Author: Christian Sauvé

  • Killer Joe (2011)

    Killer Joe (2011)

    (On Cable TV, December 2013) Matthew McConaughey’s recent career renewal has been a beautiful thing to watch ever since The Lincoln Lawyer and it reaches an apogee of sorts here within this pitch-black Texan crime thriller.  Though sometimes billed as a comedy, Killer Joe is more lurid than funny, as it features a deeply dysfunctional family plotting to kill for purely monetary gains.  Complications more than ensue when an implacable hit-man (McConaughey, deliciously evil) is brought in to execute the plan, and when the money goes missing.  Twisted, sordid, at times asphyxiating, Killer Joe is not pure entertainment as much as it’s watching a train-wreck in motion.  Sometimes in very slow motion, as the theatrical roots of Tracy Letts’ script show up most visibly in a series of lengthy dialogue-heavy scenes.  (You may hear about the fried-chicken scene and you may think you’re ready to see it as just one more thing in your jaded filmgoer’s experience, but you’re not.)  While Killer Joe ends a bit too early to earn a satisfying pay-off, there’s no denying the skill with which veteran director William Friedkin puts together the film, or the talent of the actors having fun with their slummy characters.  Emile Hirsch is particularly credible as a dim-witted wannabe hustler who gets outplayed by everyone, while Gina Gershon gets the least-glamorous role as the fried-chicken-gobbler. (And now I feel dirty for having written this, and I haven’t even mentioned the twisted sex-slavery plot device.)  Unpleasant yet fascinating, crafty and exploitative at once, Killer Joe may best be considered as showing how far McConaughey has gone from his beach-bum rom-com persona… and how good he is at playing dark.

  • 500 Essential Cult Books: The Ultimate Guide, Gina McKinnon

    500 Essential Cult Books: The Ultimate Guide, Gina McKinnon

    Sterling, 2010, 384 pages, C$20.00 pb, ISBN 978-1-402-77485-0

    If you’ve come here for a detailed, well-argued review of Gina McKinnon’s 500 Essential Cult Books: The Ultimate Guide, then prepare to be disappointed, because I’m going to use the book as an excuse to blather on The State of My Reading Habits circa 2013.

    A bit of a recap may be in order: For most of my life, I’ve considered myself at the far end of the reading bell-curve.  I scoffed at those 50-books-a-year blogging challenges: At my peak, I could knock off between 250 and 300 books per year and review a hundred of them thanks to a quiet single life and a lengthy bus commute.  That gradually stopped once I got married, became a father and moved dramatically closer to my place of employment.  As a result, I’m going to close 2013 having read fewer than thirty books –most of those late at night, on a handheld device while sitting in the smallest room of the house.  Things change!

    So you can imagine my mixture of delight and bitterness at receiving, as a birthday gift from my sister, 500 Essential Cult Books: The Ultimate Guide.  Oh sure: Rub some salt in those wounds, won’t you?  I’m already complaining that I read a tenth of what I read before, and now here are more reading suggestions?  Well-played, sister.  Enjoy your pre-mothering days.  We’ll talk again in a few years.

    My first impulse was to throw the book into one of the dozen boxes where my “to-read” pile has come to roost following The Great Household Move of 2013.  But 500 Essential Cult Books had a few things going for it: An attractive visual design, bite-sized text snippets describing the titular 500 books, and an appeal to my inner bean-counter: How many of those essential cult books had I actually read?  (As it turns out: roughly 111, although I’d like to claim half-credit for roughly 30 more due to having either seen the movie or read abridged versions.)

    So I packed the book in my work bag and resolved to read a little bit of it every day at the office while my workstation was booting up, or during those inevitable downtimes where I was stuck between a few minutes to waste and a good book at hand.  It took two months to make it from one cover to another, but I did… and that feels like a victory in itself.

    The most obvious comment about 500 Essential Cult Books is that McKinnon’s definition of a cult book is quite expansive, in both the best and not-so-best sense.  If you’re particularly picky, describing The Da Vinci Code as a cult book will strike you as nonsense: How can a massively successful book, mainly read by people who hadn’t picked up a suspense novel in years, even qualify as cult?  But McKinnon’s argument is solid: the novel has inspired an unusual devotion amongst its readership, leading to countless spinoff books, tourism tours and passionate commentary –not to mention the movie adaptation.  (As an aside; a significant proportion of those 500 cult books have been adapted to the big screen –a clear indicator of a readership passionate enough to risk the vagaries of moviemaking) So it goes –if you prefer, call McKinnon’s book “500 books that inspired a lot of people” and drop the “cult” as inconvenient shorthand.

