Exit Through the Gift Shop (2010)

Exit Through the Gift Shop, the debut film by street artist Banksy, is a fascinating documentary that illuminates both the world of street art and the hype machine that surrounds the art community. The film tells the story of French-born, Los Angeles resident and thrift store owner Theirry Guetta, who obsessively videotapes everything in his life—right down to his family meals and morning showers. On a vacation to France he finds out that his cousin is the street artist Space Invader. He soon begins to videotape Space Invader and his installations, and soon Guetta is introduced the underground world of street art, meeting such artists as Shepard Fairey and the elusive prankster Banksy. Guetta begins to shadow the artists during their midnight installations, and the artists willingly let him tag along, as he often provides help and will keep a document of their work. Guetta often proves to be very loyal to the artists, and during one excursion to Disneyland with Banksy, Guetta is stopped and interrogated by security for hours concerning a “mysterious” new installation to the theme park. After some time, Guetta is encouraged by Banksy to make a documentary of the street art world, but time passes, tapes and tapes pile up, a documentary is nowhere to be seen, and things get very interesting.

What happens next (and yes, spoilers to follow) proves to be interesting for both the filmmaker and the subject. A documentary is finally produced, but it’s such a shambling mess that Banksy decides to take over the project. Banksy then decides it would be better to just make a film about Guetta, as Banksy felt he proved to be a more “interesting” subject than himself. In another twist, Guetta becomes a street artist, dubbing himself “Mr. Brainwash”, and he begins work on a major exhibit in downtown Los Angeles. The problem is, Guetta’s work isn’t very good and often derivative of his mentors. The role reversal is played very slyly, but it proves to be a very interesting twist, especially when Guetta’s exhibition proves to be massively successful, seemingly on marketing alone. Banksy not-so-subtly has nothing but contempt for Guetta’s work as an artist, and you can tell he has mixed feelings about how his own art can influence work that is blatantly derivative. But who decides what constitutes “good” art? It’s a question that Banksy brings up time and time again in the film, letting the viewer ponder the implications of what happens when the hype is more believable than the art.

With Banksy at the helm, the film definitely has a lot to say about the commercialization of art. Banksy’s art begins selling for big bucks at the auction house, and his first exhibition proves to be an instant success both critically and financially. He obviously doesn’t seem very comfortable with the notion of his art being sold to the highest bidder--the sheep mentality of patrons buying art seemingly on hype alone. He gets to prove his point yet again with the success of the Mr. Brainwash exhibit, trying to come to grips as to how and why art gets so commercialized. This may all sound very intellectual, but the film actually stays very funny and playful throughout.

Exit Through the Gift Shop starts as a great documentary about street art, as it contains a lot of invaluable footage of artwork that often doesn’t last more than a day. It later becomes an essay on the nature of art and whether the art or the artist is more important to the public at large. Then by the end of the film, we’re left with yet another take—was this all a hoax by Banksy? It’s a question that many have pondered—the possibility that Mr. Brainwash (or Guetta) is a real-life installation created by Banksy. After all, we never see Guetta actually produce any art, and he’s very elusive when talking about his own art. What if Guetta was purposely producing bad art so the results (and subsequent success) could be filmed? While nobody’s talking, it would prove to be the ultimate prank on the audience. I haven’t decided if Guetta’s artwork is fake or not, but I think I would respect the prank more if it were fake--Banksy’s art is clever and playful, why should his film be any less entertaining?

Rating: 4 ½ stars

Mystery Team (2009)

What happens to Encyclopedia Brown when he reaches high school? It’s the main premise of Mystery Team, from the comedy troupe Derrick Comedy. It follows three best friends who started a makeshift detective agency when they were young children. The problem now lies that the three friends are now 18 years old and ready to graduate high school, yet they are stuck in a state of arrested development. Also, the amount mysteries to solve in a sleepy suburban neighborhood aren’t exactly rolling in—the biggest mystery seems to be the location of the bully who stole the lunch money. However, one day a little girl shows up and wants to hire them. Everything seems pretty normal until the girl claims she needs help to find out who murdered her parents. While obviously in over their heads, their decision to tackle the mystery seems to take them through the seediest parts of town, including shoot-outs, strip clubs and drug dealers.

