Secret Agent Gal Movie Reviews

Thrive follows the money to reclaim our future, wealth - 5 stars

Everyone can Thrive, according to a new, leading edge documentary impressively researched and organized by business executive Foster Gamble. A wake-up call with a plan, it’s now on DVD and screening nationwide. Steve Gagne directs.

Change is imperative. Nothing less than transformation – personal, social and global – will enable humanity to thrive, according to Gamble, co-founder of CASSonline.org.

Daring to follow the money, Gamble and his wife Kimberly Carter Gamble analyze underlying causes of scarcity and suffering worldwide.

The heads of three famous families have manipulated world wealth as part of a global domination agenda for centuries, Gamble asserts. Not everyone in these families is corrupt, he adds.

The Bank for International Settlements (called “the central bank of central banks”), international central banks, and national central banks control resources. Big banks, corporations and governments lie beneath central banks in a “pyramid of power.”

Elite central bankers control finance, energy, food supplies, education, the media and other systems. By keeping countries and citizens in debt, they effectively stifle human potential with the help of corporate-owned media, governments, major foundations, the IMF and the World Bank.

Many national economies have been harmed, according to the film. The elites are actively seeking to destroy the U.S. economy, experts say.

The number of global elites is tiny, says Gamble. In the U.S., the ratio of citizens to these elite bankers is a million to one, he maintains.

Individuals can exercise power in many ways. Bank locally. Buy and invest responsibly. Seek out news from independent sources. Take part in mass, critical actions. The Thrive website lists suggested actions.

Express your uniqueness, says British author David Icke. Fear of ridicule is one way the global elite gets us to impose its norms on one another.

Free, unlimited, clean energy is the film’s central, revolutionary theme. Two elegant designs, the torus and the Vector Equilibrium (VE), can be used to produce free energy and promote international well-being, Gamble explains.

The torus (or flower of life) is an energy pattern that appears in nature and across cultures. The VE is the underlying structure of the torus, a 64-sided pattern that is “the blueprint by which nature forms energy into matter.”

What does all this mean? “Goodbye Exxon Mobil, goodbye oil, goodbye coal, goodbye linear transmission of electricity,” says Steven Greer, M.D., Director of The Disclosure Project.

Did you know that Dr. Royal Rife invented technology that cured cancer in the 1920s? Have you heard of Nikola Tesla, who invented a technology that produced free, unlimited energy in 1901? The work of both men was destroyed, and their reputations were ruined. Archival footage shows government agents seizing revolutionary technologies.

For those who doubt futuristic exposes like this one, detailed information sources are listed on the film’s website.

Prominent scientists and thinkers are interviewed, including: Nassim Haramein, cosmologist and inventor; Paul Hawken, environmentalist and entrepreneur; Catherine Austin Fitts, former Assistant Secretary of the Department of Housing and Urban Development; Vandana Shiva, environmental activist and eco-feminist; and Elisabet Sahtouris, evolutionary biologist and futurist.

How can the world thrive? Gamble integrates progressive, conservative and libertarian ideas into a model for change:

Stage 1 – Reform. We would reform current systems to “bring integrity and healing to our current condition.”

Stage 2 – Limit Government Control to enhance the “protection of individual rights and the commons.”

Stage 3 – Voluntary Cooperation would flourish as people live by “rules, but no rulers.”

Economic reform in Stage 1, for example, includes: stop bailouts; dismantle the Federal Reserve; withdraw support from the IMF, World Bank, and Bank for International Settlements; refuse international taxes, and monetize debt.

Following these steps would transform the arts, economics, education, environment, governance, health, infrastructure, justice, media, relations, science, spirituality and word view.

Gamble acknowledges that he was born into the wealthy Procter & Gamble family, but has forged his own career path.

Integrity, freedom and compassion can become the world’s guiding principles, says Gamble. Bold and honest, this film offers hope and a blueprint for change.  

If you like Thrive, you might also enjoy: 2012: Time for Change; I Am; Happy.

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Thrive   2011  /  PG-13  /  2 hours, 12 min

Cast Overview: Foster Gamble, Duane Elgin, Nassim Haramein, Steven Greer, Jack Kasher, Daniel Sheehan, Adam Trombly, Brian O'Leary, Vandana Shiva, John Gatto, John Robbins, Deepak Chopra, David Icke, Catherine Austin Fitts, Kimberly Carter Gamble, G. Edward Griffin, Bill Still, John Perkins, Paul Hawken, Aqeela Sherrills, Evon Peter, Angel Kyodo Williams, Elisabet Sahtouris, Amy Goodman, Barbara Marx Hubbard

Director:  Steve Gagne

Genre:  Documentary, Current Affairs, Science & Nature

 

2012: Time for Change advocates "evolve to solve" strategies

Evolve to solve. Daniel Pinchbeck investigates how to survive and thrive during changing times in the wide-ranging documentary 2012: Time for Change.

Thoughtful and visionary, director Joao Amorim’s film transcends apocalypse hype by advocating action. It’s now screening nationwide and streaming via Netflix.

