Movie Reviews - The Terminal:
In the wake of terrible reviews, The Terminal deserves a certain amount of credit, regardless of its inevitable categorical flaw as a bad romance movie. In this case, unique to the history inextricably associated with it, the bad romance part is luckily imbued with enough political context to save at least a star or two out of its horrible 2 star ratings across the board.
Beyond the romance, The Terminal is yet another post-9/11 cinematic collage of American ideals, cleverly displayed through every possible unamerican aspect of American society. In effect, it stretches our notion of the 'melting pot' - and exactly how international the word "American" has come to represent.
The touch of genius was probably the set - the international terminal. The Terminal, by nature, represents the most international part of the U.S - neither foreign nor American soil. Seems to me as though Spielberg was trying to stretch our definition of "American".
Or maybe it's just a bad romance movie.
Inspired simultaneously and erratically by the blog thoughts of both Stanley Lee and Ned Rorem.
Jun 26, 2004
Jun 25, 2004
I have not yet seen the movie, though I think I've done enough research on the film to write a term paper. From Ebert:
A reader writes:
"In your articles discussing Michael Moore's film 'Fahrenheit 9/11,' you call it a documentary. I always thought of documentaries as presenting facts objectively without editorializing. While I have enjoyed many of Mr. Moore's films, I don't think they fit the definition of a documentary."
That's where you're wrong. Most documentaries, especially the best ones, have an opinion and argue for it. Even those that pretend to be objective reflect the filmmaker's point of view. Moviegoers should observe the bias, take it into account and decide if the film supports it or not.
Michael Moore is a liberal activist. He is the first to say so. He is alarmed by the prospect of a second term for George W. Bush, and made "Fahrenheit 9/11" for the purpose of persuading people to vote against him.
That is all perfectly clear, and yet in the days before the film opens June 25, there'll be bountiful reports by commentators who are shocked! shocked! that Moore's film is partisan. "He doesn't tell both sides," we'll hear, especially on Fox News, which is so famous for telling both sides.
The wise French director Godard once said, "The way to criticize a film is to make another film." That there is not a pro-Bush documentary available right now I am powerless to explain. Surely, however, the Republican National Convention will open with such a documentary, which will position Bush comfortably between Ronald Reagan and God. The Democratic convention will have a wondrous film about John Kerry. Anyone who thinks one of these documentaries is "presenting facts objectively without editorializing" should look at the other one.
The pitfall for Moore is not subjectivity, but accuracy. We expect him to hold an opinion and argue it, but we also require his facts to be correct. I was an admirer of his previous doc, the Oscar-winning "Bowling for Columbine," until I discovered that some of his "facts" were wrong, false or fudged.
In some cases, he was guilty of making a good story better, but in other cases (such as his ambush of Charlton Heston) he was unfair, and in still others (such as the wording on the plaque under the bomber at the Air Force Academy) he was just plain wrong, as anyone can see by going to look at the plaque.
Because I agree with Moore's politics, his inaccuracies pained me, and I wrote about them in my Answer Man column. Moore wrote me that he didn't expect such attacks "from you, of all people." But I cannot ignore flaws simply because I agree with the filmmaker. In hurting his cause, he wounds mine.
Now comes "Fahrenheit 9/11," floating on an enormous wave of advance publicity. It inspired a battle of the titans between Disney's Michael Eisner and Miramax's Harvey Weinstein. It won the Palme d'Or at the Cannes Film Festival. It has been rated R by the MPAA, and former New York Gov. Mario Cuomo has signed up as Moore's lawyer, to challenge the rating. The conservative group Move America Forward, which successfully bounced the mildly critical biopic "The Reagans" off CBS and onto cable, has launched a campaign to discourage theaters from showing "Fahrenheit 9/11."
The campaign will amount to nothing and disgraces Move America Forward by showing it trying to suppress disagreement instead of engaging it. The R rating may stand; there is a real beheading in the film, and only fictional beheadings get the PG-13. Disney and Miramax will survive.
Moore's real test will come on the issue of accuracy. He can say whatever he likes about Bush, as long as his facts are straight. Having seen the film twice, I saw nothing that raised a flag for me, and I haven't heard of any major inaccuracies. When Moore was questioned about his claim that Bush unwisely lingered for six or seven minutes in that Florida classroom after learning of the World Trade Center attacks, Moore was able to reply with a video of Bush doing exactly that.