As the three main characters, leader Jason (Donald Glover of Community fame), boy genius Duncan (D.C. Pierson) and the brawn of the group, the dimwitted, big hearted Charlie (Dominick Dierkes) all play a mix of nerdy adolescent innocence and the continual fear of growing up and facing reality. Thankfully, their adventures are also very funny, especially when Glover is able to let loose and go “undercover” with a variety of costumes and characters (the group hilariously dons top hats, tuxedos and canes to try and gain entrance to the “gentleman’s club”). There are also several funny cameos from members of Upright Citizens Brigade and current NBC sitcoms such as 30 Rock (of which Glover was a former writer).

It’s difficult to transition from small, on-the-fly sketches to a full feature length film (see: any SNL movie), and Mystery Team is no exception. There are times in the movie where it feels like the filmmakers are straining to fill in some space with an extra cameo or costume, and while the pacing of the film seems to be a little off at times (much of the humor seems to fly out the window once the plot gets rolling), there is definitely some potential to be found here from the budding comedy troupe. The attention to detail is very admirable, and there is quite a bit accomplished with a paper-thin budget (the strip club and schools look barely populated, which ends up adding to the charm). The film could have easily devolved into cheap jokes and stereotypical characters, but thankfully, the filmmakers are smart enough to invest us in the characters early on, so we’re still engaged by the time the mystery ramps up in full force. There’s definitely enough wit and charm here to merit checking out Mystery Team, and here’s hoping to more good things to come.

Rating: 3 stars

Toy Story 2 (1999)

Toy Story 2 is yet another great achievement from Pixar, a movie that was originally slated to become a straight-to-video sequel but has more than enough talent to stand alongside its predecessor. Where Toy Story’s plot may have been about how these particular toys were perceived by their personal owner, Toy Story 2 touches on how the toys (specifically Woody and Buzz) have become perceived by society at large. Buzz has become the star of a hit new video game (as seen in the action-packed opening sequence), fighting off the clutches of the Evil Emporer Zurg. Meanwhile, Woody has become a rare collector’s item that is highly sought after. Woody learns that he was the star of the ‘50s hit radio and television show “Woody’s Round-Up”, following the adventures of heroic cowboy Woody, his trusty horse Bullseye, cowgirl Jessie, and the prospector Stinky Pete. Unfortunately, the show was cancelled after a cliffhanger episode, and now all the toys have become rare items. Meanwhile, Buzz and company find out that Woody has been “kidnapped” by the collector (voiced by Wayne Knight), and they start a reconnaissance mission to save him. However, Buzz finds that Zurg is lurking right around the corner and waiting to take his revenge on the space ranger, which leads to a shocking revelation for Buzz (hint: anyone familiar with the cultural lexicon of the Star Wars films may have a clue of Zurg’s identity).

While the film’s plot is definitely more ambitious than the original, the film does an excellent job of handling the more personal scenes involving just one or two characters, particularly Woody and Jessie. Woody is torn between the fear of becoming more and more obsolete as Andy grows older or the prospect of becoming a cherished collector’s item with his new “family”, but at the cost of living behind a glass shelf forever, never to be played with by any child again. He knows his decision isn’t easy, and it’s conveyed with real gravity within the context of the film. By far the most heartbreaking sequence, however, is the montage involving Jessie and her former owner Emily. As we see the progression from Emily as a child playing with her toys to her growing up and slowly losing that spark of interest in her former playmates, we see Jessie’s progression from a trusted friend to Emily devolve into full heartbreak as she is forgotten and abandoned by her owner. It’s a sequence that’s been rightly praised over the years, but it’s still an emotionally resonant scene which perfectly captures Jessie’s character without any dialogue.

The animation looks as detailed and rich as ever, and the voice acting all around is once again top-notch. Aside from the main characters reprising their roles from the original, Joan Cusack as Jessie and Kelsey Grammar as Stinky Pete both give their imbue their characters with enough personality to stand on their own. Toy Story 2 is the kind of sequel that not only retains the wit and heart of the original, but in some areas deepens and enhances its strengths. It retains our fondness for all of the characters introduced in the original, yet it goes a little deeper, both technically and emotionally, without losing any of the fun.

Rating: 5 stars

Toy Story (1995)

What more can be said about the film that rewrote the template for all future animated films? Filled with wit, heart, and humor, Toy Story is an excellent film that is as timeless today as it was the day it was released. It was the first feature length computer animated film from Pixar Studios, but it never shows signs of being an amateur or rookie affair. It’s fully developed and professional in every way, combining a heartfelt story with first-rate voice acting and excellent visuals. The story revolves around Woody, the cowboy toy with the pull string whose catchphrases consist of such gems as “Reach for the sky!” and “There’s a snake in my boots!”. Woody is the de facto leader of the rest of the toys, which include members such as Mr. Potato Head, Slinky Dog, Rex (the dinosaur), Hamm (the piggy bank), Bo Peep and others. All the toys belong to Andy, their owner and playmate who loves his toys and creating new adventures with them. One day, on Andy’s birthday, a newcomer arrives on the scene: Buzz Lightyear, the space ranger and popular new toy. Jealousy abounds (primarily from Woody), but the other toys are in awe of the new toy and all its gadgets. Also, Buzz thinks he’s on an actual space mission and can actually fly, which hilariously adds to Woody’s resentment.

