Showing posts with label pseudo-documentary. Show all posts
Showing posts with label pseudo-documentary. Show all posts

Is There Sex After Death?

1971 sex comedy

Rating: 14/20

Plot: Dr. Rogers from the Bureau of Sexological Investigation roams about in the Sexmobile and interviews experts in sexual matters, talks to everyday people on the streets, and visits key sites to answer the titular question and others.

Prankster Alan Abel and his wife created this now-dated look at sexuality. It's funny forty-some years later, but after a while, it gets a little tedious. There are plenty of naked people, but if this makes any points at all, it makes them early. The wad is shot, so to speak, and then it keeps going. Abel himself plays the roving reporter and does it as a sort-of straight man. It's amazing that he keeps his composure while sitting so close to so many naked people or hearing an actor say, "For the vegetable, it was exquisite," or a "Professor of Dildography" talk about "millions of miles of unused orifice," or an x-rated magician ask, "Is that not your urine sample?" or an expert claiming that "you'd be up to your ass in dwarfs" if one of eight didn't die during sexual intercourse. In between all that, Abel takes us to a sex Olympics, a nudist colony where they sing "Dinah Won't You Blow Your Horn" and later dance in a way that makes nudity seem like a pretty terrible invention, a perverse art gallery, and a pornographic opera. Oh, and there's a brief penis puppet show. Robert Downey Sr. makes a pair of appearances, but he's nowhere as entertaining as Earle Doud who plays the x-rated magician or Marshall Efron who plays Vince Domino, the "master of filth and excretion" who talks about making a pornographic film with a goose and a donkey. This is nothing revolutionary, some bits fall completely flat, and it's not always even all that much fun, but it's an interesting enough little time capsule item nevertheless.

The Last Broadcast

1998 horror mockumentary

Rating: 8/20

Plot: A documentarian attempts to get to the bottom of the gruesome murders of some public access show hosts looking for the Jersey Devil. It's horrifying!

I want to get settled right off the bat--the only thing that this movie has in common with the far superior Blair Witch Project is that they both have a lot of trees in them. Only a small portion of this is found footage stuff. The rest is complex and gimmicky with all kinds of television trickery and those big sound effects you hear when you're watching those television expose things. The guy making the documentary got on my nerves and misused the word "ironic," and the acting from the rest of the cast was just not good enough to carry this thing. Things get repetitious and tiresome, and there's not a single moment of this where there's any real tension or scares. By the time we get to the big twist at the end, things stop making sense almost entirely. Not only that, it confuses matters by breaking its own pseudo-documentary rules. If anything, this made me appreciate the brilliance of Blair Witch even more. The simplicity of that one, and Paranormal Activity as well, is what makes that one successful. The makers of this one bite off way more than they can chew, and they end up with a big mess.

. . .And God Spoke (The Making Of)

1993 mockumentary

Rating: 16/20

Plot: Clive Walton and Marvin Handleman--the producer/director team that brought the world
such gems as The Airport, Dial "S" for Sex, She Beast, and Nude Ninjas--decide to make a Biblical epic based on a 2,000 page script. The problem is that they have no budget, and after just a few hours, they're already hopelessly behind schedule. Numerous problems arise and begin to strain Walton and Handleman's relationship.

First off, I have to give the makers of this props (wait, do we still give props?) for the Fitzcarraldo reference. Nice. This pokes fun at the film industry more than Christianity. In fact, I really doubt it would offend too many Christians, and even if I'm wrong, it's still mighty funny. The production's nearly as cheap as the Biblical epic they're trying to film, and not every single gag connects, but it squeezed more than a few laughs from me despite the gloomy mood I was in before watching. Like the best of the genre, it's really the little moments (the ones you almost miss if you don't pay attention) that are the funniest. Everything Fred Kaz (Noah) says is funny ("I was a Klingon for a few minutes."), and I also loved the sound effect guy, a discussion about how many disciples there were, a dead buffalo, some hilarious product placement, and "What lovely Frankenstuff!" Oh, and "I could do it with or without my teeth." This has a few famous faces, too. Soupy Sales, oddly enough, is Moses. Jan Brady plays Noah's wife, and Lou Ferrigno and Andy Dick play Cain and Abel respectively. I'm sure reading about this movie has done little to convince you to watch it. Do it anyway and thank me later!

