The movie that should infuriate all Americans.
And no, it’s not “Borat.”
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Sacha Baron Cohen knows how to get people talking, doesn’t he?
I actually can’t believe that a Borat sequel is already here, which is an odd thing to say about a movie being released 14 years after its predecessor. But it seems like it was just weeks ago that we heard the first rumors that SBC was even adopting the persona again in some fashion, and now you can open up your Amazon Prime account and see it for yourself.
I’ve been really psyched for the character’s return. I watched the first film again a few weeks back with (ahem) mah wife and the 2006 film holds up surprisingly well. It’s a blisteringly funny bit of shock-and-awe entertainment, and the way Baron Cohen uses the character to see how far he can stretch the boundaries of politeness or reveal people’s embedded prejudices is still amazing. At his best, the comedian knows how to push just the right buttons to capture uncomfortable laughter or shocking honesty, and I’m always amazed at his fearlessness. I still cannot believe he was not killed during the rodeo scene from the 2006 film.
Whether I think the new Borat is any good or not will come up further down in this newsletter, but regardless of the film’s quality, it is definitely making headlines for a notorious scene involving Rudy Giuliani. I wish the scene had been kept quiet, as it’s easily the most shocking moment in the film, the one scene that feels like it captures the danger of its predecessor. You’ve either read the details already or I’ll leave you to discover them for yourself, but I’ll simply say that it’s a moment that, in normal times, would be damning for any political figure, regardless of their proximity to the president. And no, I don’t think Giuliani’s excuse about tucking in his pants holds any water.
I’ve seen some people claim that this is a big “October surprise,” a potential death blow for Giuliani’s career and possibly even for Donald Trump’s political aspects. I don’t think that’s the case, though. If Donald Trump was able to survive the “Access Hollywood” tape scandal from four years ago, I don’t think his lawyer grabbing himself in a movie is going to really impact him. And the GOP has proven over the last four years that any moral failings are not enough for them to abandon their political heroes, no matter how oafish and destructive they are. I also don’t think SBC thinks this movie will cause much damage; it’s great marketing, for sure, but a moment in a piece of entertainment is not going to do much more than embarrass Giuliani and probably cause some uncomfortable conversations at home this weekend. I think that’s enough for Baron Cohen right now, who can depend on this scene ensuring that his film is a giant hit this weekend, whatever that means these days in a world without theaters and where streaming services don’t supply viewership information.
No, what should enrage Americans and endanger Trump’s career is another film hitting streaming services this week, the documentary Totally Under Control. The film has been available for rent and purchase on VOD services for a week or so, but it hit Hulu on Tuesday and is free to watch for anyone with an account. It should be mandatory viewing for all Americans, and in a just world it would be the final nail in the coffin for Donald Trump’s reelection prospects.
The documentary, directed by Oscar-winner Alex Gibney along with Ophelia Hartyunyan and Suzanne Hillinger, gained notoriety as being produced in secret during the pandemic. But anyone expecting shocking secrets or bombshell revelations will be disappointed. Totally Under Control is not gotcha journalism. It’s, instead, a well-researched and honest talk with people in government and health care about the early days of the pandemic, the warning signs that began to appear, their readiness to jump in and help stop the spread, and the bungles and mismanagement from the federal government that inhibited their every movement.
It’s been just over seven months since most of us were thrust into this new normal. In Michigan, March 13 was when schools first shut down, offices sent employees down, and restaurants and movie theaters began to prepare for closures. The majority of this year has been spent deal with the ramifications of the virus, and let’s just be frank: I don’t think that it’s going away anytime soon. My best guess is that fall 2021 is when we’ll begin to see anything looking like normalcy return, and that’s if a vaccine is developed. And what Totally Under Control reminds us is that it didn’t need to last this long.
I don’t think there’s a world in which we totally avoid COVID-19 hitting the United States or causing some degree of shutdown, but we absolutely could have been in a more stable position with much fewer than 220,000 deaths (and counting). Throughout the documentary, those involved in pandemic response, health care, and governmental logistics talk about warning signs that were visible as early as January and detail response plans that many were developing on the side in anticipation of the outbreak hitting the U.S. The problem is that their ability to respond was complicated by bureaucratic red tape, apathetic leadership, and a president unfocused on the response and unwilling to commit.
