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Media Log: 02.19.2012 – PARADISE LOST 3, THE GREY

West Memphis 3, Paradise Lost 3

(cinema) Paradise Lost 3, Purgatory (d. Joel Berlinger and Bruce Sinofsky, 2011) It’s been 16 years and two sequels since I saw the first Paradise Lost documentary at the Film Forum in New York City. I’m glad the wrongfully accused are set free but I still feel the truth rots a in dark, incarcerated place. I remember that the first documentary, a compelling story of wrong compounded by wrong, was also a frustratingly unthorough piece of journalism. The synopsis is that in 1993 three eight year old boys were murdered and thrown in a ditch in West Memphis, Arkansas. Three teenage boys, to be nicknamed the West Memphis 3, were convicted of the murders under highly questionable investigatory and judicial procedures. The first film fell well short for me in providing a sufficient account of the prosecution’s so called case. A year after seeing the first PL the friend I went to see it with called me up and said, “I heard those documentary guys made it all up to make the teenagers look good. When you hear the whole story they are totally guilty.” Really? What’s your source? None, really. Is there a whole story?  I have always been convinced that the teenagers were railroaded. But after years of sequels, cult-like public outrage, websites, Eddie Vedder and Johnny Depp I still have no idea what happened back in 1993. If the WM3 were not murdering cub scouts that night in 1993, where were they? None of these films have ever discussed an alibi. If a documentary is presenting itself as the balanced account of its subject matter and one side of the argument is being left out, there must be a reason. I can’t speculate the reason because facts in this case have always been overshadowed by emotions, self-righteousness on behalf of the WM3 supporters, stubborn obfuscation by law enforcement, and repeated attempts by the filmmakers to offer alternative accusations that frankly are as shoddy and irresponsible as the lousy case against the teenagers. There is another feature documentary ,West Of Memphis, in circulation as well as many tv magazine pieces which may provide more information. I’d like to know if there is more to know about what happened the night those young boys were murdered, and I’d like to know more about what the police actually had on the WM3. In Purgatory the defense has gone to all the trouble of pulling together world renown criminal profilers and DNA experts. Yet the new documentary doesn’t reveal one thing we didn’t already know. These films succeeded in calling attention to injustice perpetrated on the accused and the fact that the real killer will never be brought to justice. The Arkansas court system created an outcome in which the case will never be reopened. The whole story is fascinating and sad, but these movies aren’t very good either. ๏ ๏ outof ๏ ๏ ๏ ๏ ๏… The Grey(d. Joe Carnahan, 2012) An airplane transporting ruffian oil workers

The Grey. Your enemy or your conscience?

crashes in barren Alaska. The men must try to survive arctic conditions, interpersonal conflicts, and attacks by an aggressive pack of wolves. The wolves are of course metaphor for the organizational behavior of a pack of men on the brink as well as the haunting pasts that brought each man to this frozen Purgatory. The challenge includes lots of tense survival action and man-chewing wolves, but what keeps the film interesting are the metaphysical elements, both in the blurry camerawork and the cryptic storytelling. Is this situation real or are we in the self-exiled imagination of the central character? Not brilliant but  an experience, however harrowing. ๏ ๏ ๏ out of ๏ ๏ ๏ ๏ ๏… (theatre) West Side Story (RISE theater company at Stadium Performing Arts Center, Woonsocket, RI) I go to a lot of community theater and you might think I am fortunate to live in a place where there are many local companies. One has to approach community theatre with prejudice of lowered expectations. Some of the worst crap in the world gets to Broadway with multi-million dollar underwriting. Under what circumstances can one expect no-budget theatre to be any better? Surprisingly often the risk does pay off in community. I see performers all the time who have dedicated their lives to craft and not to making it big. But “big” took on new meaning for me in seeing this production of WSS when the curtain went up on a cast of teenagers who were mostly all overweight. I’m not kidding. I don’t know anything about casting a play in suburban area where your company may also be completing with a lot of other companies, but surely someone had to realize the absurdity. WSS is as much a dancing show as it is musical as no one wants to see roly-poly people rolling around on the stage floor. I will say that the lead vocals were excellent. But the show itself seemed out of the director’s grasp. The pacing was awkward, the actors were bad, and the choreography was an embarrassment waiting for wincing audience. Whoever you are RISE, you need to set your ambitions lower for now and find material that is appropriate for your acting pool.

Media Log: 01.14.2012

(cinema) Drive, d. Nicolas Winding Refn, 2011. I just watched Drive for the second time. On closer inspection I figured out that if this movie with the same L.A. crime underworld story had been edited too fast and too furious and amped with a soundtrack of Kidd Rock anthems it would have come off as total trash. As one gangster character who used to produce low-budget films says, “One critic called them [movies] European. I thought they were shit.” For Drive the filmmakers adopted highly stylized and deliberate editing with brilliant, catchy, 1980s sounding synth music are these are the two elements that hide all the flaws in this movie and make it so captivating. As produced, Drive is brilliant in its turns between the actors subtleties and violent action excesses. Drive is the best movie I saw in 2011 and goes on a list of great of great American films. ๏ ๏ ๏ ½… The Mothman Prophesies, d. Mark Pellington, 2002. Richard Gere is a recently widowed reporter who inexplicably wakes up in a West Virginia town four hundred miles from home. He starts encountering townspeople who are having their own paranormal encounters with a moth-like man who whispers warnings of a looming catastrophe. Mothman is a successfully weird and suspenseful thriller that never tries to over-explain its phenomena. We are never told exactly what is going on between life in the town and whatever dimension the Mothman comes from, nor is it resolved why reporter id dragged into it. I like that these mysteries stay in tact. I like that we don’t really know how much of what is transpiring is just shadow of the reporter’s unresolved trauma. Is he imagining everything? Is he Mothman? In the end it’s a well acted drama about the reporter trying to move beyond his tragic past. But this is a false ending as we find out there really is tragedy about to collapse on the town. Apparently the story is adapted from an investigation into a real incident in 1968 where a West Virginia bridge collapsed and killed forty-six people. That part of it may be factual but it didn’t make for a better ending. One other issue with this film is the terrible casting of Laura Linney as the town cop and love interest for Gere. I love Laura Linney in everything else. Would Elizabeth Taylor have made a good Barney Fife just because she was a good  actress? If the movie had got its priorities straightened out it could have been a modern classic.๏ ๏ ๏… (television) Star Trek DS9, THE STORYTELLER. O’Brien and Bashir visit a village of idiotically superstitious Bajorian yokels who think only O’Brien can save their village from the wrath of a giant cloud entity that looks a lot like the Stay-Puft Marshmallow Man in Ghostbusters. In an equally idiotic subplot, a teenage ambassador, negotiating for the future of her own village, gets the best advice from the only other kids on DS9, Jake Sisco and his Ferengi chum Nog. This episode plays like it was written for and by children. Not the worst of the first seasons episodes, but quite irritating.

BSD Movie Log: Doomwatch

Doomwatch (1972, d. Peter Sasdy)

A British government scientiss visits a rural, inhabited island to collect soil samples in the wake of an offshore oil spill.  The scientist is greeted with hostility by the locals.  They are attempting to hide an ugly secret.

Doomwatch was a theatrical release derived from a British t.v. adventure series.  The first half is interesting,  atmospheric, and weird.  The second half  is preachy and embarrassing.    This is not a horror movie.  Don’t get sucked in.  You’ll only end up with a lot suck.