I'm Still Here

2010 mockumentary

Rating: 15/20

Plot: River Phoenix's little brother Joaquin decides that enough's enough and announces his retirement from acting. In the aftermath of that decision, Ben Affleck's little brother Casey follows him around with a camera to document Hollywood's response and the birth of Joaquin's new career in hip hop.

Here's who ends up looking really good in this movie: Puff Daddy (or whatever the hell he goes by these days), David Letterman, and Edward James Olmos. The latter's speech (see below) is so freakin' good. I'm not sure if any of these guys were in on the joke (I think I heard that Letterman was), but if they were, their "performances" as themselves were really good. It's really hard to play yourself both realistically and naturally. Ask Joaquin Phoenix because his performance in this is wildly uneven. I sometimes bought that he was a real person living the Charlie Sheen life, struggling with public life and the emotions that it brings and excited about his new career as a terrible rapper. There were other times when it just didn't click. Casey Affleck claims this was the performance of his career, and in chunks, it is impressive. When he's got one take to work with (the television appearances or interviews, the rap concert), he delivers something authentic. There are some scenes where his drugged-out and haggard character just seemed like an over-acting job. (i.e. "Do the fucking snow angel!") The movie also seems very very long, and some of the scenes just dragged. "Ok," I said aloud several times, "I get it. Move on to Joaquin doing something else shocking." I went into this expecting a train wreck, and a train wreck I got. A very long train wreck. A train wreck in slow motion. But I liked the idea behind the experiment and similar to the Sasha Baron Cohen pseudo-documentaries, it uses those not in on the joke to satirize society. In this case, it's looking at the public's expectation of their matinee idols; their obsession with the rich and famous, especially when they're in the process of crashing and burning; and that fuzzy line between real person and entertainer. I was caught off guard by how much I had to think while watching the train wreck. I was also caught off guard by how much I liked this since I really just popped it in for the novelty and didn't even expect to finish the thing. I do wonder what this will do to Phoenix's career. It doesn't seem like he's got any movies coming out any time soon.

Here's Olmos's speech: "That's you, drops of water and you're on top of the mountain of success. But one day you start sliding down the mountain and you think wait a minute; I'm a mountain top water drop. I don't belong in this valley, this river, this low dark ocean with all these drops of water. Then one day it gets hot and you slowly evaporate into air, way up, higher than any mountain top, all the way to the heavens. Then you understand that it was at your lowest that you were closest to God. Life's a journey that goes round and round and the end is closest to the beginning. So if it's change you need, relish the journey."

Take the Money and Run

1969 comedy

Rating: 15/20

Plot: Virgil Starkwell is a career criminal. Unfortunately for him, he's terrible at it. The inept bungling burglar finds love but can't find a way out of his life of crime which humorously makes things difficult for him. He also looks a lot like Woody Allen.

There are some very funny moments in this faux-documentary--"gub," a scene with a ventriloquist dummy, a bad spit shine, a cellist in a marching band, glass theft. I'm bugged that Woody can't keep documentary consistency and loses cohesion because of it. There are scenes with multiple cameras, and more than likely, the events being captured wouldn't even have one camera. The typically absurdist slant is mostly fun, and even though this isn't exactly a Woody Allen classic, it's still worth the time.

Punishment Park

1971 social statement

Rating: 17/20

Plot: Pseudo-doc chronicling a group of counter-cultural anti-establishment troublemakers ranging from subversive folk singers to people who want to blow up government buildings as they are sentenced and given the option of jail time or a trip to Punishment Park where they have three days to run through a desert to reach an American flag while policemen chase them.

