On the “Comedy, American Style” at his Traverse City Film Festival this morning, Michael Moore announced plans to launch a comedy festival in the waterfront town, beginning in 2010. Likely taking place the first week of March — “the deepest, darkest part of winter” in Michigan, Moore noted — The Traverse City Comedy Arts Festival will be a collaboration between Moore and comedian/actor Jeff Garlin, who participated in this morning’s panel with Moore, Larry Charles, TCFF 2009 Lifetime Achievement honoree Paul Mazursky, Wavy Gravy, and Austin-based filmmakers Bob Byington and Ben Steinbauer, whose three features (Byington’s Harmony & Me and Registered Sex Offender and Steinbauer’s Winnebago Man) are being screened here as the sole exemplars of “the new hotbed of American independent cinema.” As described by Garlin and Moore this morning, the comedy festival seems to be an attempt to spin-off the experience of the comedy panel, which has become an annual tradition at the film festival, anchored by frequent guests Garlin and Charles, into its own thing. With that in mind, here are five things I learned from the assembled geniuses during today’s 90 minute session:
This review originally appeared during the Toronto Film Festival. We’re re-running it because Religulous opens in theaters today.
“I’m on the street corner peddling doubt.” That’s how Bill Maher categorizes his personal attitude towards and mission against religion in Religulous, and that’s sort of how I feel about Maher’s professional schtick: I am aggressively, even evangelically, skeptical. I’ll stick around and watch his HBO show when I catch it whilst flipping channels, mostly because impressed by his ability to make the quick change from sub-Leno, pun-dependent one-liners to actually asking hard-hitting, legitimately provocative questions of his panelists. On Real Time, Maher uses (mostly bad) jokes to soften up both his guests and his audience for the serious discourse that inevitably follows, and even though much of Maher’s humor is unbelievably hokey and old-fashioned, there’s something admirable about the marriage he’s arranged between his desire to entertain and his compulsion to interrogate and lay blame.
Hopeful that his feature-length collaboration with Larry Charles would offer a similar balance writ large, I went in to Religulous with an open mind –– which is more than can be said of Maher. The comedian-turned-political pundit/committed agnostic, and star and producer of this non-fiction film, explains early in the picture that he thinks organized religion of any kind is “detrimental to the progress of humanity.” Writing off the contents of the bible and all historical narratives of faith as “fairy tales,” he says he’s on a journey in search of an explanation as to how otherwise rational adults can buy into this kiddie stuff. “It’s too easy,” he complains.
Unfortunately, this last line turns out to be auto-critique: as Maher and Charles hop from backwoods America to international holy hot spots and back again. Maher continually flips the script, here using serious questioning not as an end, but a means to immature, unenlightening mockery. It quickly becomes apparent that Maher’s journey is not about finding out what makes religious people tick, but about using the tics of mostly fringe religious people to prop up the thesis Maher came in with. Which is––in a nutshell, but totally without irony––that everyday religious practice will soon result in global apocalypse.
“I’m on the street corner peddling doubt.” That’s how Bill Maher categorizes his personal attitude towards and mission against religion in Religulous, and that’s sort of how I feel about Maher’s professional schtick: I am aggressively, even evangelically, skeptical. I’ll stick around and watch his HBO show when I catch it whilst flipping channels, mostly because impressed by his ability to make the quick change from sub-Leno, pun-dependent one-liners to actually asking hard-hitting, legitimately provocative questions of his panelists. On Real Time, Maher uses (mostly bad) jokes to soften up both his guests and his audience for the serious discourse that inevitably follows, and even though much of Maher’s humor is unbelievably hokey and old-fashioned, there’s something admirable about the marriage he’s arranged between his desire to entertain and his compulsion to interrogate and lay blame.
Hopeful that his feature-length collaboration with Larry Charles would offer a similar balance writ large, I went in to Religulous with an open mind –– which is more than can be said of Maher. The comedian-turned-political pundit/committed agnostic, and star and producer of this non-fiction film, explains early in the picture that he thinks organized religion of any kind is “detrimental to the progress of humanity.” Writing off the contents of the bible and all historical narratives of faith as “fairy tales,” he says he’s on a journey in search of an explanation as to how otherwise rational adults can buy into this kiddie stuff. “It’s too easy,” he complains.
Unfortunately, this last line turns out to be auto-critique: as Maher and Charles hop from backwoods America to international holy hot spots and back again. Maher continually flips the script, here using serious questioning not as an end, but a means to immature, unenlightening mockery. It quickly becomes apparent that Maher’s journey is not about finding out what makes religious people tick, but about using the tics of mostly fringe religious people to prop up the thesis Maher came in with. Which is––in a nutshell, but totally without irony––that everyday religious practice will soon result in global apocalypse.
The 2008 edition of the Toronto International Film Festival begins today, and Kevin Kelly and I will be there for the next ten days reporting back. What follows is not exactly an iron-clad preview of our Toronto coverage––in addition to some of the films below, I’m definitely planning to see new works by Claire Denis, Agnes Varda, Jonathan Demme and Richard Linklater, and would of course recommend that anyone on the ground see some of my favorites from past festivals, including Medicine for Melancholy and A Christmas Tale. This is more of a list of predictions of what everyone else is going to be talking about, while I’m pushing my glasses up my nose and rushing to to the next screening of the a South Korean movie about drunken lonliness. Enjoy! If you have your own predictions for what will catch fire in Ontario, let us know in the comments.
