The Summer's Most Powerful Films? They're Documentaries

Moviegoers may have noticed that 2003 has already distinguished itself as an unusual year at the movies. We've had an overdose of action based on comic books. We've seen the advent of two-part movies—this summer's Matrix Reloaded will soon by followed by Matrix Revolutions and in October we get Quentin Tarantino's Kill Bill: Volume 1. At the box office, family-friendly films Finding Nemo and Pirates of the Caribbean have surpassed the year's most heavily hyped blockbusters.

Perhaps the most interesting trend in this year's films has been the increasing number of "must see" documentaries. So far, critics and audiences are receiving docs better than either dramas or comedies. The summer's most suspenseful film was Spellbound. Winged Migration was the most visually enthralling.

Two recently released documentaries deserve attention for exploring similar territory in extremely different ways. Capturing the Friedmans and Stevie are both concerned with the consequences of concealed sin—especially the sin of child molestation. Both films are galvanizing experiences that viewers are unlikely to forget. One tells a distressing story in order to show viewers how quickly they can jump to conclusions about complicated matters. The other shows us the potential for redemption in the most troubled souls and gives shining examples of Christians acting as role models.

One nasty surprise follows another in Capturing the Friedmans

Director Andrew Jarecki began working on a documentary about Silly Billy, New York's most successful party clown, David Friedman. He ended up with a much more ambitious film about the man's family history and a scandal that rocked the Long Island town of Great Neck.

Jarecki must have been surprised at Friedman's remarkable generosity in detailing the destruction of his upper-middle-class Jewish family. But by the end of his journey, he had a treasure trove of information from the family as a whole to work with. As it turns out, the Friedman men were obsessed with video cameras. Although David's mother, Elaine, was not so fond of them, his father, Arnold, enthusiastically cooperated with his sons David, Jesse, and Seth in the video documentation of everything from family vacations to dinner conversations.

Thus, in the mid-'80s, when Arnold was arrested on charges of possessing child pornography, the boys began filming their disbelief and their debates about their father's level of guilt. They even filmed Arnold being taken away from the house.

That was just the beginning. Soon, they were filming their own emotional breakdowns as the community came alive with accusations about perverse sex crimes that allegedly took place in the Friedmans' basement, where Arnold, with the help of his sons, taught computer classes to children from the surrounding neighborhood. Many children testified that they had not only been molested, but also raped, as Arnold supposedly lured them into shockingly perverse games. When the middle son, Jesse, at that time 18, was also implicated in the crimes, things started splitting at the seams.

The most compelling thing about Capturing the Friedmans is not, however, what Jarecki discovers about criminal activity behind closed doors. Rather, we are shocked and unsettled by the way our own assumptions about the situation fall apart time and time again. Right away in the film, we think we can figure things out because of the "facts" being delivered by seemingly trustworthy authorities. But then another investigation by more skeptical investigators calls these "facts" into question. Soon we don't know what to believe. All that is clear is this: Mr. Friedman has done something wrong, but he is lying about it and he refuses to clarify needlessly complicated issues. As long as he holds on to his lie, the destruction of his family and of the lives of those around him will continue. It plays out like a Shakespearean tragedy, and makes for one of the most compelling portraits of evil you're ever likely to see on film.

My full review is at Looking Closer.

Gerri Pare (Catholic News Service) says, "The story never slumps as the viewer is continually called upon to size up who is credible and who seems to be altering the facts. Jarecki also manages not to demonize anyone while at the same time never making light of the serious and repellant nature of the crimes. The result is a troubling, fascinating film that certainly points to the frailty of the human condition."

Jerry Langford (Movieguide) calls it "an artful approach to a genuine American tragedy. It is, therefore, an unpleasant and uninterrupted documentation of sin and its tragic effect on the Friedman family and the community. Though this movie deals with graphic subject matter, it intriguingly sheds the light of truth on tough and rarely discussed issues."

The rave reviews coming in from mainstream critics can be found here.

Lost in a troubled past and a criminal present, Stevieis drawn to Christian role models

Stephen Fielding is what he appears to be: crude, rude, rough-edged, damaged, and in need of a good cleaning up in every way. His past is a laundry list of misbehavior, and he admits that many of his most wicked achievements have gone undiscovered. Anyone with a nose for scandal could have dug up plenty on this guy.

But documentarian Steve James is too conscientious, too caring. Moreover, he walks past any opportunity to exploit his subject for moviemaking thrills. This is not "reality TV" as we've come to know it. James finds art in the human experience. And, in this viewer's opinion, he has crafted one of the great works of documentary art out of the life of a serious loser. It culminates with one of the great gospel songs of the last decade, and it earns the privilege.