This is one of the most consistently realistic mock documentaries I've ever seen. There's no way this Punishment Park was even considered, let alone something that actually existed, but it's hard to watch this without being almost fooled that the government had set something up like this. A lot of the credit has to go to the actresses and actors--the hippies, the pigs, and the members of the tribunal. The desert setting also contributes, giving this a harsh realism. The story is tense, filled with bile and what looks to be actual hatred, both from the screaming maltreated hippies and the less-obvious government people whose loathing was a little more submerged. The complete lack of music, the handheld cameras, and what I think was probably largely-improvised dialogue also helped. As a metaphor, this at times delivers its message a little too forcefully, an allegory that could have been two pages but ended up as twenty. And I don't think the good guys in this always look like good guys. There's also a moment when the documentarians turn subjective (when documentarians attack) and I'm not exactly sure that was necessary. But this is a completely engrossing product of its time, one whose relevancy today is more than a little scary. Strong stuff, likely to offend a bunch of people, even people who might agree with the politics. But most hippies would love it, assuming they can afford dvd players to watch it on and could squeeze in some time to watch it between all their dope smoking and not bathing.

Idioterne (The Idiots)

1998 Von Trier joint

Rating: 18/20

Plot: Karen, a woman looking for answers and meaning in a life full of questions and futility, flees that life and joins a group of pretentious radicals calling themselves The Idiots. Led by the megalomaniacal Stoffer, they go out in public and "spazz," their term for acting like they are developmentally disabled. They make scenes in restaurants, during tours of insulation factories, at public pools, in the woods, and elsewhere. As they search for their "inner idiots," Karen tries to figure out what's going on and whether she belongs in the group or not.

First off, the self-important Lars Von Trier makes it very difficult to like his movies. He filmed this one as part of Dogme 95, an avant-garde filmmaking movement. And I expected to watch it and be reminded of a bowel movement. I don't want to spend too much time with this, but the "Dogme 95 Manifesto" includes the following rules, almost all of them strictly enforced for Idioterne:

1. On-location filming. No props.
2. No sound effects or music.
3. Hand-held camera.
4. Color but no special lighting.
5. No optical work and filters.
6. No "superficial action" (murders, weapons)
7. "Temporal and geographical alienation are forbidden."
8. No genre.
9. Not widescreen.
10. No directorial credit.

Add to all of this pretentious artsy-fartsy nonsense the fact that this is a movie about people acting like they're mentally challenged, and I fully expected to kind of hate this movie. I really did. Instead, I unequivocally loved it. I honestly finished the movie and thought it was a real documentary about people who really did this. That's a testament to how great both the "story" and the acting is, the former not seeming written at all, natural and free-flowing, while the latter is the amongst the most realistic I have ever seen. At the center of this movie is Karen and her struggles although for most of the movie, she meanders around the edges of the group and has one of the least dynamic personalities of the idiots. But the action unspirals, the group's ideals are shattered, and we're left with Karen at the end, returning to her home and finishing the movie with an absolutely stunning moment that nearly made me cry. And that's strange because the majority of this movie is about as weird as anything I've ever seen. There are lots of funny Borat-like moments where the idiots interact with the unsuspecting public, but they're all moments that'll make you feel guilty while you laugh at them. That's probably Von Trier's jerky intent, making the audience uncomfortable, forcing us to leave our skin and dance around in our bones. The dogme rules don't exactly make this a comfortable experience either, and some shocking nudity and an even more shocking, and extremely graphic, orgy scene also force the audience far out of the comfort zone. Watching this without being affected in some way is impossible, and I think different people will grab different things from Idioterne. It's definitely not for everybody; in fact, I'm not sure it's for very many people at all, and a lot of people . For me, it's a shockingly original and amazing movie experience.

Bruno

2009 comedy

Rating: 16/20

Rating: Fashion klutz Bruno gets himself fired from his Austrian television style show. He decides to move to Los Angeles with the hope of becoming internationally famous. Inspired by America's finest and famous, he attempts to make connections, adopt African babies, and find a cause to support. Eventually, he even tries, with the aid of some friendly Christians, to cure himself of homosexuality.

