Daily Archives: June 2, 2008

The Comeback Id: Vanity Fair on Bill Clinton

For those looking to cast their eyes past the horizon of the Democratic primary battle, Todd Purdum has penned, for Vanity Fair, a fascinating piece on former President Bill Clinton which examines his successes and excesses, particularly since leaving office. “It is beyond dispute that Clinton’s foundation has done worthy work
around the world,” Purdum writes
, “funneling low-cost anti-retroviral drugs to more than
a million AIDS patients, shining the singular
power of a presidential spotlight on the good work of others, and
raising millions of dollars for practical programs in places much of
the world’s power establishment never bothers with.
But it is also beyond dispute that Clinton has blended the
altruistic efforts of his philanthropy with the private business
interests of some of his biggest donors in ways that are surpassingly
sloppy, if not unseemly
, for any former president.”

That means a shined light on rubbed elbows with billionaire raconteur Ron Burkle, occasional movie producer/Elizabeth Hurley impregnator Steve Bing and InfoUSA CEO Vinod Gupta, as well as smoke-if-not-fire intimations of other rubbed body parts with Gina Gershon, Barbara Streisand, Eleanor Mondale and a handful of other nameless women in positions of power, wealth and nominal fame. Purdum also ruminates in much less sexy fashion about possible mood changes and
loss of stamina in Clinton following his 2004 quadruple-bypass heart surgery. It’s not so much a firmly conclusory piece as it is an exploration of the great, inimitable shade of grey that dominantly makes up both Clinton the man and politician, but it is well written, reasonably speculative, and does provide a glimpse behind the curtain as it relates to some of the proxy campaign shortcomings of Hillary Clinton, particularly the simultaneous disbelief and disdain for Obama’s meteoric national rise.

Incidentally, it’s a no-brainer that there’s a great big screen biopic waiting to be done about Clinton. It’d be a case full of dynamite if they wanted to do it right, but Tom Hanks or maybe even John Travolta — who has the proper glad-handing charm and same gift of sartorial weight control, and previously channeled Clinton in the roman a clef Primary Colors — could do a smash-up job. Maybe Tom Wilkinson, too. Of course, you’d need to be about 20 more years removed, I guess, so who does that leave? Ed Norton and Christian Bale have shown a chameleonic ability to disappear into character. Hugh Jackman also has the right rakish charisma, if he could put on some pounds. Hopefully not Zac Efron, though, that’s all I’m saying.

MTV Movie Awards To Soon Honor Self?

Last night’s MTV Movie Awards, hosted by Mike Myers, proved their simultaneous disposable entertainment value and complete lack of worth as anything more than an exercise in staged, promotional diddling. More than 11 months after its previous coronation as the “Best Film Not Yet Seen” (seriously), Transformers took home the prize for last year’s Best Movie, besting Juno, Superbad and I think 13 or 14 other “nominees.” Yawn. I’ll cop, though, to feeling some small (very small) surge of pleasant, atta-boy identification in the feting of perceived underdog Best Kiss winner — a smooch between Briana Evigan and Robert Hoffman, from Step Up 2 the Streets. (This win may have been foreshadowed by an opening monologue dance-off between Chris Brown and Myers, who naturally managed to get in plenty of winking, non-plug plugs for The Love Guru.) Rain-soaked and over-photographed, theirs was a clichéd clinch, to be sure, but a heartfelt and climactic one.

Sex and the City Beds Box Office, Leaves Witty Morning-After Note

Sex and the City, starring Sarah Jessica Parker, pulled in $56.8 million over the weekend, easily coasting to the top spot at the box office despite the cringing indifference of wide swathes of the country, regionally and otherwise demographically. Fellow freshman entrant The Strangers, meanwhile, grossed an extremely robust $20.9 million, good for third place at the box office; the horror thriller benefited from both strong word-of-mouth and a lack of direct genre competition, outperforming both wider-appeal recent PG-13 fare like When a Stranger Calls and similar R-rated product like Captivity. Holding onto the second spot, meanwhile, Indiana Jones and the Kingdom of the Crystal Skull added $44.7 million to its coffers for a cumulative $215.6 million gross in 10 days of release.

Iron Man only furthered its reputation as the early summer’s biggest hit, adding $13.5 million to its cumulative $276.2 domestic haul. Placing fifth for the weekend was The Chronicles of Narnia: Prince Caspian; down 44 percent, the family-friendly sequel grossed $12.7 million, and has now made $115.3 heading into its third week of release. Rounding out the top 10 were What Happens in Vegas ($6.7 million for the weekend, $66 million overall); Speed Racer ($2.3 million, $40.7 overall); Tina Fey and Amy Poehler’s Baby Mama ($2.2 million, $56.1 overall); Patrick Dempsey’s Made of Honor ($1.9 million, $42.9 overall); and Forgetting Sarah Marshall ($1.1 million, $60.5 overall), directed by Nicholas Stoller.

