Nick Kroll is a pretty big deal in New York City until his Google-glassish innovation goes busto and he loses all his money and all the money of his so-called friends, so he seeks solace by retreating to the icky suburbs and his childhood home in New Rochelle, NY, currently inhabited by his harried sister (Rose Byrne), her swarthy, down-to-earth home builder husband (Bobby Cannavale) and their charmless 3 year old boy.  There, Nick becomes intertwined in their lives, much like Bill Hader in The Skeleton Twins, who went home to Nyack, NY after a trauma.  Kroll discovers Cannavale is having an affair, much like Hader’s sister Kristen Wiig in The Skeleton Twins.  Coincidentally, in The Skeleton Twins, Wiig was cheating on her husband Luke Wilson, who was also a blue collar guy, just like Cannavale.

Crazily, Kroll reveals the fact of the affair to Byrne, again, like Hader to Wilson in The Skeleton Twins.  And that results in a heartfelt discussion about how Kroll ran out when their mother was dying of cancer, and the discussion is reminiscent of the recriminations and regrets of Hader and Wiig about their father, also dead by suicide.   In The Skeleton Twins.

For a few easy laughs, the town is populated by faintly ridiculous folk from high school who Kroll can look down upon.  Much like Hader in The Skeleton Twins.  And there are places that inexplicably have Christmas lights up even though it is not Christmas.  Just like the town in The Skeleton Twins.

And Kroll grows, growth which is signaled by the fact he chooses the welfare of his sister’s son over his new job.

Just like James Caan in Elf.

Torture that at its best is mildly diverting.

I was in school in Philadelphia from 1982 to 1984, during the mayoralty of Wilson Goode, who had taken over from the dictatorial former police commissioner and mayor Frank “I’m gonna’ be so tough as mayor, I gonna’ make Attila the Hun look like a faggot” Rizzo (Rizzo had once bragged that his police department could invade a country, and having seen them in action, I believed it). At that time, the Philadelphia police department was in an intractable standoff with a weirdo cult – MOVE – a back-to-nature, but armed-with-guns, community-based but plague-on-the-surrounding-community organization that melded hippie-life, black militancy and making their neighbors (largely, middle class blacks) miserable. The cops and MOVE had tangled once before, in 1978, leading to a siege where a police officer was killed and numerous cops and fire fighters wounded. Nine MOVE leaders and other disciples received life sentences as a result, but the remainder of the organization’s adherents moved to another neighborhood in West Philadelphia, where the entire scenario played out again years later. I clearly remember the local news reporting on police-MOVE clashes when I was in Philly, but until I saw this documentary, I had actually convinced myself I was in the City of Brotherly Love for the final confrontation.  I was wrong. By then, I had transferred schools and sat in Harrisonburg, Virginia, where the only assault was olfactory, a combination of a dog food plant and turkey slaughter.

Mayor Goode decided he’d had enough of MOVE plaguing yet another neighborhood (MOVE’s parenting was questionable, they had built a row house on Osage Avenue into a fortress, they menaced the neighbors and in particular, blasted obscenity from loudspeakers with regularity at all hours).  The cops came in to serve warrants on several MOVE members, they resisted, gunfire ensued (MOVE shot, and the police responded, if not in kind, as they unloaded 100,000 rounds into the house), another siege ensued, only this time, after a long period of time where they doused the MOVE house with water hoses, the police dropped an incendiary device on their house. And they let it burn. And it did, eventually engulfing the neighborhood, destroying 65 houses and killing 11 of 13 MOVE members, including 5 children.

This documentary is comprised solely of archival footage from the news, the public hearings that took place after the events (two of my former law partners were involved, one as the then-D.A. and the other as a member of the commission), and depositions taken in connection with litigation.  It is riveting, almost dreamlike, and you can’t even imagine that what you are seeing could possibly occur. But it did (and actually, again in the 1990s with the Waco stand-off), and the rendition is gripping, With the exception of some discordant editorializing at the end of the documentary in the aftermath section, it is also fair. On Netflix streaming.


Not an apologia, nor a self serving justification, but rather, an opportunity to listen to the methodology, nuance and capacities of one of the more influential policymakers of our generation. Documentarian Errol Morris is astute enough to let Donald Rumsfeld roll with little interruption, with only occasional prodding, to attempt to reach his core. Unlike with Robert McNamara in The Fog of War, who eventually reached an acknowledgment that seemed near confessional with regard to his failures in Vietnam, Rumsfeld is not of the same mindset. He is not prideful in his cheery resistance to apology: he’s quite capable of admitting error and does so often. But he refuses to accept the premise that in the commission of error, there necessarily lies moral failure or self-serving, political calculation.

