Trouble is My Business


A tough-as-nails gumshoe waits for the right dame to come along.

(2018) Mystery (Random Media/Lumen Actus) Tom Konkle, Brittney Powell, Vernon Wells, David Beeler, Mark Teich, Jordana Capra, Ben Pace, Benton Jennings, Steve Tom, Mollie Fitzgerald, Paul Hungerford, William Jackson, E. Sean Griffin, Laine Scandalis, Carl Bryan, Ksenia Delaveri, Pete Handelman, Steve Olson, Doug Spearman, Lauren Byrnes. Directed by Tom Konkle

 

Of all the art forms cinematic, one of the greatest – and hardest to do right – is film noir. Most of us when we think of noir think of classic films like The Maltese Falcon, Double Indemnity and Out of the Past and writers Dash Hammett, Raymond Chandler and Mickey Spillane. While the heyday of noir ran from the 1930s through the early 1950s, from time to time attempts have been made to resurrect or at least pay homage to the genre, sometimes effectively (Chinatown, L.A. Confidential), other times not so much.

In a world of corrupt cops and hard-bitten detectives, Roland Drake (Konkle) has seen it all. Once one of the best missing persons men in the business, his reputation has been tarnished by a botched job in which Natalia (Delaveri), a missing girl, ended up dead and the newspapers blamed Drake. Business has dried up, his partner Lew MacDonald (Beeler) has moved on to start his own agency and he’s about to be evicted from his shabby office.

Then in comes Katherine Montemar, a sexy brunette with a sob story; her father has disappeared, the police are dragging their flat feet and now it appears someone is targeting the Montemar family because her uncle has disappeared as well. One thing leads to another and she spends the night with Drake. When he wakes up in the morning, there’s an ominous pool of blood next to him and no brunette.

That might have been the end of it but Katherine’s sister Jennifer (Powell) shows up with incriminating photos of Drake’s roll in the hay with Katherine and a .38 special. Eventually Drake takes on the case and runs into a variety of characters; Jennifer’s overbearing mother (Capra), the cross-dressing and likely insane butler Rivers (Teich), Jennifer’s handsome but inept boyfriend (Pace) and most ominous as well, the corrupt and vicious cop Barry Tate (Wells). They all are revolving around a missing black book and a fabulous diamond that is priceless. Drake will have to think fast, talk faster and know how to use his gun if he’s going to get out of this one alive.

Konkle is a bit of a triple threat man here, directing, starring and co-writing (with co-star Powell) and probably sweeping the floors after shooting. He certainly has a good knowledge of noir tropes and uses them effectively for the most part. He creates a dark and dangerous atmosphere and I certainly won’t complain about the production design although sometimes it is a little obvious that green screen is being used.

The script could have used some polishing. The rapid-fire patter of typical noir dialogue is present but Konkle and Powell are no Raymond Chandler or even Elmore Leonard. The dialogue is generally okay but sometimes it sounds a little clunky and forced. Not every line needs to sound like it’s being uttered by Sam Spade. Also the score is like a Mikos Rosza score from back in the day, only played on synthesizers like a bad 80s thriller. It totally wrecks the mood; the score is also constantly playing. In this case, a little dead air wouldn’t have hurt.

Some critics have judged this a comedy although I don’t think that was the intent of the filmmakers, although there are some fairly funny lines throughout. I do think that this is occasionally over-earnest, sometimes star-struck but never anything but a genuine tribute to a style of film which has become truly a lost art. While I can quibble with the execution in places, I certainly can’t fault the intentions

Oh, and for those who like choices the DVD/Blu-Ray of this release (available on Amazon) comes with both full color and Black and White disks. For my money, the Black and White version is much better, much more authentic. Purists should go for that; those who dislike black and white can always go for the color edition, but I think you miss something that way.

REASONS TO GO: The aesthetics are done just right.
REASONS TO STAY: The dialogue is a bit clunky and delivered stiffly.
FAMILY VALUES: There is some sexual content as well as more than a little bit of violence.
TRIVIAL PURSUIT: Lumen Actus is a production house that not only makes films but does all their special effects in-house. This film is the first of two productions they are working on.
BEYOND THE THEATER: Amazon, Fandango Now, Google Play, iTunes, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 4/5/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Mulholland Falls
FINAL RATING: 4.5/10
NEXT:
Black Panther

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A Suitable Girl


In India, marriage is almost compulsory and the pressure to be a bride enormous.