Pinchbeck walks his talk as he shares common sense ways to live consciously so that all can thrive on earth. The founder of the Evolver social movement and editorial director of Reality Sandwich interviews scholars and leaders around the world.

Animation is also used to investigate spiritual practices, sacred activism and new technologies to help us survive change with grace and ease.

Functional design, habitat restoration, ecological detoxification, intentional community, aquaponic agriculture, wind power, open source currency and diverse currency tools are among the ideas examined. The film is similar to the documentary Thrive and surpasses Armageddon dramas like Battle Los Angeles.

“Apocalypse” means “uncovering,” and doesn’t necessarily signal doom, according to Pinchbeck. “Focusing on what will happen in 2012 may just be the wrong question,” Pinchbeck told a meeting of the Left Forum in New York City. “We should just be really asking . . . . ‘What type of change can we bring about?’ It’s going to be up to individuals and then communities to make a profound shift.”

Archival footage of the “Leonardo da Vinci of the 20^th century,” design scientist R. Buckminster Fuller, is shown. Groundbreaking technologies for sustainable energy, health and farming have already been developed, says Pinchbeck. These advances have been suppressed by powerful special interests time and again, he maintains.

Futurist Barbara Marx Hubbard cites Fuller. “We now have the resources, technology and knowhow to make the world a 100% physical success for everyone without taking it away or destroying our environment,” she says.

Many cultural creatives have planted “seed ideas” to help humanity, Hubbard says. These are quietly growing and taking root. “The only way to get to the future [Fuller] was seeing was about completely transforming your consciousness, loving one another as yourself,” she says.

Hot button issues like water scarcity and depleted soil are reviewed. Michael Dorsey, Ph.D. of Dartmouth College notes that current economic and social systems do not deliver justice, environmental protection and human rights. “The system is broken,” he believes.

 “Water’s the next oil,” warns Maude Barlow, Senior Advisor on Water Issues to the United Nations. “Water scarcity has already reached a dire limit for two billion people in the world,” she says.

“As water becomes more corporately controlled, as water becomes more expensive because it’s controlled for profit, it’s going to be denied to people who can’t afford it. It’s already happening now in communities in the global south where water metering is going on,” according to Barlow.

The “Green Revolution” has led us to “an incredible amount of dependency on corporations to supply seed, to supply chemicals,” says Penny Livingstone-Stark, a permaculture designer. Monoculture farming, she says, serves to “disconnect people from their land, pollute water systems, deforest the earth.” Livingstone-Stark explains how using soil biology sustainably perpetuates living systems and increases crop yields.

Reclaiming our lost connection to nature is the key to healing individuals, societies and the planet, Pinchbeck concludes.

Policarpo Chaj, activist and executive director of Maya Vision, explains how past and future are cyclical in Mayan thought. The 2012 prophecy of earth changes and economic downturns is already happening, Chaj and other scholars say.

Filmmaker David Lynch, who has practiced Transcendental Meditation for almost 35 years, tells Pinchbeck that he overcame anger shortly after he began meditating. Looking within helped him “find infinite intelligence, creativity, bliss, energy, love, power,” he adds.

A weak link here is Pinchbeck’s use of a psychoactive root bark to jump start his self-discovery. Using a drug for self-empowerment seems counterintuitive and harmful.

British rock singer Sting, who co-founded the Rainforest Foundation and practiced Ashtanga yoga, notes that he also took the drug. Fasting and meditation are just as effective ways to connect with the Divine, Sting adds.

Pinchbeck sees an empowered “global tribe” replacing poor, suffering masses. His essay collection Notes from the Edge Times has just been published.   (4.5 out of 5 stars)

If you like 2012: Time for Change, you might enjoy:  I Am; Happy; Waste Land; 2012; Thrive.

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2012: Time for Change    2010  /  NR  /  1 hour, 40 min

Cast Overview:  Mitch Horowitz, Michael Dorsey, Ph.D., Gaspar P. Gonzalez, Penny Livingston, Maude Barlow, Bernard Lietaer, Joel Kovel, Michael D. Coe, Ph.D., Policarpo Chaj, Tiokasin Ghosthorse, Terence McKena, Steven Colbert, Sting, Dennis McKenna, Barbara Marx Hubbard, R. Buckminster Fuller

Director:  Joao Amorim

Genre:  Documentary, Spirituality, Science & Nature, Current Affairs, Animation

Miss Representation: as media disses women, women speak out - 5 stars

The media trivializes and sexualizes women for profit according to Miss Representation, this year’s most important documentary by far. The disturbing eye-opener from Jennifer Siebel Newsom was featured at Sundance 2011, and recently premiered on OWN, the Oprah Winfrey Network.

The film is filled with in-depth interviews and interspersed with images from print, television, the internet, rock, rap and hip hop videos. Women are seen in cat fights, vying for a man, and doing combat while barely dressed. They are portrayed as decorative, stupid, gold diggers, catty, manipulative, vindictive, and not to be trusted especially by other women, according to Jennifer Pozner, Executive Director of Women in Media & News.

“This notion that women are natural enemies vying for the prize of being most beautiful or the love of whoever is so counter to women in real life,” says Pozner.

