Wrinkles the Clown


This is why clowns terrify people.

(2019) Documentary (Magnet) D.B. Lambert, Wrinkles the Clown, Tyler Beck, Colby Gatlin, Sean Whittaker, Edie Love Anderson, Matt Wideman, Miguel Rey, Benjamin Bradford, Nikki Conklin, Bri Jones, Christopher Barcia, Trevor J. Blank, Linsey Kelsey, Andrew Caldwell, Colby Brock, Logan Williams, Peter Barcia, Antonio Harriss, Cheryl Sellars. Directed by Michael Beach Nichols

In a year that has brought us Pennywise and Arthur Fleck, the scariest clown of all might just be Wrinkles. You may have seen him in the several viral videos he appears in; slowly emerging from a drawer underneath a sleeping child’s bed, standing at the side of a busy road holding a bunch of balloons, driving a shopping cart across a parking lot. He seemed to be an urban legend in the making.

Then stickers began to appear all around Naples in Southwest Florida, advertising Wrinkles the Clown with a phone number for parents to call if they wanted to hire him to scare their kids. More than a million voice mail messages were left; some were parents taking him up on the offer, others were curious kids, still others were death threats. Suddenly the mainstream media was looking into this phenomenon and documentary filmmaker Michael Beach Nichols decides to investigate and he finds an old retired ex-party clown who finds it increasingly difficult to make it in his chosen profession. Now living out of his van, he decides that perhaps the profit lies in scaring kids rather than entertaining them and judging by the more than one million voicemail messages he received, he’s absolutely right.

But this seems pretty straightforward and even if our suspicions are immediately raised by a man whose face is never shown but appears to have a flowing white beard, we begin to realize (or perhaps not since the story we’re getting feeds right into our expectations) that not everything we’re being told is, strictly speaking, reality.

This documentary is ostensibly about a cultural phenomenon but to be honest, it is really more about our culture, how myths are made and how badly we want to believe them. It’s also about modern parenting, or lack thereof. Talking head interviews from folklorists, child psychologists and law enforcement give us different outlooks on the Wrinkles phenomenon but as we eventually find out, Wrinkles is more of a pawn than a provocateur.

There are a lot of interviews with children, some of whom could do with a visit from a homicidal clown (just kidding). Others seem to be more dialed in to things than we give kids their age credit for. One thing is for certain; one size doesn’t fit all when it comes to raising children; every kid is different and requires different techniques. We tend to forget that in an age where we look for quick fixes, and express ourselves in tweets and memes. As a society it feels like we have no attention span whatsoever anymore and while that isn’t necessarily a point that the movie makes, it certainly can be deduced from what the movie presents.

In some ways I’m reminded me of the Catfish movie which set up expectations in one direction but turned out to go in an entirely different one when you finally sat down and watched it. In some ways I admire Nichols for having the huevos to shift gears but at least as far as I’m concerned, the jury is still out as to whether it worked for me or not. I’m still kind of ruminating on this one.

Sometimes a movie appears to be going in one direction and then it zings dramatically in another. For the most part, those of us who see a lot of movies appreciate that as a change of pace but not everybody will feel that way; when this movie shifts gears, it comes out of left field and even though when you look back and consider it, you come to an understanding that it was headed that way all along. This is the rare documentary that bears repeated viewings.

REASONS TO SEE: Just might be a reflection of how disturbed we are as a society. Exceedingly disturbing in places and yet from a certain point of view, hilarious.
REASONS TO AVOID: Some of the Skype interviews are distracting.
FAMILY VALUES: There are some disturbing images and a plethora of profanity.
TRIVIAL PURSUIT: The movie made it’s debut at Fantastic Fest in Austin last month.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google PlayMicrosoft, Vudu, YouTube
CRITICAL MASS: As of 10/9/19: Rotten Tomatoes: 74% positive reviews: Metacritic: 53/100.
COMPARISON SHOPPING: Killer Klowns from Outer Space
FINAL RATING: 7.5/10
NEXT:
Eco-Terrorist: The Battle for Our Planet

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Eat Pray Love


Eat Pray Love

Julia Roberts looks soulfully at the Eternal City.

(Columbia) Julia Roberts, Javier Bardem, Viola Davis, Richard Jenkins, Billy Crudup, James Franco, Tuva Novotny, Luca Argentero, Giuseppe Gandini, Rushita Singh, Hadi Subiyanto, Christine Hakim, Anakia Lapae, Arlene Tur.  Directed by Ryan Murphy

Most of us, at one time or another, undergo a rigorous self-examination of the soul, one usually brought on by some kind of crisis. We are forced to face our own deficiencies, define who we are and compare ourselves to who we need to be. Most of us must do us all by our own lonesome; some of us use the benefit of a therapist. Others take a different route.

Liz Gilbert (Roberts) is a successful freelance writer who’s married, lives in a great apartment in Manhattan and is surrounded by a coterie of friends and admirers. Of course, this means she’s absolutely miserable. Her husband Stephen (Crudup) is a bit of a self-involved dweeble, perpetually trying new careers in an effort to find something that’ll stick. He has announced that he is going back to school to get his masters, just as Liz is looking forward to spending some time in Aruba. When he asserts “I don’t wanna go to Aruba,” she replies tearfully “I don’t want to be married.”