The scenes that nearly had me on the floor: the interview with Mariah Carey*, the focus group watching his television show and interview with Harrison Ford, the casting call for babies to pose for pictures with his adopted son, the lessons on how to defend yourself against a homosexual, the hunting scenes. It's impossible not to compare this with Borat. Personally, I think it's better. There's no goofily pointless Pam Anderson plot, and there are less scenes that either don't work or go on far too long. Bruno's story does parallel Borat's quite a bit, and at times, the gross-out or potty-mouthed stuff seems like it came from a mind belonging to a man who was working too hard to top himself. But I was entertained from start to finish although I can't remember a time when I felt as uncomfortable while being entertained. This also works satirically, and it takes a special kind of talent to make something that is simultaneously incredibly stupid and profoundly witty at the same time. Bruno was easily my least favorite Ali G Show character, but I really liked what Cohen did with the character in this movie. Once again, I feel that Cohen should be in discussion for "best actor" awards. His comic timing, the physical comedy, and his ability to create this absolutely ridiculous character that becomes so real are awesome. I don't understand how he can do this stuff without breaking character and bursting into laughter, and I also don't understand how he did some of this without being killed. The guy who plays the assistant (Lutz) is a bit overshadowed, but he also does an amazing job.

I will watch this with the commentary now.

*Ya know, they're really all interchangeable. Apparently, it was Paula Abdul, not Mariah Carey. My apologies to both divas.

The Life and Hard Times of Guy Terrifico

2005 honky-tonkumentary (according to the poster)

Rating: 16/20

Plot: This mockumentary uses interviews, home footage, and concert video to trace the life and career of country music outlaw Guy Terrifico, a talented singer-songwriter who never actually released a finished album but who likely humped more drums than any other performer in the history of recorded music.

Sure, it's a musical mockumentary, but it is not just another This is Spinal Tap rip-off. This doesn't follow Guy Terrifico around (indeed, the title character is supposedly deceased) but instead is a very realistic look back at those who loved, hated, and both loved and hated the Haggardesque character. Merle Haggard and Kris Kirstofferson, both in the movie, are obvious peers, although the music a lot of the times sounds a little like Dylan when Dylan's straight and lucid. I liked the music enough to want to find the soundtrack. I really loved the performances. This is a low-key production and it's not actually obvious for a while that it's even about a fictional persona. The comedy is subtle and natural even with a few more slapstick moments and zanier photographs, and nothing here is really any goofier or more difficult to believe than the stuff in the Townes Van Zandt documentary or in Dig!. Peter Dinklage's appearance gives things away early on though. A very laidback but also very funny faux-documentary.

Fear of a Black Hat

1994 hip hop mockumentary

Rating: 11/20

Plot: A year in the life of rap trio NWH (Niggaz With Hats). When the niggas discover newfound success, conflicts between the niggaz fester.

Ah, what this could have or should have been. It lifts the style, the plot arc, and even some jokes straight from This Is Spinal Tap, stealing them as freely as rap groups have sampled from James Brown. It's nowhere near as funny or as natural, however. It starts with a really cheap joke about gratuitous language. From there, there are some hits and lots of misses. The main problem is that it has a very staged/scripted feel instead of having a foundation of improvisation. There are also too many cameras in some scenes, and they make a huge mistake by adding cartoonish sound effects during a scene involving guns. It does nothing but take away whatever documentary realism it might have. I do like the female rap quartet known as Parsley, Sage, Rosemary and Thyme though, and the roomful of Ices made me laugh. But most of the jokes are just too obvious. So is the satire. Misogyny, violence, superficial politics in rap lyrics, rapper feuds, and the idea that all black people steal things are targets that are much too easy to hit, and they aren't hit in necessarily clever ways here. The songs are reasonably well done although they all sound pretty much the same. I wish this one was better because the potential was definitely there.

Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan

2006 comedy

Rating: 15/20

Plot: Borat, Kazakhstan's number one journalist, is sent to America to film a documentary on what makes the country so great. He falls in lust with Pamela Anderson after catching an episode of Baywatch on a hotel television and sets out for Los Angeles to find her.

