Where to Invade Next


These chiefs could use a joint.

These chiefs could use a joint.

(2016) Documentary (Alamo Drafthouse) Michael Moore, Tim Walker, Krista Kiuru. Directed by Michael Moore

Michael Moore is one of those polarizing documentarians who has an agenda that occasionally plays fast and loose with facts and often takes things out of context. He infuriates the conservative electorate, many of whom characterize him as public enemy number one. For liberals while he is not necessarily a beloved figure, he is at least respected to a certain degree. With Moore’s films, you get pretty much what you expect.

His latest takes a look not so much at America but how improvements could be made, all of which are doable. Predictably, conservative film reviewers have ripped the movie a new one while those critics who already lean towards the left have sung the praises of the movie. Being of the latter persuasion, I find it hard not to add my voice to the liberal choir but I’m trying to be as objective as I can be.

Moore makes a valid point that we as Americans tend to accept without question that we live in the greatest nation on Earth, the best place to be. We are the land of the free, the home of the brave and we are the where the American Dream makes its residence – the philosophy, not the wrestler. In any case, we sometimes look at other countries ideas of doing things with a healthy dose of disdain.

That’s not always a wise thing. We don’t have a monopoly on good ideas here, although many expressed in the film originated here in the States and have since been abandoned or ignored from the get-go. The conceit of the film is that we have fought a string of wars with almost nothing to show for it other than debt, dead soldiers and obscene profits for military suppliers.

So the Joint Chiefs of Staff have sent American gadfly Moore out to invade other countries, steal their best ideas, and bring them here to the United States to implement. The ideas vary from five weeks mandatory paid vacation in Italy (with an additional two weeks of government holidays) and five months of paid maternity leave, also mandatory (the United States and Papua New Guinea are the only countries on the planet that don’t have mandatory paid maternity leaves, although most companies offer roughly six weeks of paid maternity leave to their employees here). France has a one hour lunch for schoolchildren and serves lunches that are nutritionist-approved from fresh ingredients – on plates and in glasses – to students who learn to serve each other and conduct themselves with proper table manners. They also do it for less than American schools pay for their slop.

And the ideas keep on coming, from reduced school hours, virtually no homework and no standardized tests that have taken Finland from educational standing right about where the United States is to the top ranking of national education systems to Slovenia offering free college to any student who wants to attend there – including non-Slovenians (so many American students have flocked over there that some universities are offering as many as 150 different courses in English). Norway has a prison system in which violent offenders stay in compounds in which they are treated with dignity and given more or less free access anywhere inside the compound – although not out of it. The campus is beautiful and gives them amenities that you’d find at home – just not freedom. The recidivism rate is about 20% there, opposite our own 80%.

Portugal has eliminated drug use prison sentences and treats drug use as a health care issue rather than as a criminal law issue, lowering their drug use rate. Germany has begun teaching their children about the Holocaust and taking ownership rather than ignoring it and hiding it. Tunisia shows how women took to the streets following their 2011 revolution and told the Islamist government that they refused to allow their rights to be unprotected by their new constitution. The uprising was so massive that the government voluntarily stepped down.

Finally in Iceland, the only financial company that escaped the country’s massive 2007 financial meltdown was one founded and run by women. The financial recovery was largely spearheaded by the addition of women to corporate boards throughout the country. And unlike the United States, their equivalent of the Department of Justice investigated, prosecuted and convicted a number of financial executives for wrongdoing and fraud, basing their investigations largely on American policies during the savings and loan crisis.

I will admit that Moore has a tendency to present facts as he sees him and not necessarily as they are. Employee benefits in Italy, for example, are tremendous but unemployment is twice the rate it is here. However, unlike the conservative reviewer who blames unemployment on those benefits somewhat speciously at best (she seems to think that the high taxes in Italy pay for those benefits which they do not – the companies do), I can see that Moore makes several points that are worth considering. We should be concerned not just with profits but for the quality of life of all people. We have become a society so narrowly focused on the bottom line we’ve lost sight of what is even more important – living. And in a country where our own government has taken a scorched earth policy against the middle class, we should not be pooh-poohing new ideas and refusing to consider them because we think they won’t work here. Why wouldn’t having more women in the board room work in this country? Why wouldn’t giving our kids better nutrition at lunch work here? Why wouldn’t shorter class hours and no standardized tests work here?

Moore’s point is that we are mired in this box of thinking that everything we do is the only way to do things and if it doesn’t work, it can’t be fixed. This is a film that attempts to prove that this isn’t the case at all and I think largely Moore succeeds in making his point. While I think that two hours is a bit long for this kind of film, at least he keeps it interesting with his sense of humor and his ability to tell a story in an entertaining way.

