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“SOMEWHERE BETWEEN” My rating: C+  (Opening Nov. 2 at the Tivoli)

88 minutes | No MPAA rating

The adolescent girls who are the focus of the documentary “Somewhere Between” often refer to themselves as Oreos: White on the inside, yellow (or Chinese) on the outside.

Linda Goldstein Knowlton’s documentary concentrates on four girls born in China, abandoned by their parents (China’s one-child-per-family policy has pushed thousands of couples to give up their female offspring until a more-prized boy comes along) and adopted by Americans.

In most respects these girls (they’re not young women yet, though a couple exhibit a maturity far beyond their years) are thoroughly Americanized. They tend to be high achievers. One is a fervent Christian. Another is determined to be the first Chinese-American to perform on the stage of the Grand Ol’ Opry.

But they’re still children, emotionally vulnerable and, despite their happy circumstances, torn by the fact that they weren’t wanted by their birth parents.

The film runs on two parallel tracks. There’s the story of their lives in the U.S.: birthday parties, church services, sports, academics, boyfriends.

And then there are the efforts (often hopeless, but sometimes remarkably successful) of these girls to discover their birth parents back in China. In at least one case this results in a girl discovering her father, two older sisters and a little brother.

We meet an adoptive mother who has launched a charity to send relief aid to abandoned children in China and spend time on a European tour sponsored by a worldwide support organization for adopted Chinese girls.

My main problem with “Somewhere Between” is not with the information it imparts, but in the relative dryness of the delivery. Knowlton exhibits competance but not much real inspiration.

Still, for families that have adopted Chinese girls or are thinking of doing so, the film is required viewing.

| Robert W. Butler

“FLIGHT” My rating: B (Opens wide on Oct. 26)

139 minutes | MPAA rating: R

Whip Whitaker is one cocky S.O.B.

After a sleepless night of nonstop sex with a gorgeous naked woman half his age, Whip – played by Denzel Washington — lurches out of bed in a Tampa hotel room and gets his day started with a gulp of stale beer and a snort of cocaine.

Then he suits up in his spiffy captain’s uniform and goes to the airport, where he further fortifies himself with three mini-bottles of vodka lifted from the cabin attendants’ cart before settling in behind the controls.

It’s 9 a.m. and Whip has already consumed enough mind-altering substances to lay most of us out flat, but all this excess seems only to make him more confidant and charming.

And when on this particular flight he encounters a horrific mechanical malfunction that sets his plane screaming toward the red dirt of Georgia, Whip doesn’t panic. Instead (in a spectacular sequence that will have some of you gnawing your nails to the cuticles) he exudes calm competence, putting the uncooperative aircraft through a seemingly impossible series of maneuvers (like flying upside down) before bringing it more or less safely to rest (only six deaths) in a field. Continue Reading »

Tom Hanks, Halle Berry…after the apocalypse

“CLOUD ATLAS” My rating: B- (Opening wide on Oct. 26)

172 minutes | MPAA rating: R

“Cloud Atlas” held my interest for nearly three hours.

This is a remarkable fact,  given that the film engaged my emotions hardly at all.

Furthermore, I haven’t got a clue about just what the makers of this sci-fi/fantasy epic (Andy Wachowski, Lana Wachowski and Tom Tykwer) were trying to accomplish with this century-jumping, makeup-heavy extravaganza.

Didn’t love it. Didn’t hate it. Found it interesting but frustrating.

Based on David Mitchell’s humongous (and humongously complicated) novel, this film features six stories from different epochs all knotted together in a complex tapestry.

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“DETROPIA”   My rating: B (Opens Oct. 26 at the Tivoli)

90 minutes | No MPAA rating

For those who require them, there are plenty of facts and figures on display in “Detropia.”

Try these on for size:

In 1930 Detroit was America’s fastest-growing city; now it is the fastest shrinking.

Detroit now has 100,000 abandoned houses or empty residential lots.

Over the last 50 years, Detroit has lost 50 percent of its population.

But Heidi Ewing and Rachel Grady’s cinema verite documentary is more a mood piece than anything else, a sort of cinematic lament for the death of a once-great city.  The effect is impressionistic, with the camera wandering empty streets and shattered neighborhoods, looking for life.

It’s all the result of the shrinking auto industry, which has shipped thousands of jobs overseas to take advantage of cheap Third World labor, with the result that now the United States is beginning to resemble a Third World country.

