We can apparently add Louie Psihoyos’s documentary The Coveto our list of Movies That Really Made a Difference. The secret-camera-employed expose on the slaughter of dolphins in Taiji, Japan, is getting credit, at least in part, with a stoppage of the dolphin killing, the season for which would have begun this week.
Dolphin activist and trainer Richard O’Barry, who appears in Psihoyos’ film, showed up to protest as usual accompanied by a group of international journalists and media crews, only to find the titular location void of fishermen.
He immediately reported his happy discovery to Take Part, writing, “it is a good day for the dolphins. And for me personally, as the police only wanted to talk with me, not arrest me!”
While this is certainly good news, it’s also not surprising that a documentary dealing with the killing of animals would be more successful in its goal than the countless films raising awareness of human genocides and poverty.
Of course, this is a sign that documentary as activism can make a difference, so I don’t mean to be cynical. I honestly hope that The Cove will be made an example and that other films inspire similar change.
Check out what other film bloggers are saying about The Cove’s success after the jump:
It’s no coincidence that SXSW’s Film and Interactive conferences take place simultaneously, before the hefty barrage of musicians rock and roll into town for the second half of the festival. With Internet-based tools no longer merely an option for all filmmakers to get a handle on but a requirement, the usual discourse on industry issues like distribution and marketing belong squarely within the progressive region of the interactive conference. Even certain Film conference panels not directly advertised as taking the film/interactive crossover approach still had to address a number of questions about the evolution of the industry in the face of new media paradigms. Here’s a snapshot look at some of the more potent themes that emerged at the Austin Convention Center last week. At least, these are the ones that stood out on my notepad; feel free to share yours in the comments section below.
Fox has brought a lawsuit against Warner Brothers, claiming that the latter studio does not have the right to release Zach Snyder’s Watchmen movie, because the former studio never full gave up their rights to the property. The movie’s supposed to come out on March 6, and though a court could decide that Fox should be cut in on its eventual profits, apparently that studio would prefer if the film was shelved altogether. Why did they wait until the film was finished in order to take action? Your thoughts, please.
Josh Brolin, Ben Affleck, Charlize Theron and Morgan Spurlock are among the celebrities expected to “either cross paths with or interface with such politicians as Sen. Barbara Boxer, D-Calif., and Rep. Barney Frank, D-Mass., New Orleans Mayor Ray Nagin and assorted other city, state and national elected officials” at the Starz! Green Room at the Democratic National Convention next week.
The Coen Brothers have hired“Michael Stuhlbarg, a Tony-nominated actor with little experience in front of the cameras, and Richard Kind, a character actor best known for his role on ABC’s Spin City,” to star as brothers in their upcoming period comedy, A Serious Man.
At the P.O.V. Blog, Tom Roston ponders an emerging trend of Hollywood distributors test screening documentaries, and subjecting non-fiction films to the same focus group motivated pre-release tweaks that used to be the province of big budget comedies and wannabe franchises. He notes that the version of Morgan Spurlock’s Where in the World is Osama Bin Laden? that opened on Friday is quite different from the version that premiered at Sundance:
Spurlock actually relied significantly on test audiences after the movie was shown at Sundance. I wrote a story for the Los Angeles Timesin which I reported this fact, including how Spurlock removed a jokey, in-your-face animated sequence (which must have cost a ton of money) and changed a pivotal closing song, from the goofy “Why Can’t We Be Friends?” to the more thoughtful, “(What’s So Funny ‘Bout) Peace, Love and Understanding.” Both elements from the earlier cut of the film rang so wrong to me — they made a film that was supposedly about bridging differences between the Muslim and western worlds feel like a farce. But, thankfully, they were removed, and the film’s integrity, I think, restored.
When a laugh is more powerful than a tear. The Care Bears Big Wish Movie, Where in the World is Osama bin Laden? and, possibly, Iron Man share a common theme. A quiet–almost subliminal appeal–to an audience seeking a straight shot of entertainment asking them to drop apathy and get involved in a troubled world. A new subversive cinema (that I wrote about earlier this week), which isn’t a filmmaker sneaking a message past Hollywood executives, but past a message-weary audience.
Here is a master guide to all of our reviews, interviews and assorted other coverage from the 2008 SXSW Film Festival. You can also revisit all of our SXSW previews here.
Morgan Spurlock’s new documentary, Where in the World is Osama bin Laden, follows a similar gimmick to his first film, Super Size Me: take a controversial topic, put yourself at risk exploring that topic, and make it funny. While not a perfect film, it does work on many levels, especially in humanizing average citizens of the Muslim countries Sprulock explores. The film also turns Mortal Combat style video game fight sequences into biting political satire. Read a full review of the film here.
I was one of the many who enjoyed Morgan Spurlock’s debut feature documentary, Super Size Me, but mostly only because it came at the tail end of an anti-fast-food kick for me that began with Eric Schlosser’s 2001 book Fast Food Nation. By the time Spurlock showed up on the big screen with his silly McDonalds-only diet/experiment, I had already given up fast food two years prior, had lost 65 lbs. over the course of a summer (only partially as a result of not eating fast food, of course) and wasn’t exactly in need of convincing. But I was in the mood for some comedy, and Spurlock entertained as needed. Did he deserve the Oscar nomination? Not at all.