I don’t doubt that those who consider Moore to be an irresponsible socialist lefty with an axe to grind are going to hate this and reject the message out of hand simply because it’s Michael Moore delivering it. There are also those who are going to accept everything out of hand in this documentary simply because it’s Michael Moore saying it. It behooves us to do our own research and reach our own conclusions which most of us refuse to do because it’s too much trouble. And if you wonder why the world is so messed up, there’s your reason right there.

Nevertheless, Moore raises some valid points, poses some crucial questions and makes a film that is perhaps more optimistic than any he’s ever made, and one made out of – get this – patriotism. I’m not sure who said this, but whoever it was in my book was a very wise person – a true patriot is one who loves his country enough to want to change it for the better. You can read into that whatever you like.

REASONS TO GO: Much food for thought. Moore is a wonderful raconteur. Plenty of humor.
REASONS TO STAY: May be a little bit too long.
FAMILY VALUES: Plenty of foul language, some graphic nudity, disturbing photos and some drug use.
TRIVIAL PURSUIT: Moore with the cooperation of the distributors are screening the film for free from February 19 for two weeks in his hometown of Flint, Michigan owing to the water crisis there.
CRITICAL MASS: As of 2/19/16: Rotten Tomatoes: 76% positive reviews. Metacritic: 63/100.
COMPARISON SHOPPING: Sicko
FINAL RATING: 8/10
NEXT: Pride and Prejudice and Zombies

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Inception


Inception

Joseph Gordon-Levitt's world is all askew.

(Warner Brothers) Leonardo di Caprio, Ellen Page, Joseph Gordon-Levitt, Ken Watanabe, Tom Hardy, Cillian Murphy, Michael Caine, Pete Postlethwaite, Dileep Rao, Tom Berenger, Marion Cotillard, Lukas Haas, Tai-Li Lee. Directed by Christopher Nolan

In perhaps the most famous soliloquy of all time, Hamlet muses “To sleep, perchance to dream.” In this speech, he’s referring to death, wondering what the dead dream of. Perhaps death is a dreaming in a way, the ultimate dream. Maybe life itself is the dream – who’s to know?

Dom Cobb (Di Caprio) is a corporate thief with an unusual technique; he enters the dreams of CEOs and billionaires to extract the secrets that their mind has locked in those dreams. It’s an apparently lucrative profession; he seems to have a fairly extensive bankroll. However, Cobb isn’t a happy man. His wife Mal (Cotillard) died recently, and he was implicated in her death. Their children are being cared for by Mal’s mother, and Cobb hasn’t seen them in awhile, although he longs to.

Getting back to them is problematic, until Japanese billionaire Saito (Watanabe) comes up with an offer. He can take away Dom’s fugitive status if Dom will do one job for him, but instead of stealing an idea, he wants one implanted. This process, called inception, is deemed impossible…by everybody except Dom, who claims to have done it on one occasion.

Dom puts together a team of experts, including his right hand man and researcher Arthur (Gordon-Levitt), con man, impersonator and demolitions expert Eames (Hardy) and chemist Yusuf (Rao). The last they need to put the subject into a deep sleep, deep enough so that the dream architecture doesn’t collapse, because in order to make the idea work without his mind removing a foreign idea from itself (similarly in the way antibodies tackle viruses), the idea must be implanted so deeply that the subject thinks that the idea is his own.

The subject is Robert Fischer (Murphy), the son of a billionaire energy mogul whose father (Postlethwaite) is dying and stands to inherit his company. That company, which supplies nearly 80% of all the earth’s energy needs, has become too big to stand against and is in danger of becoming a power rivaling that of nations.

Dom also needs a dream architect and for that, he visits his father-in-law (Caine), who teaches the architecture of dreams and who helped Dom become what he is (although dear old dad-in-law disapproves of how Dom utilizes his gifts). Dom needs one of his students, a particularly gifted one, to create a realistic enough world that will fool Fischer into believing he is awake. That student is Ariadne (Page), who in Greek mythology led Theseus safely through the labyrinth on Crete where he slew the Minotaur.

This Ariadne is required to construct a labyrinth, because once the mind realizes that there are intruders in it, it sends what are called constructs to remove the intruders. The maze serves to keep the constructs off your back, at least for a little while. Not forever, however, and once the constructs arrive they are well armed and willing to shoot first and ask questions not at all. Once you are killed in the dream, you wake up – quite a different take on the usual Hollywood mythology which has dreamers dying in real life when they die in dreams. However, because they are going so deep into the dream, those who die in this dream will be sent to a limbo of the subconscious where they will slowly go mad until they awaken.