    Otherwise, there’s a lot to like about the breadth and variety of the books that McKinnon has selected.  She gets to pick works originally written in other languages than English, has no trouble mixing fiction and non-fiction, seems to enjoy graphic novels as much as I do, and subdivides the book in categories (“Incredible Worlds”, “Thrilling Tales”, “Inner Spirits”) that are more suggestive than restrictive.  Each book gets a plot summary, a critical commentary and further reading suggestions, and if it all feels a bit short, her list of 500 titles is broad enough to reach anyone and everyone.  If nothing else, it’s a far more entertaining set of “read this” recommendations than yet another attempt at canon-making: McKinnon is positively joyous in suggesting the kind of oddball and unusual titles that earn devotion rather than mere respect.  So it is that as I made my way through the book, my nods at “yeah, I read that and it deserves to be on the list” were followed by a number of “Oooh, that sounds interesting and I want to read that”. 

    That last, obviously, is a harder sell now than it used to be: long gone are the days where I could just order a dozen books on Amazon and dispose of them in a few weeks, or embark on a year-long massive reading project.  I have bought fewer than half a dozen books for myself in 2013, and given the sheer amount of stuff to be done around the house alongside an active toddler, I’m not foreseeing 2014 as being any less punishing than 2013 in terms of free time left for reading.

    But I am exactly where I want to be in my life, and far wiser avid readers have assured me that it’s normal and expected for everything else to pause while raising young children.  To risk an old cliché, I’ve learned quite a bit more this year caring for a little person than I’ve gotten from the books I would have read otherwise, and there’s no way I’d be tempted to trade the experience.  Those 500 books will still be there, just as intact and fascinating, once I get a bit more time; isn’t that the best thing about reading?

  • The Baytown Outlaws (2012)

    The Baytown Outlaws (2012)

    (On Cable TV, December 2013) I’m becoming increasingly fond of the small-scale gems that emerge from the muck of Cable TV movie channels, and The Baytown Outlaws pretty much qualifies as such.  It’s not a big, profound or even all that clever film, but it’s executed with a decent amount of energy and skill.  It helps that the tone of the film is the kind of snarky crime/comedy/action hybrid that I can watch all day long.  Here, Billy Bob Thornton and Eva Longoria slum a bit as (respectively) a crime lord and his abused ex-girlfriend who hires three vigilante anti-heroes to rescue her godson from him.  The plot is slight, but the incidents along the way are certainly off-beat, ranging from a killer group of prostitutes, road pirates and native bikers.  The Baytown Outlaws is anarchic, scattered, cartoonish (sometime literally so, to good effect) and morally off-center, but it’s also steadily amusing as what it does.  Writer/director Barry Battles clearly stretches his modest budget beyond what could have been expected from such a production.  Best seen as part of the grind-house exploitation sub-genre, The Baytown Outlaws exceeds expectations, and that alone distinguishes it from most little-known movies that show up on cable TV alongside the most familiar titles.

  • Monster Brawl (2011)

    Monster Brawl (2011)

    (On Cable TV, December 2013) This “film” isn’t any good, but at least it gets points for monster-movie homage, unorthodox narrative structure and cost-effectiveness.  A low-low budget Canadian production, Monster Brawl is less a movie than an attempt to put horror monsters into a 90-minutes wrestling brawl special: Eight monsters battle it out until only one is left, and everything else is context… which is to say filler.  Much of the filmmaker’s cleverness is spent stretching their reported 200,000$ budget to accommodate eight distinctive monsters and moody brawling pit.  (The graphic design work of the film is pretty good, though, as so is Lance Henriksen’s God-voiced video-game narration.)  Color commentators, either taken from the wrestling world or clearly inspired by WWE specials, add very little to the proceedings: While it’s fun to see Dave Foley in just about anything, he doesn’t get much to do but simulate inebriation and spout sports-commentator clichés.  The problem with Monster Brawl is that the fights are dull and everything surrounding them is even duller: The fleeting attempts at a narrative framework are undermined by a conclusion that cuts away without resolving anything or providing satisfactory closure.  The acting isn’t particularly good, although the make-up makes up for it somewhat.  With a decent budget and more imaginative writers, this could have been quite a bit better.  But failing that, and given the above, it goes without saying that if you’re not a fan of wrestling and/or monster-movies, then there’s little of interest in Monster Brawl.  Trust me; I’m one of you and I just checked on your behalf. 

