Casino Jack and the United States of Money

Posted on May 6, 2010 at 8:29 pm

B+
Lowest Recommended Age: High School
MPAA Rating: Rated R for some language
Profanity: Some strong language
Alcohol/ Drugs: Drinking
Violence/ Scariness: Reference to mob hit
Diversity Issues: Diverse characters, ethnic slurs
Date Released to Theaters: May 7, 2010

As print media crumbles and broadcast and cable media splinters, documentaries have become one of the most thorough and dependable formats for delivering long-form journalism. From the acid (in both metaphorical senses of the word)-tinged advocacy of Michael Moore and his imitators to the more straightforward, even-handed work of Irena Salina and Joe Berlinger, see-it-now, show-it-don’t-tell-it films, more widely available than ever before online and through Netflix, literally bring these stories home. Alex Gibney, whose brilliant work on “Enron: The Smartest Guys in the Room” and “Taxi to the Dark Side” (about interrogation abuses in Iran), once again uses one disaster to illuminate more fundamental structural flaws with “Casino Jack and the United States of Money.”

The Jack Abramoff story is epic, even operatic, a classic story of the rise and fall of an ambitious man with a tragic flaw. He was an idealistic young man who became first corrupted and then a corrupter. It has the satisfying arc of a feature film (and is set to be one, with Kevin Spacey as Abramoff), but it is far more than a rise-and-fall or even a catch-the-crook film. It is entertaining but it is also a sober and sobering depiction that focuses less on the failures of the individuals than the failures of the system that did more than let it happen. This film argues that corruption is inevitable.

Abramoff was a college Republican whose passion and ability to attract supporters — political and financial — quickly brought him to the attention of party leaders. At some point, he surrendered principle to greed. He took more than $25 million in lobbying fees. And then what he didn’t keep he paid out illegally. Gibney does an excellent job of making a complicated story both clear and engrossing. He is even-handed, allowing participants like former Congressman Bob Ney (R-Ohio), who pled guilty to corruption charges and spent 17 months in prison, and Neil Volz, his former chief of staff, to tell their own stories.

The stories are shocking. I don’t know which is worse, how much money was taken from the unsuspecting clients, mostly Indian tribes, or how little it took to get crucial support from key members of Congress. A golf outing, a free dinner, a $25,000 contribution could mean hundreds of millions of dollars from casino revenue, especially if the competition could be shut out. Sweatshops on Saipan were characterized as free enterprise. Favors were traded. Abramoff dubbed appropriations committee the called “the favor factory” and he was very good at finding ever more pockets to stuff favors in. He was also very good at creating more pockets of his own for receiving money. Ultimately, his office set up a phony think tank to receive contributions in excess of the money given to them for lobbying. It was run by a lifeguard out of a house on the beach. Needless to say, no thinking went on.

The Supreme Court’s ruling in the Citizens United case, invalidating much of John McCain’s campaign finance reforms and making it possible for unlimited corporate lobbying and other political expenditures — much of it undisclosed — makes this film even more timely and even more terrifying. Jack Abramoff will get out of prison at the end of this year and come back to a world filled with new opportunities.

Related Tags:

 

Documentary Movies -- format

The Square

Posted on May 6, 2010 at 8:06 pm

B+
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for violence and language
Profanity: Very strong language
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Extensive and graphic violence including guns, arson, and car crashes, many characters injured and killed
Diversity Issues: None
Date Released to Theaters: May 7, 2010

When the first 10 minutes of film introduce us to an illicit affair, a kickback scheme, and a hidden bag filled with money, we know we’re in for a twisty thriller, and “The Square” delivers.

Brothers Nash and Joel Edgerton have been compared to the Coens, and “The Square” is in some ways a tribute to the Coens’ “Blood Simple,” with its theme of the tangled web of deception and betrayal. Ray is a successful construction manager working on a resort project, comfortably married but having an affair with Carla (Claire van der Boom), a pretty, young hairdresser uncomfortably married to a man who has never told her about the hidden bag of cash in their laundry room ceiling and doesn’t know she knows about it.

Carla tells Ray she will get the cash so they can run away together. But in order to deflect suspicion from them, they will have to make it look like the money was burned in a fire. Ray hires Billy (co-screenwriter Joel Edgerton) to burn her house down while they are all enjoying a Christmas picnic and therefore thoroughly alibi-ed. Things start to wrong, and then wronger, and then, well, if you’ve ever read a novel by James M. Cain (or tried to make a cell phone call with a fading battery or leave a message with an unreliable person) you know that things will spin sickeningly out of control with the inevitable logic of a nightmare.

