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Wreckage of U.S. aircraft in wake of failed Iran hostage rescue

“DESERT ONE” My rating: B

107 minutes | No MPAA rating

A demoralizing bit of recent American history comes vividly to life in “Desert One,”  Oscar-winner Barbara Kopple’s richly detailed retelling of this country’s failed attempt in 1979 to rescue our citizens being held hostage by the new revolutionary Irani regime.

To say that Kopple has cast a wide net in researching this story is an understatement. Giving first-person testimony are not only Jimmy Carter and Walter Mondale (then the U.S. president and vice-president) and members of the commando team that undertook the mission, but also Iranis who guarded the American prisoners, the hostages themselves, surviving family members of the men who died in the effort, and journalists like Ted Koppel who covered the event.

The actual raid doesn’t begin until nearly 40 minutes into the documentary. Kopple wisely spends much time explaining (or rather, having others explain…there’s no narration) the tortuous history of U.S.-Iran relations, our propping up of the dictatorial rule of the Shah of Iran and his long reign of terror waged against his country’s dissidents.

The revolt by Islamic fundamentalists is harrowingly recreated through vintage news footage and the testimony of the then-young Marine guarding the gate of the U.S. Embassy when the hordes descended upon it.

The life of the hostages is described in sometimes uncomfortable detail.  One American recalls having his hands cuffed in front of him for weeks at a time, which meant that after defecating he could not clean himself. And despite Irani claims that the prisoners were being treated humanely, there’s that notorious midnight episode in which prisoners were stripped to their underwear and led to a yard where they faced a mock firing squad. (Throughout the doc, Kopple employs animated sequences to depict scenes for which there is no archival footage.)

The hostage crisis stymied President Jimmy Carter, who was rebuffed in his efforts to negotiate with the Irani.  He reluctantly gave the OK to plan a rescue.  Specially skilled fighters from all areas of the military were chosen to train for the raid. Some may have been gung ho about the whole business; one fighter now says he never thought they could pull it off: “Too many moving parts.”

Indeed, this was a hugely ambitious and somewhat improbable effort.  A half dozen helicopters from American warships would fly into the Irani desert at night to meet two transport planes filled with fighters. They would then drive to Tehran, attack the prison, blow a hole in the wall to allow the hostages to escape, then regroup in a nearby sports stadium where U.S. ‘copters would lift them out.

Everything that could go wrong did go wrong.  Two choppers ran into a desert dust storm and returned to their ship.  The landing site was close to a rarely traveled road which — wouldn’t you know it? — was uncharacteristically busy that night.  The Americans soon found themselves babysitting (at gunpoint) a bus chartered by an extended Irani family (great testimony from a passenger who was only a child at the time).

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Trai Byers

“THE 24th” My rating: B+

101 minutes | No MPAA rating:

An overlooked landmark in both black history and military history gets a compassionate/angry examination in “The 24th,” the latest from KC-area filmmaker Kevin Willmott.

The subject is the 1917 “riot” of black soldiers in Houston TX. After months of abuse from  both white citizens and the local police department and fearing they were about to be attacked by a white mob, the soldiers went on a late-night killing spree.  By the time the sun rose 11 civilians, five police officers and four soldiers were dead.

The upshot was the largest murder trial in American history, with 156 soldiers of the Third Battalion of the all-black 24th Infantry facing homicide and mutiny charges.

In capable hands of the Oscar-winning Willmott (“C.S.A.,” “Jayhawkers,” “Destination Planet Negro”…as well as the screenplays for recent Spike Lee efforts) the story of the 24th becomes an intimate epic, filled with suppressed fury and perfectly balancing personal moments against the sweep (one almost wants to say inevitable sweep) of history.

Astoundingly, this is accomplished on a bargain basement budget, with filming limited to less than three weeks.

Yet the movie never looks cheap; neither are its sentiments.

We meet the members of the 24th as they show up to provide security for the building of Camp Logan outside Houston.  There’s a war in Europe, and the men are anxious to prove their worth on the battlefield; the Army, though, cannot see them as anything but uniformed ditch diggers and night watchmen.