I agree with Moore that the presidency of George W. Bush has been a disaster for America. In writing that, I expect to get the usual complaints that movie critics should keep their political opinions to themselves. But opinions are my stock in trade, and is it not more honest to declare my politics than to conceal them? I agree with Moore, and because I do, I hope "Fahrenheit 9/11" proves to be as accurate as it seems.
A reader writes:
"In your articles discussing Michael Moore's film 'Fahrenheit 9/11,' you call it a documentary. I always thought of documentaries as presenting facts objectively without editorializing. While I have enjoyed many of Mr. Moore's films, I don't think they fit the definition of a documentary."
That's where you're wrong. Most documentaries, especially the best ones, have an opinion and argue for it. Even those that pretend to be objective reflect the filmmaker's point of view. Moviegoers should observe the bias, take it into account and decide if the film supports it or not.
Michael Moore is a liberal activist. He is the first to say so. He is alarmed by the prospect of a second term for George W. Bush, and made "Fahrenheit 9/11" for the purpose of persuading people to vote against him.
That is all perfectly clear, and yet in the days before the film opens June 25, there'll be bountiful reports by commentators who are shocked! shocked! that Moore's film is partisan. "He doesn't tell both sides," we'll hear, especially on Fox News, which is so famous for telling both sides.
The wise French director Godard once said, "The way to criticize a film is to make another film." That there is not a pro-Bush documentary available right now I am powerless to explain. Surely, however, the Republican National Convention will open with such a documentary, which will position Bush comfortably between Ronald Reagan and God. The Democratic convention will have a wondrous film about John Kerry. Anyone who thinks one of these documentaries is "presenting facts objectively without editorializing" should look at the other one.
The pitfall for Moore is not subjectivity, but accuracy. We expect him to hold an opinion and argue it, but we also require his facts to be correct. I was an admirer of his previous doc, the Oscar-winning "Bowling for Columbine," until I discovered that some of his "facts" were wrong, false or fudged.
In some cases, he was guilty of making a good story better, but in other cases (such as his ambush of Charlton Heston) he was unfair, and in still others (such as the wording on the plaque under the bomber at the Air Force Academy) he was just plain wrong, as anyone can see by going to look at the plaque.
Because I agree with Moore's politics, his inaccuracies pained me, and I wrote about them in my Answer Man column. Moore wrote me that he didn't expect such attacks "from you, of all people." But I cannot ignore flaws simply because I agree with the filmmaker. In hurting his cause, he wounds mine.
Now comes "Fahrenheit 9/11," floating on an enormous wave of advance publicity. It inspired a battle of the titans between Disney's Michael Eisner and Miramax's Harvey Weinstein. It won the Palme d'Or at the Cannes Film Festival. It has been rated R by the MPAA, and former New York Gov. Mario Cuomo has signed up as Moore's lawyer, to challenge the rating. The conservative group Move America Forward, which successfully bounced the mildly critical biopic "The Reagans" off CBS and onto cable, has launched a campaign to discourage theaters from showing "Fahrenheit 9/11."
The campaign will amount to nothing and disgraces Move America Forward by showing it trying to suppress disagreement instead of engaging it. The R rating may stand; there is a real beheading in the film, and only fictional beheadings get the PG-13. Disney and Miramax will survive.
Moore's real test will come on the issue of accuracy. He can say whatever he likes about Bush, as long as his facts are straight. Having seen the film twice, I saw nothing that raised a flag for me, and I haven't heard of any major inaccuracies. When Moore was questioned about his claim that Bush unwisely lingered for six or seven minutes in that Florida classroom after learning of the World Trade Center attacks, Moore was able to reply with a video of Bush doing exactly that.
I agree with Moore that the presidency of George W. Bush has been a disaster for America. In writing that, I expect to get the usual complaints that movie critics should keep their political opinions to themselves. But opinions are my stock in trade, and is it not more honest to declare my politics than to conceal them? I agree with Moore, and because I do, I hope "Fahrenheit 9/11" proves to be as accurate as it seems.
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