“Not only are girls seen as objects by other people, they learn to see themselves as objects,” says Jean Kilbourne, Ed.D. (Killing Us Softly). “Self-objectification has become a national epidemic,” according to Caroline Heldman, Ph.D., an Associate Professor of Political Science at Occidental College.

Depression, eating disorders, lower ambition, and lower cognitive function results from self-objectification, Heldman says. Girls are less likely to run for office or to vote, she adds. Self-mutilation (hacking or cutting) among female teens is cited as a growing problem.

Digitally altered photos of women create a “more extreme and impossible” image of beauty, according to Kilbourne. Girls “end up measuring themselves against an impossible standard.”

Media content powerfully shapes society, say experts. It influences brains, lives and emotions, especially in children. Profit-hungry media outlets are seen as disregarding social responsibility.

Oscar winning director and producer Paul Haggis (Crash), believes women become “cartoons” as male studio chiefs and filmmakers “see the world in a certain way and so we often replicate the world that we grew up in.”

“We are a nation of teenage boys,” according to Carol Jenkins, Founding President of the Women’s Media Center. Advertisers target men aged 18 - 34 who are less likely to watch television. Thus hyper-sexualized female images abound in advertising and programming.

Deregulation has enabled a few powerful conglomerates to control the U.S. media. The boards of directors of these conglomerates are overwhelmingly male. In an internal memo, former Disney CEO Michael Eisner wrote, “To make money is our only objective.”

Anything goes in television programming at all hours thanks to relaxation of FCC restrictions on adult content.

Electing more women to public office will allow them to shape public policy with their perspectives, insights and experiences. “Women make up 51% of the U.S. population yet comprise only 17% of Congress. Female presidents have been elected in 67 countries, but not in the U.S.” The film is filled with such alarming statistics.

“We’re shortchanging voices that are urgently needed in public forums,” says Cory Booker, mayor of Newark, NJ. Devanshi Patel, a student who ran for Youth Governor of California, offers a refreshing perspective. “Leaders are just servants to people,” she told her mother.

Aren’t sexy women strong? Madonna, Angelina Jolie and Emily Browning (Sucker Punch) portray women who exploit their sexuality in order to be empowered, says M. Gigi Durham, Ph.D., author of The Lolita Effect. Such a heroine is “very much objectified and exists for the male viewer.”

Meanwhile the series Commander in Chief, which starred Geena Davis as the first woman president of the United States, was cancelled after one season. Oscar winner Davis says that “only 16% of protagonists in films are female.” Davis, the founder of See Jane, disputes the myth that “things are getting better” for women in film.

The media ignores older women, Miss Representation asserts. “Women in their teens, 20’s and 30’s are 39% of the population, yet are 71% of women on TV. Women 40 and older are 47% of the population, yet are 26% of women on TV.” Feminist organizer and activist Gloria Steinem explains, “A patriarchal system values women as child bearers. Period.”

“Only 7% of directors and 10% of writers in film are women,” according to the film. “The average number of news stories about women and girls is less than 20%.”

Strong women are described in news reports according to how they look or how emotional they are. What they say or do is virtually ignored, as seen in media portrayals of Secretary of State Hillary Clinton and former vice presidential candidate Sarah Palin.

Many prominent women detail their experiences. Powerful images of women in entertainment flash by. These include Oprah Winfrey; Judi Dench; Jada Pinkett Smith; Ellen De Generes; Glenn Close; Sandra Oh; Mariska Hargitay; Julianna Margulies; Tina Fey; Edie Falco; Meryl Streep; Annette Bening; Julianne Moore; Naomi Watts; Gabourey Sidibey; Salma Hayek and Charlize Theron.

Newsom ends Miss Representation with a call to action and a vision of a better world for our daughters and sons.

If you like Miss Representation, you might enjoy: The Whistleblower; The Kids Are All Right; Fair Game.

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Miss Representation    2011  /  NR  /  1 hour, 25 min

Cast Overview: Corey Booker, Margaret Cho, Katie Couric, Geena Davis, Rosario Dawson, Dianne Feinstein, Jane Fonda, Paul Haggis, Lisa Ling, Rachel Maddow, Nancy Pelosi, Condoleezza Rice, Gloria Steinem, Daphne Zuniga

Director:  Jennifer Siebel Newsom

Genre:  Documentary

The Debt: Mirren, Chastain star in classy spy thriller - 5 stars

 

Classy and exciting, The Debt draws you in until the very last scene. John Madden’s film about an Israeli secret service mission is 2011’s best thriller to date. Excellent acting, screenplay and cinematography combine in this remake of the thriller Hahov (2007).

The arc of story is deepened with both mature and young versions of Mossad agents Rachel Singer (Helen Mirren and Jessica Chastain), David Peretz (Ciaran Hinds and Sam Worthington), and Stephan Gold (Tom Wilkinson and Marton Csokas).

The story first unfolds in 1997 Tel Aviv. Rachel and Stephan’s daughter Sarah has written a book about her parents’ role in a heroic mission. Concern marks Rachel’s face at a book party and later during a television appearance.