  • The Host (2013)

    The Host (2013)

    (On Cable TV, December 2013) I read Stephenie Meyer’s The Host shortly after publication five years ago, but while I recall buying, reading and eventually giving away the book, I recall almost nothing from the novel beyond “romantic twaddle featuring parasite aliens and teenage love triangles”.  As it turns out, this also describes the film pretty well: While The Host features body-riding aliens having taken over Earth in a fit of benevolent eradication, there’s no real science-fiction to be found here: no extrapolation beyond base sentimental melodrama, no extrapolative surprises, no real world-building.  It’s not really surprising to see Meyer stick close to what made Twilight such a runaway young-adult success; it’s what she presumably knows and does best –but the real bitter disappointment here is seeing writer/director Andrew Niccol waste his time and energy by slumming in a framework so far away from his cerebral track record: The Host needs a lot of sloppy romanticism to work, but Niccol seems to have far more sympathy for the gleaming-chrome cleanliness of the aliens than for the messy humans in the story.  That’s fine (I liked the aliens better than the human as well), but when it’s played straight it means an interminable and somewhat silly film.  Saoirse Ronan does as well as she can with the material she has (and it’s a measure of her potential that her reputation as a fine actress will survive this film intact), but The Host is a clear example of how some aspects of a novel don’t survive the literalisation process of the movie medium: Having a protagonist engage in internal dialogue works fine on the page, but just sounds silly on-screen.  Saying that the film is aimed at teenage girls sort of misses the point given how many car crashes are crammed in a story that didn’t even have any on the page.  Some of the details are mildly entertaining (the cars, the ultra-generic “store”, the mirror-powered cavern fields) but there’s little else to lift the film above its basic problems: The dialogue is bland (try reading the IMDB quotes page and try not to fall asleep), most of the young men of the cast can’t be told apart, the story doesn’t go anywhere interesting once it becomes obvious that Meyer’s intent is far too nice (“You’ve been doing it all wrong!” our protagonist says of the alien-removing effort, “You need to do it with love!”).  Give me a year, and I’m pretty sure I will remember nothing more from The Host as a film than I do from the novel.

  • The Frozen Ground (2013)

    The Frozen Ground (2013)

    (Video on Demand, December 2013) There isn’t much about The Frozen Ground’s script that’s in any way special.  Based on the sordid story of Alaskan serial killer Robert Hansen, this is a film that does the usual serial-killer thriller in more or less the expected fashion.  Much of the execution is equally bland: Newcomer writer/director Scott Walker is entirely too fond of shaky camera tight close-ups and the result can be a bit annoying.  But location and casting both manage to raise this B-grade thriller to a level that’s worth watching.  Most noteworthy here is Nicolas Cage as the lead investigator: For once, he dispenses with the usual Cage histrionics in order to deliver a far more measured performance, and the result is an interesting throwback to early-era Cage, before he started playing a grander-than-life himself in every role.  (Make no mistake: I love operatic “nouveau shamanic” Cage, but the occasional change of tone is nice.)  It isn’t the only against-type casting coup of the film, as the repellant antagonist is played by John Cusack (far best known for smart good-guy roles) while Vanessa Hudgens, moving farther away from her earliest squeaky-clean roles, plays the vulnerable victim who is the key to breaking the antagonist’s secrets.  The Frozen Ground’s other big asset is location: by setting itself in cold dreary Alaska, the film gains a distinctive visual atmosphere, and seems to crank up the tension of the events a notch further.  The most satisfying scenes come late in the movie, as a subdued Cage and a wily Cusack face off against each other in an interrogation room.  None of those strengths make The Frozen Ground any better than a run-of-the-mill thriller, but they help make the film more memorable than another cursory effort at the serial-killer sub-genre.