The film is frustrating and infuriating. So many people were equipped and ready to respond. Some had been involved with the response to H1N1 and Ebola in the Obama administration, and had learned from the failures then to be better prepared. A playbook was left behind and ignored. The FDA dragged its feet for a crucial month, allowing the virus to spread without detection. And the president blithely commented that it would all fade away and miraculously disappear. The film is clear-headed and focused on science, but it’s not unemotional. The human cost of these delays is unavoidable, and the film seethes with anger over an administration that so thoroughly bungled its response that now we have more than 200,000 Americans dead and we’re entering the viruses third — and potentially most catastrophic — wave. Perhaps nothing captures the frustration and anger better than the caption that closes the film, which informs that several days after the documentary was finished, Donald Trump was diagnosed with COVID-19.
There’s a lot in here to process, and it’s smart, scary work. In an age where many are drawn in to flashy YouTube videos that promote conspiracies and traffic in sloppy journalism, Totally Under Control is a reminder that in the right hands, documentaries can be the right tools to inform and engage. I can’t imagine anyone watching this and not being enraged over the governmental mismanagement, the bungling from the highest levels of office, and the callous disregard for human life shown by many. And it’s just the tip of the iceberg, I’m sure. At over two hours, the film only seems to cover the pandemic breakout up until the summer, at which point it was most assuredly not “totally under control.” There will be more films to come like this; I hope they’re just as good.
The Digest
Where to find my work this week
Borat Subsequent Moviefilm review: I only had one review publish this week, but it was for one of the most highly anticipated films of the year. Like I said above, I think 2006’s Borat is one of the smartest and funniest comedies ever made, and I’m a big fan of Da Ali G show, where the character was created. But, Giuliani embarrassment aside, the truth is that I didn’t find much that was very nice in this sequel. It has its moments, but much of it feels reheated at best, mean-spirited at worst. But people will definitely be talking about it thanks to those final 20 minutes. Read the review at BHM Pop Culture.
Chrisicisms
The pop culture I’ve been consuming this week.
Dick Johnson is Dead: Kirsten Johnson’s documentary is one of the best films of the year and one of the most complex films about death and grieving I’ve ever seen. It’s also a complete joy. The filmmaker observes her relationship with her elderly father and her growing realization that he’s nearing the end of his life. So, she does what any good filmmaker would do: Asks if she can film him in various scenes depicting his impending demise, ranging from falling down the stairs to having an air conditioner fall on his dead. Dick Johnson’s giddiness about being involved in his daughter’s work is infectious, and the man’s exuberance and love make him a striking figure. The “death” scenes are amusing, but the real power of the film comes through the way Johnson grapples with aging, mortality, memory and grief through the power of cinema without making this feel like a dirge. This would make a fascinating double feature with The Farewell, one of my favorite films of last year. Now streaming on Netflix.
The Social Dilemma: I’ve seen a lot of friends rave about this Netflix documentary, which details the addictive, manipulative design of social media and modern technology. There’s little in here that I hadn’t heard already in my New Media classes, but I imagine there’s a lot that casual viewers will be surprised to learn about, from the slot machine design of phones to the way social media feeds manipulate them to keep them active. In an age of disinformation, the material is highly relevant (the documentary was finished during the pandemic). But the film also stops frequently for dramatic scenes that feel ripped from a church devotional video series. These moments drag the momentum to a halt and feel pat and condescending, as if the directors don’t trust the audience to have the attention span to keep track of everything experts are saying (then again, considering the subject…). There’s 45 minutes of good, necessary information here, especially for those who haven’t stopped to consider what constant connection is doing to us. The rest is filler. Now streaming on Netflix.
Dawn of the Dead: I’m not sure time is going to allow me to finish Romero’s “Dead” series, but I’d at least like to get through Day of the Dead and Land of the Dead before Halloween (I know all too well the torture awaiting with Diary of the Dead). But Romero’s second zombie film holds up almost as well as Night of the Living Dead. It’s less intense and raw, and more sprinkled with satire about consumer culture. It’s gorey and gross, and many of the effects are still squeam-inducing. But it’s the pervasive sense of sadness that haunted me, as people try to hang onto a culture and comforts that no longer exist and strive for some sense of normalcy in a world that’s robbed them of that (not that there’s any resonance with modern events or anything, lol). Watched on DVD.