(2017) Documentary (The Film Collaborative) Amrita Soni, Dipti Admane, Ritu Taparia, Seema Taparia, Keshav, Janardan, Kara Devi, Nishu, Neha. Directed by Sarita Khurana and Smriti Mundhra

 

In recent years there has been more interest in the United States about Indian culture. As more natives of the subcontinent have gone to school here and established careers here, there has been a resulting influx of Indian cuisine, Indian films and music here in the States.

One thing that has remained true about Indian culture is the importance of marriage. The pressure on young people to get married once they reach a certain age (for young women it can be as early as 14 years old) grows more intense the longer it takes for them to find a life partner. A whole industry has arisen in India to help Indian men and women find suitable mates. These marriages are generally arranged, as they have been for centuries, by the parents rather than on the young people themselves.

This documentary focuses on the distaff side of things (a BBC documentary, A Suitable Boy, is forthcoming with similar attention on the male point of view) and in particular three women at various stages in the process. Amrita, from New Delhi, has a nice career in the financial business, an industry where women have actually made some inroads. However, she has found a husband – young Keshav who is taking his bride from urban Delhi to rural Nokha – where she believes her experience will help her father-in-law’s business.

Dipti is a bright young teacher who at 24 is in danger of becoming an old maid. She doesn’t have the svelte figure Indian men are fond of; she’s curvy and a touch on the heavy side but still beautiful. Her attempts to find romance through classified ads have generally gotten her nowhere and she has turned to a swayamvar which is something of an Indian speed dating service to improve her chances – more on that in a moment. Finally there is Ritu, a worldly and beautiful young woman who has a thriving career at Ernst and Young in Mumbai. Her mother Seema works as a matchmaker which one would think would improve her chances but she turns down most of the prospects she is introduced to. Seema isn’t actively looking for her daughter – she feels that it would be akin to a surgeon performing surgery on herself – which raises a few eyebrows amongst their circle of friends and family.

For Amrita, her new life isn’t what she envisioned it to be. For one thing, her father-in-law falls ill within months of her arrival and most of her time is spent doing more domestic chores. Because her father-in-law is a more conservative traditional man, western clothes are absolutely forbidden (although she has a stash of them to wear when she visits her parents) and she is under constant criticism by her new mother-in-law, who refers to her as Keshav’s wife (to which she gripes “I have a name. Call me Amrita”). Despite the fact that her new parents have plenty of money, a beautiful house and servants, she feels that her life has taken a turn for the worse.

The swayamvar is actually an eye-opener for the viewer. The men who attend are asked to share personal details about their lives, their finances and what they’re looking for in a mate. It is almost like a cattle call audition and the event is attended mainly by divorced men who are far from desirable in Indian culture; most of them are much older than what Dipti is looking for. Discouraged, she turns to online dating services but as rejection piles upon rejection, her self-confidence takes a big hit.

Ritu eventually finds someone suitable but he is working in Dubai, which distresses her parents. Ritu will move thousands of miles away from her parents. In fact, in Indian culture, the bride moves in with the groom and often into the home of the groom’s parents. This becomes her family and while she doesn’t cut off all contact with her own parents and family, it is expected that her focus will be on her new family. Accordingly, the weddings – which are elaborate affairs – are a time not only of joy but also of sorrow for the bride’s side of the ceremony.

It is a very different process of finding a life partner (a phrase used often in the film) than we’re used to here in the West. Here, generally the young people search for themselves, relying mainly on physical attraction to select their husbands and wives to be. For the Indians part, they tend to point to our high divorce rate here when defending their own system. One wonders, however, that as the roles of women change in India as they invariably will how this will affect the current system of arranged marriages?