In a skim-the-surface summary, Stevie is an account of how a child, abandoned by his parents, raped and abused in foster homes, became a wrathful and dangerous criminal. But underneath it is a lament for a brother, a friend, whose heart was torn to shreds by the cruelty and neglect of others. Stevie's story is a testament to the power of a good role model in the life of an impressionable young man. And it bears witness to the fact that there are glimmers of hope and opportunities for redemption in even the most damaged hearts.

Ten years before this project began, Steve James came into the life of young Stephen Fielding through the Big Brother program. That small step of compassion and goodwill formed a bond between them that would come to haunt James as he moved on in the mid-'80s and lost contact with Fielding. The film picks up with his return to see what a decade has done in the life of this young lost soul. He takes us to Pomona, Illinois, where he apologetically reenters the young man's life.

The crisis at the heart of the picture takes place between James's first return to Stevie's life in 1995 and his second return in 1997. During that gap, Stevie is charged with molesting an 8-year-old girl.

What follows is a journey through the battle-scarred landscape of Stevie's life on a path that leads to a courtroom and a judgment. We meet the mother who abused him and abandoned him. We meet his sister Brenda, a survivor trying to cultivate a healthier family of her own. Stevie's "friends," a group of Aryan thugs, supply him with a weapon and some troubling advice. The mother of Stevie's victim rages at the camera about what Stevie did to her daughter.

But we also meet those who have shown Stevie a measure of God's grace. A Christian couple who served as foster parents to Stevie early in his life are re-introduced to him, and we can see potential for Stevie's redemption. A local church plays a powerful and transforming role in bringing some healing to this broken family. And Tonya, Stevie's girlfriend, acts as a sort of guardian angel, giving a powerfully moving portrayal of unconditional love.

The subject of the film is, at first glance, Stevie. But ultimately, the subject is Steve James—and us: how we so easily put out of our minds those who need us most, and what lives we might yet have the opportunity to save. The camera has taken us where we, in our guilt, our self-absorption, and our lack of faith, fear to tread. But because the filmmaker is the assuring presence of a fellow "failure," we trust him. He does not thrust the ugly details into our faces. He is not preoccupied with the details of sex crimes, as is the filmmaker of Capturing the Friedmans. He is interested in redemption. Not just Stevie's, but his own and, by extension, ours.

My full review is at Looking Closer.

Movieguide's critic says, "With an amazing portrayal of Christian redemption, Stevie is a sobering but well-crafted film."

J. Robert Parks (The Phantom Tollbooth) calls it "extraordinarily compelling. I can't recall a movie that has this much compassion for its characters. Though I haven't cried this hard at a movie in a long time, the film isn't exactly a downer. Rather, it's a portrayal of a broken life and a reminder of the grace we all need. Absolutely a must-see."

Stevie is scheduled to be released on DVD September 9.

Thirteen offers shocking reality of teen high-school experiences

Catherine Hardwicke's discomfortingly blunt drama about the contemporary teen high-school experience, Thirteen, is making moviegoers—especially parents—squirm in their seats.

The movie follows a crowd of L.A. seventh graders, and tells the story of Tracey (Rachel Evan Wood of Little Secrets) as she begins to "learn the ropes" of being popular from a dangerously reckless role model, a rebellious teen named Evie (Nikki Reed). Following Evie's example, Tracey descends into experimentation with sex, drugs, and crime. As she transforms, her mother (Holly Hunter) struggles to cope with the misbehavior. In the end, the film becomes the story of how a troubled teen and her frustrated mother learn to communicate.

Movieguide's reviewer says that the film "feels frighteningly real. It is one of the best arguments for private Christian schools or home-schooling that Hollywood could ever devise. Of course, even these cannot protect a child intent on rebellion, experimentation or self-destruction, but the movie makes a very strong case for parental involvement." The reviewer concludes, "Despite its talented cast, Thirteen's hollow cry about lost innocence is drowned out by its own lack of solutions. It presents many problems teenagers face today, but it offers no compelling evidence that its proposed solutions will work."

The Battle of Shaker Heights is a losing one

Project Greenlight, an endeavor set in motion by actors Matt Damon and Ben Affleck, was created to help give some talented amateur screenwriters a chance to make their movie. The latest project to reach the big screen through this program is titled The Battle of Shaker Heights. It is about a high-school slacker who struggles in love and endures a trying transitional teen experience.

But according to critics, young directors Kyle Rankin and Efram Potelle's film is too unfocused and suffered damages when Miramax studio executives decided to intervene and "improve" it.

David DiCerto (Catholic News Service) says, "The pic suffers from [the filmmakers'] inability to channel a profusion of subplots into an emotionally engaging story. The film's overall lack of narrative focus does not, however, preclude a shining performance from its rising star, Shia LaBeouf … [and it] does impart a positive, albeit sketchy, message about family and forgiveness."