The real action begins in 1965. The agents plan to capture Nazi war criminal Dieter Vogel (Jesper Christensen) and bring him to justice. With all the urgency of young patriots seeking to make history, they prepare every detail.

 

Mirren and Chastain provide The Debt’s moral center. Both are stellar and memorable. It is a real treat to see their work in tandem as the film explores truth and honor.

Mirren is precise and soulful as Rachel faces a crisis of conscience. When a shameful secret emerges, she is forced to return to service.

Fear and mourning don’t stop the mother and grandmother Rachel. She’s smart, gutsy and angry. Finally, she has a change of heart. Mirren fascinated me until the very last scene.

Prolific Chastain (excellent in recent notables The Tree of Life and The Help) is intense, passionate and athletic. Soon a love triangle develops as she lives in close quarters with David and Stephan.

Each agent has been damaged by the Holocaust in some way. David lost his entire family.

The team confirms that Vogel has changed his name and is a practicing gynecologist in East Berlin. Young Rachel’s visit to his office is sure to become a classic scene. Later, a huge scar on Rachel’s right cheek seems to symbolize Israel’s search for justice and healing.  

Capturing Vogel in broad daylight is suspenseful, but moving him to Israel proves difficult. With Nazi soldiers on high alert, the team hijacks a truck near a train station. Complications arise.

Young Stephan wants to save face after the botched mission. David goes along. Rachel objects and finally relents. Years later she tells Stephan, “I knew we’d be punished. I knew we’d have to pay.”

Award winners Mirren and Wilkinson set the bar high. Hinds makes the most of his tragic, brief appearance. Csokas brings young Stephan to life with swagger and sex appeal. Worthington (Avatar) sensitively portrays the deeply wounded David.

Called the “surgeon of Birkenau,” Vogel’s character seems to be based on Dr. Josef Mengele. Mengele conducted human experiments during World War II, including changing childrens’ eye color. This caused blindness in many, a fact mentioned in the film.  

The Debt was adapted from the original movie by screenwriters Matthew Vaughn, Jane Goldman and Peter Straughan.

Madden (Shakespeare in Love; Proof) does a superb job with sustained suspense and riveting action. His film is intellectually satisfying and heartfelt.

If you like The Debt, you might enjoy:  Hanna; SALT; Incendies.

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The Debt     2010  /  R  /  1 hour, 51 min 

Cast Overview:  Helen Mirren, Sam Worthington, Jessica Chastain, Jesper Christenson, Marton Csokas, Ciaran Hinds, Tom Wilkinson, Romi Aboulafia

Director:  John Madden

Genre:  Thriller, Drama

 

 

The Whistleblower: sex trafficking exposed in dark thriller ****

 

If you are able to watch sex trafficking, cruelty and torture, see The Whistleblower. Rachel Weisz stands up to sex traffickers in this fact-based thriller about human rights violations in postwar Bosnia. Director Larysa Kondracki relays horrible truths using noir and cinema verite in her feature debut.

The Whistleblower does not let you look away from war atrocities. With a docudrama feel, it is suspenseful, violent and jarring. There is a graphic rape scene. Female slaves are kept in filthy, torture-chamber barracks. Nebraska cop Kathryn Bolkovac is the real whistleblower.

In the opening, Ukrainian teen Irka (the director’s sister Rayisa Kondracki) urges Raya (Roxana Condurache) to travel with her to a job opportunity in Bosnia. Neighbors and even family members lure young women like these. Desperate to escape struggle and poverty, Raya accepts.

A divorced mom, Bolkovac arrives in Sarajevo in 1999 for a six-month contract. The $100,000 tax-free paycheck will allow her to move closer to her daughter. Soon Bolkovac finds herself confronting police, local thugs, and even her fellow United Nations peacekeepers-for-hire.

Bolkovac is outraged to find that her co-workers are complicit or participating in the prostitution slave rings. Diplomatic employees have full immunity, and locals are unlikely to be prosecuted. Bolkovac’s employer at the time, security contractor DynCorp International, works for the United States today in Iraq, Afghanistan and Somalia.

Best supporting actress Rachel Weisz (The Constant Gardener) conveys the soul of the film. Bolkovac is urged to look the other way. She refuses.

Glib acceptance reigns. “Those girls are whores of war. It happens,” an agency commander says.

The ferocious activist faces off against peacekeepers and investigates brothels in the night, often alone. Unafraid, Bolkovac does her job. It’s a portrait of a true hero with no need for a costume or special effects.

 

Bolkovac backs the first successful post-war court decision for a domestic violence victim. She gets noticed. Vanessa Redgrave appears briefly as the real Madeleine Rees, then head of the U.N. Human Rights Commission. Rees offers Bolkovac a position in the U.N. Gender Affairs Office, where she will investigate sexual assaults. Bolkovac accepts as her peacekeeping contract runs outs.

Other U.N. officials ignore Bolkovac’s revelations about the international sexual assault on girls. The activist eventually was fired from her U.N. position. She won a wrongful termination suit in 2001. Bolkovac co-wrote the screenplay with Eilis Kirwan based on her book The Whistleblower: Sex Trafficking, Military Contractors, and One Woman’s Fight for Justice.

