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Capitalism - A Love Story
By Scott Mendelson

More so than any of his recent projects, Michael Moore the messenger is fatally undone by Michael Moore the showman. All too often, we cut away from worthwhile factual analysis or a compelling anecdote in order to let Michael Moore have a spotlight moment. More so than in any of his recent projects, Michael Moore chooses to undercut the brutal effect of simply stating the facts in order to toss out lengthy side stories that attempts to pull heartstrings yet falter under analysis. For the first time, a Michael Moore documentary is less about the subject at hand and more about Michael Moore himself.

The film purports to be a cliff-notes version of the financial scandal/stock-market meltdown that crippled the economy in September 2008. Hitting all the usual stops along the way (Regan's deregulation of business, the complete destruction of the manufacturing industry, Bush Jr's cozy relationship with fear, etc), Moore attempts to form a deconstruction of the myth of the practical and moral superiority of capitalism. Along the way, we are invited to share in the pain and suffering of ordinary Americans who have been caught in the economic downturn that is not of their own making.

Most problematic is not his preaching to the converted, but his narrative choices that render the film downright confusing to someone who already doesn't know the score. What's a sub-prime loan? You won't find out in any detail in the film. What exactly did Ronald Regan do in order to bring about the eventual decline of the American middle class? I couldn't tell you just from the film itself. The film scores some of its best points detailing the abysmal wages of airline pilots, yet makes no specific mention of Regan's deregulation of the airline industry or his firing of striking air-traffic control workers in 1981.

This refusal to deal with the nitty-gritty also extends to his portraits of victimhood. Per usual, we see various vignettes of tragedy affecting the working class of America. It's tough not to notice how carefully Moore avoids explaining how each family got into their foreclosure nightmare. This is doubly foolish, as it allows critics like me to wonder how much blame they share while also neglecting a crucial opportunity to expose theoretically criminal lending practices. The filmmaker spends a good 10-15 minutes on the ghoulish practice of companies who take out life-insurance policies on their own employees. Yes it's morally icky and a symptom of corporate culture, but 'dead peasant' policies are not illegal and don't really play a direct role in the financial mess. Yet it remains a token chunk of the film so Moore can have scenes of mourning family members cursing no-good bureacrats.

As expected and justified, Michael Moore places the majority of the blame on Ronald Regan and George W. Bush (Bill Clinton gets a slap on the wrist and Senator Chris Dodd takes it on the chin). But he also slams Timothy Geithner and Larry Summers, while neglecting to mention that President Barack Obama has put these two in charge of his economic policy. Considering how similar to his predecessors he's been on economic issues, it's unintentionally humorous to see the election of Obama treated as the dawning of a new day.

Time is better spent detailing examples of greed intermingling with the commons. The most potent segment involves a cold detailing of a backroom deal between a juvenile court judge and the owner of a privatized juvenile-detention facility. This ended with hundreds of kids being sent to the prison for things as trifling as arguing with friends in the mall, arguing with parents at dinner, or smoking a joint at a party. He is also brutally effective in detailing how the September 08 market crash and subsequent corporate bail out may have been more than just an accidental pre-election surprise.

But despite the running thread tying the film to his first picture, Roger & Me (Moore argues that unregulated capitalism has threatened to turn all of America into Flint, Michigan), the picture often feels like a novice filmmaker doing their take on a Michael Moore film. While Capitalism: A Love Story gets its shots, it falters and plays it safe and simple rather than serving as a true primer of the issues at hand. Maybe Michael Moore is right when he chimes at the end that 'I can't do this anymore'. If for only on film, the creator of the modern muckraking documentary now looks and feels like one of the pretenders.

The Invention of Lying
By Rei Nishimoto

Imagine a world where people told the truth, regardless of how blatantly true their statement was. In Ricky Gervais' latest film, The Invention of Lying, he created a story about being in an alternate world like this and what the world would be like if no one would ever lie.

The Invention of Lying is a comedic story that is both hilarious and heartwarming at the same time. While many comedies aim towards cheap jokes, this film builds around a story that is relatable to many viewers.

Gervais portrays the character Mark Bellison, a down-on-his-luck, 40s-ish, single, schlubby, and a pessimistic loser, who works as a writer at the fictional Lecture Films Motion Picture Studios. The film starts with him going on a blind date with Anna McDoogles (played by Jennifer Garner), a beautiful yet bluntly forward woman who Mark had a crush on for years, who happened to be the first cousin of his best friend Greg (played by comedian Louis CK).