The documentary itself is decent enough, in a cinema verité style following the women over the course of three to four years. One of the objections I had was that often that things were going on that aren’t explained by voice-over or graphic. I have a passing familiarity with Indian culture but there were times that I was completely in the dark about things and had questions; for example, at one point Seema visits a “face reader” with pictures of various suitors for Ritu, all of whom are rejected by the face reader. Are visiting these face readers a common practice? What kind of training do they undergo? How legitimate are they? You won’t find out here. However, it should be remarked that the filmmakers show a very even hand in showing the various emotions of the women they are following; there is no judgment and the audience is left to draw their own conclusions.

The subject is a fascinating one. Arranged marriages are still practiced in India and among ex-pats here in the States and elsewhere. While there are plenty of Bollywood films that cover the process, this is one of the few documentaries that walks us through the process from the bride’s point of view. For that alone it’s usefulness is invaluable.

REASONS TO GO: The stories of the various women are pretty interesting.
REASONS TO STAY: A lot of things go unexplained during the film, leaving the viewer frustrated unless they are fairly well acquainted with Indian culture.
FAMILY VALUES: There are some adult themes.
TRIVIAL PURSUIT: The two directors shared the “Albert Maysles Best New Documentary Director” award handed out at the 2017 Tribeca Film Festival.
BEYOND THE THEATERS: Amazon, iTunes
CRITICAL MASS: As of 4/2/18: Rotten Tomatoes: 83% positive reviews. Metacritic: No score yet..
COMPARISON SHOPPING: Love and Marriage in Little India
FINAL RATING: 6.5/10
NEXT:
The 15:17 to Paris

Caught


You never know what you might have caught.

(2017) Horror (Cinedigm) Mickey Sumner, Ruben Crow, Cian Barry, April Pearson, Aaron Davis, Dave Mounfield. Directed by Jamie Patterson

 

There are doubtlessly readers old enough to remember the Grindhouse films of the 70s and 80s; movies that played in decrepit theaters and rarely saw the light of day in the local multiplex. They were mainly genre films and generally were the cinematic version of fast food; a bit greasy, not at all pretty to see and the consumer was better off not knowing too much about the product.

Caught is a British ode to the movies of that era and that classification. Set in 1972 in the wilds of the moors of Sussex, the film follows married journalists Julie (Sumner) – the writer – and Andrew (Crow) – the photographer. They’d noticed some sort of military activity going on in the normally peaceful neighboring moor and are trying to convince their London editor to run the story. The two work from home, Julie having sent off their son Toby (Davis) off to school while their infant daughter sleeps.

Then a strange couple approach. Introducing themselves as Mr. (Barry) and Mrs. (Pearson) Blair, the two wear neatly tidy matching suits (his and hers) and are impeccably coiffed. Because of the strangeness of their dress, Andrew at first mistakes them for religious proselytizers but they soon tell him they’re “from the moors” and have a few questions to ask. Andrew, thinking he and Julie can get some information out of them as well, invites them in. That turns out to be a very bad idea.

Most of the talking is done by Mr. Blair in stilted, almost robotic speech. He seems to have trouble with certain words and phrases, as if English is not his first language. As the questions grow more and more bizarre and Mr. Blair seems to have an unhealthy focus on when Toby would be home from school, the journalists at last realize something is amiss. By that time, it’s far too late.

Patterson certainly references grindhouse films of the era from the weird and unsettling atmosphere to the score that sounds like it was bought from a generic film score supplier. The former is welcome; the latter is not. Often the music is incongruously energetic when the overall tone of the scene is low-key, proving to be a jarring combination as if the composer hadn’t bothered to watch the film or the editor didn’t quite match up the score to the proper scene.

Fortunately there are some very satisfying performances from Barry, Pearson, Sumner and Crow. While none of them run away with the movie, the first two particularly portray quiet menace that suddenly morphs into screaming violence without warning while Sumner and Crow manage to give a realistic portrayal of terrified parents who realize that the people they’ve invited into their home are not normal at all.

Who the Blairs really are is never fully explained. Are they demonic in origin, or garden variety invading aliens? Are they merely psychotic? One of Andrew’s photographs has the answer but we are never allowed to see it; instead, we see the reaction of Andrew and Julie to it. Generally I applaud filmmakers brave enough to let the audience’s imagination fill in the blanks but some may find the lack of information infuriating.