Our protagonist is William Boston (Trai Byers, co-writer of the screenplay with Willmott), who as a graduate of the Sorbonne is better educated than any of the white officers calling the shots. This is not lost on the regiment’s commanding officer, Col. Norton (Thomas Haden Church), who unsuccessfully urges Boston to sign up for officer training in Des Moines.

Boston is an idealist out to prove that colored soldiers are second to none; alas, his intellectual interests (in his spare time he reads!) and his light complexion make him suspect, especially to the  perennially angry Pvt. Walker (Mo McRae).

And then there’s Sgt. Hayes (Mykelti Williamson), the scarred black NCO who boasts of charging up San Juan Hill with Teddy Roosevelt but has spent the last 20 years in an alcoholic funk  kowtowing to a system that respects none of his sacrifice.  He cannot even look a white officer in the eye; occasionally he takes out his frustrations on his men.

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“BOYS STATE” My rating: B+

109 minutes | MPAA rating: PG-13

After watching the spectacularly engrossing documentary “Boys State” I don’t know wether to celebrate our democracy or mourn its death.

Boys State, of course, is a week of politically-charged make-believe in which high school seniors, representing their schools and towns, gather in their capitol city to create political parties, draw up platforms and hold mock elections for various state offices.

Dick Cheney went to Boys State. So did Corey Booker. (BTW: Girls State does the same thing for young women.)

This elaborate exercise is sponsored by the American Legion, which despite its reputation for jingoism attempts to level the playing field by randomly dividing the participants into two parties, the Federalists and the Nationalists.  What each party stands for will be determined by its members during the course of a week.

A stated goal of Boys State is to advance civil discourse. We’ll see about that.

Amanda McBaine and Jesse Moss’s film unfolds in Austin, TX, where 1,100 boys have gathered. Initially one searches in vain for a face of color — this is one majorly white group — but it’s remarkable how many minority faces rise to prominence in just seven days.

The hero of “Boys State” is Steven, whom we meet on the bus ride to Austin. The Hispanic son of a one-time illegal immigrant, Steven doesn’t spew  teen testosterone like some of his fellows. He’s quiet, soaking up the vibes, tentatively making acquaintances.  He’s smart to cautiously feel out the mood of the other kids, because Steven is an unabashed liberal surrounded by gun-owning good ol’ boys (actually, good ol’ young boys).

Before it’s all over Steven improbably will be running as his party’s nominee for governor.  He may not agree entirely with the platform adopted (he’s for gun control and a woman’s right to choose), but he so exudes  basic human decency that even the kids who see things differently are impressed by his integrity.

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Louis Armstrong

“JAZZ ON A SUMMER’s DAY”  My rating: B

85 minutes | No MPAA rating

There’s no shortage of reasons to catch the current reissue of 1959’s “Jazz on a Summer’s Day,”  with superb music and spectacularly good photography at the top of the list.

But at a time when most of us are spending way too many hours sequestered in our homes, Bert Stern and Aram Avakian’s record of the 1958 Newport Jazz Festival also hits an achingly romantic note,  taking us back to an era when it was safe for hundreds of us to assemble to hear music played by racially integrated bands.

1969’s Woodstock Fest may have been billed as “three days of peace and music,” but the Newport event a decade earlier delivered pretty much the same vibe…minus, of course, public nudity and drug sampling.

The performances captured here (the film spawned a best-selling soundtrack LP back in the day) provide a sort of Who’s Who of ’50s jazz.  They range from the New Orleans-steeped blowing of Louis Armstrong to the white-girl scatting of Anita O’Day (a knockout in black dress, feathered hat and white gloves), from the intellectually-rich piano stylings of Thelonious Monk to the early-rock glory of a duck-walking Chuck Berry. There’s even a touch of gospel glory courtesy of Mahalia Jackson.

(Of interest to KC area jazz fans:  Look for local boys Bob Brookmeyer, Buck Clayton and Basie alumnus Jo Jones playing with various configurations.)

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Seth Rogen…and Seth Rogen

“AN AMERICAN PICKLE” My rating: B- (HBO Max)

90 minutes | MPAA rating: PG-13

Before bogging down in a flabby middle section, HBO’s “An American Pickle” (aka “In A Pickle”) establishes itself as a gonzo comedy with more than a little soul.