Obviously, anything with “porno” in the title has a certain automatic contingent (hello, Google searchers! Sorry to disappoint!) But then, so does anything with the credit “written and directed by Kevin Smith.” And then there’s the leading man. Some perspective: Smith’s last three films have grossed an average of $26 million each; the last three films starring Seth Rogen have grossed an average of $117 million each. With Jay and Silent Bob finally retired (we think/hope), and Rogen in tow for the usual, MPAA-baiting Smithism, Porno could––however ironically––become what Jersey Girl was supposed to be: the tipping point that expands the Smith fan base beyond the longtime Clerks faithful.
Crowdpleasers make me itch. But then, to borrow a line from David Fincher, I’m an asshole. Assuming you are not, you might be interested to know that Slumdog Millionaire shows all the symptoms of becoming The Next Juno. Like Juno, Slumdog premiered in a TBA slot at Telluride, where reaction from all but our own Kevin Buist was enthusiastic, evenhyperbolically so. Also ike Juno, it’s a music-fueled piece of pop art in which young love results from unlikely circumstances. And, thanks to Warner Brothers’ loss of faith in this tier of the distribution market, it’s now being distributed by Fox Searchlight––just like Juno. If looking for The Next Juno is now part of our jobs, at least Searchlight is taking all the arduous work out of it.
Though Religulous, like other anticipated fall films, has been screening for critics in New York (and, I assume, in LA) in advance of its official premiere in two weeks at the Toronto Film Festival, major outlets have thus far stuck to the presumed pre-festival embargo. But when your big Toronto premiere is screening for the public in (well, near) two major cities, how do you enforce an embargo on outlets with a mandate to run every commercial release through the critical mill?
In this case, I doubt Lionsgate put much effort into surpressing Variety’s early review of the Larry Charles/Bill Maher documentary, since it’s pretty much a flat-out rave. “[T]he particular intensity and seriousness of Maher’s project are nearly unprecedented,” Robert Koehler writes. “Indeed, its arrival shortly after the death of George Carlin — a profound influence on Maher’s standup act and politics — suggests the kind of film Carlin might have made in his prime.” More here.
According to Jeff Wells, Larry Charles and Bill Maher’s Borat-style religion doc Religulous is playing this week in Claremont, CA in order to meet the Academy’s rule stating that non-fiction films must screen for one week in a commercial theater in both New York and L.A. in order to qualify for a Best Documentary nomination. “That means Religulous is probably playing in some out-of-the-way theatre in the Manhattan area also,” Wells writes.
Sure enough, a Moviefone search reveals that the film is currently playing a publicity-free two matinees per day run at the Creative Entertainment Coliseum Quad on 181 Street–the same theater where Roman Polanski: Wanted and Desired had its qualifying run last spring. So far there’s been no surreptitious Manohla Dargis review of Religulous, so if you find yourself in Claremont or in the noseblood section of Manhattan and decide to check it out, by all means, report back.
How did Bill Maher and Larry Charles get religious figures to agree to be interviewed on camera by the notoriously hostile-towards-religion Maher for their upcoming doc Religulous? According to an interview the comedian gave Patrick Goldstein, they didn’t:
It was simple: We never, ever, used my name. We never told anybody it was me who was going to do the interviews. We even had a fake title for the film. We called it ‘A Spiritual Journey.’ … The crew would set up and at the last second, when the cameras were already rolling, I would show up. So either they’d be seen on camera leaving the interview and lose face or they’d have to talk to me. It was like–’And now here’s … Bill!’ You could usually see the troubled looks on their faces.
This method calls to mind two recent films: the Charles-directed Borat, which used these deceptive documentary tactics within the framework of fiction, and Expelled. The extent to which the producers and star Ben Stein misled some of their interview subjects caused a minor firestorm––which didn’t do anything bad for the film’s box office, but certainly damaged the credibility of the filmmakers and their argument.
I’m fairly certain Bill Maher doesn’t care about ethical credibility––he’s probably primarily concerned with getting a punchline by any means necessary. But *I’m* kind of concerned about this growing trend of deception in ostensible non-fiction. Or maybe I just didn’t think Borat was that funny. Thoughts?
***Lionsgate will distribute a still untitled doc about religion, shot partially in Israel and around the middle east, directed by Larry Charles (the TV vet who wrangled Borat) and featuring comic/blowhard Bill Maher. Charles and Maher promise Variety that it’s a comedy, but let’s hope the jokes are better than this clunker from Charles: “Nietzsche said God is dead, but he didn’t see the grosses for Passion of the Christ.” Ooooh, topical!
***Scott Foundas takes a look at Shortcut to Happiness, the long-delayed movie Alec Baldwin doesn’t want you to see. “Filmed in 2001, then waylaid by investor bankruptcies and other infernal torments, the result, like so many troubled A-list productions, is less compelling than all the behind-the-scenes Sturm und Drang.”
***Dig out that sequined, halter-top, parachute-pants jumpsuit–Xanadu is back! Variety says the Broadway spoof of the eyesore 80s musical is riding good reviews to box office glory. Not bad for a production featuring almost wall-to-wall ELO, but I’ll have to see it in order to believe that it’s got anything that can top the tight rope dance from the original (starting at about the two minute mark on the clip embedded above).
We’ve had a bit of trouble getting this episode to go through the iTunes feed, so we hope this re-post will fix the problem. The original post, with episode description and embedded player, is here.
filmcouch-114
Though 
How did Bill Maher and Larry Charles get religious figures to agree to be interviewed on camera by the notoriously hostile-towards-religion Maher for their upcoming doc 