  • Jobs (2013)

    Jobs (2013)

    (Video on Demand, November 2013) I will admit that I was among the skeptics when they announced that Ashton Kutcher would be playing Steve Jobs in a film biography: How could Kutcher’s slacker personae fit with the Apple founder’s latter-day visionary reputation? As it turns out, Kutcher’s casting is one of the best things about Jobs, an average docu-fictive effort that nonetheless has a few good moments.  Kutcher is at his most Kutcher-esque early in the movie, playing Jobs at a time when the man was a free spirit open to eastern mysticism and counter-establishment thinking.  Much of Jobs follows its subject during the eighties as he becomes a shrewd businessman, combining visionary thinking with available technology.  It’s not a seamless nor magical film: Despite a rich re-creation of the nascent personal computing industry in the 1980s, Jobs gets progressively sparser at it moves throughout the nineties, eliding some important transitional periods in Jobs’ life (such as the years at NeXT, his co-founding of Pixar, the way he reconciles with his daughter or indeed much of his personal life) in the rush to present him triumphantly re-taking the reins at Apple.  Little is said after 1997 save for a 2001 prologue introducing the iPod, and nothing at all about Jobs’ last years.  Visually, the film is a bit flat save for the period re-creation, and while there are several interesting actors in small roles (including James Woods in a single early scene!), there isn’t much here to raise the film above made-for-TV specials.  On the other hand, Kutcher is surprisingly credible, so at least there’s that.  One hopes that Aaron Sorkin’s upcoming competing effort will be a bit flashier, and hopefully more substantial.

  • Parker (2013)

    Parker (2013)

    (On Cable TV, November 2013) Jason Statham can act quite a bit better than his usual screen personae allows, and while I do like his stock character a lot, it’s a shame that we don’t see him attempt more ambitious movies than cookie-cutter efforts such as Parker.  It’s not that Parker is badly made: Director Taylor Hackford knows what he’s doing and gives a nice gloss to his visuals –especially once the action moves to Miami Beach.  Statham is his usual gruff-but-charming self, while Jennifer Lopez gets a few comic moment as a desperate real estate agent.  But Parker really can’t rise above its generic nature: Not only has the “left for dead good-guy criminal seeks revenge” shtick been done to death, it has often been executed in far more economical fashion: For a film with such as straightforward plot, Parker overstays its welcome at nearly two hours –Lopez, nominally billed as one of the two lead characters, doesn’t show up until mid-movie.  It’s a bit of a shame that this first titled adaptation of Donald E. Westlake’s Parker novels is so generic: I recall Mel Gibson’s 1999 vehicle Payback with a lot more fondness.  (It’s not the only late-nineties to be favorably compared to Parker – it’s hard to see Lopez in this film without thinking about Out of Sight.)  The dead-end romantic subplot doesn’t help, and there’s a sense that much has been wasted in this hum-drum effort.  Ironically, the best reason to see Parker remains Statham himself –even in the most generic of vehicles, he remains curiously compelling.

  • Lo imposible [The Impossible] (2012)

    Lo imposible [The Impossible] (2012)

    (On Cable TV, November 2013) There are disaster movies made to be entertainingly exhilarating, and there are other designed to make the audience experience going through an ordeal themselves.  So it is that watching The Impossible feels like going through a natural catastrophe.  Dramatizing the life story of a British family that survived the 2004 Indian Ocean tsunami, The Impossible spares no effort in graphically showing the devastation unleashed by the natural disaster.  Watching some of the sequences of the film, it’s hard to believe that director J.A. Bayona has found a way to stage this amount of mayhem without destroying an entire country.  Naomi Watts and Ewan McGregor star as a couple who find themselves (and their three boys) separated from each other, forced to survive and find each other despite all odds.  (Watts gets the most thankless role, including a gory moment in which the extent of her leg injuries are revealed.) It’s a harrowing film –the tsunami sequences are brutal, but they’re the only fun part in a film that graphically portrays an incredible amount of suffering and destruction.  The end of the film, as heart-warming as it is, comes as a welcome return to comfortable reality for viewers.  The Impossible is impressive, but it’s certainly not a pleasant experience, and anyone looking for easy entertainment may want to push this one further back in the queue of upcoming viewing.

  • Man of Steel (2013)

    Man of Steel (2013)

