SXSW Film
Capsule reviews of films at the festival
Thursday, March 09, 2006Maxed Out
A portrait of the consumer debt epidemic that is devastating an increasing percentage of American families, "Maxed Out" is infuriating and dispiriting, showing that things are worse than most of us probably believed. Viewers inclined to blame debt problems wholly on borrowers might think twice after hearing how lenders deliberately court those who are least likely to be able to pay — the ones who will rack up interest and late fees, turning lenders' huge profits into obscene ones. Then there are the horror stories in which completely blameless citizens are ruined by glitches in computer records of their credit. A few smart, thoughtful voices (like Harvard law prof Elizabeth Warren) put things into perspective, while filmmaker James Scurlock gathers evidence that our elected leaders are happy to stack the deck against the poor.
4 p.m. Saturday, 4:15 p.m. Tuesday and 11 a.m. March 17, Paramount.
— John DeFore
Fired!Who knew getting fired by Woody Allen would be such a good career move? Despondent after losing a gig in one of Allen's plays, actress Annabelle Gurwitch seeks consolation from some very funny peers — actors, like Illeana Douglas and Jeff Garlin, who have their own tales of humiliating failure on the job. After putting together a stage show in which comedians tell their tales, Gurwitch digs a bit into the nationwide layoff trend beyond the entertainment industry; while she's not as thorough as a PBS investigation, she certainly brings an entertaining and humane point of view to the subject.
4:30 p.m. Sunday and 9:30 p.m. Wednesday, Austin Convention Center; 9 p.m. March 18, Alamo Downtown.
— John DeFore
Shadow Company
Given its ominous name and its politically loaded subject — the history and present-day workings of private mercenary armies — you'd expect "Shadow Company" to be a political screed, a fearmongering broadsheet about the world falling to pieces because of you-know-who's war. Not so. While this documentary is quite explicit about the drawbacks of having soldiers in war zones who are unaccountable to any government (and there are plenty) it is also sympathetic to "private military contractors" who are guided by their own codes of ethics and who on camera are often intelligent, thoughtful people instead of big slabs of amoral testosterone. Some scholarly talking heads discuss the millennia-old history of guns-for-hire, and specific attention is paid to the past decade or so of modern contractors. Most of the focus, though, is on how such companies operate right now, and what things could be done to make their existence less problematic.
2 p.m. Sunday and 11:15 a.m. Tuesday, Austin Convention Center; 7:15 p.m. March 18, Alamo South.
— John DeFore
(Expletive)
In the shadow of a best-selling scholarly book about "Bull(expletive)" comes this documentary about the f-word. With interviewees ranging from Miss Manners to the famously foul-mouthed Kevin Smith (along with some etymologists who debunk myths and tell us about the word's centuries-old history), the film runs the gamut from straight-out celebration of the expletive's unparalleled versatility and primal power, to analysis of the hostility it has aroused between "prudes" and "profaners." The filmmakers are clearly aligned with the latter, and occasionally indulge in excessive self-righteousness about freedom of expression (isn't profanity often used to deflate just this sort of seriousness?) — they point out every contradiction in the conservative stance but leave some on the liberal side unaddressed. It may not tell you much you don't know, but its editing is lively and there are plenty of laughs to be had.
6 p.m. Friday, Paramount; 11:59 p.m. Tuesday and March 16, Alamo South.
— John DeFore
Rank
Nicely photographed and featuring some good action footage of rodeo derring-do, "Rank" introduces viewers to a few contenders on the professional bull-riding circuit (and some of the breeders and handlers who make their job possible). The cringe-inducing footage of rides gone wrong alone might make it of interest to thrillseekers; injuries and upsets provide some drama as well. Strangely, though, the film's tone and structure are very subdued, the opposite of those seconds-long feats of determination and dexterity around which bull riding is based. A ponderous soundtrack exacerbates this. The men portrayed are interesting, but there isn't enough color here to rope in viewers who aren't already rodeo fans.
11 a.m. Saturday, Paramount; 9:30 p.m. Tuesday and 11 a.m. March 18, Alamo Downtown.
