Culture

Over the falls in a barrelAt first I thought I was watching a trick movie. This is no scathing statement on the evils of the Bush administration, nor does it take a feel-good, pro-Bush stance. W. paints an unflattering yet surprisingly sympathetic picture of George W. Bush. This is perhaps even more surprising given the man at the helm of the film, Oliver Stone. Where's the conspiracy theory? Where's the self-righteous anger? I get the distinct impression he doesn't want to kick a dead horse when it's down.
Stone has said that while George W. Bush was completely unfit to be president, he also learned that he's not such a bad guy. And so it goes in this saga of W (Josh Brolin). We get to see the fraternity days and his penchant of calling everyone by nick names, his years of heavy drinking and carousing, his stammering courtship of Laura Bush (Elizabeth Banks), his relationship with his pastor (a big and beefy Stacy Keach) and his subsequent switch from booze to born again. But the main crux of the movie is his relationship with "Poppy," aka Bush senior (James Cromwell), and his inability to please him. It's the age-old Oedipal story. After dodging all responsibility. Bush still wants to please his dad, and finds God in the process. In essence, he spends the rest of the movie trying to please both of his fathers: the biological and the heavenly one.

Oh, how awkward.It took five years for director Peter Sollett to follow-up his sparkling feature debut Raising Victor Vargas with his adaptation of Rachel Cohn and David Levithan's novel Nick & Norah's Infinite Playlist. And while the road along the way surely was littered with Hollywood-typical stories of aborted projects and collapsing funding, he should take comfort in this: He has now established himself as cinema's reigning genius of awkward young love.

Maybe a filmmaker might consider it problematic to be so pigeonholed. It becomes too easy to ignore the other facets of someone's talents, like when Quentin Tarantino became "fast-talking, pop-culture-referencing super-violence guy" and the world conveniently ignored his profoundly moral humanism. But it can also mean that a talented director gets to keep working. And when you've seen something as effortlessly charming as Raising Victor Vargas followed up with this sweet little keeper, you want Sollett to keep working.

The New Year Parade shows strong at BendFilm.BendFilm's list of movies once again can be summed up in one word:
Diverse. That seemed to be the overriding theme of almost every movie I
saw

The New Year Parade (Best Director Award, Tom Quinn) was
perhaps the most interesting, focusing on a divorce and the subsequent
fallout of family and friend alliances. The context is South
Philadelphia and its marching band orchestra. Using actors and plain
ordinary people gave it a forceful character study of good people, bad
reactions and even worse relationships.