Morris is a little cheap on occasion, and with someone who is as careful with his words as Rumsfeld, it is problematic. For example, Morris goes “gotcha!” when he juxtaposes Rumsfeld’s denial that the Bush administration cast Iraq as a major player with al Qaeda in the direct planning of the 9-11 attacks with his statement in a press conference that al Qaeda and Iraq certainly had a relationship.

Mostly, however, Morris is flummoxed by Rumsfeld, which is actually a good thing. Morris approaches Rumsfeld as a provocateur, asking “why obsessed with Iraq?” and “why not just assassinate Saddam?”  He receives answers, albeit answers you can tell he feels are not deception so much as unsatisfactory.

There is no neat wrap-up, no target hit, no successful gotchas, but rather, just a rumination on Rumsfeld’s peculiar process and recollection.

There is a nifty exchange where Morris advances that Shakespeare wrote about large personality-filled power struggles; Rumsfeld replies that those struggles are really just people with different perspectives; Morris counters, “Did Shakespeare get it wrong?”; and Rumsfeld thinks about it, shrugs, and suggests maybe Shakespeare got it right . . . for his time. In that same vein, Morris pushes Rumsfeld for lessons between Vietnam (the end of which Rumsfeld oversaw serving President Ford) and Iraq, and Rumsfeld parries that while one hopes to heed lessons in history, the primary lesson is “some things work out and some don’t.”

Morris wants Rumsfeld to answer, “How do you know when you are going too far?” and Rumsfeld is literally the last person on this earth equipped or inclined to provide him a satisfactory response.  Are you saying, “Stuff just happens?”, Morris asks in exasperation.  Rumsfeld looks back at him with the look of someone who has just been asked “Are you saying you breathe air?”

Morris conceded his agenda, and perhaps the thwarting of same, in an interview: “You’re left with a strange anxiety about [Rumsfeld].  I suppose if I was Mike Wallace or David Frost or whoever, I’d back [him] into a corner. But I love those moments, because I don’t even know where I am anymore. I don’t know whether he’s in any way self-aware, whether he is lying, whether he’s just in some strange alternate universe, the Rumsfeld universe. . . . There’s a ‘j’accuse’ there, but it’s my ‘j’accuse’.”

The consensus from the dummy contingent of film critics is that Rumsfeld was given the rope with which to hang himself, or his artful dodging is in and of itself proof of the indictment as to his treachery, but what Morris has actually accomplished is a demonstration of the incongruity between the needs of artists, or those who see the world through a Shakespearean lens, and policymakers, who take it one memo at a time.



This story of one woman’s journey – a 1000 mile hike along the Pacific Crest Trail – is unfortunately marred by unconvincing dialogue, inconsistent pacing, and an actress not quite up to the task. Reese Witherspoon’s best actress Oscar came after her portrayal of June Carter Cash, a performance that took advantage of her quick wit, common sense instincts, and sunny disposition. She was also able to sing, no mean feat.  As the distraught daughter of a mother who died young (Laura Dern), Witherspoon cannot sing her way to our hearts, and de-glamorization and nudity do not sell the fact that she is supposed to have lapsed into a downward spiral of promiscuity and heroin addiction after Dern’s death. There is still too much of Ellle Woods and Tracy Flick in Reese Witherspoon. She doesn’t even curse authentically, much less play a waitress who has sex with two customers in the alley behind her restaurant just because it feels good. The role required an actress with more gut and greater reserves. Meg Ryan, another plucky can-do lead, tried to toughen up later in her career in In the Cut with similar results.

Even with another actress, this film still has real problems. Everyone becomes depressed upon the death of a loved one, but there is no basis to suggest why Witherspoon’s character became so self-destructive. Rather than elicit our sympathy, Witherspoon at times threatens to evoke our scorn. Her choices are presented to us in flashback, in the bedrooms of strange men, with her long suffering friend, in the heroin dens of Minneapolis, or in conversations with her mother, scenes that are supposed to give us insight into how she ended up here. They don’t. Rather, they are too disjointed to tell us much of anything, and we are left wondering “how the hell did she end up there?”

Finally, the film is too new-agey and pat for its own good. Witherspoon reminisces along the trail while inscribing the words of poets at its various check-in stations. She is followed by a mystical fox. She meets people who say wildly unrealistic things (her discussion with a little boy in particular) that are supposed to reflect her singularity and the momentous nature of her trek (she is even dubbed queen of the trail by other hikers). She finishes and tells us in an ego-centrism that lacks any self awareness that it all worked out in the end. Heck, she informs us in voiceover – she even has two lovely kids.

To the good, it is beautifully shot and the beginning of the film, when Witherspoon is starting on the trail wholly unprepared and over-fortified, had promise. I thought she might even get an appendage stuck in between some rocks.