On the one hand, this makes the misanthropic half of me laugh more than anything else. Attacks on idiocy, brutal satire, jabs of irony. On the other hand, there's something so hateful about a lot of this, and it's often unnecessarily crude. On the one hand, I really love the interaction with the actual, unsuspecting masses--the rodeo crowd, the guy trying to teach Borat how to tell jokes, the gun store owner, the used car salesman. On the other hand, the Pamela Anderson plot is cheesy and low-brow and pointless. On the one hand, Cohen's probably a genius and would have been deserving of a best actor nomination for this largely-improvised role. On the other hand, I really didn't need to see his ass. I like Borat and I'll likely see it lots more times and I look forward to seeing the new one with the gay character, but when I think about how good this movie should have been, it really annoys me. Channel it, Borat!

This Is Spinal Tap

1984 mockurockumentary

Rating: 17/20

Plot: Advertisement director Marty DiBergi follows heavy metal rockers Spinal Tap on a fateful American tour in support of their latest album, Smell the Glove. Conflicts arise due to their waning popularity, management problems, artistic differences, and a lack of record label support.

You know the jokes are coming and can even quote them, but they still surprise and make you laugh. I'm a sucker for both the faux-documentary format and improvised comedy anyway, and this is the one of the best. It all comes naturally, nothing winding up too hammy or strained, so natural that somebody watching excerpts could easily be fooled into thinking it's legitimate. You've got to pay attention though. The first time I saw this movie with Wombat McClain, he wouldn't stop quoting lines before they came (he also wouldn't stop making sexual advances) so I was a little distracted. He also kept giggling in advance and spilling his plate of corn. This helps prove my theory that movies should almost always be watched alone. I do wonder what Wombat McClain is doing these days though. Probably listening to King Crimson and creeping people out! And eating corn, of course. Dude loved his corn.
This is not Wombat McClain, but it might as well be:

The Independent

2000 comedy

Rating: 13/20

Plot: B-movie director Morty Fineman, director of 427 films, is in the twilight of his career. He wants to make a movie based on the life of a serial killer (a musical), but is finding it impossible to find financial backers despite getting help from his estranged daughter. He owes loads already and tries desperately to find a way to make money to continue doing what he loves to do--make motion pictures with lots of topless women and some sort of trendy political message.

I'd never heard of this and wasn't sure if Jerry Stiller could really carry an entire movie, but it's really pretty funny and Ben's dad does a great job playing, I assume, the exact same character he always plays. He's not exactly versatile like his son. I like the mockumentary style, but this doesn't stick consistently with that genre and moves into more of a straight narrative and sort of loses focus. The funniest bits are the clips from his movies (titles like 12 Angry Men and a Baby and my favorite title, World War III II) and the interview cameos with people like Ron Howard and Peter Bogdanovich. There's also a filmography running alongside the credits which is amusing; check it out on wikipedia. Venus de Mofo; Neat but Not Clean; One-Eyed Wink; What Planet Is This? (Oh My God It's Earth!); Assassin in a See-Through Blouse; Unknown Epidemic, Run!; A Stranger Wears My Pants; Go Tell It on the Mountain, Just Get the Hell out of My House!; A Very Malcolm Xmas; Talkin' Dirty to the Dead; Pong: The Movie; The Bodacious Oasis; (Steam Rises as) The Hup Swamp; and The Man with Two Things are all movies I'd pay to see. Actually, that list is probably better than the movie. Just read it. And if you think it's funny, you'll probably laugh at least three times while watching the movie.

I wonder what a much-maligned guy who wears poker shirts to poker games would think of this movie. . .

The Falls

1980 fake biographical catalogue

Rating: 18/20

Plot: A mysterious event (V.U.E. or Violent Unknown Event) has affected the world. Lots died, but others were affected in other ways--immortality, anatomical changes (chambers added to the heart, wings, webbed fingers), the obtaining of new languages, new genders, recurring dreams of water, the need to drive in circles. The Falls is an encyclopedic chronicle of 92 of these people, all with a last name beginning with F-A-L-L.