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Zac Efron, Nicole Kidman

“THE PAPERBOY” My rating: C- (Opening Oct. 26 at the Glenwood at Red Bridge)

107 minutes | MPAA rating: R

“The Paperboy” is a big ol’ heaping plate of Southern-fried sleaze. It’s just full of empty calories. If only it tasted better.

Director Lee Daniels’ followup to his celebrated “Precious” is a slog through small-town Florida circa 1969. It’s a mystery…sort of. It’s a lurid Jim Thompson-ish wallow in lust. It’s a commentary on the bad old days when black folks were pretty much just considered “the help.”

Most of all, though, “The Paperboy” is a live skinning of redneck stereotypes, with the clichés laid on so thick you almost feel sorry for the thick-browed Honey Boo Boo-ed recipients of Daniels’ scorn.

Miami newspaper hotshot Ward Jansen (Matthew McConaughey) returns to his tawdry little home town to investigate the conviction of a local swamp rat in the murder of a lawman. Hillary Van Wetter (John Cusack, looking very much the worse for wear) now sits on Death Row.

But since his trial the swamp-slogging Hillary has become the obsession of white trash hottie Charlotte Bless (Nicole Kidman), who has collected tons of overlooked evidence that suggests Hillary was framed. She’s determined to get her man out of the hooscow and into her bed.

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Elizabeth Olsen, Josh Radnor

“LIBERAL ARTS” My rating: B (Opening Oct. 19 at the Tivoli)

97 minutes l MPAA rating: PG-13

Elizabeth Olsen figures prominently in “Liberal Arts,” which is the first clue that this might be a pretty good film. (I think Olsen is the cat’s pajamas and that no movie in which she participates is a lost cause.)

Then you realize that this triple-threat effort (writer, director, star) from Josh Radnor has a lot more than just Olsen going for it.

Radnor is a regular on TV’s “How I Met Your Mother,” but his film is blessedly free of sitcom-y moments.

It’s a funny, thoughtful, and tasteful movie — and it had better be, given that it centers on one of the oldest, most queaze-inducing premises out there: the older-man/younger-woman movie.  This is a genre that can easily slide into EWWWWW territory.

But Radnor pulls it off effortlessly.

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“TOM & HARRY” My rating: C+  (Opening Oct. 19 at the Screenland Crown Center, Screenland Armour and Glenwood Arts)

115 minutes | No MPAA rating

“Tom & Harry,” area documentarist Terrence O’Malley’s latest feature,  explores the relationship between future President Harry Truman and the Pendergast political machine that ruthlessly ran Kansas City for more than three decades.

Harry Truman and his mentor Boss Tom Pendergast

It’s an exhaustive dip into local historyl and a genuinely amazing gallery of images from our city’s past.

O’Malley is an impressive collector of facts and photographs. My main beef is that he’s not much of a dramatist.

There’s a ton of information presented here (often at breakneck speed…O’Malley’s narration is breathless, as if he’s trying to cram as much data as possible into our brains  before time runs out) but no emotional hook. Too often “Tom & Harry” feels like an antiseptic classroom presentation.

Part of the problem lies with O’Malley’s role as a virtual one-man movie studio. That pretty much by his lonesome he’s been able to turn out three feature docs is nothing short of miraculous. (His earlier efforts are “Nellie Don: A Stitch in Time,” about a family member, ‘30s fashion icon Nell Donnelly, and “Black Hand, Straw Man,” an encyclopedic history of organized crime in KC.)

Actually “Tom & Harry” is less the story of two men than a history of the Pendergast political machine, formed at the turn of the century by big brother Jim Pendergast, who became the Irish kingpin of the West Bottoms and saw his influence extend to the entire city. With Jim’s early death his much younger brother Tom stepped up, perfecting patronage politics and exploiting the ward system to seize control of much of  city government.

Under Pendergast (never elected to anything, his official title was chairman of the Jackson County Democratic Club) police tolerated drinking during Prohibition and thus inadvertently encouraged the city’s jazz subculture.  Of course, you wouldn’t want to be around on election days, when armed thugs patrolled the polling places, beating up anyone who objected to the ballot-stuffing perpetrated by “dead” voters recruited by Big Tom.

Harry Truman, failed haberdasher, got his political start thanks to the Pendergast machine. But “Tom & Harry” falls short in never asking one burning question: To what extend was Harry Truman (county judge, U.S. Senator, Vice President and President) complicit in Pendergast’s corrupt regime?

