Gibney is perhaps the best — and certainly the most prolific — documentary filmmaker in America, with his films on the Enron scandal and Abu Ghraib in particular earning critical acclaim. He delivers the goods again in The Armstrong Lie, creating a film that clearly illustrates the hold Armstrong had on the many people willing to buy his story.
Fueled by this rejection, Moote embarked on a globetrotting quest to answer two questions that are fundamental to masculine identity: 1. Does penis size really matter?, and 2. Are there any safe methods for increasing your penis size? The "cockumentary" of Moote's misadventures follows him from porn conventions to uncomfortable encounters with "dick doctors" in Third World motel rooms. Along the way Moote talks cocks with a wide range of experts, including doctors, anthropologists, penis pump pitch-men, and sexperts like Carol Queen, Dan Savage, and Annie Sprinkle. He also gets the opinions of a few porn stars like Ron Jeremy, Andy San Dimas, Allie Haze, and Axel Braun, and discovers what the man with the world's largest penis, Jonah Falcon, thinks about size.
I caught up with the UnHung Hero just before his cockumentary was unleashed on DVD, December, 10.
The Independent Cafe and Bar in Seminole Heights, Tampa, has pumpkin-carving fun for kids and a spooky sci-fi movie for the grown-ups afterward.
First, bring the kids to the Indie today at 6 p.m. for its Second Annual Family Pumpkin Carving.
We were there to see Squints slip Wendy Peffercorn some tongue, to see Benny “the Jet” Rodriguez lace up his PF Flyers and haul ass from the child devouring , baseball shredding dog known as, the Beast. We were there to watch The Sandlot.
But that lack of contact doesn't matter to D'Souza. As he says in his movie, 2016: Obama's America, D'Souza seized on the title of Obama's acclaimed first memoir, Dreams From My Father, as the hook that persuaded him to explore the connection between Barack Obama Sr. and Jr. And since Barack the Elder's viewpoint in Kenya was anti-colonialist, well, gosh darn it, that probably explains some of the things that his son, our president, does.
2016: Obama's America is relatively engaging through its first hour, but loses all objectivity in the last 30 minutes. D'Souza pulls out any policy decision that he disagrees with as being proof of Obama's true philosophic ethic — anti-colonialist, and thus anti-white. It's a radical deduction based on the evidence at hand. It's also irresponsible, and it should have died in the marketplace of ideas two years ago. But there's no shortage of men in America with deep pockets who don't like the president, and D'Souza was able to get some of them to finance his film.
But 2016: Obama's America isn't convincing — unless you check your brain at the door before entering the cinema.
I've wanted to talk at length about The Dark Knight Rises since the second it was over, but that was on Tuesday, and I would have been killed by my friends and office compatriots if I breathed a word of spoilers. What follows below the fold are some additional thoughts on the movie without concern for holding back details. Please consider yourself fully alerted to the spoilers before continuing.
Also, a note on the shootings in Colorado late Thursday night: It's a horrible tragedy. As someone who spends a lot of time in movie theaters I am mortified on many levels. I have no idea what motivated James Holmes, but I do know that blaming the movies in general, or Nolan's Batman flicks specifically, is wrong. No movie can inspire a person to commit this kind of unspeakable crime. That motivation must come from within the deranged individual. It would also be wrong to allow one moron lunatic with a gun to come between you and a movie you've been dying to see for weeks, months or years. The lasting message of The Dark Knight Rises is one of hope. Don't let Holmes dampen yours.
Now, on to the spoilerific nit-picking:
Someone sure knows how to have a good time. If you want to have a good time, avoid Don’t Go in the Woods.
Say hello to Nick, despotic band douche, who dragged his friends and emo-hipster bandmates out to BFE to record new songs for a demo in the quest for a record deal. Nick’s all about the concentration. No drugs. No drama. No distractions. No discussion about his decision to smash everyone’s cell phones with the axe he borrowed from the creepy hunting shack. It’s always a good idea to ditch all comms gear after ignoring an ominous sign telling you not to go in the woods, right?
So, of course, Nick is thrilled when his ex-girlfriend shows up with a load of groupies, drugs and booze — cell phones too. He tried to ward off temptation but temptation came to the band. You’d think Nick would be thrilled; not getting what he wants should be the perfect inspiration for the brooding, angsty whining music he makes.
Movie narratives are larger than life and then some. They often start out as simple jigsaw puzzles before twisting into variegated Rubik's cubes, winding through troves of characters and maze-like subplots. But the same can and should be said of the stories behind these movies, since the tortuous production histories of big budget blockbusters are just as revealing (nay, more revealing!) than any pre-show trailer or Entertainment Tonight insider special.
John Carter, is a fantastic new addition to the Hollywood compendium of behind-the-scenes chaos. In fact, this tale of Martian civil war that went through a great number of iterations and cycles in production Hell, is the epitome of movie-making mayhem.