Freddy vs. Jason: Watched this on a lark. My dirty little secret is that I saw this film on opening night back in 2003 as part of my continued conflicted relationship with the Friday the 13th and Nightmare on Elm Street series (the conflict is that I try to convince myself they’re good but I forget that they’re not). I had pleasant memories of this being a guilty pleasure. My friends, it is not. I guess it’s about as good as you can get from this concept, and the way they bring the two slashers together is kind of interesting. But it also requires us to spend over an hour with an group of insipid teen characters and endure a lot of dumb shenanigans. Maybe it just hits me differently at 41 than at 24, but there really isn’t anything fun about watching people die in gruesome ways; watching this felt like an endurance test, not because I was disturbed but because the experience was so empty. The final 20 minutes plays like a live-action Itchy and Scratchy episode, although that’s not as fun as it sounds. I remember being confused why they never made a sequel to what was a fairly successful hit at the box office; now I’m just glad another was never foisted on us.
Average Jerks Podcast: Joe Yerke, my co-host on Cross.Culture.Critic. has started a new podcast, and it’s well worth a listen. If you were a fan of his banter on the Cal Cagno Radio podcast, you’ll like this show he does with his co-host Dre, where they talk about local Michigan stuff, BBQ, working out and other average guy stuff. Even if you don’t follow much of their subjects, Joe’s one of the most talkative and funny people I know, and I’ve never seen someone who can go off on a subject on such a tear like like him. It’s funny, fun stuff and a great way to kill time when you’re cutting the lawn or folding laundry. Available on Apple (and other platforms).
Night Shift by Stephen King:
Gray Matter: I remember this King short story, about a young boy whose father’s alcoholism turns him into an inhuman beast, really disturbing me as a kid. Reading it now, there are some good, gross moments of body horror, but it’s not as shocking as some of King’s best stuff (“I Am the Doorway” is his better body horror piece in the collection). Some fun stuff and a chilling ending, but just standard King fare.
Battleground: A hitman kills a toy maker, and the man’s GI Joe’s strike back. This is a really fun story, a violent and weird piece of work. King’s really good at capturing action, and few people have been as successful at turning everyday objects into totems of terror. It also ends in a fun little punchline.
Trucks: The basis for the only film King directed, the dire Maximum Overdrive, this is another of his vehicles-come-to-life story (he’s done this quite a bit). The idea of semi trucks taking a group of diners hostage and making them their slaves is, of course, absurd, but it’s gritty and nasty enough that the horror works. Ends in a bleak finish and it’s kind of a shame this has never been adapted into something good.
The Simpsons
Treehouse of Terror 8: We’re starting to enter some of the creaky phases of The Simpsons with this season 9 episode. “The HΩmega Man” is fun when it lets Homer be a jerk in an empty town, and “Fly vs. Fly” is a strong enough spoof (plus, I do love the scene where Homer tries to use the transporter to use the restroom). But “Easy Bake Coven” is a bit of a whiff. It’s not bad, it just feels like a tacked on, not really well thought-out entry.
Treehouse of Terror 9: I will be honest: If I’ve seen this season 10 episode before, it’s totally evaporated from my mind. And with good reason; this is largely the most forgettable entry they’d done up until that point. “Hell Toupee” is just a groaner, with nothing fun brought to the table by centering it around one of the show’s lesser-utilized characters, Snake. “The Terror of Tiny Toon,” in which Bart and Lisa get sucked into an “Itchy and Scratchy” episode, is fun in theory but the animators never do much with the style to make it feel like Bart and Lisa are in some alternate world (and the “Regis and Kathy Lee” cameo is really sweaty). “Starship Poopers” is really bad, culminating in a “Jerry Springer” cameo that I really thought the show was better than at that point. It’s generally accepted that season 10 is when The Simpsons started to hit a rough patch; this episode is solid evidence of that.