The two go on their date, where her forwardness practically leads to her shooting him down for another date. This starts the string of bad luck for Mark, including his worst fear of getting fired by Lecture Films. He is openly known as their worst writer at a company who makes films about historical facts read on camera. He was stuck with the 14th Century and specially the Black Plague era. He is openly heckled by his secretary Shelley (played by Tina Fey) and his boss Anthony (played by Jeffrey Tambor), who attempts to fire him every day but is poor at confrontation.

To add insult to injury, his rival Brad Kessler (played by Rob Lowe), rubs in his firing in person. Brad is viewed as the perfect specimen, both professionally and physically, which Mark never was or would be.

While he was suffering through this, his mother (played by Fionnula Flanagan) was in a senior home and was slowly in declining health.

This leads to Mark discovering he has the ability to tell lies. Gervais' dark humored overtone fits Mark very well and especially when this point in the film arrives. His tone comes in softly and brings a comedic touch that is not so over the top.

Once Mark discovers his ability, he shares his newfound knowledge. His friend Frank, his depressive neighbor who is always on the verge of suicide, is given words of encouragement by him. Later, he takes Greg along on a trip to a casino for some gambling, where they win money in the most unorthodox of ways (i.e. cheating). Gervais and CK both interact well, building a good interaction without having to tell vulgar jokes and instead keeping the comedic flow natural.

Mark uses his new powers to gain his job back and gaining revenge against the people who spited him at the film company. He produces a new film about the Black Plague, and eventually earns more money where he buys a mansion. He manages to attract Anna, where this becomes the first twist of the story.

While Mark begins telling his lies to move up in the world, another turning point comes while he is comforting his mother in her deathbed. His words of comfort mistakenly get out to the public, and are viewed as a prophet and a visionary about the afterlife. Crowds of people await Mark to share his words and what he knows. Gervais' subtle character comes across very well in this part of the film, and he shows why his style of writing and acting has attracted a new audience within the comedy world.

The relationship between Mark and Anna becomes the final plot twist in this film, as the two figures out what they truly want from each other. The two unlikely couple brings a moral piece to the story, especially when in this world everything revolves around the truth.

While it may not be the slapstick film of the year, The Invention of Lying does have lots of laughable moments along with moments that will leave a lasting impression. Gervais is slowly showing why he should be recognized for his work besides The Office. This may be the film where he will get his moment.

'WHIP IT'
THE PUNK IN SPUNK
By Sean Chavel

The three dimensions of Drew Barrymore: That's what can be found in her new movie Whip It which marks her impressive directing debut and also features her in a small role. The starring role belongs to Ellen Page whose character Diablo Cody - I mean, Bliss Cavendar - is everything like we've seen before by Page except it's not old yet, at least it won't be to all to her admirers, because here is a young actress with undying spunk and a sharp tongue. Nobody else in the movies right now has that toxic-but-endearing combination.

From the ads, this movie promises you roller derby. This is one of the more obscure contact sports and certainly one of the very few that features girls (read: tomboys) elbowing and shoving each other in the arena. The startling news is that Drew Barrymore is a much better action director than, say John McTiernan, at least the McTiernan who directed the atrocious "Rollerball" a few years back. Scenes taking place on the track are directed with kinetic vigor but also logical consistency. Barrymore wisely uses wide angle lenses on the action, as well as a gliding kneecap-level camera, effortlessly cutting back and forth between competitors without losing a sense of coherence. During all of it, the incidental bruises are always believable.

The second dimension of Barrymore is that like any other chick flick she's done as an actress or producer, she's sensitive to the human story. Except there is something special going on with this story; this is unlike most other stories we see in chick-tailored films. Bliss has been pushed into competing in a beauty pageant, the Miss Blue Bonnet specifically, at the force of her domineering mother (Marcia Gay Harden). The father (Daniel Stern) is more of a football fan, otherwise passive, who takes less interest in standing his ground in the family. Bliss, a 17-year old minor, has to sneak away by commuter bus in order to get herself into the roller derby league.