David Strathairn (Good Night, and Good Luck) is brooding and shifty as Peter Ward, an internal affairs officer who offers to help the whistleblower. Monica Bellucci plays a diplomatic burnout who sees a bit of herself in the idealistic American.

The Whistleblower is a Third World Erin Brockovich. It provokes questions that demand answers. It shows the war within war, violence against women, on a massive scale.

In a respite from violence, Bolkovac has an affair with one of her co-workers Jan (Nikolaj Lie Kaas). In real life she later married her co-worker.

This film conveys important information. I felt honored to watch a woman dare to stand up for justice. I also noted that The Whistleblower does not depict forgiveness from any party. Leaking information to the BBC seems to be Bolkovac’s only option.

Spiritual teachers including Marianne Williamson advocate brief meditation while surrounding horrific situations with light and love. Personal power can be exercised by imagining and intending a better world.

The Whistleblower is roughly hewn in a way that suits its ugly subject. It was filmed quickly on a low budget, mostly in Bucharest, Romania.

One important scene feels staged. The screenplay is choppy and sometimes preachy. Yet great performances from Weisz, Strathairn and others animate this relentless movie. Plato’s Cave comes to mind during a particularly tragic turning point.

A twisty ending provides little relief. The film closes with statistics about continued sex trafficking worldwide.

According to Foreign Policy’s Turtle Bay blog, U.N. Secretary General Ban Ki-moon invited Kondracki to show the film at U.N. headquarters “to top U.N. officials and representatives of governments that supply peacekeepers to U.N. missions.” The screening is scheduled for the week of October 10.

If you like The Whistleblower, you might enjoy:  A Call Girl; Miral; Lemon Tree.

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The Whistleblower     2010  /  R  /  2 hours

Cast Overview:  Rachel Weisz, David Strathairn, Vanessa Redgrave, Monica Bellucci, Roxana Condurache, Rayisa Kondracki

Director:  Larysa Kondracki

Genre:  Drama, Thriller, True Life, Drama Based on the Book

Languages:  English and Croatian with English subtitles

 

The Help: women speak out, cross color lines in Deep South drama ****1/2

 

Women unite when a black maid (Viola Davis) tells her story to a young, white journalist (Emma Stone) in The Help, a drama set in 1960’s Jackson, Mississippi. Based on Kathryn Stockett’s novel of the same name, Tate Taylor’s film is made vivid by an impressive, diverse female ensemble cast.

The Help looks selectively at the segregation era in the Deep South, stepping gingerly around the land mines of racial hatred and violence. While wife beating is mentioned, and the assassination of civil rights activist Medgar Evers is reported on television, this film is about women: boss ladies and maids, saints and sinners, competitors and collaborators. Among them are quiet leaders.   

Oscar-worthy performances abound. These movie legends and young talents clearly cared about the project and shared a rapport that is evident on-screen. Taylor, who adapted the screenplay, employs a lively pace and an upbeat tone even as anger ferments. He takes a big risk by using humor to upend fear and separation.

The maids earn 95 cents per hour with no Social Security benefits. The boss ladies live in beautiful mansions, play cards and gossip as the help raise their children and do the housework.  

Aibileen Clark (Davis) first agrees to help Skeeter Phelan (Stone) with her housekeeping column for the Jackson Journal. When Skeeter tells her she’s writing a book from the perspective of black women, Aibileen is speechless. Stone (Easy A) is outstanding as an earnest young reporter who remains true to herself. Allison Janney plays Skeeter’s anxious mother. Mary Steenburgen plays a profit-minded publisher.

 
 
 
Aibileen’s wisdom has been honed by indignity and tragedy. A writer at heart, she journals every night. Skeeter travels secretly to Aibileen’s kitchen to interview her for the controversial book. Aibileen can barely speak about her own son, who died after he was denied prompt medical attention following a work accident.

Oscar nominated for her supporting role in Doubt, Davis captures the soul of understatement. Aibileen is stoic and polite, a churchgoer who genuinely lives by Christian principles. Her best friend Minny Jackson (Octavia Spencer) speaks out loudly. “We livin’ in hell,” she tells Skeeter. “Trapped.” Spencer delivers a breakout performance.

Minny’s boss Hilly Holbrook (Bryce Dallas Howard, bracing and relentless here) is crusading for a Home Health Sanitation Initiative. Blacks are ordered to use separate, outdoor bathrooms where they work. When Minny dares break the rule out of necessity, she’s promptly fired. She has no choice but to work for the town’s social outcast Celia Foote (Jessica Chastain, marvelously batty in this role). Chastain and Spencer forge a fascinating dynamic of respect and momentary equality. Sissy Spacek plays Miss Hilly’s senile, defiant mother. Cicely Tyson is regal as Skeeter’s mammy Constantine.

There’s a “Real Housewives of Jackson” feel to The Help that’s soon transcended. Aibileen’s voice is central. “No one ever asked me what it feeled like to be me. Once I told the truth about that I felt free.” When Elizabeth (Ahna O’Reilly) scolds her daughter harshly, Aibileen has the girl repeat a positive message that just might sustain her: “You is kind. You is smart. You is important.”

