Roll Red Roll


We revere our sons but marginalize our daughters.

(2018) Documentary (Sunset ParkAlexandria Goddard, Detective J.P. Rigaud, Ma’lik Richmond, Shawn McGee, Michael Nodramus, Jeremy Jones, Rachel Dissell, Michelle Nelson, Mark Nelson, Gretchen Nelson, Madeleine Nelson, Mario Cuomo, Jeno Atkins, Vinnie Fristick, Reno Saccoccia, Walter Madison, Mike DeWine, Mike McVey, Marianne Hemmeter, Michele Robinson. Directed by Nancy Schwartzman

Rape culture has become an aspect of the news cycle in recent years, particularly in light of the #MeToo movement in which women on social media who have experienced some sort of sexual crime from harassment to rape identified themselves as survivors. We have seen it in the light, inconsequential sentences given to those convicted of rape. We have seen it in the way those who report it are traumatized not only by the crime but by how they are treated afterwards. Boys will be boys, and boys rape or at least so the line of thinking goes.

Steubenville is a small town in the Rust Belt, a largely working-class town. There are not a lot of opportunities in Steubenville; most people have dead end jobs in the service industry as the manufacturing jobs that were once the town’s lifeblood are mainly gone. It’s most famous resident was the legendary Rat Pack crooner Dean Martin; after that, the town’s pride and joy is its high school football team which has won ten Ohio State championships since 1925 and as recently as 2017. The town supports its football team with a fervor verging on the religious.

In August 2012, a preseason party in Steubenville ended up with a student from another school (identified in the film only as Jane Doe, although the girl involved was identified by name on Fox News and other outlets) was raped by several members of the Steubenville football team. The girl had been drinking a lot to the point where she was passed out or nearly so. Two of the members of that team – Ma’lik Richmond and Trent Mays – transported her to another party and then to a third. Photos were taken. Video was taken. Tweets were made.

The girl was humiliated by the social media attention, amounting to a second rape. She decided to press charges even though her memory of the evening was very fuzzy. Detective J.P. Rigaud was assigned the case and he began the process of interviewing people at the party that she last remembered being at – the first one.

In the meantime, crime blogger Alexandria Goddard – who grew up in Steubenville although she was then based in Columbus – saw an item about two football players being charged in the rape of a teenage girl and thought that there had to be more to it than that. She began digging, looking up tweets and Facebook posts, even managing to search the archives of Twitter to see deleted tweets.

What she found was shocking – the utter lack of empathy, the objectification, the misogyny displayed by the boys (and even to a certain extent the girls of Steubenville High who shrugged and said “She should never have gone with those boys”) who joked about the event “Song of the night: Nirvana’s ‘Rape Me’.” “Holy shit! Something crazy’s going down, bro” and “She got raped harder than that black cop raped Marcellus Wallace.”

The town reacted with a mixture of shock – some shocked that the boys would behave as they did, others shocked that the blogger would treat their football stars as guilty before they’d even gone on trial.” Goddard was reviled and even feared for her safety as supporters of the football team called her all sorts of vile names and wished all sorts of disgusting things to be done to her. Eventually the Cleveland Plain Dealer picked up the story, then the New York Times. Finally, the hacktivist group Anonymous picked up on Jane Doe’s story and organized protests in Steubenville, targeting (somewhat unfairly) the police response, the town’s reaction, the lack of internal punishment for the players (neither Mays nor Richmond were kicked off the team despite the hard line taken by Coach Reno Saccoccia on underage drinking on his team.

Schwartzman presents the details dispassionately and chronologically. She is obviously outraged by what happened and she uses the film as a means of illustrating what rape culture means in a small American Midwestern town, supposedly the bastion of American values. One reporter mused “In protecting our sons are we putting our daughters at risk?” The short answer: yes.

The issue I have is that this didn’t happen in a vacuum. Boys aren’t born rapists; we see only a little bit of the atmosphere that produced Mays and Richmond as well as the rest of the football team who thought this girl’s suffering was a big joke. While Richmond breaks down when apologizing to Jane Doe and her family in court, we never get a sense if Mays ever felt remorse or if the rest of the team felt any. Did anybody actually learn anything?

Also, these kids are all working class kids. I wonder if this case would have been treated the same way if the defendants came from a more privileged background. We’ve seen high profile cases in which wealthy white young men got off virtually consequence free for their actions. Some would say that relatively speaking, Mays and Richmond did the same.

Maybe that wasn’t Schwartzman’s function as a documentarian to find all the answers. The question is certainly raised in my mind at least so in that sense the documentary is a success, but it is a very hard film to watch emotionally and especially for those affected directly or (in my case) indirectly by rape, misogyny and sexual objectification. Goddard – the heroine of this story and a true inspiration – wrestles with the thought that she may be causing Jane Doe harm by forcing her to endlessly relive the events of that evening. Goddard comes off as a tough cookie but she dissolves into tears thinking about it.

Rape culture is a fact and we are living in it. Attitudes have to change, that much is certain. Women don’t deserve to be raped, no matter how much they drink, what they might choose to wear or where they choose to be. Men are not entitled to have sex with a woman who doesn’t want to or can’t give consent. Maybe in some way this movie – which will be playing the Florida Film Festival in a few weeks – will help move that change along.

