Day: August 11, 2018

Michael Avenatti lacks the resume of a typical Democratic presidential contender. He’s a bit out of his depth — more hat than cattle — and of course he’s an opportunist. What attorney isn’t? But he strikes me as a highly intelligent, relatively decent fellow. He’s tough, well-organized and and well-phrased, and has never stumbled in all the interviews I’ve seen him do. His domestic political views are basically compassionate and humanist. I don’t see a huge problem.

From Maggie Astor’s 8.10 N.Y. Times story: “[Yesterday] Avenatti used his first big speech as a prospective presidential candidate to call on the Democratic Party to reject Michelle Obama’s oft-quoted advice about President Trump and his allies: “When they go low, we go high.”

“The hard-charging lawyer who represents the pornographic film star Stephanie Clifford, known as Stormy Daniels, did not mention the former first lady in his keynote speech Friday night at the Democratic Wing Ding, a party fund-raiser in northern Iowa. But there was no mistaking his meaning.

“’We must be a party that fights fire with fire,’ Mr. Avenatti said to cheers from the audience, his voice rising. ‘When they go low, I say hit back harder.’

“He received a thunderous ovation at the end of his speech, notably louder than the applause for the night’s other speakers, including Representative Tim Ryan of Ohio as well as Representative John Delaney of Maryland, who is running for president.”

The main reason I never cared for Francis Coppola‘s Tucker: The Man and His Dream (’88), the story of innovative auto designer Preston Tucker and his attempt to produce and market the 1948 Tucker Sedan, is that it says the same thing over and over. That thing is the fix was in, or the corporate auto industry refused to allow an innovative auto designer to prosper and thereby make them look bad, and so they had his business killed.

If Tucker had been funnier and crazier, maybe. But it’s so methodical and so determined to deliver the same observation over and over that it eventually smothers your soul.

When you think about it, movies that say “the fix is in and anyone who tries to change or expose this system is going to suffer or get killed or at least corrupted” is a genre in itself.

Alan Pakula‘s The Parallax View is a “fix is in” movie. Ditto Michael Ritchie‘s The Candidate. Luchino Visconti‘s The Damned and Pier Paolo Pasolini‘s Salo and the 120 Days of Sodom are two extreme examples. Serpico and Prince of the City are major “don’t try to un-fix things” films. All The President’s Men, obviously, is the opposite of a “fix” film.

What are some of the better ones? Dramas or comedies that merely say “everything stinks and corruption will always be with us” are not “fix is in” movies. You need a lead protagonist who wants to do things differently and tries to implement that, and is finally stripped, beaten down and gutted at the end.

A Bluray of Tucker: The Man and His Dream will pop on 8.28.

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A few days ago Esquire‘s Nick Schrager listed his best-of-the-year-so-far list. I agree with him here and there but some of his other choices…Jesus. The Rider doesn’t develop, doesn’t go anywhere. It’s a movie about waiting for death, about “the thing that you love you can’t do, and so you’re fucked.”

Here’s HE’s latest best-of-the-year roster — a grand total of 21, and in this order:

Tied for first place: Bjorn Runge‘s The Wife (Sony Pictures Classics, 8.17) and Paul Schrader‘s First Reformed; 3. Ari Aster‘s Hereditary; 4. Stefano Sollima‘s Sicario — Day of the Soldado; 5. Chris McQuarrie and Tom Cruise‘s Mission : Impossible — Fallout; 6. John Krasinski‘s A Quiet Place; 7. Eugene Jarecki‘s The King; 8. Lynne Ramsay‘s You Were Never Really Here, 9. Tony Zierra‘s Filmworker, 10. Andrej Zvyagintsev‘s Loveless, 11. Jeremiah Zagar‘s We Are The Animals, 12. Tony Gilroy‘s Beirut, 13. Wes Anderson‘s Isle of Dogs; 14. Bo Burnham‘s Eighth Grade; 15. Won’t You Be My Neighbor; 16. Ryan Coogler‘s Black Panther; 17. Matt Tyrnauer‘s Scotty and the Secret History of Hollywood; 18. Betsy West; Julie Cohen‘s RBG; 19. Spike Lee‘s BlackKKlansman; 20. Antoine Fuqua‘s The Equalizer 2; and 21. John Curran‘s Chappaquiddick.

Not bad, liked ’em well enough, half-liked ’em, mezzo-mezzos: Jason Reitman‘s Tully; Andrew Haigh‘s Lean on Pete; Chloe Zhao‘s The Rider; Steven Spielberg‘s Ready Player One; Armando Ianucci‘s The Death of Stalin; Greg Berlanti’s Love Simon; Clint Eastwood‘s The 15:17 to Paris; Samuel Maoz‘s Foxtrot (all from Sony Classics), Ziad Doueiri‘s The Insult (Cohen Media Group) and Alex Garland‘s Annihilation.

Still Haven’t Seen ’em: Sally Potter‘s The Party, Joel Francis Daley‘s Game Night, Cory Finley‘s Thoroughbreds and what else?