In limited release, controversy took a hit. John Cusack’s sprawling satire War, Inc., holding over on two screens, pulled in just under $20,000, to pull its two-week total to $74,000-plus. Documentary Bloodline, meanwhile, downsized instead of expanding, and subsequently grossed only $3,000 on one screen. Sundance cast-off The Foot Fist Way, starring Danny McBride, opened bi-coastally on four screens, and grossed just under $36,400.

Remember the Daze

Remember the Daze was originally graced with the much more interesting and opaque title The Beautiful Ordinary, which I assumed was changed in a desperate grab at, if not exactly commercial “relevance,” then at least rib-nudging double entendre, in a play for the stoner video rental crowd. But no, this teen flick, written and directed by Jess Manafort, is actually so singularly, hopelessly devoted to the score of marijuana and other illicit substances that its rechristened moniker is actually a much more sensible fit.

Set during 1999 over the evening after the last day of high school in Wilmington, North Carolina, Remember the Daze is such an obvious rip-off of Richard Linklater’s brilliant Dazed and Confused that it’s nearly breathtaking. The scheming on chicks, commingled incoming and outgoing classes, taking of drugs at inappropriate moments and other bawdy acting out, all centered around an outdoor kegger, are all here. In the wayward-mentor Wooderson role, meanwhile, The Girl Next Door‘s Chris Marquette appears, probably as a package deal/favor to his fat brother Sean, who offers up a subhuman impression of Jim Belushi and constantly snaps his fingers by wildly shaking his hand. (That’s his “thing,” don’tcha know.) The movie’s other influences are easy to spot, too, right down to the silent, nerdy outsider (Charles Chen) who wanders around taking everyone’s picture (instead of filming them) a la American Beauty.

It’s of nominal interest that Remember the Daze is centered mostly around girls. The intertwined stories find Lucy (Amber Heard, above left), bored with own habitually absent boyfriend Pete (Douglas Smith), attempting to hook up with the equally deadbeat boyfriend, Dylan (Khleo Thomas), of her cheerleader pal Stacey (Marnette Patterson, above, second from right). Her reasoning is that this is a favor, since Dylan is such a jerk, and may be cheating on Stacey (?!). Best friends Tori and Sylvia (Leighton Meester and Katrina Begin) take mushrooms while babysitting for some kids, while another pair of Lucy’s friends (Melonie Diaz and Lyndsy Fonseca) share a sapphic secret. Other characters include a trio of recent eighth grade grads (headed by Alexa Vega) who hook up with punk band Over It, fronted by Bailey (Elephant‘s John Robinson), plus a bunch of Dylan’s friends, led by Eddie (Shahine Ezell).

There are some energetic, charismatic and piecemeal intriguing performances here, but Remember the Daze might be a bit more interesting if not everyone — including Lucy’s inexplicably bitchy younger sister (Hoot‘s Brie Larson) — was out to get blunted, drunk or high on ‘shrooms. It’s such a quick and lasting point of focus that it makes the movie come across as a parody of a teen party flick, which Manafort’s writing doesn’t have the slyness to maintain. Still, though my exasperation came early and stayed late, I’m not completely willing to write her off; Manafort obviously has a nice touch with actors, giving her cast a good bit of leeway and positive encouragement, which results in a film littered with canted, and frequently enjoyably cracked line readings.

The chief problem is that Manafort’s script is pretty terrible, though. It breaks no new ground, which is not a huge sin, but it also features ever-shifting rationales and motivations, and for every nicely staged scene there are two or more atrociously put together sequences. There’s no flow here, and the lack of big-picture cohesion is most embodied by Stacey and Dylan’s weird, hot-cold relationship; whenever it’s convenient for them to be bickering, Manafort pushes this drama, but in certain group scenes at the party the pair walk right by one another, not engaging in positive or negative terms. A bit of music from the era (including Third Eye Blind, Sublime, 311 and the Fun Lovin’ Criminals) gets trotted out, but the setting of 1999 seems an artificially significant, arbitrary choice — just like much about this very derivative work. “Smoke, drink, don’t think!” says one character about halfway through the film; it was obviously that same sensibility that informed its creation, regardless of its title.

Remember the Daze comes housed in a regular Amray case, and is presented in 16×9 widescreen, with an English language Dolby digital 5.1 surround sound audio track and optional English SDH and Spanish subtitles. Apart from its own trailer, and preview trailers for Senior Skip Day and a couple other First Look releases, there is an unbilled, loose-limbed, 11-minute behind-the-scenes featurette which includes on-set interviews with the cast in which they fondly detail the movie’s shoot and its challenges (very cold weather during a few outdoor evening locations) and many thrills. To purchase the movie via Amazon, click here. D (Movie) C (Disc)