I.O.U.S.A.

I.O.U.S.A. Documentary from filmmaker Patrick Creadon (Wordplay). Roadside Attractions.

FILM SYNOPSIS: I.O.U.S.A. examines the rapidly growing national debt and its consequences for the United States and its citizens.  As the Baby Boomer generation prepares to retire, will there even be any Social Security benefits left to collect? Throughout history, the American government has found it nearly impossible to spend only what has been raised through taxes. Wielding candid interviews with both average American taxpayers and government officials, Sundance veteran Patrick Creadon (Wordplay) helps demystify the nation’s financial practices and policies.

The film follows U.S. Comptroller General David Walker as he crisscrosses the country explaining America’s unsustainable fiscal policies to its citizens.  With surgical precision, Creadon interweaves archival footage and economic data to paint a vivid and alarming profile of America’s current economic situation. 

REVIEW: I’ll admit to being naïve when it comes to Federal Fiscal Fiascos. But I’m always leery when a doom-and-gloom filmmaker spends much of his screen time throwing spitballs at a Republican president in a year when the opposing team’s theme is “we need change.” That said, while I’m skeptical of the filmmaker’s political agenda, I think I.O.U.S.A. is the most important film of the year. For the truth is, we need change.

The cause of Rome’s decline, according to the film, was due to moral decay, military overexpansion, and financial irresponsibility. Other world-dominating nations have followed suit. And it appears that America is headed down the same self-destructive path. Alas, I don’t see either side of the political aisle seriously addressing our economic woes. They’re more concerned with getting elected. Of course, when that happens, all will be well.

Ultimately, the documentary blames all of us for indifference, greed and financial irresponsibility. But as fellow critic Robert Butler of the Kansas City Star insightfully noted, though it’s an important film, this is possibly the wrong venue for it.

Who wants to go to a movie on Friday night only to learn that our country is soon to fall into oblivion? Bob’s right. Shouldn’t this project be advanced by way of television’s major networks, as well as through the classrooms of higher and lower learning? If the film truly signals America’s apocalypse, why isn’t that being done? I don’t know. I can’t worry about it now. I have to go see The House Bunny.

PG (one crude joke from a college student).

Running Time: 97 min.
Intended Audience: Older teens and above.

Swing Vote

Kevin Costner, Dennis Hopper, Nathan Lane, Kelsey Grammer, Stanley Tucci. Disney. Comedy. Written by Joshua Michael Stern, Jason Richman. Directed by Joshua Michael Stern.

FILM SYNOPSIS: Bud Johnson, an apathetic, beer-slinging, lovable loser, is coasting through a life that has passed him by. The one bright spot is his over-achieving twelve year-old daughter, Molly. She takes care of both of them, until one mischievous moment on Election Day, when she accidentally sets off a chain of events that culminates in the election coming down to one vote... her dad's.

REVIEW: With all the rest of the megaplex theaters occupied by comic-book super heroes flinging CGI monsters about, it’s kind of nice to see a film that attempts to amuse and move audiences with dialogue, character development and story. It’s as close as we’ve come to satire in quite a while. And it contains what is going to become one of my favorite lines of all time.

Molly admonishes her dad for his profanity, telling him he’s got to stop using Jesus’ name as a cuss word: “He’s a billion people’s Savior, you know!” Hope the rest of Hollywood is listening to that one.

I’m still in the dark about how such a voting phenomenon could happen, but it sets up some clever satire about ethics, responsibility and what it’s going to take to restore America’s greatness. (If that is to be.) The question is raised by film’s end, “If America is the wealthiest nation on earth, how come no one can afford to live here?”

The grownups all do well, but young Madeline Carroll steals every scene she’s in. She’s not precocious or the typical smart-mouth writers usually settle on to relay a kid character’s intelligence.

Ms. Carroll has a true screen presence, expressive eyes, vulnerability and honesty. We’ll be seeing a lot more of this youngster.

Fly in the ointment: the first line out of Costner’s mouth contains God’s name followed by a curse. He uses the profanity several times throughout, often in front of his daughter. Of course, he’s a bum until he sees the light, so his cursing is supposed to be one of his character flaws. But the 4th Commandment in Exodus 20 doesn’t give moviemakers allowance to break the rule. What a frustration for a movie buff who also happens to be a Christian, as that profane expression or the use of Jesus’ name as a mere expletive tends to ruin the movie experience.

PG-13 (around 20 obscenities, mostly the s- and f-words; around six minor expletives; around 10 profane uses of God’s name or Christ’s; the lead is a heavy drinker until he straightens out his life).

Running Time: 110 min.
Intended Audience: Teens and above

Star Wars: The Clone Wars

Voices: Anthony Daniels, Matthew Wood. Warner Bros. Pictures / Lucasfilm Animation. Animated sci/fi adventure. Written by Henry Gilroy, Scott Murphy III. Directed by Dave Filoni. 8/15/08

REVIEW: The whole premise is taken from a passing remark by Luke Skywalker to Obi-Wan Kenobi in the first Star Wars movie:
Luke: You fought in the Clone Wars?

Obi-Wan: Yes. I was once a Jedi Knight, the same as your father.
Inspired by the innovative composition of Japanese anime, and fusing that style with the newest CG magic, George Lucas has finally seen his ultimate dream fulfilled – a movie without actors.

The picture received an enthusiastic reaction from the screening audience during the closing credits. I was, however, left under whelmed. The animated film has a visually dynamic look that seems to scream out Sci/Fi, but it’s missing that human factor, not just because it’s computer drawn, but because it’s difficult to care about the stiff-speaking and rigid-looking characters. Like those marionettes on the ‘60s TV series Thunderbirds, the characters here move and look more like wooden androids. Like with the last batch of Star Wars movies, the filmmakers are so concerned with the look of the film that they lose the soul of the original. (Funny, that first one has the most dated look, yet has the most heart.) And the filmmakers on this newest effort have confused constant laser saber battling with the term action/adventure. I guess it fills up an hour and a half, but it seemed unnecessary.

There’s no crudity or offensive language. The messages of honor and working together to defeat an opposing foe are admirable. And for most, it is visually stimulating (lots going on). But there is one thing to consider: its violence. We only see robots destroyed and while the laser duels go on and on, there’s no blood. But I’m concerned about the amounts of mayhem aimed at blockbuster-going audiences. This vacation season has been loaded with comic-book actioneers, each nearly two hours long, and each filled with the same visual rampage.

You add up those hours with most of what’s presented to younglings on television and…, well, maybe it doesn’t affect them.

PG (one or two minor expletives, but I caught no harsh or obscene language; though it’s saber laser cartoonish action, it is incessant; spaceships blown apart and gun blurts destroying countless bad guy robots).

Running Time: 95 min.
Intended Audience: Family