The trailer for this film is much better than the film itself; Patterson and writers Dave Allsop and Alex Francis never really go anywhere with the concept. Patterson does a great job of building up the tension but then it seems to plateau. One of the biggest issues I had was that it never felt like Andrew and Julie ever had a shot at getting away so there’s a lot less dramatic tension than there might have been. When the ending comes, it seems pretty much inevitable.

That’s a shame because there are a lot of worthwhile elements here, but sadly not enough for me to recommend this with any enthusiasm. Fans of grindhouse movies of the 70s though might get a kick out of this one.

REASONS TO GO: This is a seriously weird movie with a very bizarre tone. The four lead actors deliver strong performances.
REASONS TO STAY: The violence was unconvincing. The retro-style score was often annoying..
FAMILY VALUES: There is profanity and violence.
TRIVIAL PURSUIT: Sumner is the daughter of producer Trudie Styler and rock musician Sting of The Police.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu
CRITICAL MASS: As of 4/2/18: Rotten Tomatoes: 80% positive reviews. Metacritic: No score yet
COMPARISON SHOPPING: The Strangers
FINAL RATING: 5.5/10
NEXT:
A Suitable Girl

War Machine (2017)


War is an all-American pastime!

(2017) Dramedy (Netflix) Brad Pitt, Ben Kingsley, Tilda Swinton, Topher Grace, Anthony Michael Hall, Scoot McNairy, Lakeith Stanfield, Alan Ruck, Will Poulter, Nicholas Jones, Meg Tilly, Josh Stewart, Tim Downey, Richard Glover, Griffin Dunne, Andrew Byron, Daniel Betts, John Magaro, RJ Cyler, Emory Cohen, Rufus Wright, Sean Power, Sian Thomas, Paul Hickey, Georgina Rylance. Directed by David Michôd

 

Netflix has been producing original movies for several years but their Adam Sandler comedies aside, their first serious attempt at a blockbuster of their own was this fictionalized Brad Pitt film based on a non-fiction book about the War in Afghanistan. It is not a promising start, although they have several films that have been released since then that are far better and far bigger.

The movie is meant to be a black comedic commentary on the nature of 21st century war as practiced by the United States. It moves at a kind of snail’s pace (at roughly two hours long, it is about a half hour too much) through a bloated script full of unfunny bits. The fault here isn’t Pitt’s although this is perhaps his most deranged work yet; his General Glen McMahon is a walking tic machine, exhorting troops that “We WILL prevail” at the same time expressing frustration with the bureaucracy he has to deal with. His square-jawed expression is the epitome of every Hollywood American military commander yet his odd gait looks like he has some sort of wound in his genitals.

Despite having a cast of some of the best actors and character actors working today, there are simply too many roles and you forget who is who after about five minutes, leading to further confusion that the screenplay hasn’t already caused itself. This has all the earmarks of moviemaking by committee.

I liked the concept and thought that given the pedigree of Michôd (Animal Kingdom) that this project had promise but it pretty much falls apart of its own weightiness. I get the sense that the filmmakers were told to make a comedy, then told to make a commentary on war, then told to make a drama by the powers that be. What they ended up making was a mish-mash that is neither one nor the other but is a tedious waste of two hours. I expected much better

REASONS TO GO: Even at his most subdued, Pitt still exudes star power.
REASONS TO STAY: The film is bloated and dreadfully unfunny.
FAMILY VALUES: There is war violence and profanity.
TRIVIAL PURSUIT: The film references actual events that took place during the command of Stanley A. McChrystal between 2009 and 2010.
BEYOND THE THEATER: Netflix
CRITICAL MASS: As of 3/28/18: Rotten Tomatoes: 50% positive reviews. Metacritic: 56/100.
COMPARISON SHOPPING: Wag the Dog
FINAL RATING: 5/10
NEXT:
Suburbicon

The Family


Introducing the children of the corn.