    (Video on Demand, November 2013) There’s something both annoying and admirable about the entertainment industry’s insistence at rebooting and shoving down superhero movies down our throats.  DC’s maniacal insistence at reviving Superman after the 2006’s disastrous Superman Returns is understandable: Superman is iconic, the superhero film genre is still going strong, and there’s still some goodwill among genre fans for a good Superman film.  Man of Steel, fortunately enough, is pretty much as good as it gets from a narrative perspective: Screenwriter David S. Goyer (with some assistance from Christopher Nolan) has managed to find a compelling story to tell about a fairly dull character, and it’s more thematically rich than we could have expected.  Man of Steel, in the tradition of Nolan’s Batman films, voluntarily goes gritty: Zack Snyder’s direction favour pseudo-documentary aesthetics, the cinematography is more realistic than glossy, and the final act’s destruction feel more traumatic than purely entertaining.  Much of this grittiness feels wrong for those raised on the squeaky-clean Superman character, causing more discomfort than necessary.  On the other hand, the result is a film that’s reasonably captivating to watch: Superman has an inner conflict to solve, the action sequences aren’t generic and there’s a real effort to ground Superman to an identifiable reality.  Henry Cavill is pretty good in the lead role, while Amy Adams does the most with a somewhat generic character.  Michael Shannon brings some unexpected complexity to the antagonist, while both Russell Crowe and Kevin Costner get small but plum roles as the protagonist’s two fathers.  While Man of Steel is (ironically) a bit too down-to-earth to feel like a blockbuster epic made to be re-watched over and over again, it’s a cut above the usual superhero fare: There’s some real pathos here, an origin story built on well-used flashbacks, sense of personal growth for Superman (something rarely seen) and the solid foundation for further entries.  Recent superhero movie history has shown that it could have been much worse, and if I’ll happily take a glossy Superman movie over an unpleasantly gritty one, it would be churlish to deny the successes of this version of the character.

  • Manhunt: The Inside Story of the Hunt for Bin Laden (2013)

    Manhunt: The Inside Story of the Hunt for Bin Laden (2013)

    (On Cable TV, November 2013) Seeing this HBO documentary right after Zero Dark Thirty, I’m most struck by the way the fictional film isn’t nearly as interesting, dramatic or compelling as the real story.  Manhunt isn’t much more than talking-head testimonials cleverly intercut by director Greg Barker with stock-ish footage and computer-generated infographics.  But the talking heads are largely CIA analysts, case officers, high-level officials and expert journalists, so the true-life espionage drama they paint of the hunt for Osama bin Laden is fascinating.  Manhunt starts by explaining that a group of CIA analysts (mostly women, hence “The Sisterhood”) started tracking down bin Laden in the mid-nineties, and their efforts intensified following 9/11.  The film acts as a big primer on real-world espionage activities, underlining the mixture of signal interception and street-level human work required to track down bin Laden.  While some linkages remain curiously elusive (I blame operational security), there are fascinating stories built in the narrative, including the fantastic almost-buried story of how al Quaeda consciously mounted an offensive operation against the CIA, killing a number of Agency operatives at Camp Chapman through a triple-agent.  While Zero Dark Thirty does portray the same event, Manhunt does so in a more fascinating way, and ends up being far more effective in two hours than the fictional film’s nearly-three-hour running length.  Nearly everyone interviewed for the film leaves us wanting more; in particular, people like Nada Bakos, Marty Martin, and Cindy Storer (who apparently wrote the infamous “Bin Ladin Determined To Strike in US” memo) seem endlessly fascinating: enthusiastic, reflective, knowledgeable and often funny.  They bring a human face to a lengthy collective effort, and do so far more effectively than the fictional film.  This being HBO, the film isn’t blind to the ethical implications of targeting an individual for termination –it ends on a fairly somber note far away from triumphalism: Sure, the man is dead and the symbolism is powerful, but the ideas live on.  While Manhunt is worth seeing on its own, it becomes essential viewing for anyone who has seen Zero Dark Thirty.

  • Zero Dark Thirty (2012)

    Zero Dark Thirty (2012)

    (On Cable TV, November 2013) Given the acclaim that Zero Dark Thirty received upon release (all the way up to Oscar nominations) and the interest in its premise, I frankly expected more than I got from the film.  Telling the story of the hunt for Osama bin Laden seemed essential given his decade-long bogeyman stature in the American psyche… but who expected a film about such a gripping subject to be, well, so dull?  Clocking in at a near-oppressive two-and-a-half-hour, Zero Dark Thirty takes forever to tell its story, underplaying some moments (such as the strike against CIA employees at Camp Chapman) while letting others take place in near-real time.  The pacing is tepid, and the basic tools of the film (cinematography, dialogue, direction) aren’t all that compelling either: For all the good that I think of her films up to and including The Hurt Locker, director Kathryn Bigelow’s work here seems more average than anything else, and does little to fight against the heaviness of the rest of the film. Fortunately, the performances are quite good: Jessica Chastain is splendid as the personification of the “Sisterhood” of CIA analysts that doggedly pursued bin Laden for more than a decade, while Jason Clarke is curiously compelling as a CIA interrogator.  As far as the gulf between fiction and reality is concerned, a look at the HBO documentary Manhunt should help clear up the historical liberties taken by Zero Dark Thirty –although viewers should be forewarned that Manhunt is considerably crisper and more compelling than its fictional counterpart.