Pixar and director John Lasseter achieve something quite magical with Toy Story: they actually create real feelings for these toys and fill them with empathetic traits and emotions—joy, fear, jealousy, sadness, loyalty, friendship. Each character has been given delicate care to give them a unique personality for the story, and we end up caring deeply about most of the toys and their plight. What seems to elevate Pixar’s films is that there is actually genuine care put into their characters and story, and the humor comes in service of the characters as opposed to the other way around. It also helps that the writing is top-notch here, filled with wit and heart. Consider a heartbreaking scene where Buzz, on a mission to get back to his home base via spaceship, witnesses a commercial where he not only sees himself, but hundreds of Buzz Lightyear toys lining the shelves. It’s difficult not to feel for him in this moment of defeat and realization that he is only a toy. The story is filled with moments like these where we forget that we are watching (computer animated) plastic toys and instead feel like we are watching very human stories instead. It also helps that the voice acting here is outstanding across the board. Tom Hanks brings his usual charm and biting wit to Woody, while Tim Allen is hilarious as the earnest and determined Buzz Lightyear. The supporting actors here are also just as good, including Don Rickles as Mr. Potato Head, Wallace Shawn as Rex, Jim Varney as the Slinky Dog.

Of course, not enough can be said about the visuals, which look as awe inspiring today as they did fifteen years ago. The use of space and depth is something to behold, and the use of lighting is excellent, creating convincing three dimensional characters and spaces in every scene. One thing that I have always respected about Pixar’s films is their attention to detail, filling the frame with subtle inside jokes and cross-references that require repeat viewings. They also amazingly respect the physics of all the toys, so Woody hilariously runs with limbs loose and flailing; Slinky Dog can strech to the point where his coils are not long enough; even the toy soldiers have to shift back and forth to walk because of the plastic mantle bounding their legs. The only complaint I can think of about the renderings is that the human characters look a little more on the cartoonish side, but it’s an almost irrelevant gripe since the film is not only about the adventures of the toys, but it also never pronounces itself as a paragon for realism--we’re watching a movie about talking toys here.

Toy Story is the type of film that can truly be enjoyed by people of any age, primarily because it taps into a childlike wonder, and it’s near impossible not to get lost in the film’s boundless imagination. I can’t say enough good things about this film, as it successfully shows how to combine a great story, memorable characters and excellent visuals into a unified whole that should be a template for not only animated features (as it has pretty much stayed the template for the past fifteen years, and also reinforced by the fact that Toy Story 3 was just recently released) but also for all films. These toys may be “child’s playthings”, but this film is certainly one for everyone to cherish.

Rating: 5 stars (out of 5)

Ghost Dog: The Way of the Samurai (1999)

Ghost Dog: The Way of the Samurai is a curious addition to the filmography of Jim Jarmusch. However, its style and fascination with various juxtapositions create the type of film that only could come from the mind of Jarmusch. The film begins as we follow Ghost Dog (Forest Whitaker) as he walks around a nameless city (located in a place only known as “The Industrialized State” by the license plates). He steals a car using a card reader device (one of the many homages to Jean-Pierre Melville’s Le Samourai) and drives to his destination to assassinate a gangster. Much like Alain Delon in Le Samourai, he is cool and meticulous about who he is and what he does. As the film progresses, we slowly learn a couple of odd details about the character of Ghost Dog—he lives on a rooftop, he communicates to his boss solely through passenger pigeons, he demands payment once a year on the first day of autumn, he lives by a strict code of the samurai. All these traits seem very strange, an opinion also shared by Ghost Dog’s boss, a local mobster who once saved Ghost Dog’s life. However, he accepts Ghost Dog’s eccentricities because he is an impeccable contract killer.