"I know those women,” Viola Davis told ComingSoon.net. “Those women are very specific in my history. My aunt Joyce, my mom May Alice, my grandmother . . . . I didn't even have to search. I could just have emotional recall."

The Help ends on several feel-good notes. When a crisis rocks the community, a host of women step forward to share their stories. This is the film’s transformative moment. Social change begins where it always must: within each of us.

 If you like The Help, you might enjoy:  Precious; The Blind Side.

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The Help     2011  /  PG-13 /  2 hours, 17 min

Cast Overview:  Jessica Chastain, Viola Davis, Bryce Dallas Howard, Allison Janney, Chris Lowell, Sissy Spacek, Octavia Spencer, Emma Stone, Cicely Tyson, Mike Vogel, Anna Camp, Aunjanue Ellis, Mary Steenburgen, Ahna O’Reilly, Eleanor Henry, Emma Henry

Director:  Tate Taylor

Genre:  Drama, Period Piece

 

A Better Life ****1/2

 
 

A gang-bound son explores honor with his illegal dad in Chris Weitz’s drama A Better Life. In a rare drama told from the blue collar perspective, Demian Bichir is outstanding as Carlos Galindo, a Mexican illegal in East Los Angeles.

The best actors convey much with their eyes, facial expressions and movements. Bichir (Che; Weeds) paints desperation, patience, wisdom and confusion. From these contradictions emerges a decent and hard-working gardener who lives in the United States illegally. Frequent close-ups of Bichir propel the drama.

In his day-in-the-life existence, Carlos works long hours and sleeps on the couch. He shares a few minutes of quality time with his son Luis (Jose Julian). The man lives to work, scarcely realizing when it’s Saturday. Carlos wears the same jacket throughout the movie, but he is clean. Their meals aren’t homemade, but they are filling. Luis’ mother is gone, but it’s not until late in the film that her absence is explained.

Luis shows growing interest in the gang members he meets at school. His girlfriend Ruthie (Chelsea Rendon) is related to a few of them. Since his father has little money for Luis’ needs, the gangs’ wealth and social standing are enticing. An early death in the streets is sure to come with that wealth. Weitz portrays the gang members as human and even cautious about recruiting Luis.

Julian gives an excellent, understated performance, especially during a scene in a police station where his future seems inevitable. When Luis gets suspended it’s “no biggie,” he tells his father. The boy considers making a wrong choice for the right reasons just as his father did.  

Weitz shows an America of the affluent who are happy to look the other way and employ reasonably priced yard workers (who happen to be uninsured). Carlos and Luis seem invisible in society-at-large. In one scene Carlos rides home from work, surveying many cultures and ages mingling on the L.A. sidewalks. His sense of belonging and his isolation are palpable.

 
 

Contemporary American features often show immigrants in moral struggles.  Ben Kingsley gave a powerhouse performance as an Iranian suburbanite in House of Sand and Fog. In The Godfather, Part II, Robert De Niro plays Vito Corleone, a Sicilian immigrant in New York City’s Little Italy. Ramin Bahrani expertly explores moral complexity. In Man Push Cart, a former rock star from Pakistan becomes a coffee cart vendor in New York City. In Goodbye Solo, a Senegalese immigrant attempts to dissuade an old man intent on jumping to his death.

Prosperity drives these characters. Carlos’ turning point comes when his friend insists that he buy a truck which he cannot afford. Carlos doesn’t even have a driver’s license. A truck is a necessity though. Without it, he must wait for hours in a crowd to compete for day jobs. Carlos finally appeals to his sister, who raids her family’s savings on his promise to make good, succeed and repay her someday.

When the truck is stolen, honor and future are at stake. In one very uneasy scene, Carlos gazes mutely at a police officer, unable to ask for help. The emergency gives father and son a chance to bond. How Carlos pursues the thief demonstrates a gentle fairness. Gabriel Chavarria plays Ramon.

A Better Life is a pleasant surprise coming from Weitz, who is known for mediocre The Twilight Saga: New Moon. Weitz also directed About a Boy with his brother Paul.

The film’s predictable ending gives a sense of “huddled masses,” a seemingly endless stream of people who head to America to improve their chances and their children’s opportunities. Eric Eason wrote the script based on a story by Roger L. Simon.

The socio-political story is simplified here. Weitz sidesteps hot button issues including controversial state measures to punish Mexican illegals. That is not necessarily a bad thing, but Weitz could have reached for even more in this film. Certainly his cast was capable of handling it.

If you like A Better Life, you might enjoy:  Goodbye Solo; Man Push Cart; Welcome.

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A Better Life    2011  /  PG-13  /  1 hour, 38 min

Cast Overview:  Demian Bichir, Jose Julian, Dolores Heredia, Joaquin Cosio, Chelsea Rendon, Nancy Lenehan, Tim Griffin, Gabriel Chavarria

Director:  Chris Weitz

Genre:  Drama

 

Waste Land ****

 

Dirt, diamonds, sugar, string, wire and chocolate syrup comprise the images of photographer Vik Muniz. Bringing garbage to life throughout the world, his work has been called witty and bold. When Muniz travels from his Brooklyn studio to his native Brazil to visit the landfill Jardim Gramacho, a deeper human transformation begins.