The noir-ish plot works well in the sunny Australian setting. It’s summer in December Down Under, which adds to the disorienting tone of the film for Northern Hemisphere-ites. The Edgertons keep us wavering from support of the characters who are our on-screen representatives to horror as they cross over line after line, finally giving up any pretense of rationalization as each step gets them more directly involved and more deeply enmeshed. Every encounter leaves them more culpable, their victims less deserving. No wonder Ray doodles row after row of men in claustrophobic little boxes stacked on top of each other. They look like tiny prison cells, or maybe the filmed frames of a movie thriller.

Related Tags:

 

Crime Drama Movies -- format

Preacher’s Kid

Posted on May 6, 2010 at 8:29 am

Former Destiny’s Child singer Letoya Luckett has the title role in this touching story of a sheltered young woman from a small town who joins a traveling gospel show. She finds her values and her faith challenged by the temptations of the world and must find her way back home. Her father, too, must learn to open his heart in this story of a prodigal daughter and the power of redemption and forgiveness.

What makes this story work is a lovely performance by Luckett and the glorious music. The unabashed portrayal of the sustaining power of faith even in the most difficult and humiliating moments is touching and inspiring.

Related Tags:

 

Drama Musical Spiritual films

Interview: Rich Christiano of ‘The Secrets of Jonathan Sperry’

Posted on May 4, 2010 at 1:59 pm

I spoke to writer-director Rich Christiano about making — and marketing — faith-based films.
You were really a one-man show behind the scenes for this film.
We have a good production team and worked hard on the distribution. This the third film we’ve put out theatrically. We learned a lot doing it. It played over 300 screens. We lot local churches to sponsor the movie in their cities. The churches that put forth the effort did well. We also worked with Christian radio. In Dayton, Ohio we ran 22 weeks because the radio station got the word out. In another city there was a pastor who really got behind the film and we did really well there. Promotion is the hardest part of it. We made sure we had local groups pushing the movie.
Is there a big audience for faith-based films?
The inspirational films have a lot of upside. One-third of this country goes to church each week and that’s our marketplace. And they’re an under-served audience. If everyone who goes to church would see our movie, we’d have “Avatar” numbers. Our society has changed over the last 20 years. If I’d told you back then there would be a weather channel, you would not have believed it. The Christian consumer group is now becoming more and more a player. They audience wants to watch these films; they just need to know they are there.
What do you hear about the way audiences respond to this film?
We’ve had wonderful reactions. There’s an emphasis to read the Gospel of John in the film. I heard from a lady who said her eight-year-old came home from the movie and read the Gospel of John. Then he wanted to go to Bible study like the boys in the movie. Another woman said her husband had drifted from the Lord. But when he came home he said three words that really lifted her spirit: “Where’s my Bible?” A 60-year-old lady told me her sister was visiting from Scotland and that she’d never, ever seen her cry until she saw this film. One of our sponsors in Fort Worth, Texas took his daughter to the film. When she saw a character change in the film, she told her father she wanted to show that she had been changed. There’s a strong message of forgiveness in this film. We’ve shown it in prison. Several of the prisoners wrote me a letter.
What can a movie convey better than a book or a sermon?
The church needs to recognize how powerful the audio-visual really is. I spoke to a man who was a church-goer and asked him if he could remember what his pastor preached a month ago. He couldn’t. I asked him if he could tell me about “The Wizard of Oz.” Even though he had not seen it for 15 years, he could remember all of the details.
Movies manipulate us, affect us, influence us. Most movies influence people away from the Lord. I want to use them to influence people for the Lord. There’s a spiritual battle going on and the Message of Christ is always being snuffed out. Movies are an entertainment medium, but every movie is religious because every movie has standards, every movie has a message about those standards. We’re trying to put forth films that are entertaining but put forth a message for the Lord, to inspire, to challenge thinking, to provoke spiritually, to make people think about eternity.
It was nice to see the film set in 1970 because that lends it a simplicity that suits its themes.
There’s no cell phones, no text messaging, no X-Box. I showed opening credits over pictures like old-school film-making. It’s like Mayberry with Bible study. It’s a throwback. It’s not edgy. It’s simply shot, no visual effects. It’s story-driven. It’s not an action film. It’s got laughs. And it’s got heart.

Related Tags:

 

Directors Interview Spiritual films
THE MOVIE MOM® is a registered trademark of Nell Minow. Use of the mark without express consent from Nell Minow constitutes trademark infringement and unfair competition in violation of federal and state laws. All material © Nell Minow 1995-2026, all rights reserved, and no use or republication is permitted without explicit permission. This site hosts Nell Minow’s Movie Mom® archive, with material that originally appeared on Yahoo! Movies, Beliefnet, and other sources. Much of her new material can be found at Rogerebert.com, Huffington Post, and WheretoWatch. Her books include The Movie Mom’s Guide to Family Movies and 101 Must-See Movie Moments, and she can be heard each week on radio stations across the country.

Website Designed by Max LaZebnik