Jarmusch seems interested in creating a melting pot of styles and cultures, all seemingly ready to clash against one another. Even though Ghost Dog lives strictly by an ancient code of the samurai, he also lives in an urban jungle and has seemingly unlimited access to an endless cache of weapons and modern technology such as his carjacking card reader. His best friend is a Haitian ice cream vendor (played by Jarmusch regular Isaach De Bankolé), but Ghost Dog doesn’t know a word of French and the vendor doesn’t know any English. As with most Jarmusch films, characters often speak in a deadpan fashion, not giving much away through their words. It’s these type of oddities that become the life force of the movie, and it poses some curious questions that permeates throughout the movie—how are we defined by the culture around us? It may be an obvious question, but it’s one that the main character seems to face and struggle with at every turn. Even the end of the film (spoilers), Ghost Dog’s strict adherence to the code is what ultimately brings his downfall, even when he refuses to use to simple resources provided to him by the modern world in which he lives in. However, it’s clear that Jarmusch seems to side with Whitaker’s character, a sort of man out of time, both emotionally and quite literally by the end. In the title role, Whitaker does an excellent job portraying the introspective hitman, playing him with a quiet menace and determination, all while earning our sympathy by hinting at a deep sadness to his character. The soundtrack by The RZA is also largely excellent, enhancing the cool atmosphere of the film.

While the film doesn’t always work from a logistical standpoint, it seems to work better if viewed as a piece of music or visual poem. Jarmusch seems to also treat the film instinctively, where the rhythms and beats of the characters seem to ebb and flow with the atmosphere of the world around them. There are times where the stylistic aspects seem to envelop the characters, while other times we see Italian gangsters extolling the virtues of Flavor Flav. The film seems to relish in the realm of juxtaposition—Eastern vs. Western culture, gangsters films vs. samurai films, and sly comments on race, technology and language. Jarmusch is clearly having fun in seeing how all these cultures tie together, and while the film may not hold up to his very best work, it’s also not hard to get lost in the atmosphere.

Rating: 4 stars (out of 5)

Bubba Ho-Tep (2002)

Bubba Ho-Tep takes an incredibly wacky (yet winning) premise of wish-fulfillment fantasy mixed with a slice of irony to create an offbeat horror-comedy that will (at the very least) have fans of the genre intrigued and probably slightly bewildered. The main idea (based off a short story by Texas writer Joe R. Landsdale): what if Elvis was still alive, but instead of reclaiming his fame, he was forced to spend the rest of his life in a drab Texas nursing home because of back problems? What if the Elvis that actually died was an Elvis impersonator, who agreed to switch places back in the 70s? What if Elvis’s best friend in the nursing home is an old black man (played wonderfully by Ossie Davis) who thinks he is actually JFK? What if their goal is to stop a mythical cowboy-mummy who begins to haunt the residents of the nursing home? It’s all very bizarre, but thankfully the film maintains the balancing act of horror and comedy long enough leave an impression. One would think that the film keeps the proceedings light with this kind of concept, but it actually goes for a darker tone, dealing with loneliness and the inevitability of old age and death. There is humor to be sure (one bit involves Elvis’s contract with the impersonator becoming lost during a freak barbeque explosion), but there is a surprising sadness of the characters’ situations that undercuts some of the craziness found in the offbeat storyline.

One of the main reasons the film works as well as it does is the excellent performance of Bruce Campbell as the aging Elvis Presley. Famously known for his slapstick swagger played to comic perfection in the Evil Dead films, Campbell here seems much more restrained, especially under layers and layers of old-age makeup. Thankfully, his face is still expressive as ever, and he’s able to portray Elvis as a man who’s down but not out. It makes it all the more impressive that his performance is not a straight up Elvis impersonation, but his wit, humor, and swagger all shine through the lonely character he’s playing, and you get a sense that this really could have been Elvis: The Elderly Years. Director Don Coscarelli (of Phantasm and Beastmaster fame) and the filmmakers also thankfully have a sense of reverence towards Elvis, so instead of becoming a punchline, he becomes a real character who just seems to be stuck in an uncanny situation. The other main performance, Ossie Davis as JFK, is hilarious because the way Davis ramps up the paranoia, believing everyone is out to get him, be it Oswald or Johnson. Together their chemistry and comic timing provides for some great laughs as they scuttle around the nursing home trying to deal with the mythical villain.

The movie is obviously influenced by the horror-comedy that preceded it, and it’s hard not to mention the Evil Dead films as a major influence, especially when you have Bruce Campbell in the title role. There is one hilarious bit with Campbell’s Elvis fighting off a persistent scarab beetle in his room that would probably feel right at home in Sam Raimi’s classic series. Unfortunately, for all its offbeat qualities, the film loses steam in the second half (the final standoff against Bubba Ho-Tep fells oddly rushed and a little anti-climactic), and there are times where the filmmakers seem to be trying a little too hard to make an instant cult hit. However, it’s bizarre concept and great first half keeps things enjoyable, so if you’ve ever wondered what would happen if Elvis and JFK teamed up to fight mummies, you’d be hard pressed not to find some sort of strange answer here.