I loathe artistic political correctness in all its forms, be it the soul-sucking idiocy of demanding cultural authenticity in casting, the blanket condemnations of some “ism” by the cultural debt counters, or the wails of some grievance group as one of their own is skewered for comedic purposes (Robert Downey Jr.’s “retard” riff in Tropic Thunder comes to mind).  The effect is the same – to straightjacket creative endeavor so it presents like a PSA. The only good that comes of the p.c. influence are–

* the groveling apology (Cameron Crowe bootlicking because he cast Emma Stone as a quarter-Asian, quarter Hawaiian: “I have heard your words and your disappointment, and I offer you a heart-felt apology to all who felt this was an odd or misguided casting choice”);

* the unctuous backpedaling (Matt Damon, after having been caught on camera rejecting affirmative action and using the word “merit”: “My comments were part of a much broader conversation about diversity in Hollywood and the fundamental nature of ‘Project Greenlight’ which did not make the show. I am sorry that they offended some people, but, at the very least, I am happy that they started a conversation about diversity in Hollywood. That is an ongoing conversation that we all should be having”), and

* inane public proclamations (Viola Davis, who, when receiving an award for a TV drama, without a hint of irony or self-awareness equated her struggle to that of Harriet Tubman).

All that said, Welcome to Me is an offensive film, and the heart of its offense is in how it portrays with mental illness.   Kristen Wiig plays a sad shut-in, obsessed with Oprah, who wins the California lottery. She suffers from borderline personality and is off her medication, yet that doesn’t stop a local production company run by Wes Bentley and James Marsden from taking her millions so she can develop her own show. That show is a stage for Wiig to exhibit all the debilitating aspects of her un-medicated disease in a manner that at best is quirky and at worst is truly disturbing.

If done well, I don’t have a huge problem with making a dark comedy about a mentally disturbed person being taken advantage of.  I’ve gone down weirder, filmic roads.

So, to be clear, my objection is not to the premise nor do I advocate for the babying of any protected class in art.

But when you take this on, you can’t have your cake (using the disability as comedic tool) and then ask the audience to regurgitate it in shame after the eating.

Essentially, that’s what writer Elliot Lawrence does here.  It’s not that the picture is poorly acted or directed or that there aren’t even a few funny scenes. Rather, the film is an exploitative movie about a sick person being exploited, and it wants to use mental illness for yucks while pretending to be brave in showing the true face of that illness.

You need a really deft hand for that kind of trick, and Lawrence and sophomore feature director Shira Piven do not have it.

To make matters worse, the movie condescends with a throw-away lame anti-television theme, and in the end, Wiig is transformed into a “winner” with the help of a mere few pills.


This is a disquieting look into how a single failure, even one that is in no way fatal, can fray the bond of an entire family. Tomas, Ebba and their two young children are on a ski vacation. While having lunch at the resort’s outdoor patio restaurant, at the base of the slopes, a controlled avalanche gets a little out of control and for a moment, threatens to engulf them.

How Tomas and Ebba react, and the aftermath, reveals a great deal about fear, commitment, gender expectations, the frailty of masculinity, the dangers of self denial and the ability of people ostensibly in love to casually, cruelly gut each other.  I know that seems a mouthful, but it’s all there in this literate, intelligent picture. See it with spouse, boyfriend/girlfriend, and/or friends, and you’ll be chatting deep into the night.

The film was rightly bandied as a potential Best Foreign Film nominee, but it did not make the cut,  perhaps because it never takes a strong stand. It is as gray as gray gets.

Remade, horribly, as a Julia Louis Dreyfus/Will Ferrell picture.

The film has aspirations to Wes Anderson, but you’ll learn quickly, having Bill Murray in your cast isn’t enough. Murray plays an old Brooklyn codger, a man who drinks, smokes, and consorts with a pregnant Russian stripper/prostitute (Naomi Watts, sporting an accent so thick and implausible it would make Gary Oldman recoil and say, “no, no . . . too much”).  He also gambles at the track, is in deep with a bookie, and spits in the eye of anyone who might show him kindness. Yet, he’s cool because he listens to a Walkman that plays kitschy 70s pop or Dylan. So rest assured, this guy has a heart of gold. Naturally, when he gets new neighbors (newly divorced and fed up nurse Melissa McCarthy and her impossibly wise yet innocent son Jaeden Lieberher), he opens up a crack, takes the kid under his wing, and to the track, and to the bar, and in the vicinity of the prostitute.  Predictable hijinks ensue, but when the son gets the assignment at his Catholic school to find a saint here on earth, well . . . guess who?

It’s a testament to the effectiveness of first time writer-director Ted Melfi that he can get you to well up a little on occasion, but that doesn’t change the fact you want to punch him in his face for manipulating you so brazenly.  This is paint by numbers, hip treacle that might make even Zach Braff a little queasy.