  • Double Down: Game Change 2012, Mark Halperin and John Heilemann

    Double Down: Game Change 2012, Mark Halperin and John Heilemann

    Penguin, 2013, 512 pages, C$31.50 hc, ISBN 978-1-594-20440-1

    In an age of twitter-sized text bites, continuous news cycle and fragmented constituencies, there is something to be said for long-form narratives that seek to explain months of events and incidents.  This goes double for attempts to describe something as complex as a presidential campaign.  Following in the footsteps of their vastly entertaining Game Change (which tackled the 2008 presidential campaign, with a focus on the Obama/Clinton primary challenges and the impact of Sarah Palin on the campaign), Mark Halperin and John Heilemann have spent much of 2011 and 2012 following the main players involved in the 2012 American presidential campaign, and Double Down is an attempt to weave what they’ve learned into a coherent narrative.

    The biggest problem with the 2012 campaign, of course, is that it was a fairly dull affair: Barack Obama went into the contest with the advantages of the incumbency, while Mitt Romney was seen as the least-objectionable pick from an uninspiring selection of candidates from a Republican party fractured between the older establishment and the extreme tea-partiers.  Save for a lopsided first debate that temporarily upset expectations, the campaign had few dramatic moments.  By the time November rolled around, the only people claiming a close election were media outlets hyping up their viewership number and the Romney campaign itself.  Watching the results at home, I knew enough about the possible swing-states to be able to call the election for Obama roughly three minutes before CNN did.

    As a political junkie, I’m the natural audience for a book such as Double Down… even though I spent much of 2012 a step removed from American politics, preoccupied with a brand-new baby at home.  And while I may have opened this review with lofty goals of narrative-making, let’s be honest: I read book such as Double Down to get pieces of gossip, new revelations and an idea of what I’d missed from the usual open sources of information.

    As it turns out, Double Down is most interesting when it does delve into what I’d missed: Mostly the early stages of the Republican nomination process, as promising candidates decide (or are strongly encouraged) to sit out the 2012 election cycle.  This, improbably, opened up the field for Romney, who managed to remain the least-terrible alternative after a succession of other would-be nominees flamed out early on.  The look behind the scenes of those failed contenders is often fascinating, and perhaps more affecting than the winning campaigns: I never thought I’d feel a bit of sympathy for Michelle Bachmann or Rick Perry, but seeing them struggles with (respectively) debilitating migraines and post-operative back pain is enough to remind you that for all the overheated partisan rhetoric, these are still real people running for office. 

    Amusingly, the authors also have to contend with their own precedent in writing Double Down: Parts of Chapter 3 are spent describing the White House’s dealing with the authors, while one of the most hilarious anecdotes of the book has VP nominee Paul Ryan trying to calm down before his major convention speech by watching… the HBO movie adaptation of Game Change, focusing on the shortcomings of his predecessor Sarah Palin.  Fortunately, the book itself is not perceptibly biased, save for siding with the winner and being harsher on the losers: While Obama is criticized for his failings as a contemplative president and as a reluctant candidate, Romney gets worse by being described as a curiously ambivalent candidate, one that maybe didn’t want the presidency enough.

    The authors have a knack for creating a compelling narrative (even though their vocabulary often runs wild, along with their tendency toward nicknames or metonymy) and the book is a joy to read, although a good background in American national politics is required before making sense of most details.  Still, it’s worth remembering that Halperin and Heilemann are part of the old-school of journalism.  Never mind the off-handed (and faintly reprobate) mentions of social media (and even, just Twitter –never Facebook!) as if it was just a fringe phenomenon: this mentality leads to a few curious omissions in what is otherwise a complete account of the campaign. 