Critics give Jeepers Creepers 2 so-so status as a horror flick

A sequel to the popular horror flick Jeepers Creepers is now playing in theatres. Jeepers Creepers 2 shows more foolish teens getting into trouble with a dangerous and deadly character who preys upon their weaknesses.

Loren Eaton (Focus on the Family) says the movie "obviously aspires to be more than just a by-the-numbers horror flick. Reels are devoted to claustrophobic confrontations between students that reveal their underlying prejudices and sins. [However] the sorry stuff that ended up onscreen is as far from Hitchcock as whales are from Nebraska. Salva's artistic ambitions get torn apart and devoured by gore, obscenity and tired cliché."

Michael Medved (Crosswalk) says, "Successful horror films don't need to make sense; they work at a visceral level beyond (or below) logic, provoking an emotional response with nightmare images that bear little connection to rational fear. For its first 10 minutes, Jeepers Creepers 2 works effectively on that basis, but quickly stalls … in an unsavory swamp of overacting, silly subplots and unredeemed tedium."

Movieguide's critic disagrees, saying the film gets better in its later stages. "When the teenagers start fighting back … this movie recovers nicely." But he concludes, "In addition to the excessive foul language and violent situations, [the movie] contains occult elements. The movie's worldview seems mixed, therefore, with negative elements diluting its more redemptive, positive aspects. The movie demands … extreme caution."

Religious press critics continue to mull over recent hits

Mike Furches (Hollywood Jesus) gives Kevin Costner's Open Rangea perfect 10 rating, calling it "one of the best westerns to come around in years. While the story line resembles the wonderful Magnificent Seven, there is enough storytelling and uniqueness to have Open Range stand on its own. Costner, Duvall, Jeter, and Bening are wonderful, and it will be hard to overlook any of them come nomination time for awards. The final scenes of the movie are breathtaking and exciting. I believe that Open Range will become an epic that will easily stand on its own two feet." He goes on to explore the film's spiritual symbolism.

Andrew Coffin (World) calls it "a studio film that is resolutely, refreshingly old-fashioned. The open-range scenery is gorgeous, the characters well drawn, the acting first rate (especially by Mr. Duvall), but the film is not perfect."

At Dick Staub's CultureWatch, there is an examination of American Splendor, the inventive and hilarious look at the life of cartoonist Harvey Pekar. The reviewer says, "[Pekar's] worldview is cynical and outlook bleak, but he looks out for the less fortunate and is kind to the disenfranchised at the VA hospital where he worked. His selflessness is maddeningly mixed with a tunnel-visioned selfishness. A subtle preoccupation with death and what happens when we die weaves itself through the storyline. In theological terms, being 'saved' is less about being nice than being real and I couldn't help but wondering why I meet so few 'real' people among those who call themselves 'saved.' I like hanging with people like [Pekar], and I think Jesus would too."

After viewing The Legend of Johnny Lingo, Holly McClure (Crosswalk) says, "Look for this film to open in your area and take all ages to see this precious and touching family-friendly story. It affirms faith in God who has a hand on our lives, hope in situations that seem hopeless, and shows forgiveness and mercy given for people who seem like they don't deserve it. This is a wonderful family film full of tender moments, exciting adventure and good old-fashioned values!"

Caroline Mooney (Christian Spotlight) says Lingo is "predictable, but wonderfully so. The film's message is clear: Good character bears witness to true beauty."

I watched the film with a group of my nephews and nieces. The kids enjoyed it, happy to see the young neglected heroes rise above those who mistreated them. But the acting had the mediocre quality of community theatre, which distracted me despite the film's exotic island settings.

The Medallioncontinues to disappoint critics. Michael Medved (Crosswalk) calls this Jackie Chan film "sad, rather than exhilarating … one of the most disappointing feature films of Chan's checkered career."

Regarding Stephen Frears' thriller Dirty Pretty Things, Andrew Coffin (World) says, "The movie realistically, sometimes graphically, portrays immigrant life. [It] deserves a strong R. The more brutal images in the film, although almost never explicit, are still disturbing. Even what is implied is often hard to take, particularly as [the heroine] faces sexual abuse by several employers. But the best scenes in the film show [the hero], by contrast, exhibiting a quiet resolve, intelligence, and compassion that guide him through this grimy underworld."

A list of things to consider while waiting for Gibson's Passion

Gary Leupp, an associate professor in the department of history at Tufts University, spoke up this week at Counterpunch regarding the scandal over Mel Gibson's unreleased (and largely unseen, even by its protesters) film The Passion. He tries to separate fact from fiction, hype from history, and to address whether Gibson is on the right path with his Jesus film. You can read his list of "dispassionate notes" here.

In two weeks:The Order, Dickie Roberts: Former Child Star, Matchstick Men, Once Upon a Time in Mexico, and more.

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