Arriving at “the city of garbage,” Muniz meets the catadores, pickers of recyclable materials. Jardim Gramacho was then known as the world’s largest landfill, taking in 70% of Rio de Janeiro’s trash. Some 3,000 pickers retrieved 200 tons of recyclable materials there each day. “It’s funny how you get used to the smell,” someone remarks.

With genuine excitement, Muniz collaborates with his subjects. He photographs them, sometimes in poses that suggest artistic masterworks. The pickers then arrange PVC and bottle caps to create huge floor collages. Muniz photographs them from high above. He loves to play with perspective. Images emerge at a distance from seemingly random, scattered objects.

Waste Land is more than another art documentary. Director Lucy Walker makes the pickers’ perspective central, adding much heart with their stories against the backdrop of society’s waste.

Zumbi specializes in paper recycling. Rescuing discarded books from the landfill, he’s read The Da Vinci Code and The Art of War. “I don’t want my son to be a picker,” he says. He dreams of establishing a community library.

Tiao, the president of the pickers’ association (ACAMJG), is held up one day. The groups’ wages for an entire week – $6,000 – is gone. The landfill is surrounded by favelas, communities where the drug trade thrives. When drug dealers go to war, bodies are sure to be dumped amidst the trash mountains.

 

Magna arrived at the fields a year ago when her husband lost his job. She calls her work interesting and dignified. “It’s better than turning tricks in Copacabana,” she says. Auntie Irma has worked at the landfill for 30 years. She serves beef stew, juice and coffee to the pickers, rain or shine.

A native of Sao Paulo, Muniz sees beauty in the lower middle class. Unfortunate circumstances could send anyone to the garbage fields, he realizes. “It could be me.” Muniz interviews his father Vicente, who built his family’s home at a time when the area had no running water or sewage system.

Tiao travels to London with Muniz and his team to attend the show. He knows he will return to the landfill. Meanwhile he gazes at the sights and learns about art. He becomes a fan of Jean-Michel Basquiat who was once homeless. Tiao begins to imagine a better future.

Muniz shares a quarter of a million in profits with the association. As the landfill is scheduled to close in 2012, the pickers study in retraining programs.

Dreams are realized. Zumbi’s library has opened, equipped with 15 computers. Irma runs her own cooking business.  Magna is now a single mom who works in a drug store. Suelem, who posed Madonna-like with her two children, has remarried and feels fortunate to be a stay-at-home mom.

The photographer distributes a framed portrait to each subject. The art becomes a focal point in each shanty, evoking admiration and spirited conversation. “Sometimes we see ourselves as so small,” Irma says. 

Walker was assisted by co-directors João Jardim and Karen Harley. Cinematographer Dudu Miranda shows Jardim Gramacho from many perspectives, including aerial views that evoke an eerie peace. 

Muniz wanted to change people’s lives with his art. Now he asks, “Who am I to help anybody? I feel like I’m being helped more than they are.” His Pictures of Garbage show attracts over a million viewers in Brazil.

If you like Waste Land, you might enjoy: Cave of Forgotten Dreams; Man Push Cart; I Am.

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Waste Land    2010  /  NR  /  1 hour, 38 min

Cast Overview:  Vik Muniz, Fabio Ghivelder, Tiao, Zumbi, Irma, Suelem, Magna

Director:  Lucy Walker

Genre:  Documentary, Art

 

Star Tweets: Self-Discovery

 

Film actors often seek self-discovery as they go creative and promote their favorite charities and causes.  Here are recent Tweets from stars as they make music, write books and speak out about what they believe.  Click on the movie links to read reviews of their latest films.

TheJeffBridges Jeff Bridges Music:  Another cool review! http://fb.me/1492LW4O7.  (6/30/11) (Jeff plays Rooster Cogburn in True Grit.)

LeoDiCaprio Leonardo DiCaprio: Hey Activists! Great place 4 vids & pics of enviro issues. Check out my Foundation channel on @mobli, too. mobli.com/theldf .  (6/30/11)  (Leonardo stars in Shutter Island.)

mrdannyglover Danny Glover: Filmmakers investigate what it takes #ToEducateAGirl in the world. Watch premiere this week at #ViewChange and @LinkTV .  (6/22/11)

AshleyJudd Ashley Judd: Actor. Author. Activist. Advocate. Memoir, ALL THAT IS BITTER AND SWEET, re: public health & human rights work in 13 countries, released April 5th. UK fan.  http://ashleyjudd.com/  (7/2/11)

_juliannemoore Julianne Moore: So proud to be a new yorker tonight!! marriage equality finally!  (6/25/11)  (Julianne stars in The Kids Are All Right.)

Mruff221 Mark Ruffalo:  Tell @nygovcuomo: Don't lift New York's ban on dangerous fracking! http://t.co/MT5AFeA @CREDOMobile    (7/1/11) (Check out Mark in The Kids Are All Right.)