The cinematic equivalent to Gravity's Rainbow? I have a confession to make--it took me nearly an entire year to watch this three hour, twenty minute film. I started it in January, watched a little more in October, and finished it tonight. It's bewildering, frustrating, and difficult. However, it's also a work of unquestionable genius. As far as I know, there is nothing else even close to being like this. Self-referential with interlocking mini-biographies and themes or motifs or even characters who will pop up in later Greenaway movies, the focus isn't necessarily on the collection of stock footage, found footage, shots from early Greenaway shorts, and stuff Greenaway shot specifically for this film, but on the narrators (there are at least five) who dryly deliver dadaist details--magically realistic, absurdly humorous, head-scratching. The music--mostly Greenaway regular Michael Nyman but there's also a snippet of Syd Barrett and lots of Brian Eno in here--is really terrific. There's so much to digest here, so many parallels and so many allusions to literature, other films, folklore, science and anatomy, etc. that it makes me wonder what multiple viewings will reveal. Is this a grand, elongated joke, a riddle, a game, maniacal masturbation? Whatever it is, I dug it.

C.S.A.:The Confederate States of America

2004 satirical (?) mockumentary

Rating: 10/20

Plot: This is a look at what American history would look like following a Confederate victory in the Civil War. Disguised as a BBC documentary and interrupted by hilarious advertisements that seemed straight out of MAD TV, this starts with the war itself and then moves through reconstruction, imperialism, isolationism, World War II, a Cold War (with Canada), and contemporary times.

The only thing shocking about this is how humorless it was. It attempts provocation or edginess, winds up just pointless. The visuals and interviews were well done and made the thing look authentic, but it doesn't raises any real issues. There's maybe an intriguing idea here, but it's very poorly executed and not worth seeing.

No picture.

Real Life

1979 comedy

Rating: 10/20

Plot: Director Albert Brooks brings a film crew into the home of a typical American family of four living in Phoenix in order to film their real lives for the entertainment of future movie-goers. The filming, mostly because of the meddling of the narcissistic director, nearly ruins that family's "real life. Unfortunately, it's not very funny.

Sort of a precursor to modern reality television, and in a way, nearly prescient. So this could have and probably should have been very clever satire. Nope. Albert Brooks is annoying and splashes all over this one. There's not enough family, not enough Charles Grodin, not enough funny. There's too much snippy Albert Brooks narration, too many winks at the audience, too much 'look-at-how-clever-I-am" moments. True, that's part of the point and helps characterize Brooks' "character," but it's not what I wanted to see. The guys standing behind the family in the background of the poster up there? They're wearing cameras. They represent the only funny thing about the movie, too. Every time one of them wandered in frame, I almost laughed. Every time Albert Brooks was in a scene, however, I wanted to throw a glass through the television. I'm not sure why I expected this to be funny enough to spend an hour and forty minutes with, but I was way off. It's cynical and criminally unfunny instead.

Here I am enjoying Real Life:

Chalk

2006 pseudo-documentary

Rating: 13/20


Plot: Follows the insanely typical school year of three inexperienced public educators and one first-year vice principal


I believe that a large bulk of this was entirely improvised by students and teachers at a real school somewhere in Texas, and it's amazing how well they pull it off. Great ensemble cast. The Office-like mockumentary does a good job showing the nuances of the profession and the daily combination of humor and funk. I smiled watching rookie mistakes, a lot which I made my first few years (see setting up students only to watch them call the bluff) and some which I've made recently (see the hurling of desks). And seeing the despair on the completely inept, first-year teacher Mr. L. was heartbreaking. So much of this is believable that it just had have been scripted by teachers--interaction with parents, interaction with peers who are a bit too straight-shootin', interaction with students who just don't want to be there. Some scenes which stretched too long (the slang spelling bee) and some scenes that seemed completely out of place (what's a dream sequence doing in a documentary?), but the documentary format worked well and allowed the individual stories to meander and keep things episodic and fresh. Occasionally, there was a dip into the overly sentimental, but the characters never seem to ask the audience to feel sorry for them and the funny, mostly unpredictable script worked throughout. And I still can't believe how real the (I guess) real students looked--so authentic in their apathy and dismal expressions.

Favorite line (paraphrased): "How are you going to staple 30 tests without a stapler? You can't!" Favorite snippet just might have been when the vice principal sat down at a piano and sang, "You can teach if you want to. You can leave no child behind" to the tune of Men Without Hats' "Safety Dance."

Here's somebody who often wishes he did something else for a living watching Chalk: