Spectre


No vehicle is safe around James Bond.

No vehicle is safe around James Bond.

(2015) Spy Action (MGM/Columbia) Daniel Craig, Christoph Waltz, Léa Seydoux, Ralph Fiennes, Monica Bellucci, Ben Whishaw, Naomie Harris, Dave Bautista, Andrew Scott, Rory Kinnear, Jesper Christensen, Alessandro Cremona, Stephanie Sigman, Tenoch Huerta, Adriana Paz, Domenico Fortunato, Brigitte Millar, Lara Parmiani. Directed by Sam Mendes

The past has a way of surfacing when we least expect it. Sometimes, it’s just a pleasant memory we’d forgotten. Other times, our sins come back to haunt us in ways we could never possibly expect.

With the carnage of Skyfall behind him (there are spoilers here if you haven’t seen that movie so quick, go see it before reading on), James Bond (Craig) finds himself in Mexico City several months later during the Dia de los muertos celebration. He is after a terrorist who has plans to set off bombs somewhere in the city, but Bond has other plans. Before sending most of the men in the room making plans to end the lives of innocents to kingdom come, he overhears plans to meet with someone called the Pale King. As is the wont around James Bond, buildings are blown up, a chase takes place through the crowded streets of Mexico City and a fight ensues on a helicopter which narrowly avoids crashing into the crowd.

The trouble is, Bond wasn’t authorized to do any of this or even be in Mexico. The new M (Fiennes) is already having issues with C (Scott), the head of MI-5 who has recently merged with MI-6 and is now in charge, and who is threatening on dismantling the double 0 program and replacing it with the Nine Eyes directive – the combined surveillance material from the nine largest agencies in the world, including the intelligence communities of the United States, Russia, China and other nations. Only South Africa remains a holdout.

Given the ruthlessness of C, it isn’t any surprise when a terrorist attack in South Africa changes their vote. These events, Bond deduces, are related to his own chase of the Pale King. After seducing the widow (Bellucci) of the assassin, Bond tracks down an old nemesis whose daughter Madeleine Swann (Seydoux) holds the key to a sinister criminal organization known as SPECTRE – and it’s mysterious leader (Waltz) who has a connection with Bond’s past – in more than one sense.

This has every element that makes Bond films so entertaining; a debonair and cool as a cucumber spy, gorgeous women, mind-blowing gadgets, absolutely amazing action and stunt sequences and exotic locations. Well, it’s missing one element – a great theme song, but Sam Smith delivered an absolutely atrocious song that may go down as one of the worst of any Bond film ever – and there have been some absolute turkeys, although the vast majority of Bond themes have been fabulous.

Craig in his fourth film inhabits the role, and while he is contracted for a fifth film (which the ending sets up very nicely), he has said in interviews that he wouldn’t mind finishing out his run here. I think he may want to rethink that; this isn’t his best performance as Bond (Skyfall is) and he might want to go out on a higher note than this.

Part of the problem is similar to what plagued Quantum of Solace – it simply doesn’t measure up to the high bar set by the film before it. While this movie is much better than Quantum, it’s also no Skyfall and that isn’t a knock at all; Skyfall is in my opinion second only to Goldfinger in terms of great Bond movies. Sacrilege to some, I grant you, but that’s how I see it.

While Craig is ice cold through most of this, Waltz as the villain whose name I won’t reveal here is simply put the best villain of the Craig era and maybe the best other than Auric Goldfinger in the whole franchise. Waltz as…he who shall not be named….is as urbane as Bond, has a deadly edge to him and is certifiably insane, but not in a “Look at me I’m Napoleon” manner but in a quiet, serious “I’m going to do something spectacularly evil” way. You have no doubt that Waltz’ character is capable of conjuring up absolutely horrific mayhem and is quite willing to see it through.

We get to explore Bond’s relationships with his team, mainly Whishaw as Q, Harris as Moneypenny and Fiennes as M. There is a cameo by Judi Dench as the previous M whose posthumous message sends Bond careening off to Mexico, and we get a sense of Bond’s loyalty. He doesn’t trust anyone really, but one senses he trusted M – and not the new one, necessarily.

The stunts here are as good as ever – the Mexico City sequence is worth the price of admission alone – and while the gadgets aren’t as gee-whiz as in past years, the best line of the movie comes when Q hands Bond a watch and Bond asks “And what does this do?” Q responds with a droll “It tells the time.”

The movie feels like it’s cramming a little bit too much plot in; I don’t know that we needed to go all over the globe to finally end up in futuristic volcanic lair that we don’t really get to see much of but is apparently immense. They had to conjure up the largest explosion in movie history in order to…well, let’s just say that it doesn’t end He Who Shall Not Be Named’s nefarious plans.

Don’t get me wrong – this is thoroughly entertaining and certainly will keep Bond fans more than happy, although the critical reaction has been disappointing. I do hope Craig does do one more film and finishes his time in the franchise on a better note than this. It’s a good movie, but not a great one. I think Craig has one more great Bond film in him.

REASONS TO GO: Terrific action sequences. Waltz is the best villain of the Craig era. Continues the return to the iconic 60s Bond films.
REASONS TO STAY: A little on the busy side. Sam Smith’s song is terrible.
FAMILY VALUES: Plenty of action violence, some disturbing images, sexual innuendo and some mildly foul language.
TRIVIAL PURSUIT: At age 50 during filming, Bellucci is the oldest Bond girl to appear in the franchise by twelve years (Honor Blackman was 38 when she filmed Goldfinger).
CRITICAL MASS: As of 11/15/15: Rotten Tomatoes: 63% positive reviews. Metacritic: 60/100.
COMPARISON SHOPPING: You Only Live Twice
FINAL RATING: 7/10
NEXT: Veteran

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The Garden


The Garden

An urban oasis.

(2008) Documentary (Oscilloscope Laboratories) Rufina Juarez, Tezozomoc, Josefina Medina, Eddie Luvianos Rumbos, Deacon Alexander, Miguel Perez, Jan Perry, Juanita Tate, Doris Bloch, Dan Stormer, Ralph Horowitz, Danny Glover, Darryl Hannah, Antonio Villaraigosa, Joan Baez, Dennis Kucinich. Directed by Scott Hamilton Kennedy

 

The land is the important thing. It is what nurtures us, gives us sustenance. There are those who identify with the land as surely as they identify with their selves. It is more to them than a plot of dirt, or a bit of grass. It is everything.

After the Rodney King riots in Los Angeles, a 14 acre plot of land in South Central Los Angeles that was intended for use as a trash incinerator until neighborhood activists put a stop to it was given by the city for use as an urban garden. It would be the largest of its kind in the United States.

The garden at East 41st and South Alameda was primarily tended to by primarily Hispanic farmers, many of whom had been farmers or were descended from farmers in Mexico. They grew vegetables and fruits almost all native to the region that encompasses Mexico and the Southwestern United States known as the Mega-Mexico Vavilov Center (sounds like a discount store doesn’t it) some of which are considered weeds (like dwarf nettle and seepweed) but were used for herbal and medicinal uses by the farmers, while others were vegetables and fruits not commonly available at supermarkets.

The farmers used these vegetables and fruits to supplement the diet of their families; the excess they would sell to other families in order to buy new seeds and whatever else they needed to tend their garden.

Of course prime real estate in Los Angeles has a habit of finding different uses. While the city owned the land, they had acquired it through eminent domain, paying what was considered a fair market value for the property. Part of the agreement for that eminent domain was that if the land was sold for non-public or non-housing purposes, the original owners had a right to repurchase ten years after the property had originally been condemned.

Ralph Horowitz, one of the partners in the investment firm that was the largest of the nine owners of the property, sued the city for breach of contract. While the city denied his claim, eventually in a closed door negotiation the suit was settled and Horowitz was allowed to repurchase the land for slightly more than the city had paid for it, which was substantially under the market value at the time.

A few months later Horowitz notified the farmers that he was terminating the use of the property as an urban garden and that all the farmers would be evicted as of February 29, 2004. The farmers, who formed a collective known as South Central Farmers Feeding Families, immediately obtained legal counsel from Hadsell and Stormer Inc as well as Kaye, McIane and Bednarski LLP and a lawsuit was filed seeking to invalidate the sale. The litigants were able to obtain an injunction staying the termination date while the legal matter was settled.

The farmers lost the lawsuit and attempted to negotiate with Horowitz to buy the land themselves. Horowitz demanded $16.3M  for the property, more than three times what he’d paid for it less than two years earlier. The farmers eventually raised the funds with the help of the Annenberg Foundation, but Horowitz didn’t respond to the offer because it came after his eviction deadline.

The case had become a cause célèbre in Los Angeles, with celebrity activists such as Baez and Hannah actively protesting the eviction (Hannah would be arrested for tree-sitting in a walnut tree on the property and refusing to leave when the police ordered her out) and on June 13, 2006 at 3am in the morning, the police surrounded the property, evicted the protesting farmers and allowed Horowitz’ contractors to bulldoze the Garden.

This is what most of us saw. What we didn’t see was the political chicanery going on behind the scenes. Of promises made and broken. Of politicians showing support for the Garden but doing nothing to save it, and of community activists whose agenda was less for the community and more for their own profit.

The sympathies of the film lie clearly with the farmers. The main spokespeople, Juarez and Tezozomoc come off very well, speaking passionately and in Tezozomoc’s case quite eruditely on the controversy. Coming off less well are Horowitz, community activist Juanita Tate and U.S. Representative Maxine Waters, both of whom are portrayed as corrupt and politically savvy.

This was an Oscar nominee for Best Documentary feature and with good reason. The strength of the farmers, nearly all of whom were from the poorest segment of society, is inspiring as they took on the political powers-that-be in the City of Angels as well as the wealthy segments of society. While it is certainly one-sided, it did capture the facts nicely as well as some of the background as well.

While the story doesn’t end happily for the farmers, it does at least bring to light some of the injustice that took place and made accountable those who gave lip service to serving the people but were in reality serving themselves. That is, unfortunately, all too common a situation today.

WHY RENT THIS: A moving account of underdogs standing up to City Hall and developers.

WHY RENT SOMETHING ELSE: Little of the criticism leveled against the activists is explored or even mentioned..

FAMILY VALUES: There are a few bad words used here and there but not so many as to be distressing to parents.

TRIVIAL PURSUIT: As of June 2011, the site remains a vacant lot with the proposed warehouse and distribution center still unbuilt.

NOTABLE DVD EXTRAS: There’s a featurette on the history of the Garden, as well as a look at celebrities who visited it during the protest. There is also a film festival Q&A with director Kennedy and film critic David Poland.

BOX OFFICE PERFORMANCE: $26,931 on an unreported production budget; I’m pretty sure the movie was unprofitable from a box office standpoint.

FINAL RATING: 9/10

TOMORROW: Fair Game