 

therealhailee Hailee Steinfeld:  Stop Bullying  (4/26/11)  (Check out Hailee in True Grit.)

WillyVille Wilmer Valderrama: Self discovery is my hobby.. Changing the world my daily task.. empowering them, you & me.. for we are the destined. (5/7/11)  (Wilmer plays Talia’s boyfriend Dell in Larry Crowne.)

 

The First Grader ***1/2

 
 

Controversy erupts when 84-year-old Maruge enrolls in a rural elementary school with a simple request: “I want to learn to read.”  The unusual student spurs furious debate among parents, school administrators and the media in the drama based on a true story, The First Grader.

Passionate to learn, Kimani Ng’ang’a Maruge enrolled in a rural Kenyan grade school in 2003. He felt entitled when the country enacted universal free education. This led to widespread resentment. Why spend scarce educational resources on an old man? A Mau Mau veteran, Maruge swore an oath of allegiance to a free Kenya, leading to his torture and imprisonment. The Republic of Kenya was formed in 1964.

Oliver Litondo plays the farmer and Kikuyu tribesman with dignity and warmth. Tragedy haunts him. As Maruge meets resistance on all sides, he digs in his heels. Fashioning his own school uniform, he stands outside the school gate with his walking stick. Finally, one teacher cannot resist his determination.

What Maruge’s detractors missed was his innate value as a Kenyan elder and a citizen who passionately wanted to improve himself. Making an executive decision, Teacher Jane (Naomie Harris) names him her teaching assistant. Maruge’s delight in learning and helping his young classmates is clear. When he begins to share his patriotic beliefs during recess, the teachers become nervous.

Harris (Miami Vice; Pirates of the Caribbean) has created a potent symbol of the inspiring teacher who first believed in us. “Learning is about having fun,” she tells her class. This is a revolutionary statement about education in any culture or language. Anyone lucky enough to have had such a teacher remembers him or her right away. That teacher saw something special within us. Renewing our self-confidence, they suggested a life direction. They may even have changed our lives.

Harris is memorable as Jane Obinchu, a resourceful, caring principal and teacher. It’s remarkable how much excitement and zest she brings to her sparse classroom each day. Forget computers and PDAs. These children have nothing more than a sharp pencil a blank composition book. Teacher Jane’s arsenal includes a blackboard and some chalk. Still she engages each student. Challenging and praising them, and seems to genuinely love each one.

In an interview with Collider.com, Harris describes the making of The First Grader. "In a little movie like this, there are only seven of us that flew from England, and the rest were all local hires. We really felt like we were immersing ourselves in the culture and the community, and we were much more collaborative." Many of the child actors here had never seen a movie in their lives.

The First Grader loses focus with excessive flashbacks about Kenya’s fight against British colonial rule and Maruge’s torture as a prisoner of war. Justin Chadwick’s film lurches between learning and politics so often that its adult literacy theme stalls.

This National Geographic production feels Disney-like at times with social tensions simplified and resolved too easily. When students demand the return of Teacher Jane, her replacement suddenly turns tail and drives off into the dust. If only social change were this easy. 

Maruge’s visit to a Nairobi high school evokes the troubled, urban classrooms of Stand and Deliver and Dangerous Minds. He flees the rowdy school and barges into a meeting of national school administrators, insisting that he be heard. They listen.

Rob Hardy’s cinematography reveals rural beauty and urban social change. The trees of the bush symbolize Kenya as well as grisled Maruge and the idealistic young teacher who stands up to bureaucracy and personal threats.

Tony Kgoroge plays Jane’s husband Charles Obinchu, an education official who’s threatened by his wife’s notoriety.  Mumbi Kaigwa (The Constant Gardener) stars as the Secretary of Education.

 

Literacy is "the ability to read, write, compute, and use technology at a level that enables an individual to reach his or her full potential as a parent, employee, and community member," according to the international group ProLiteracy.

The right to literacy at any age seems to be the primary theme. ProLiteracy reports that, in the United States, 14 percent of those age 16 or older do not have the reading and comprehension skills needed to complete a job application. First Lady Laura Bush has championed family and women’s literacy worldwide.

This film also suggests the vast, often untapped wealth of knowledge and experience held by older citizens. Maruge exemplifies the student as teacher when he devises flash cards to help students who have trouble with word sounds and meanings.

The First Grader ends with satisfying irony. The media’s kneejerk reactions to those on the forefront of social change can run icy cold one day and warmly enthusiastic the next.

Eventually Maruge was invited to address the United Nations in New York City, becoming a source of pride for Kenyans. He was named to the Guinness World Records as the oldest person to begin primary school in 2004. Maruge died in 2009.

If you like The First Grader, you might enjoy:  Man Push Cart; Precious; The Blind Side.

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The First Grader     2010  /  PG-13  /  1 hour, 43 min

Cast Overview:  Naomie Harris, Oliver Musila Litondo, Lwander Jawar, Tony Kgoroge, Alfred Munyua, Shki Mokgapa, Vusumuzi Michael Kunene, Mubi Kaigwa

Director:  Justin Chadwick

Genre:  Drama, Foreign Film