Stephen contests the divorce and doesn’t want to let go. Liz does what any sensible woman just getting out of a marriage to a decent enough guy that she was miserable in – she leaps into the bed of David (Franco), an off-Broadway actor who has adopted Eastern philosophies and follows an Indian guru. He is just as superficial as Stephen is, and Liz decides to leave on a year-long journey of to find out who she is since she feels numb inside, as she tells her best friend Delia (Davis). Of course, it doesn’t hurt that despite being cleaned out in the divorce, her publisher paid for the trip with an advance on the book that Liz would eventually write (a fact not mentioned in the movie).

Her first stop is Rome, where she meets Sofi (Tuvotny), a Swedish ex-pat; Giovanni (Argentero), Sofi’s Italian boyfriend and Luca Spaghetti (Gandini), who claims his family invented the namesake pasta. Here, she dives headfirst into Italian cuisine, from Neapolitan pizza to Roman pasta to gelato and everything in between. She eats without feeling guilty, launching herself into La dolce far niente – the sweetness of doing nothing. Check.

From there, she goes to the ashram of the Indian guru that David follows. Here, she meets Richard (Jenkins), a garrulous Texan who, as she puts it, speaks in bumper stickers. He chides her into finding a way to meditate despite the attacks of mosquitoes and an inability to clear her mind. He calls her “Groceries” because of her appetite and the two wind up being pretty good friends, enough so that Richard confesses to her the reason he’s there in one of the movie’s more compelling scenes.

She also befriends a young girl (Singh) who is about to enter an arranged marriage, which troubles the both of them. Eventually she gets with the program, but Liz not so much, the wedding reminding her inevitably of her own. Eventually, she finds some inner peace. Check.

After that, it’s off to Indonesia – Bali to you and me – to meet up with the medicine man Ketut (Subiyanto) whom she met a year earlier and predicted that she would be back to teach him English. She stays in the area, translating old parchments for him in the mornings and exploring Bali in the afternoons. It is here that she meets Phillipe (Bardem), a Brazilian ex-pat who runs an import business. The two begin to fall for each other, but Liz doesn’t need a man anymore – does she?

This is based on the New York Times bestseller, and it’s appeal to women can be measured by its appearance on Oprah (the daytime talk diva devoted two entire shows to the book) and the number of women in the audience at the movie, which was roughly about 80%. There is certainly an empowering element to the book and the movie, which teaches women that they need to find fulfillment from within.

At least, that’s the message I think is intended, but the movie doesn’t really bring that across so much. Most of the wisdom that Liz arrives at comes from others, be it the irascible Texan in India, or the gentle healer in Bali. She seems to bring little to the table internally other than a penchant for whining about how unfulfilled she is.

I don’t know the author personally so I can’t guess at how accurate the portrayal of her is. I’m sure she couldn’t have been disappointed to have Roberts, one of the most beautiful women on Earth, playing her. Roberts is a fair actress in her own right, as Erin Brockovich conclusively showed, but this won’t be measured as one of her finer performances. To be fair, it can’t be easy to portray someone whose chief trait seems to be inner emptiness but you never get a sense of that emptiness being filled in a significant way. Perhaps that’s a subtlety I overlooked.

She is also matched with two of the best actors in the world in Bardem and Jenkins, and neither one disappoint. Jenkins’ rooftop soliloquy in the Indian portion alone may win him Oscar consideration for Best Supporting Actor, if Academy members remember that far back come voting time this winter. Bardem plays a wounded divorcee who desperately loves his children, but is terrified of getting his heart broken again.

Murphy crafts a very slick, good-looking movie that runs a very long time – I was definitely shifting in my seat right around the India sequence – and doesn’t have as much depth as it purports to. As Liz accuses Richard of speaking in bumper stickers, so is the movie a series of motivational posters of cats hanging from ledges and eagles gliding into sunsets. There is nothing truly profound here, other than the simple advice not to worry so much about what you eat, find balance in your life, and then find a hot Brazilian to fool around with. Sage advice all, but especially for those who can afford to take a year off and embark on an all-expenses paid journey of self-discovery. Most of us don’t get that kind of opportunity.

The secret to finding self-realization is to look inward. You’re simply not going to find it in a book or a movie, although those desperate enough will look in those places first. As Richard says repeatedly to Liz (repetition is a theme in the movie), you have to do the work. Nothing comes easy in this life, not even something simple like a plate of spaghetti. Realizing that is the first step towards wisdom.

REASONS TO GO: Bardem and Jenkins are two of the best actors working and are worth seeing in their roles. Gorgeous cinematography makes this worth checking out.

REASONS TO STAY: Spiritual aspects are a bit hazy. Quite frankly, this seems quite self-indulgent and new age-y.  

FAMILY VALUES: There’s some sexuality and occasionally bad language, as well as a bare male derriere; otherwise, it’s suitable for teens and above.

TRIVIAL PURSUIT: Director Murphy is responsible for creating the hit Fox Network show “Glee.”

HOME OR THEATER: There is some beautiful cinematography here, but not the sweeping majesty that would compel home viewing.

FINAL RATING: 5/10

TOMORROW: Trucker