— John DeFore
Thank You For SmokingThe film adaptation of Christopher Buckley's wickedly funny 1994 novel comes awfully close to being great, close enough that a couple of big flaws can't sink the whole movie. The plot deals with Nick Naylor (Aaron Eckhart), spin doctor for the tobacco industry, who can turn a debate about the health effects of cigarettes into a discussion of personal freedoms. As he works on a deal to get more cigarettes placed in movies, he also tries to be a role model to his son (Cameron Bright), tumbles into an affair with an ethically challenged reporter (Katie Holmes) and faces a threat on his life. Sections of "Smoking" are simply wonderful: Rob Lowe steals the movie as an Asia-obsessed Hollywood agent, with a sharp Adam Brody as his assistant. Robert Duvall turns a Southern tobacco baron into a rich and affecting character, and Sam Elliott is powerful as a cancer-stricken former Marlboro Man who has to make a wrenching decision.
The movie's best moments are funny and provocative, but, while it's never less than entertaining, it doesn't consistently hit these high points. The story feels a little dated — it's a bad sign that the opening scene occurs on a "Jenny Jones"-type talk show. And while most of the supporting cast excels, the usually reliable Eckhart is not quite right as the charismatic and manipulative Naylor. He doesn't sell us as a guy who can sell anything.
7 p.m. Friday, Alamo Downtown.
— Sarah Lindner
This Film is Not Yet Rated
Most parents recognize the arbitrariness and inconsistency of movie ratings for youth-oriented films. But at the adult end of the spectrum, the problems go from annoyance ("I don't want my kids to hear that word") to outright repression ("If my movie gets an NC-17, it won't be shown in most of this country"). Worse, the nine-person ratings board is anonymous and unaccountable to moviegoers. Accomplished documentarian Kirby Dick gets tough — exposing identities, giving detailed examples of the system's flaws and actually interviewing past raters — in a film that will boil the blood of anyone who believes movies should occasionally test society's limits. True, he gives little weight to the MPAA's side — but the well-funded Jack Valenti had more than three decades to do that, and we're still unconvinced.
11:59 p.m. Friday and Saturday, Alamo Downtown.
— John DeFore
Al Franken: God Spoke
You have to wonder what the audience is for this doc — the subject infuriates conservatives, while liberals will find the period it depicts (the 2004 election) thoroughly depressing. A fair bit of what's covered here is familiar ground to readers of Franken's best-selling books. Still, for a figure who has been depicted one-dimensionally by so many name-callers on the right — Franken has lobbed insults himself, famously, but he's mostly interested in deconstructing propaganda — it's interesting to go behind the scenes and get a fuller sense of the man. Seeing him go face-to-face with everyone from penny-ante Sean Hannity to big player Henry Kissinger is icing on the cake.
7 p.m. Saturday, Paramount; 11:15 a.m. March 18.
— John DeFore
Live Free or Die
A familiar-looking tale of a would-be tough guy who accidentally becomes notorious, "Live Free" is far less funny than you'd hope from a writer/director team with a number of "Seinfeld" episodes under their belts. "Tadpole" star Aaron Stanford doesn't have the charisma to play the central role, while Paul Schneider, so likable in "Elizabethtown" and "All the Real Girls," gives a truly embarrassing performance as his borderline-mentally challenged flunky. The gags aren't funny, good supporting actors are wasted; all you can say is that with a peppier soundtrack and a few generic blondes added to the cast, this could play twice every weekday on Comedy Central.
1:30 p.m. Saturday, Paramount; 11 a.m. Monday nd 7 p.m. March 17, Alamo Downtown.
— John DeFore
Friends With Money
Writer-director Nicole Holofcener's sharply observed film will get attention because of Jennifer Aniston, but she's actually the least riveting character on screen. It's not all her fault. As the lone single, poor member of a group of wealthy, married friends, Aniston's Olivia is the least developed character. And while Aniston is certainly competent as an actress, she can't compete with the powerhouse triumverate of Joan Cusack, Frances McDormand and Catherine Keener.
Holofcener ("Walking and Talking," "Lovely & Amazing") packs the film with uncomfortable truths. It talks a lot about a subject friends are loath to acknowledge — the tension between haves and have-nots — but is never ponderous or bleak. Holofcener creates a world that's joltingly real, scathingly funny and — in a sweet surprise — optimistic at its heart.
4:30 p.m. Sunday, Arbor.
— Sarah Lindner
The Life of Reilly
If you're surprised to hear that Charles Nelson Reilly, staple of '70s TV talk and game shows, is still alive — many people are, he says — it will floor you to hear that thousands have paid to see the famously flamboyant man tell his life story in theaters. Want another shocker? It's a pretty enjoyable show. Reilly, filmed onstage in a style reminiscent of "Swimming to Cambodia," is less affected than we remember him, with few of the whiny tics Alec Baldwin mimicked famously on "Saturday Night Live." Instead he talks seriously about a troubled childhood and an unlikely career — veering occasionally toward the maudlin but rescuing himself with a well-timed one-liner.
7 p.m. Sunday and 6:30 p.m. March 17, Austin Convention Center.
— John DeFore
Jam
Locals who know roller derby only from its recent all-girl revival can see the originators of the sport in the documentary "Jam," which focuses on some old-timers trying to keep the flame alive in San Francisco. Thick-bodied men and women, some of whom were derby stars back in the '70s, play before tiny crowds despite the best efforts of an obsessive promoter; brutality on the rink is echoed behind the scenes, where egos and lapsed ethics provide plenty of conflict. For a doc that starts off on an enjoyably quirky note, though, "Jam" gets awfully grim. A number of the film's characters are engaging, but by midway through it seems every one suffers from alcoholism, mental illness or AIDS — with very little hope in sight. SXSW-ers will inevitably recall last year's "Murderball" and note how much more joyous that film was, despite featuring men who had lost much more than their 15 minutes of fame.
11 a.m. Sunday and Tuesday, and 10 p.m. March 18, Paramount.
- John DeFore
Slam Planet: War of the Words
This locally made doc was nearly lost in the Guadalupe Arts Center fire in January 2005. Let's be happy it survived. The film follows two poetry slam teams — Austin's and a New York City team — as they prepare for the 2004 national competition in St. Louis (this year's it is in Austin). There's plenty of performance footage, but the filmmakers also have an eye for behind-the-scenes detail and don't flinch from difficult moments. But through conflicts with teammates and domestic dramas, the poets featured are constantly driven by the passion to create, and that's inspiring to watch.
10:30 p.m. Sunday, noon March 16 and 1:30 p.m. March 18, Alamo South.
— Sarah Lindner
loudQUIETloud — Film About the Pixies
I always thought the Pixies were a tad overrated, especially live, until I saw an incredible show at Houston's short-lived Vatican nightclub in 1991. I didn't care much about the band's cash-in reunion tour in 2004-05, but then I caught them at Stubb's, where bald and overweight never sounded so now. Then, word came that a documentary had been made about the tour and I thought there was no way that film could be as interesting as if it had been made during the band's original six-year run, from '86 to '92.
How many times can a person be wrong about a band?
Directed by Steven Cantor and Matthew Galkin, "loudQUIETloud" is a fascinating, all-access look at four people who were never quite as good as when they were together. It's about folks who didn't know what they had, finally discovering what others saw in them. As the film starts, bassist Kim Deal is fresh from rehab, slamming nonalcoholic beer and looking like Charlize Theron could play her. Drummer David Lovering is a kooky magician who combs the beach with a metal detector during the day. Guitarist Joey Santiago does freelance film music work and performs in a lame duo with his wife. Charles "Black Francis" Thompson is perhaps saddest of all, playing inferior material for folks who showed up because he used to be in Nirvana's favorite band.
Then come the phone calls that cast them together again. Then comes the memories, the reflection about how hard it is to be in a band, even a successful one.
The thing I loved most about "quietLOUDquiet," which could've kept my interest for four hours, is just how little had changed within this group that looks so different. Deal's smile will make you fall in love again, just like in 1986, and Thompson's songs will forever sound edgy. When the band nervously opened their first show together in 12 years with "U Mass," their "Louie Louie," I thought my head was going to fly off.
This hour-and-a-half redemption song shows that no band ever deserved to sell out, in both meanings, like the Pixies.
9:30 p.m. Sunday and 4:30 p.m. March 18, Austin Convention Center; 9:45 p.m. Tuesday, Alamo South.
— Michael Corcoran
Behind the Mask: The Rise of Leslie Vernon
In the age of gory torture-fests such as the "Saw" movies and "Hostel," it's an odd choice to satirize slasher films such as "A Nightmare on Elm Street," "Halloween" and "Friday the 13th," which seem downright quaint now. But that's what "Behind the Mask" does. It's a "Scream" rehash, deconstructing the slasher genre, right down to the clichés we all know (like the fact that the "survivor girl" is the lone virgin in the film). For its first half, "Mask" is entertaining despite the dated subject. A documentary maker (Angela Goethals) and her crew are following one Leslie Vernon as he plots his killing spree. As Leslie, Nathan Baesal captures the craziness of Tom Cruise in mid-couch jump. From what I can learn about when the film was shot, the Cruise resemblance is coincidental, but it's uncanny. Baesal can turn on a dime from geeky enthusiasm to total creepiness, and he's tons of fun to watch. Also a hoot are the appearances by Zelda Rubinstein, the creepy little woman from "Poltergeist," and Freddy Krueger himself, Robert Englund, who's sweet and dashing as Leslie's foe. Unfortunately, the film gets dragged down in over-explaining — only a couple of insights into horror are interesting — and then turns into a totally routine fright flick. It's all mildly diverting, but it never rises to the level of Baesal's killer performance.
11:59 p.m. Sunday, Wednesday and March 18, Alamo Downtown.
— Sarah Lindner
Punk Like Me
Swanky house, gorgeous wife, adorable nub of a daughter — Rich Wilkes has done pretty well for himself as a Hollywood screenwriter. At 37, he'd also played drums and whatnot in punk bands for much of his adult life.
Which is why he conned his way onto the Vans Warped tour, posing as a Rolling Stone freelancer, despite the fact that he didn't have a band at the time.
With his buddy from film school, Luis, on guitar, Wilkes fronts a band called Carne Asada, "the world's original punk rock mariachi band." This is the set-up for "Punk Like Me," a doc about what happens when babies, groupies, in-laws, rock and serious boozing collide.
Wilkes and his mates know they're on a fool's errand. They get stuck in a tent far from the main stages, but they don't care. Much to their surprise, they actually rock. The grind of the tour wears on them and makes the movie a tad repetitious, but that's entirely the point. Except for 20 minutes of stage time, there's not much glamour to touring, even if you're in a luxury bus and your friend the singer is paying for everything. Funny, knowing and good-humored, "Punk Like Me" made me want to crowd surf, but I probably shouldn't. Bad back. Wilkes would understand.
9:45 p.m. Monday and 7 p.m. Wednesday, Austin Convention Center; 9:30 p.m. March 18, Alamo South.
— Patrick Beach
Nobelity
Local writer/actor Turk Pipkin invites us to join his search for enlightenment in this documentary, which has him crossing the globe to pick the brains of Nobel Prize winners in various fields, hoping to draw connections among the Big Issues (you know: poverty, environmental collapse, war) faced by the human species. Uncharitable viewers will quickly be put off by the extremely earnest prologue and between-interview segments, but the interviews themselves provide some food for thought. Unfortunately, Pipkin doesn't seem cut out to be an interviewer; his questions are rarely probing enough to provoke meaty responses. "Nobelity" is a personal-quest travelogue that should have been a 20-part PBS series hosted by Bill Moyers, but civics-minded audiences will find tidbits to chew on nonetheless.
7:30 p.m. March 16, Paramount.
— John DeFore
51 Birch Street
Most of us guess there are things about our parents we'd rather not know. Documentarian Doug Block has proof. After his mother's death, he comes to suspect his parents' relationship wasn't all it seemed. He's right, but not in the way he initially thinks. But while the situation is inherently earth-shattering for Block and his siblings, the film does little to dramatize it for viewers. The first 20 minutes meander like a would-be Ross McElwee video diary, not even suggesting what the movie is about, and things get only marginally more involving thereafter. We're told things we already know about post-war Americans: Their myth of middle-class bliss didn't perform as advertised, and they were secretly dissatisfied. And we see that, even as adults, our lives can be upset by the revelation that our parents had the same faults as the Joneses. But the specifics of this case are hardly extraordinary, and Block's quest for emotional closure isn't the stuff of gripping cinema.
5:30 p.m. Sunday and 2:45 p.m. Tuesday, Alamo South; 11 a.m. March 17, Alamo Downtown.
— John DeFore
Brothers of the Head
Can we please call a moratorium — granting exceptions to Christopher Guest and maybe a few others — on mock documentaries? In this tale of English conjoined twins who are discovered by a promoter and sold as a '70s rock band, the conceit adds very little; and since it's obviously a put-on from the start (the interviewees talk like movie characters, not like real people, and the "vintage" footage looks a few months old), the format is just an obstacle to our caring what happens to the poor boys. Filmmakers Keith Fulton and Louis Pepe, after their engrossing Terry Gilliam doc "Lost in La Mancha," might have been reluctant to dive wholeheartedly into fiction filmmaking, but this compromise is only intermittently involving.
9 p.m. Saturday and 9:30 p.m. March 16, Alamo South.
— John DeFore