The time-travel fantasy offers Seth Rogen in non-stoner mode as both a turn-of-the-last-century Eastern European Jew and as his modern great-great grandson.

Putting aside the complexities of filming this double performance (it was shot in two phases to give Rogen a time to grow a luxurious Tevye-type beard), “American Pickle” shows the slacker funny man has some serious acting chops.

In a beautifully filmed prologue (using a square-frame format and pastel palette that evokes the earliest color photography) we witness the early life of Herschel (Rogen), a Jewish ditch digger in some Eastern European backwater circa 1919.

In a sweetly comic passage Herschel woos and weds Sarah (Sara Snook of HBO’s “Succession”); they then hop a boat to America where Herschel gets a job killing rats in a pickle factory and looks forward to the birth of their first child.

He dies in an industrial accident, falling into a vat of brine. Before anybody notices that Herschel is gone, the factory is shuttered.  One hundred years later he awakens, perfectly preserved by the pickle juice.

What follows is both a fish-out-of-water yarn and a sort of dysfunctional family reunion. Herschel is united with his one living relation, great-grandson Ben (Rogen again), a dweeby app developer whose lack of success flies in the face of Herschel’s longheld belief that their family is destined for greatness.

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ACLU attorney Dale Ho before the U.S. Supreme Court

“THE FIGHT” My rating: B+ 

96 minutes | MPAA rating: PG-13

The cynic in me acknowledges that the new documentary “The Fight” comes awfully close to being a recruiting ad for the American Civil Liberties Union.

Except that this effort from co-directors Eli B. Despres, Josh Kriegman and Elyse Steinberg is a hugely engrossing, intellectually stimulating achievement that will leave viewers torn between hope and despair.

“The Fight” follows the efforts of the ACLU to battle four of the more draconian steps taken by the new Trump administration.

We see ACLU lawyer Dale Ho take on Trump’s order that the 2020 census contain a question about the respondents’ citizenship…a development that would undoubtedly keep non-citizens from participating and so skew the numbers that determine, among other things, how many representatives each state gets in the U.S. House.

Brigitte Amiri, a litigator for women’s rights, takes on the plight of a 17-year-old woman who, having been detained as an illegal alien, discovered she was pregnant and was denied the abortion she requested.

Lee Gelernt tackles the issue of child separation along the Border.

Joshua Block builds a case against the banning of transgender persons from the military. He’s assisted by young attorney Chase Strangio, who is himself transgender.

The common thread in all of these cases, as well as with Trump’s notorious Muslim ban, is the suppression of human rights for certain classes of people.

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Lyricist/author Howard Ashman on the off-Broadwday  set of “Little Shop of Horrors”

“HOWARD” My rating: B+

93 minutes | No MPAA rating

“Howard” is a laughter-through-tears emotional powerhouse that will leave you convinced that when Howard Ashman died of AIDS in 1991, we lost a musical theater genius.

As the lyric-writing partner of composer Alan Menken, Ashman was largely responsible for the off-Broadway hit “Little Shop of Horrors” and then went on to rejuvenate a dying Disney animation division with monsters like “The Little Mermaid,” “Aladdin” and “Beauty and the Beast.” (The fact that those films went on to spawn wildly successful theatrical versions only adds lustre to his accomplishments.)

Don Hahn’s documentary begins with a recording session for “B&B” in New  York City.  As Hahn’s narration informs us, nobody at the time knew that within nine months Ashman would be gone.  He never got to see the finished film.

On the visual side Hahn (a producer of “Beauty…” and director of the doc “Waking Sleeping Beauty”) exploits a treasure trove of home movies from throughout his subject’s life.  There’s so much material, in fact, that the film needn’t rely on talking-head inserts.  The many contributors to this film (among them Menken and Jeffrey Katzenberg) are heard in voiceover but not seen, leaving center stage to Ashman.

The earliest glimpse into Ashman’s creativity comes from his sister, who recalls her brother turning his bedroom into an elaborate designed theater in which individual toys became players in a vast adventure.  Before long he was organizing neighborhood kids into giving backyard performances.

Young Howard had little interest in sports, but wrote poems for every occasion.