Rating: 3 stars (out of 5)

Muhammad and Larry (2009)

Muhammad and Larry, part of ESPN’s 30 for 30 documentary series, is a mesmerizing story of the downfall of a giant, the promise of another great, and the muddled grey area in between. The film was directed by Albert Maysles (one half of the famed documentary team in charge of Gimme Shelter, Salesman, and Grey Gardens fame) and Bradley Kaplan, using archival footage from a shorter, unreleased documentary shot by Maysles and his brother David. This film allows Maysles to use some of his footage from almost 30 years ago and expand on it with new interviews and footage for the “30 for 30” segment. What has been released not only provides a wealth of unseen footage from the era, but it also provides a nice look into how this fight affected all parties involved.

The film chronicles the events leading up the 1980 championship bout between Muhammad Ali and Larry Holmes. Holmes had been consistently defending his WBC Heavyweight Champion title over the past couple of years by defeating the likes of Ken Norton, Mike Weaver, and Earnie Shavers. Meanwhile, Ali had not boxed professionally in well over a year but was looking for a return for a fourth heavyweight championship. The two had been friends and sparring partners, and Holmes regarded Ali as a mentor and hero. The idea of Ali returning was met with speculation, as nobody thought Ali could make such a strong comeback. The movie begins two months before the fight, and we see Ali, at age 38, looking weathered and tired from the gate. He is overweight (for his class) and sporting a moustache, making him look far older than his age would suggest.

What’s fascinating here is that we are allowed a backstage pass into Ali’s training facility, a sort of grimy, DIY-like arena where you can almost smell the wood and vinyl surrounding the interiors. Here Ali becomes a sort of master of ceremonies, entertaining the crowds with witty speeches and amazing kids with magic tricks. However, it becomes obvious Ali’s keeping his cards close to his chest, never revealing his true self. There is even a moment in a limo ride where Ali is asked about Holmes as a friend, and Ali says he is a friend to Holmes, but the look in his eyes shows nothing but contempt. He is nervous, paranoid of those around him, audibly slurring (unbeknownst to anyone at the time, Ali was only four years away from being diagnosed with Parkinson’s Disease). Holmes, on the other hand, is seen as much more open to the camera, often seen kissing his baby, singing songs about himself or talking to his wife on his (oversize) car phone. It becomes obvious that he really doesn’t want to fight his friend, but on the day of the fight he will do what he always does. He also knows that he has the talent, and we are reminded that Holmes was a great fighter who probably isn’t considered one of the greats because he came right after Ali’s reign. Even In the days leading up to the fight, Holmes is confident in his skills that he will win, but the hype falls in Ali’s favor, and it proves to be just a little frustrating for Holmes.

The actual fight, almost predictably, proves to be brutal for Ali. The footage is difficult to watch, as Holmes takes the lead from the first round landing punch after punch on Ali, and there are rounds where it seems that Ali has long since given up, not even trying to throw any punches. Holmes even seems to take pity on Ali mid-fight, not wanting to deliver the final blow to his friend. The fight was finally called in 11^th round, and Holmes was declared the champion. However, the damage had already been done. Holmes was cast as the villain by the press and fans alike for taking down their hero, and it’s a reputation that he has long since tried to correct (as seen in the newer footage). Ali, rather surprisingly, would fight one more time in 1981 before retiring permanently from the sport. The Ali-Holmes fight is fondly remembered as “crime against all involved”, an “abomination”, clearly a money ploy for the promoters, trainers and sports media. No one person was to blame, yet almost everyone knew the outcome well before the fight.

Muhammad and Larry proves to be so captivating because of not only all the archival footage that allows us into the world of the training areas, but it also shows a heartbreaking story of two greats. One, beloved by both the media and the public (still to this day), was well aware that his chances were slim but gambled anyway—and had an embarrassing downslide to his professional career to show for it. The other, even though he came out the victor by defeating one the greats, was outcast as a villain and was never given the chance to fully redeem himself. The film doesn’t take sides on who’s really the hero here—it just shows the two in the natural habitat, just trying to make sense of what is about to happen and how some wrongs can never be made right.

Rating: 4 ½ stars (out of 5)