true story Romance

The Big Bad Swim

Posted on April 4, 2009 at 6:02 pm

I am a bit of a softie when it comes to those movies about diverse groups of people who come together to learn something new like tap dancing (“Stepping Out” with Liza Minnelli) or ballroom dancing (“Shall We Dance” with Richard Gere) or Italian (“Italian for Beginners”). We get to see glimpses of lots of different characters and stories and we get to see the way that they engage with new challenges and are transformed by their sense of accomplishment, new skills, and relationships.

I really enjoyed a quiet little movie in this genre called The Big Bad Swim. A group of people sign up for a swim class at a local rec center. It is a special class for people who are reluctant or scared of the water. The students include a recently divorced calculus teacher, a cop, a casino dealer/stripper, and a couple with a new pool. The movie skillfully interweaves the characters and their relationships with the kind of messy authenticity and respect for the audience that makes independent films so engaging. The performances are exceptionally layered and true, especially Paget Brewster as the teacher, and the little coda after the credits is delightful. This has very mature material, including sexual references and situations, drinking and drug use, and some very bad decisions, but is well worth a look for fans of independent film and good stories.

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After the kids go to bed For Your Netflix Queue Neglected gem

Seven Pounds

Posted on March 31, 2009 at 8:00 am

The way you feel about “Seven Pounds” will depend on the way you feel about the choice made by the main character at the end of the film. Some may consider it admirable and selfless but for me the choice, while understandable, is unforgivable. And that makes it impossible for me to recommend the film.

Will Smith stars as a man who has clearly faced some deep tragedy, and his sensitive portrayal of loss and regret is heart-wrenching. As the movie goes back and forth in time and place, we begin to piece together his past. He is an IRS investigator who at one time had another job, another home, another life. Now he has a desperation that all but consumes him, a fury for some sort of completion or expiation. He says he has the power to fundamentally change the circumstances of some people and we see the way he decides which ones deserve that help.

One of those people is Emily (Rosario Dawson), $56,000 behind on her payments to the IRS because of medical bills for a congenital heart weakness. As he gets to know her in order to decide whether to and how to help her, he finds himself drawn to her. Despite her illness, she has a life force that warms and centers him and he finds himself disconcerted at being helped as well as helping.

The movie is undeniably touching, skillfully and sincerely made. But its decision to portray behavior that is at best morally compromised as an idealized sacrifice is a poor choice as an ethical matter and as a narrative matter. The issue of how we can find redemption after causing great harm is an important subject and it deserves a more thoughtful exploration than this ultimately superficial film. SPOILER ALERT It is not the obviousness and phoniness and manipulation that bothers me as much as the clueless and even condescending immorality of it. No one thinks that suicide, even to benefit others, is a legitimately redemptive act, and it is contemptible and irresponsible of the movie to suggest otherwise.

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Drama Romance

Marley & Me

Posted on March 30, 2009 at 6:00 pm

Life is messy. And in this movie, that very important lesson is embodied by Marley, affectionately dubbed “the worst dog in the world” by his loving family. Jennifer (Jennifer Aniston) and John (Owen Wilson) Grogan are newlywed newspaper writers who have just moved to Florida. John’s friend Sebastian (Eric Dane of “Gray’s Anatomy”) tells him he can distract Jennifer from her desire to have a child by getting her a puppy. So he surprises her with a Labrador they call Marley after the reggae singer. Marley grows up to be big, omnivorous, and completely out of control, an obedience school reject, a destroyer of property, and an utterly devoted and utterly beloved member of the family. Yes, the movie has cute puppies and cute people, but it is not a soft-focus valentine that could be a commercial for dog chow. I like the way Marley is the most comic of the problems facing the Grogans as they struggle to adjust to the challenges that life brings to their plans and their marriage. John sees his friend Sebastian living his alternate life as a globe-trotting journalist with the glamor assignments and a new girlfriend every week (often with Marley acting as a chick lure). Jennifer sees John living her alternate life as she stays home with the children. They have to deal with other kinds of losses, a stillborn child, changes at work. Marley leads John to finding his voice as a columnist, a temporary sideline that becomes his truest calling.I never quite believed Wilson or Aniston as suburban parents but then I never quite believed their homes as being within the budget of a newspaper columnist. Wilson needs to develop more range of facial expression and Aniston needs to stop acting with her hair. But director David Frankel nicely evokes domestic chaos and the dog is irresistible. (more…)

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Based on a book Based on a true story Comedy Drama Romance Spoiler Alert
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