This time around he’s even less of a pioneer. In fact, I think the Where is Osama Bin Laden? jokes were already dated when Super Size Me hit theaters. This isn’t to say that I think the search for the terrorist should be over, nor that I think we should shrug off the topic of Bin Laden and Al Qaeda just because it’s been more than 6 years since 9/11. I just don’t see how a feature-length documentary, which from watching the trailer appears to consist of nothing more than Spurlock annoying people with his query, can keep the issue funny enough throughout its whole running time. Actually, thanks to the trailer I now have doubts that Where in the World is Osama Bin Laden? is even funny for a minute of the film’s length. Of course, it received mixed reactions from Sundance last month, where KarinaKevin reviewed it somewhat favorably, so perhaps my doubts aren’t completely justifiable. Maybe this is just a failed trailer. Or maybe, judging by the little (also dated) joke on The Da Vinci Code(or is it on National Treasure?), this trailer is simply aimed at a broader audience with a broader (and simpler) sense of humor.
As of yet, The Weinstein Co. has not set a U.S. release date for the film.
Cloverfieldhas the honor of being the latest movie that I disliked watching but love thinking, reading, writing and talking about. It’s not so much that it’s the kind of movie that’s better in concept than execution (as I was bored, millions of others were thrilled), but it is the kind of movie that — intentional or not — has much more depth off-screen than on. Originally I was going to devote a whole week to discussing all the different things Cloverfield has been said to be about, but the monster flick has been out for more than a week and its attendance has diminished so much that instead I’ve decided to put all the theories into a single post. I hope it gives you enough to ponder on its own.
Specifically, I present you with different perspectives on what the Cloverfield monster is. Even if the movie isn’t necessarily about the monster, these thoughts on what the monster represents carries over into what the movie is as a whole. First, though, I’d like to relate a story about my experience seeing the film. I saw Cloverfield with an audience that included some of its stars, including T.J. Miller, who plays the obnoxious cameraman character “Hud”. At the end of the movie, he thanked everyone for coming and invited a question from the audience. A number of people shouted, “What is it?” Miller replied, “We have no fucking idea!” What may have seemed like a cop out or even an invitation for viewers to come up with their own answer was in fact one of the many explanations. Find out what I mean after the jump.
Where in the World is Osama Bin Laden is the latest autobiographical odyssey by Super Size Me director Morgan Spurlock. The film has a wry, snarky tone, so while Spurlock actually does tour the Middle East poking around for the world’s most wanted terrorist, the mission is understood to be secondary to the wider political comments the film attempts to make. If the mission to find Bin Laden is tongue-in-cheek, then what is the point of the very real dangers Spurlock subjects himself to?
Comparisons to Michael Moore’s Fahrenheit 9/11 are well deserved. Both rely heavily on darkly comic animated history lessons about the underbelly of American foreign policy. These segments are very entertaining, but also frustratingly simple. While it could be argued that Spurlock is intentionally over-simplifying complex histories in order to spoof the mainstream media’s penchant for cartoonish dichotomies, the animated segments instead prop up widely held beliefs with more humor than information. I can already hear undergrads at a party saying, “The CIA did some seriously messed up shit, didn’t you see that 90 second cartoon in that Morgan Spurlock movie?”
Annalee Newitz looks at the five most prevalent themes in Clinton-era sci-fi. I would have thrown in a shout-out to strippers, who appear prominently in both Armageddon and Independence Day. But then, I’m usually on the lookout for chances to throw shout-outs to strippers.
LIBERTAS accuses “millionaire filmmaker” Morgan Spurlock of –– SPOILER ALERT!! –– being too chicken shit to actually hunt down Osama Bin Laden and put a stake through his heart.
Bob Rehak contemplates the impact the HD format wars will have/are already having on the porn industry. “How will viewers respond to the pathos and suffering at the industry’s core — of capitalism’s antihumanism writ large across the bodies offered up for consumers’ pleasure-at-a-distance — when those excesses are rendered in resolutions of 1920×1080?”
NBC has decided that Access Hollywood will be the “news” division to cover the Golden Globes. Defamer mocks the ensuing outrage: “If the network had any interests but its own at heart, it would have made some attempt at incorporating the solemn ritual that usually begins each Globes ceremony–the consumption of Orson Welles’ transubstantiated body and blood in the form of filet mignon and stiff vodka-tonics–as a show of good faith.”
From the Is That Even Legal? file: With the writers strike seemingly neverending, CBS entertainment president Nina Tassler is asking film producers “to dust off any unproduced scripts that could be turned into TV series.” The part of the story I really love? Shoddy pastiche is encouraged: “Because most movies tend to run around two hours in length, Tassler isn’t looking to produce the full scripts. Instead, she’s asking producers to identify key scenes or passages that could be filmed and cobbled together into a pilot or shorter pilot presentation.”
China has banned the import and release of American films for at least three months. This will effectively eliminate the Chinese release of at least five major studio films, including Beowulf and Enchanted. The Chinese government probaby, in part, is looking to lessen competition for locally-produced films; there’s also a wee chance this might have something to do with the fact that it’s kind of a crap time for U.S./China relations.
Morgan Spurlock, Alex Gibney, and Jesus Camp directors Rachel Grady and Heidi Ewing are among a host of documentary stars that have signed on to direct a segment of a doc based on Steven D. Levitt’s Freakonomics. The film is being co-produced by Seth Gordon of King of Kong fame.
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.
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Fox has 
At the P.O.V. Blog
Annalee Newitz