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Johnny Depp, Mark Rylance

“WAITING FOR THE BARBARIANS” My rating: C (Begins streaming on  Aug. 7)

112 minutes | No MPAA rating

Not even the usually-comforting presence of Mark Rylance or a hammy performance from Johnny Depp can save “Waiting for the Barbarians,” a literary adaptation that probably should have stayed on the printed page.

Adapted by J.M. Coetzee from his novel and directed by Ciro Guerra, the film struggles to find a balance.  Its production design suggests  an old Foreign Legion movie like “Beau Geste” — except that “…Barbarians” lacks any sense of satisfying adventure.

Moreover, Coetzee’s subject is one individual’s moral struggle, an interior drama not easily depicted dramatically — even when you’ve got someone like the Oscar-winning Rylance assuming top honors.

Rylance plays The Magistrate, a bookish fellow toiling in a dusty desert town on the far-flung edge of an unspecified late 19th-century empire (French, Belgian, German?). Though he’s supposed to be in charge of local government, not to mention a garrison of bored soldiers, The Magistrate prefers to spend his time in archaeological digs, with occasional nocturnal visits to a local prostitute.

Then he’s paid a visit by Colonel Joll (Depp), a black-clad martinet with eccentric sunglasses who radiates quiet menace.  Bigwigs in the distant capital are convinced that the nomadic tribesmen who populate the desert are planning a revolution; Joll’s job is to collect intelligence on these “barbarians.”

To The Magistrate’s horror, tribal visitors to the town are randomly snatched and tortured, some fatally. But being a bit of a milquetoast, he’s powerless to do much more than sputter ineffectually.

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Gillian Jacobs

“I USED TO GO HERE”  My rating: C+

80 minutes | No MPAA rating

We’re told that you can’t go home again.

You probably shouldn’t go back to school, either.

In “I Used to Go Here” writer/director Kris Rey gives us a heroine who is finding adult life problematical and plops her down in the college environment she left 15 years earlier.

Actually, lots of us nurture a secret back-to-school fantasy; “I Used to Go Here” suggests we should be careful what we wish for.

Kate (Gillian Jacobs) is a mess, thrown into turmoil and depression by the double whammy of being ditched by her fiancé and realizing that her first published novel is headed for the remainder bin. While her gal pals are married and procreating, Kate lives alone in Chicago, stewing  in her own self-pity.

So when an old college professor invites her back to campus to give a reading from the novel, Kate jumps at the chance.

Initially it seems as if her old college town has hardly changed at all.  But when she starts hanging with a scraggly bunch of kids  now living in the off-campus dive where she spent her senior year, Kate is hit full force with knowledge that she is now a middle-aged woman.

What to do?  Well, if reality sucks, make your own reality. Kates starts acting like the mostly carefree college student she once was. This leads her to a nighttime  raid on the home of her old creative writing teacher (Jemaine Clement in full pompous-professor mode) and striking up a quickie romance with a baby-faced undergrad (Josh Wiggins).

Nothing of real import happens in “I Used to Go Here,” but nevertheless the trip is largely pleasant one.  For this we can credit the screen presence of Jacobs (she was a regular on TV’s “Community”), who hits just the right mix of comic neurosis and romantic yearning.

| Robert W. Butler

David Myers Gregory, Vinnie Jones

“THE BIG UGLY”  My rating: C+

106 minutes |MPAA rating: R

Dramatically, there’s nothing special about “The Big Ugly,”  a crime/revenge yarn that hits the usual plot points without adding much to the genre.

What this melodrama from writer/director Scott Wiper does have going for it is its look.  The cinematographer is Jeremy Osbern, a Kansas Citian who has cut his teeth on shorts, a Kevin Willmott feature (“The Only Good Indian”) and is now breaking into the big time.

His work on “Big Ugly” is exemplary — as close to a classic noir look as color will allow.  At least half the film unfolds at night, in dimly-lit bars and bedrooms, and Osbern’s provocative use of shadow and silhouette is absolutely first rate.

The plot finds English tough guy Neelyn (Vinnie Jones) flying to America with his mob boss Harris (Malcolm McDowell). Neelyn is accompanied by his longtime girl Fiona (Leonra Crichlow), a good soul who loves him despite his drinking and murderous employment.

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