The film suggests (tangentially) that Truman was his own man and never used his elected position to do anything illegal or morally questionable on behalf of Pendergast (at least nothing beyond day-to-day patronage deals, commonplace back then though considered tawdry today).

O’Malley interviews for the film a scholar who has written a book about Truman and Pendergast. This would have been a perfect opportunity to ask an expert to address that question.  But, no, the talking head comments from the historian (as well as a Pendergast descendant) are bland and not particularly informative.

Pendergast headquarters, 19th and Main

I’ve also got a few concerns about the doc’s organization, which jumps back and forth in time. Hard to follow.

And while the film is crawling with factoids, it never really lets its two leading men emerge as real personalities. Precisely what kind of men were they to deal with? The film could have used some of that sort of color.

Still,  “Tom & Harry” is a crash course in Kansas City’s political past and a useful tool in understanding how we got where we are today.

| Robert W. Butler

“SAMSARA” My rating:  B (Now at the Tivoli)

102 minutes | MPAA rating: PG-13

Technically “Samsara” is a documentary. By which I mean it’s a visual record of real places and people. But narratively it’s an example of the niche filmmaking I first encountered with “Koyaanisqatsi” lo these 30 years ago. Every so often the New Age movement comes up with one of these visual mind-blowers.

“Samsara” was  directed by Ron Fricke and producer Mark Magidson, whose previous efforts in this vein include “Baraka” and “Chronos.”

They spent five years in two-dozen countries lugging around a 70mm camera to capture these intoxicating images, which have been set to music by, among others, Michael Stearns, Marcello DeFrancisci and Lisa Gerrard (of the band Dead Can Dance). The soundtrack is more meditative than melodic (lots of exotic third-world instruments).

Describing “Samsara” isn’t easy.  There’s no narration, no on-screen credits to tell us what we’re looking at. It helps to know that in Sanskrit “Samsara” translates as “the ever-turning wheel of life.” Continue Reading »

John Goodman, Alan Arkin, Ben Affleck

“ARGO” My rating: B+ (Opens wide on Oct. 12)

120 minutes | MPAA rating: R

Based more or less on true events, “Argo” is a hugely satisfying thriller that grabs our attention early and then with workmanlike precision tightens the screws until we’re ready to jump out of our seats.

This is no small accomplishment, inasmuch as by now just about anyone interested in the movie knows how it ends. But like Ron Howard’s “Apollo 13,” Ben Affleck’s latest (he’s the star and the director) is so effective that it keeps you guessing right up to the last minute.

The film opens with a hair-raising recreation of the 1979 storming of the American embassy in Teheran, Iran, by revolutionaries incensed over the long, brutal, American-backed reign of the Shah.  While most of the Americans are frantically shredding sensitive documents, six take a back exit and end up as houseguests of the Canadian ambassador (Victor Garber).

While these half-dozen individuals (four men, two women) avoid the brutalities (including mock executions) of the 50-some Americans held hostage in the overrun embassy, they are nevertheless prisoners. They cannot leave the house or make any move that might draw attention to their whereabouts.

Moreover, if captured they will not be considered hostages, but spies. A noose or firing squad awaits them.

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Rodriguez

“SEARCHING FOR SUGAR MAN” My rating: A- (Opens Oct. 12 at the Tivoli and Glenwood at Red Bridge)

86 minutes | MPAA rating: PG-13

“Searching for Sugar Man” plays less like a documentary than like a decade-spanning, continent-jumping whodunnit  about a legendary “lost” musician.

It is both specific and mythic, and the film is such a perfect series of ever-expanding revelations that I’m afraid to say too much about it, lest the pleasure of discovery be ruined for those who have so far managed to avoid the publicity blitz surrounding the movie.

So I’m going to assume, dear reader, that you know next to nothing about the obscure musician known as Rodriguez, and that you missed last Sunday’s “60 Minutes” segment about him and this movie.

This effort from Swedish filmmaker Malik Bendjelloul begins in Detroit, where in the late ‘60s a musician named Rodriguez recorded two albums that vanished without a commercial ripple. He was known only as Rodriguez, a singer/songwriter described by his producers – one a seasoned veteran of the Motown label – as an egoless drifter and a musical wordsmith whose songs rivaled those of Bob Dylan.

He wasn’t just a musician, they say. “He was a wise man and a prophet.”

No one seems to know what happened to Rodriguez. He just vanished.

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