(2016) Documentary (Starz) Sung Yun Cho, Jordan Fraser-Trumble, Anne Hamilton-Byrne, Bill Hamilton-Byrne, Roland Whitaker, Elizabeth Jean Whitaker, Anouree, Nick, Rebecca, Anthony John Lee, Peter Spence, Marie Mohr, Leeanne, Michael Stevenson-Helmer, Fran Parker, Barbara Kibby, Dave Whitaker, Lex de Man, Philippe de Montignie, Raynor Johnson, John MacKay, Margaret Brown. Directed by Rosie Jones

 

The rise of quasi-religious cults in the 1960s and 1970s was a worldwide phenomenon. In Australia, one of the most notorious of these was a Melbourne-based cult known as The Family. Founded by psychologist Raynor Johnson as a means to a healthier lifestyle, he soon fell under the spell of former yoga teacher Anne Hamilton-Byrne, a beautiful and charismatic blonde who had a way of charming everyone around her.

Her idea of family was a literal one; dozens of children were adopted through dodgy means and born to existing members. Hamilton-Byrne preached that she was the reincarnation of Jesus Christ and that there was a holocaust coming; the kids would rise as the leaders of a post-apocalyptic civilization. She was obviously a wack job but as cults go that doesn’t seem to be too terribly different.

In 1987 the cult’s Ferny Creek compound was raided and six of the children were removed and placed in protective custody and soon the horrifying truth began to emerge. The children had been physically abused, manipulated, and lived in a state of constant fear. Forced to dress alike and have their hair dyed blonde (as Hamilton-Byrne’s was) they were robbed of their individual identities. They were given LSD often without their knowledge or consent and they were often starved as a means of punishment.

One of the officers who was on the raid, Detective Sgt. Lex de Man, was clearly haunted by what he saw and observed. He acts somewhat as a narrative guide but also was a consultant on the documentary. Some of the stories told by the now-adult former cultists are heartbreaking and/or hair-raising. Many of the kids required therapy once removed from the clutches of the cult.

Jones is something of an Errol Morris disciple in terms of her style. There are plenty of interviews buttressed with home movies (which are chilling) and recreations of certain events. Rather than as a typical documentary, she gives it a kind of a 48 Hours spin, presenting the events as an unfolding mystery. For American audiences, it truly is – although the story was huge in Oz back in the late 80s and early 90s, it scarcely made a ripple on various American news sources. The film is slickly made with a brilliant atmospheric score and while the ending doesn’t have the smooth pacing of the rest of the film, there is at least a satisfactory wrapping up although to be fair the issues that the survivors have is ongoing. Believe it or not, the cult still exists today and Jones does speak with a current member for perspective.

The documentary has won awards at Australian film festivals and received a limited theatrical release there last year. Here in the States, it’s available on Starz and on their companion streaming app although for how long is anyone’s guess. It is certainly worth looking into, particularly if you’re into true crime documentaries.

REASONS TO GO: A chilling story of the horrors perpetrated on children within a notorious cult.
REASONS TO STAY: The ending is a bit choppy.
FAMILY VALUES: There is some adult content including some sexual references.
TRIVIAL PURSUIT: The score was composed by Amanda Brown, a former member of the wonderful Australian band The Go-Betweens.
CRITICAL MASS: As of 3/27/18: Rotten Tomatoes: 100% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: Prophet’s Prey
FINAL RATING: 6.5/10
NEXT:
Winchester

10 Billion – What’s On Your Plate? (10 Milliarden)


There are all sorts of hungry mouths to feed.

(2015) Documentary (Under the Milky Way) Valentin Thurn, Liam Condon, Johan Botterman, Andreas Gansie, Gutshof Habitzheim, Felix zu Lowenstein, Bangardswami Soundaratajan, Karl Schweisfurth, Jes Tarp, Bernd Schmitz, Haruhiko Murase, Ronald Stotish, Dawn Runighan, Mark Post, Jim Rogers, Rob Hopkins, Fanny Nanjiwa. Directed by Valentin Thurn

 

There are a lot of scary things happening in the world. The climate is changing; arable land will soon be at a premium. On top of that, the world population is exploding beyond our capacity to feed everyone and deliver drinkable water to them. Less farmland, more people – does anyone see this is a recipe for disaster?

Actually, many do. German journalist Valentin Thurn went in search of solutions to the coming food crisis which one scientist called “the greatest crisis man has ever faced.”

