Countdown: The Campaign

From my wonderful publisher Open Books

Just 21 days until the release date of ReelRoyReviews, a book of film, music, and theatre reviews, by Roy Sexton!

“On behalf of the American people, I just want to thank the filmmakers of The Campaign for nailing beyond a shadow of a doubt the shallow, overproduced, manipulative, hypocritical circus that politics have become in the post-millennial U.S. of A. Regardless whichever end (or hopefully middle) you sit on the political spectrum, this film should be required viewing to help us all regain our senses as we head into the fall. Oh, and by the way, this movie is freaking hilarious.”

Learn more about REEL ROY REVIEWS, VOL 1: KEEPIN’ IT REAL by Roy Sexton at http://www.open-bks.com/library/moderns/reel-roy-reviews/about-book.html

Accomplished acting, even with 80% of one’s face covered: Dredd 3D

Description: Film poster; Source: Wikipedia [linked]; Portion used: Film poster only; Low resolution? Sufficient resolution for illustration, but considerably lower resolution than original. Other information: Intellectual property by film studio. Non-free media use rationales: Non-free media use rationale - Article/review; Purpose of use: Used for purposes of critical commentary and illustration in an educational article about the film. The poster is used as the primary means of visual identification of this article topic. Replaceable? Protected by copyright, therefore a free use alternative won't exist.

[Image source: Wikipedia]

2012 may be the year superhero movies offered a case study in accomplished acting, even with 80% of one’s face covered. It’s like someone put out a dare, and both Dark Knight Rises’ Tom Hardy as “Bane” and now Dredd 3D’s Karl Urban as “Judge Dredd” said, “I’ll see that bet, and raise you with monosyllabic dialogue and guttural intonations… I will get more across than most of your showiest, most wildly gesticulating, scenery chewing actors out there!”

I may be one of the few viewers who didn’t loathe the first cinematic interpretation of Judge Dredd in the mid-90s with Sylvester Stallone, though I will admit he did nearly ruin the good judge’s catchphrase with his “Yo, Adrian!”-esque take: “I aaaaammm da laaaaawwww.” Happily, I can report Urban, so whimsically fun as Dr. Bones McCoy in the recent Star Trek reboot, not only redeems said line (slyly and in the film’s final act no less) but turns in a great performance, saddled with a helmet that makes Ian McKellan’s “Magneto” headgear look like a Sunday bonnet.

This new iteration, less candy-coated than the first film and working effectively with a mere fraction of that movie’s bloated budget, takes full advantage of the Swiftian, dystopian dark satire of the comic book source material (2000 A.D.). In today’s troubled age  – violent outbursts in the most innocuous of locales (e.g. movie theatres, schools, shopping malls), cartoonishly extreme political infighting, grotesque urban sprawl, pharmaceutical escapism, and a society so desensitized by reality television that common decency is a long-forgotten memory – the original comic series from the 70s/80s is eerily prescient. In Judge Dredd’s world, the justice system is now a twisted reflection of the collapsed mores of society, with police/judge/jury/executioner all wrapped into one entity: a band of jack-booted, black motorcycle-riding “judges” who roam Mega City One (the remnants of a nuclear obliterated America being one large city that runs from the former New York to Boston), futilely trying to prevent an unending tide of violent crime. And this film nails the uncomfortable future shock allegory of today’s ills.

The movie is beautifully filmed in shades of gray, with effective pops of color and slow-mo during the most extreme scenes of man’s cruelty to man. I am not a 3D fan (it mostly just gives me a headache and reminds me of my old View-Master reels), but in this case it works very well, evoking the layered imagery of a comic panel. All the supporting players bring just the right amount of gravitas to their increasingly dark, absurdly surreal surrounding. 300’s Lena Headey is particularly creepy as drug lord villain “Ma-Ma,” and Juno’s Olivia Thirlby is a nice mix of sadness and pluck as Dredd’s rookie sidekick. The movie is no doubt going to be too dark (or too close to home) for most of today’s movie-goers, but its intoxicating mix of social critique, hypnotic visuals, and escapist thrills ensures it a long life as a future cult classic. Catch it soon before it slips away, only to be enjoyed on the small screen.

On behalf of the American people…this movie is freaking hilarious: The Campaign

Description: Film poster; Source: Wikipedia [linked]; Portion used: Film poster only; Low resolution? Sufficient resolution for illustration, but considerably lower resolution than original. Other information: Intellectual property by film studio. Non-free media use rationales: Non-free media use rationale - Article/review; Purpose of use: Used for purposes of critical commentary and illustration in an educational article about the film. The poster is used as the primary means of visual identification of this article topic. Replaceable? Protected by copyright, therefore a free use alternative won't exist.

[Image source: Wikipedia]

On behalf of the American people, I just want to thank the filmmakers of The Campaign for NAILING beyond a shadow of a doubt the shallow, overproduced, manipulative, hypocritical circus that politics have become in the post-millennial U.S. of A. Regardless whichever end (or hopefully middle) you sit on the political spectrum, this film should be required viewing to help us all regain our senses as we head into the fall. Oh, and by the way, this movie is freaking hilarious.

Director Jay Roach, whose career has run the gamut from the farcical and absurd (Meet the Parents and Austin Powers trilogies) to the incisively au courant (Recount, Game Change), marries both worlds beautifully here. I will admit that I am not much of a Will Ferrell fan, and I’ve begun to grow tired of Zach Galifianakis’ whimsical man-baby-isms. However, both actors are on top of their games here, and Roach uses them, their cumulative screen personae, and their particular quirks to great, inventive delight. You will see threads of John Edwards, George W. Bush, Bill Clinton, and even Sarah Palin in both performances, but, while broadly drawn, both actors show a sweetly grounded, yet irreverent respect for any and all who are vainglorious enough to “throw their hats in the ring.” They are all of those famous political names wrapped up in the guise of the great Looney Tunes pairings: Elmer Fudd and Daffy Duck; Wile E. Coyote and Road Runner; Bugs Bunny and Marvin the Martian.

The supporting players are all fine, though I felt John Lithgow and Dan Aykroyd phoned in their parts a bit as the uber-rich Machiavellian political manipulating Motch brothers (thinly veiled spoofs of the truly scary Koch brothers). Dylan McDermott has quite a bit of fun as some mad hybrid of Karl Rove and Kenneth Cole. (I loved the fact that the filmmakers were cheeky enough to give him the alias “Dermot Mulroney” at one point – I admit I often get the two actors confused myself). Rounding out the cast, Brian Cox does his winky, mellifluous, “aren’t I above it all” thing as Galifianakis’ dad (which works here); Jason Sudeikis does his exasperated, panting, “aren’t I above it all” thing as Ferrell’s campaign manager (which works even better here); and Sarah Baker does her good-natured, wryly comic “aren’t I beneath it all” thing as Galifianakis’ oft-suffering wife (and nearly steals the movie).

I loved that no topic was off-limits for the film, and that they bravely (and pretty warm-heartedly) went after every superficial pose co-opted in modern politics: religious pandering, macho swaggering, family values, hetero-normative sexuality, liberal self-righteousness, drummed up political scandal, small town/big business “job creation,” and even “let’s go kill some helpless animals but actually shoot each other” hunting. And the fact that the film ends with a sweet affirmation that good may just conquer all was a happy little surprise. The Campaign is a late-summer delight, and I’m glad that in its second weekend, it has already nearly doubled its production budget in box office receipts. Do go see it, and laugh yourself silly…and, perhaps, like I did, you will get a nice little gut check on how far afield we have all gotten in this current presidential race. I think I may just write in Ferrell/Galifianakis on my ballot come November….