An outcast at school, Bliss finds her way at home with the roller derby girls whose pro names include Bloody Holly (Zoe Bell), Maggie Mayhem (Kristen Wiig), Smashley Simpson (yep, Barrymore) and a nemesis named Iron Maven (Juliette Lewis, the bad girl). As Bliss gets torn between two worlds and alienated from parents she can't talk to, Maggie Mayhem - a ruthless hellcat in the arena, a choosy mom out of arena - becomes the big sister she never had. At an after party following derby games, Bliss meets this cool rocker dude Oliver (Landon Pigg) who will be her first love, and their relationship development is done without pap. In addition, the other cool dudes in the movie are Jimmy Fallon as the horny derby announcer and Andrew Wilson (Beef Supreme in "Idiocracy") as the girls' beleaguered coach.

While slow at the start in giving us action offerings, "Whip It" soon enough delivers on all the roller derby action that it promises, but the drama in-between contains lots of real, honest moments of a girl shaping her identity (the script is by Shauna Cross based on her novel). Heartache is accustomed, if not mandatory, in movies like this but for once the more tear-inducing scenes involves embittered conflict between mother and daughter. Gay Harden is an over-domineering mother with obviously an untreated mental disorder (I would guess borderline personality disorder but then again I shouldn't say because I'm not a doctor), and her 1950's mentality of what a young girl is supposed to do and supposed to act like is a slap in the face against modern teen life. Bliss has to build independence and courage to ditch mom and do her own thing. We get the inevitable make things right scene between mother and daughter, but it's one of the weaker, more forced and overly tidy scenes the movie.

The movie leads to a league seasonal championship match, and Bliss by then has become a fan favorite as Babe Ruthless. That's the kind of name that a dad would like. At final checkpoint Bliss busts some heads and, in coup de grace, gets her hugs and approval too. But forget the box score. Barrymore scores highest. Memorably she has created a love scene, an improbable but unabashedly wonderful one, which takes place underwater in an indoor pool. The third dimension of Barrymore is that she proves to be an amazing visual stylist.

Surrogates
By Crystal A. Johnson

Bruce Willis, action, suspense and popcorn, isn't that apart of America's movie going culture? It has been for the past 20 years since Die Hard hit the screen. Returning to cop form, Willis plays FBI agent Thomas Greer. He discovers a vast conspiracy behind the surrogate phenomenon and must abandon his own surrogate, risking his life to unravel the mystery. Sounds pretty intriguing, to put sugar on top if you are a movie buff it is also good to see Willis and Ving Rhames paired together once again even for fleeting moments. Then there is the sci-fi element, which entertains the world of virtual reality. The concept is live life to the fullest through the body of a robot. Experience no pain and leap off buildings in single bound. Is trading doing things physically for virtually a distant concept? How many hours does social networking on facebook, emailing, talking on the cell or texting take out of the average person's day? Factor those things and consider if you are having virtual relationships already. Surrogates demonstrate the potential of where we are going. The surrogate reality offers regular people the opportunity not to venture out into the real world themselves, sending sexy robots surrogates to fill in for their less attractive human counterparts. Sound stupid? How much does your avatar look like you?
After seeing the disappointing film Gamer starring Gerard Butler which takes a stab at the virtual concept, I really appreciate better-executed story telling of Surrogates. However, I think the potential for the film could have been greater. It is an interesting film with good performances by Willis, Rhames, and Rosamund Pike. The vulnerability demonstrated by Willis is crucial in a story of what it is to be human versus a robot. Oscar winner, James Cromwell also stars in the film as Dr. Lionel Carter but takes a back seat in number of scenes in which he physically appears.

"The premise of the movie is that surrogacy has taken over the world like cell phones and computers," says director Jonathan Mostow (Terminator Salvation). He goes on to say, "Surrogates are new devices that offer users to live vicariously from the comfort and safety of their own homes. In our film, surrogates represent the ultimate freedom, from both physical harm and the mental toll of everyday life…" The film succeeds at being thought provoking. It definitely is good dinner and a movie evening. Disney is presenting film so best rest assured that for the most part parents can feel comfortable with letting kids twelve and over watch the film. There very no nudity or very little profanity. There are a few bloody moments but it is mostly robots that are killed, oozing with green goo.

Another winning component about Surrogates is that it is highly relational whether between the love of a husband and wife or the love of a parent for their child. Also, natural human desire is addressed. James Cromwell has so much emotion for every 10 seconds of screen time. Cromwell character is reclusive billionaire and M.I.T genius whose groundbreaking experiments have led to the creation of the surrogate population. Confined to a wheelchair, Canter began experimenting with prosthetic limbs while at M.I.T. His research led to a new technology for decoding brain impulses, which he discovered could be transferred as signals to synthetic humans. What distinguishes the surrogates from humans is their perfection. The film addresses the desire to be beautiful, look anyway you want, or even if disabled to feel whole again.