    For instance, while nothing made me smile wider than seeing the author dismiss Ron Paul as a man whose “radical libertarianism, out-front isolationism, and just plain kookiness— from his abhorrence of paper money to his ties to the John Birch Society — made him more likely to end up on a park bench feeding stale bread to the squirrels than become the Republican nominee”, Paul did earn more votes during the primaries than many other candidates described at length during the book.  I suspect that access has to do with this snide dismissal: that is, if the authors were rebuffed by the Paul campaign, then they found nothing interesting to say about him.  Far more troubling is Double Down’s refusal to mention Nate Silver even once.  Silver, as you may recall, was the most visible of the web-based statistical pundits who uniformly predicted an Obama victory, even as the traditional media was still creating a smokescreen of uncertainty over the election.  Also significant is the lack of discussion about the Romney campaign’s ORCA IT problems, which may have led to a false sense of confidence in the final weeks of the campaign in a supposedly data-centric organization.  Those stories were well-covered in the days immediately after the election, and it seems curious that they don’t even rate a mention even as figures who played no part in the election such as Haley Barbour rate pages of anecdotes.  (And let’s not even mention Chris Christie, who should consider sending copies of this book to registered Republicans in anticipation of his 2016 run… or not.)

    And this brings us to my original assessment of Game Change, which holds true for Double Down as well: It’s become a quadrennial gossip rag for the political set.  Data, infrastructure, trends and strategy aren’t nearly as important in Double Down as screaming, shouting, money problems and dramatic narration.  That’s to necessarily a bad thing, as long as readers understand that this is political reporting as entertainment.  Insight will come from elsewhere.

    Is it any surprise that a movie adaption has already been announced?

  • Our Man in Tehran (2013)

    Our Man in Tehran (2013)

    (On Cable TV, November 2013) While Canadian Caper documentary Our Man in Tehran was not entirely motivated by the historical inaccuracies in Argo (it began planning well before Argo made it to screens), there’s no denying that the film earned enormous publicity and good-will (at least in Canada) as being “the answer” to the Hollywoodized fictional account.  It’s certainly riveting as a companion piece, as much for the context it establishes around the event than for the ways it reveals a true story often more interesting than the fiction itself. (Consider that the Swissair plane that flew the hostages out of Tehran was named… Aargau.)   Canadian diplomat Ken Taylor is the acknowledged titular hero of Our Man in Tehran, but much of the film’s credit go to writer/directors Larry Weinstein and Drew Taylor (along with Robert Wright, who wrote the book on which much of the material is drawn) as they spin a talking head montage into a short history of the Iranian revolution, a narrative of the Canadian Caper and gentle jabs at the Hollywood version of events in which the CIA “allows” Canada to claim credit for the success of the operation.  There’s a lot of interesting material here, not the least being how much Canadian assets contributed to the reconnaissance portion of the failed Desert Claw rescue operation.  It’s easy to label Our Man in Tehran as an essential companion piece to Argo… but that’s undermining the film, which is equally worth a viewing by itself.

  • Argo (2012)

    Argo (2012)

    (On Cable TV, November 2013) This Iranian-hostage thriller annoyed me for several reasons: Never mind the last few lines that so generously allow Canada to take credit for a CIA operation, or the selective political context, or the way that a Hollywood production self-importantly suggests that Hollywood can be important on the geopolitical stage (no wonder it won the Oscar…): the way real-life facts are tortured until they end up with the kind of breathless thriller in which a departing plane is followed by jeeps filled with would-be killers is enough to make your eyes roll waaay back.  Shamelessly rearranging history to suit the purposes of crowd-friendly entertainment, Argo practically demonstrates how bad Hollywood can be in distorting reality.  But the real surprise is that despite all of those flaws… the film is actually quite enjoyable.  Director Ben Affleck manages a third solid film in as many attempts, even through Argo is a bit more ambitious in its historical setting than the Bostonian crime dramas of either Gone Baby Gone or The Town.  The rhythm of the film is steadily engrossing, and the Hollywood interludes (featuring a splendid Alan Arkin) bring a bit of levity to a premise that naturally lends itself to a somber tone.  Argo arguably becomes more interesting as it deviates further and further away from reality, as the CIA agent goes rogue in refusing an order to abort the operation, as the fake film-crew takes unjustifiable risks, as the Iranian security forces get closer and closer to the fleeing fugitives.  By the time the jeeps are chasing the departing plane on the airport tarmac, it’s practically an unintentional comedy.  It’s hard to deny that Argo is splendidly entertaining, and that’s a significant edge over the not-dissimilar Zero Dark Thirty.  Still, as a Canadian I feel a duty to tut-tut this film over its historical inaccuracies.  You should still see it for its craft… but follow it up with a documentary such as Our Man in Tehran for a more thorough overview of the real events.