REASONS TO SEE: The facts are well-presented. This may be the most in-your-face depiction of rape culture ever captured.
REASONS TO AVOID: This is a very hard movie to watch even if you haven’t directly been a survivor of sexual violence but particularly if you have been.
FAMILY VALUES: There is some sexual content and frank discussions about rape.
TRIVIAL PURSUIT: The documentary was selected to kick off the 2019 season of the acclaimed PBS documentary film series POV in June.
CRITICAL MASS: As of 3/22/19: Rotten Tomatoes: 100% positive reviews: Metacritic: No score yet
COMPARISON SHOPPING: The Accused
FINAL RATING: 7.5/10
NEXT:
Out of Blue

Advertisements

22 Jump Street


The ladies are all smiles but for Jonah Hill and Channing Tatum it's strictly business.

The ladies are all smiles but for Jonah Hill and Channing Tatum it’s strictly business.

(2014) Crime Comedy (Columbia) Jonah Hill, Channing Tatum, Peter Stormare, Wyatt Russell, Amber Stevens, Jillian Bell, Ice Cube, The Lucas Brothers, Nick Offerman, Jimmy Tatro, Caroline Aaron, Craig Roberts, Mark Evan Jackson, Joe Chrest, Eddie J. Fernandez, Rye Rye, Johnny Pemberton, Stanley Wong, Dax Flame, Diplo, Richard Grieco, Dustin Nguyen, Kate Adair. Directed by Phil Lord and Christopher Miller

The thing about sequels is that they tend to be bigger, more expensive and more over the top of the original. The trick about them is that the filmmakers need to retain as much of the original film that audiences connected with without remaking the film verbatim, which is a certain kiss of death and franchise killer.

After their successful bust in 21 Jump Street, detectives Jenko (Tatum) and Schmidt (Hill) have moved on to other undercover operations with less success. After a botched operation causes a drug smuggler known only as The Ghost (Stormare) to escape, harried Deputy Chief Hardy (Offerman) busts them back to the Jump Street team. Except that now the Jump Street crew has moved across the street to 22 Jump Street where their success has bought them a near unlimited budget and an impressive headquarters where Captain Dickson (Cube) has an office in the center of the former Vietnamese church in a clear plastic office (which prompts Schmidt to say “His office looks like a cube…of ice!” in one of many, many instances of self-aware gags).

This time, the two detectives are sent to investigate Metro City State University – yes, the cops are going to college even though they look old enough to be professors. They are sent in as freshmen however and while their age is a source of constant japes, they nonetheless infiltrate the school with Jenko getting into a jock fraternity and becoming a football star, developing a bromance with Zook (Russell), the quarterback. This makes Schmidt a little bit jealous.

However Schmidt has made some inroads of his own, hooking up with Maya (Stevens), an art student who was close to a student who had died in a suicide after taking WhyFhy, a new party drug and the reason that Schmidt and Jenko are there. Surveillance footage implicates Zook as the supplier, which Jenko has a hard time believing. The friction between Schmidt and Jenko threatens to split up the two former BFFs, which would be disastrous considering that the unit is counting on them to solve the case (which might mean their careers if they don’t) and the real supplier behind WhyFhy is looking to take these two pesky cops out…permanently.

 

I will give the filmmakers props for making a much different movie than 21 Jump Street. This one is a bit self-referential, constantly referring to the increased budget and how important it is to follow up success by doing the exact same thing. The self-aware stuff is a hoot, but this feels more of a lark than a film. There is a parade of celebrity cameos, including Queen Latifah as Captain Dickson’s wife (who proclaims that she’s “Straight Outta Compton” while her husband is from Northridge, a reference to Ice Cube’s time in NWA) and appearances by Rob Riggle and Dave Franco from the first film although the best parts of that scene are in the trailer.

The chemistry between Hill and Tatum remains stellar; one of the best scenes of the movie has a school counselor mistaking them for a gay couple in his office for a therapy session, to which they are forced to play along to mask the fact that they were searching his office for evidence. However, there is a feeling that the writers have already kind of worn out their welcome. The end credits sequence, in which the trailers of future sequels are shown is maybe worth the price of admission all by itself.

The plot is way too cliche, the gags too hit and miss and the action too underwhelming to recommend this. I know a lot of critics have been kind to this movie but I just don’t see it; I left the theater feeling curiously unfulfilled, like eating a meal and walking away hungry. This movie may be less filling, but it sure doesn’t taste great.

 

REASONS TO GO: There are some funny moments (detailed above). Hill and Tatum have great chemistry. In-jokes up the wazoo.

REASONS TO STAY: Bigger isn’t necessarily better. Lots of gags fall flat. Too many cliches.

FAMILY VALUES:  You can expect a goodly amount of foul language, some drug content, bit of sexuality and brief nudity and finally some (mostly) comedic violence.

TRIVIAL PURSUIT: Original Jump Street television actors Richard Grieco and Dustin Nguyen make cameo appearances.

CRITICAL MASS: As of 7/26/14: Rotten Tomatoes: 85% positive reviews. Metacritic: 71/100.

COMPARISON SHOPPING: Starsky and Hutch

FINAL RATING: 5/10

NEXT: The Purge: Anarchy