The new film Surrogates garners a whole-hearted, go see it. The trailers for the film never impressed me or intrigued me yet the movie is impressive. The story digs deep into our dependency of more primitive surrogates. As I proofread this article, using spell-check I am aware of my dependency for spelling correctly is on the computer. Generationally, it is likely for those who are 30 and over to get it more. 30 and younger have been plugged in to a higher level of technology for a greater portion of their lives. Silence your cell phone, sit back, and enjoy the movie.

'ZOMBIELAND'
SPILL OF THE WEEK
By Sean Chavel

With a hard-edged zombie comedy with a heavy metal attitude, you expect and want a Quentin Tarantino or Eli Roth kind of bloodbath. Zombieland sporadically has a gleeful sick energy and certainly contains some clever bloody kills with its arsenal. It is also proud enough to not throw the action inside a shopping mall (it has become a zombie movie cliché), and shrewdly has cast Woody Harrelson as a half-redneck, half-chummy man of the land paired with Jesse Eisenberg's nerd survivor who is like Woody Allen in a teen body - they're proof that the buddy movie can still work if you cast two severe opposites and fasten them together.

What "Zombieland" has is enough ingredients to satisfy zombie-movie lover's appetites, however, what it doesn't do is run them to the limit. If you're going to make a movie called "Zombieland" there should be a lot more zombies. The movie also introduces an early mouth-watering gimmick: a set of rules and guidelines that pop up on the screen in overripe typography. Eisenberg, as Columbus, tells us number one rule to surviving is cardio - which isn't startlingly fresh. But when he explains the "double-tap" it becomes the movie's repetitious but delicious go-to modus operandi. Harrelson (whose "Natural Born Killers" and "Kingpin" performances from the past both ring a bell), as Tallahassee, doesn't give a damn about rules, he just goes freestyle with a hatchet or gardening sheers or sawed-off shotgun and mindlessly blows the living dead away.

Still, it's a pleasure to hear Eisenberg's nerd rhetoric (his mannerisms recall his own in "The Squid and the Whale"). More than 37 rules? You can't wait to get to all of them, but don't hold your breath. Just when it has grabbed onto your funny bone the movie abandons the rules gimmick until picking it up again much, much later. Actually, the movie abandons a lot of the early good stuff and leaves us hanging and panting for it to come back. It becomes a reluctant make-room; we can make-a-family-between-us kind of movie when the two guys connect with a couple of naughty, prankster girls played by Emma Stone ("Superbad") and Abigail Breslin ("Little Miss Sunshine"). As genre formula dictates, trust issues must be smoothed out as part of the bonding process.

In this un-America that has since become nicknamed "Zombieland," the four of them travel west to California where the girls dream of hitting Pacific Playland, an amusement park. It's the girls' lofty desire to be like kids again for a day. Yet it's really a numbskull move - to turn on the park lights is like sound-alarming the zombies to come to a feeding - these girls are really no smarter than the kids that hang out at Camp Crystal Lake. Tallahassee has a much more practical pet dream - the quest to find and eat some Twinkies, which becomes a righteous movie-long running gag.

It is really a pit-stop in a Beverly Hills celebrity home where the movie gets some vulgar-meets-sophisticated laughs - surprise cameo alert! - but the mansion scenes overstay their welcome. Without a doubt, the movie must lead up to either a mansion siege or a playland shoot 'em up, but it's not hard to guess which avenue the movie will take considering the foreshadowing (do you really think the movie will end anywhere but the amusement park?) Despite being annoyingly contrived, the climactic action kinetics are nearly as outrageously over-the-top as something like "Desperado," with Tallahassee riding rollercoasters while popping caps in what is a raucous extermination derby.

The film is directed by a relative unknown named Ruben Fleischer who, if anything, gets the pillaged-city look down pat - he could have been a candidate to direct a bloody action exploitation version of Cormac McCarthy's "The Road." He also demonstrates a master showman's use of slow-motion.

But according to the press notes the only zombie movie Fleischer had ever seen, prior to reading the "Zombieland" script, was "28 Days Later." As soon as he was hired as director, he watched a great deal of other zombie movies so he would be prepared to give his audience what they'd expect from the genre. Even so, there are not 'nuff zombies. And while the movie has a rockin' beginning, and a rollicking nut-up ending, it has some serious middle act problems.

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