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Reviews (7)
07 Jan, 2010
Tarzan 2
The direct-to-video sequel Tarzan II continues the story started by Disney in the 1999 animated feature Tarzan. This story involves Tarzan deciding to get away from his family out of concern that harm may come to them simply because of all the interest in him. Thanks to a series of adventures with his animal friends, Tarzan learns the true value of family
20 Feb, 2010
tarzan
good film..........................................................................................................................
07 Jan, 2010
bruno
Rather than outline Bruno for you or chew over too many of its finer formal qualities, I want to address the film in a slightly different fashion.
When we get to December, Bruno might not still be the best comedy of the year, but I’ll eat Werner Herzog’s shoe if it isn’t the best documentary. Sacha Baron Cohen and team here paint a picture of our society that we really shouldn’t be looking away from, and share a point of view that we shouldn’t decry out of hand. Even if you decide, after careful consideration, that this movie isn’t showing an accurate view of the world, you at least owe this same world that careful consideration. Myself, I’ve been left amazed how piercing and truthful this portrayal of people actually is.
Like Borat before it - and before that, nothing else in all of cinema, I believe - this movie is a fiction film that intersects with reality in breathtaking fashion. Between a few cleverly conceived but, ultimately, low-point sequences of full-on, totally dramatized scenes, the film shows us a series of incredible encounters between a fictional flamboyant fashionista and a number of real members of society. Cleverly, the fictional character of Bruno is consistent and understandable, if completely and purposefully unrealistic, while at the same time not ultimately the real focus.
Where a great piece of fiction can refract the human condition through a created character, a model in which we will recognize elements of ourselves, Bruno instead seeks to catalyze real human actions by imposing a character as a stimulus to real individuals, and capturing an image of humanity in their resulting behavior. Through their encounters with the caricature, the ‘real people’ in Bruno are lead to reveal something of themselves, and through the film’s varied selection of situations and people shown, and range of themes explored and provocations made, a fascinating tapestry of hypocrisy, stupidity and bigotry has been woven.
And I refute any claims that the movie’s ’subjects’ are being tricked into their shameless displays. Sure, a puddle of gas won’t burn if you don’t drop a match in it, but you can’t blame the match for the oil being flammable in the first place. Defending these folk is, at the very least, condoning their volatility.
There’s always going to be some issues raised with a document that is in any way edited, as this film necessarily is. Scenes in Bruno will of course begin and end without showing the entire interaction between the people on display. You might argue even further that a person’s behavior on one day is not necessarily indicative of their behavior at all times. That far, I’ll agree. But I won’t take it as a defense. That’s like a murderer asking to be acquitted because “I haven’t done it before and I won’t do it again.” Doing it once is, frankly, bad enough
It might sound like I’m claiming Bruno is a scientific experiment, but I know it isn’t one really. What we end up with is a string of anecdotes, not data, and the sample size of folk provoked is truthfully pretty small. I guess one’s reaction to the film as a sample of human behavior will depend, to a large extent, on how representative one assumes the small set of participants offered actually is. I’d like to think it isn’t a representative set at all, but functions instead as no more than warning: these people are likely amongst the worst, don’t be like them.