There is a time dilation too – while in a normal dream, five minutes of real time equates to an hour of dreamtime, the deeper level you go to, the more pronounced the dreamtime – to the point where five minutes can equal ten years.

There is also another wrinkle. Dom has never really been able to get over the death of his wife, and she is a powerful figure in his subconscious, so powerful that she has been able to manifest in the dreams of others and wreak havoc. This is why Dom needs another architect instead of doing it himself. Her presence in his subconscious is becoming more and more pronounced and only Ariadne, who went into one of Dom’s own dreams to figure out what was going on, knows the truth. Will Dom be able to overcome his own subconscious in order to win him the freedom he so desperately desires?

Nolan began writing this when he was filming Memento (2000), and it took him eight years to complete it. That’s largely because of how densely layered a tale this is; this is one of the most complexly plotted movies you’ll ever see. Pull one thread out and everything collapses.

Fortunately, Nolan is a good enough writer that he can pull it off. First, he has to create a believable dream mythology. Secondly, he has to create characters that the audience can relate to and care about. Thirdly, he has to inject a real sense of jeopardy. Finally, he has to make the plot simple enough for a general audience to keep up with, yet complex enough to make all the elements work.

He succeeds in all these points. The mythology is believable; the science may suffer from a little bit of what I call “mumbo jumbo science” – an overuse of technobabble – but it isn’t so much that you shake your head and feel stupid. The characters aren’t cardboard cutouts; they live and breathe and seem real.

The jeopardy part is accomplished by a series of car chases and shootouts which rankles some critics; “My dreams aren’t about car chases,” grouses A.O. Scott of the New York Times, which apparently means nobody else’s are either; of course, nobody has ever accused Scott of a lack of hubris.

All right, that was a bit of a below-the-belt shot at a fellow critic. Still, when one is discussing dreams, it’s a given there are no rules. Perhaps the dreamscapes that Nolan invents for Inception aren’t as outside the box in some ways as What Dreams May Come, that doesn’t mean there isn’t invention here. The sequences wherein Ariadne folds Paris onto itself (having cars driving Escher-like down vertical streets), or when Arthur fights a construct in a corridor that is revolving (the reason for which is explained nicely in the movie) are as breathtaking as anything you’ll see this summer.

I have a soft spot for movies that make you consider the nature of reality and leave you to form your own conclusions about what just happened. Roger Ebert says correctly that this is a movie about the process more than the plot; I can give you spoilers about plot points but the full effect isn’t as bad because those spoilers lose their effect because it’s more about how we reached that point, not about the point itself. Is this a dream? Is it a memory? Is it reality? Is there a reality? There are no easy answers to that, and Nolan wisely allows the audience to reach their own conclusions. If he has his own ideas, he keeps them to himself.

Di Caprio has never been my favorite actor – he’s a bit too angst-suffused for my taste – but this is surely one of his best performances ever. He plays Dom as a man who appears to be emotional on the surface, but the deeper we delve into the character the more we realize he represses his emotions to the extent that most psychiatrists would probably see him as borderline disturbed.

This is the kind of movie you can spend hours in discussion about. Is it a masterpiece or a conversation piece? The answer is it’s a little bit of both. Certainly people will be talking about the ending and its meaning for quite awhile. Movies that can satisfy the need for visceral action sequences and stimulate the mind simultaneously are rare indeed, and Inception does both. In a summer plagued by weak box office and mediocre movies, Inception easily shines as the best movie of the summer season.

REASONS TO GO: Thought-provoking science fiction with some amazing visuals. Di Caprio gives one of the better performances of his career and his terrific supporting cast doesn’t disappoint.

REASONS TO STAY: The plot is hard to follow along with in places, and there is a high degree of mumbo jumbo science going on.

FAMILY VALUES: There is a lot of action and some violence (a lot of shooting). The themes are sufficiently adult enough that I might think twice before bringing very young children who might have trouble following the plot; otherwise, this is suitable for mature pre-teens and older.

TRIVIAL PURSUIT: The name of Leonardo di Caprio’s character, Dom Cobb, was also the name of a main character in Nolan’s first movie, Following (1998) – furthermore, both characters are thieves.

HOME OR THEATER: The amazing visuals in the movie are best experienced in a movie theater and are even better in the IMAX format if you have an IMAX screen nearby.

FINAL RATING: 8/10

TOMORROW: Five Minutes of Heaven