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This a great time capsule documentary, providing insight into the post WW II Soviet Union cult of supremacy as manifested in its hockey program. The Soviet military actually ran the tryouts at the Red Army school, winnowing out of the weak and fusing sport with propaganda. The result was a juggernaut that came of age right at the moment it ran into the American team in 1980 at Lake Placid. After that ignominy (the Russians had just beaten the Americans in an exhibition 10-3), the team did not lose a game for the two years prior to Sarajevo, where they won gold, and again, in 1988.

However, the toll on the players was brutal. They spent their time in hockey camps 11 months of the year, and the coach, Viktor Tikhonov, would not even allow a player see his dying father. Perestroika loosened some of the restrictions, but still, Tikhonov, would not permit his best defenseman, Slava Fedisov, to go to the NHL.   Fedisov quit over the prohibition, made his displeasure public, and was ostracized for his impunity.  On the light side, he was denied training facilities. On the harsher, the police in Kiev picked him up, beat him, and then called Tikhonov to pick him up. Eventually, the Soviets allowed the players to play in the NHL, but they took half their salaries (Fetisov said no and was the first Soviet hockey player to get his full check) .

The footage – especially of the fluidity of the Soviet team – is dazzling, and the interviews of any number of direct but impatient Russians are sharp and revealing. The documentarian, Gabe Polsky, is to be commended for including footage of his broad questions, where he stretches to get a response on larger geopolitical issues, only to get a “stupid question” from the “suffer no fools” Fedisov. In fact, it was a stupid question, but we learn more in Fedisov’s curt comment than had he answered the stupid question.


Rory Kennedy’s Academy Award nominated documentary opens with American Captain Stuart Herrington asking, “The burning question. Who goes and who stays?” When it went bad, Herrington took his South Vietnamese friends out surreptitiously (Americans were not allowed to bring South Vietnamese out without authorization), but the move was not expected nor planned for.  As Herrington explains, as do others, after the Paris Accords, the presumption of most in-country Americans was that peace was at hand, and the Americans would be in South Vietnam for a long time.

This film shows the feel on the ground for the last denizens of Saigon, while adding insight on a geopolitical level. For example, the North Vietnamese took very seriously the threat of Nixon bringing back American air power after execution of the accords – as one interviewee states, the North Vietnamese thought Nixon was a madman – but after Watergate and the “madman’s” self-inflicted wound, they were naturally emboldened. “Overnight, everything changed. Hanoi suddenly saw the road to Saigon as being open.”

With 16 divisions bearing down on Saigon, Herrington recounts how Ambassador Graham Martin wouldn’t countenance plans for evacuation because it was defeatist and he feared a panic (Martin is a tragic figure who lost his only son in combat in Vietnam, and while he is criticized for his intransigence, he also saved hundreds of South Vietnamese by refusing to leave the embassy until more civilians were evacuated).

At the end, there were 6,000 Americans still in country, and Martin held firm even after he returned to the United States to watch President Ford’s $722 million request for an evacuation voted down.  At this juncture, embassy staff began to risk their careers to get South Vietnamese compatriots out in makeshift airlifts to the Philippines, and at the very end, in any other way they could find.  Their stories are harrowing.

There is no political agenda here.  Kennedy’s documentary is about people, not policy, and their stories are engrossing.  One Vietnamese evacuee recalls his father, a pilot in the South Vietnamese, picking his family in a Chinook and heading out to sea (“when I heard the Chinook, I knew my Dad was coming to get me”).  When it couldn’t land on an American vessel, the occupants jumped out to be fished from the water.

Much of the footage is simply jaw-dropping. A scene of a modern World Airways passenger jet taking off with its on-board stairs lowered, hustling panicked South Vietnamese on as it hurtles down the runway, is indelible.  Another is footage of the pick-up points (Americans knew when to go to them; the code was the playing of “White Christmas” on the radio”) as South Vietnamese press the buses for entry to helicopter evacuations, one of the last options available after the North Vietnamese closed down the airport with artillery fire.  Or the American naval vessels that became deposit points for South Vietnamese helicopter pilots, who had flown from their air bases to pick up their families and then headed to sea hoping for the best.  The ships could only accommodate one helicopter at a time, so when one landed, and its passengers disembarked, the crewmen pushed it over the side to make room for the next.

A must see.


Nominated for Best Foreign Film, this Argentinian entry consists of several vignettes of revenge, the first being one of the best openings of a film I’ve ever seen. The stories that follow exhibit a sly and dark sense of humor, enlivened by writer-director Damian Szifron’s accomplished visual style. It’s difficult to criticize any of the decision-making that led to the massive hit that is Jurassic World. But that film is a charmless, forgettable visual mess, and I’ll never understand why such a project was given to a filmmaker whose last work, as much as I liked it, was on such a small scale. It’s a picture that should have been given to the likes of Szifron, who handles close-in dialogue and action, suspense and large-scale calamity with expertise and vision.  If I have a a criticism, it’s that it was all too much.  I needed a break.