The changes in the weather don’t just affect cellphone reception. Many parts of the globe are experiencing extended droughts while others are getting too much rain. Crops that aren’t resistant to these changes will fail. Scientists are trying to create hybrid seeds that will grow plants that are drought resistant and deliver a more efficient yield. These efforts are being spearheaded by big companies like Bayer and Nestlé. However, it is somewhat disconcerting to learn that just ten corporations control more than three quarters of the world’s seeds.

Most of us are aware of GMOs which have been sold to us as bad things, but some scientists caution that without them we may not be able to feed everyone within the next 20-30 years – yes, that soon. Is it a choice between a rock and a hard place that we’re facing? Well, Thurn doesn’t think so.

One of the big culprits behind worldwide food shortages is meat. Cows, sheep, pigs and chicken require enormous amount of resources to maintain. On top of that, the middle classes of developing countries – including traditionally vegetarian India – are craving more and more meat, copying the demographics of Western nations including Europe and North America. The oceans are also becoming dangerously over-fished. Sustainable sources of meat are almost a must if we’re going to continue to enjoy hamburgers, sushi and McNuggets.  Some scientists are looking to grow meat substitutes in various labs. Alternative sources of protein are also being explored; insects, for example. Don’t turn that shade of green; in several cultures in Asia and Africa, insects are part of the daily diet. Chocolate covered ants, anyone?

Thurn seems to think that the answer lies in thinking locally rather than globally. Big multi-national food providers see food as commodities rather than a human right; food that is grown locally is affordable to nearly everyone as costs in transportation and preservation can be prohibitive. Small, organic farmers who have been practicing the same land stewardship techniques for ages may provide the answers for the coming food shortage crisis.

Thurn admirably keeps ecological sustainability part of his equation; solutions that may provide food but destroy the ecology are not viable and Thurn makes sure we know that. However, he has a tendency to be a bit of a tunnel-visionary; while he explores technological advances, he tends to criticize them with missionary zeal mainly rejecting them out of hand as being too expensive for the impoverished to explore. The thing is about technology is that as it becomes more commonplace, it tends to fall in price. Electricity, indoor plumbing and computers were all once only affordable by the very wealthy; now they are all everywhere used by all but the most impoverished.

Thurn is a very thorough investigator and he tries to look at every aspect of the problem – and it IS an important problem, one that is going to affect all of us. We all need to eat, right? However, there is an awful lot of information being presented here, a lot of it technical and after awhile it becomes somewhat brain-numbing. There is also a scene set in an Indian chicken factory farm in which the poultry is being slaughtered; those who are sensitive to such things may be disturbed.

Still, this is an important topic and anyone who wants to see the human race continue knows that keeping it fed is going to be a priority in the next century. Some of the technology and practices seen here may fall by the wayside but some of it is almost certainly going to become part of our lives. It is inevitable and although we may not like to think about it, we need to consider these possibilities nonetheless Our descendants are counting on us.

REASONS TO GO: This is a sobering but important topic for a documentary. There are a variety of viewpoints presented.
REASONS TO STAY: A definite case of information overkill.
FAMILY VALUES: The dire predictions may be troubling to some; there is also a scene in which chickens are slaughtered which may upset the sensitive.
TRIVIAL PURSUIT: If current birth rates hold true, the world population will hit ten billion by the year 2050.
BEYOND THE THEATERS: Amazon, Film Platform, YouTube
CRITICAL MASS: As of 3/22/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Last Supper for Malthus
FINAL RATING: 7/10
NEXT: Unsane

Get Me Roger Stone


Roger Stone is about as conservative as it gets.

(2017) Documentary (Netflix) Roger Stone, Donald J. Trump, Paul Manafort, Tucker Carlson, Jeffrey Toobin, Alex Jones, Jane Mayer, Wayne Barrett, Henry Siegel, Matt Labash, Nydia Stone, Michael Caputo, Charlie Black, Ryan Fournier, Mike Murphy, Steve Malzberg, Kathy Tur, Timothy Stanley, Ann Stone, Danielle Stevens, Adria Stone. Directed by Dylan Bank, Daniel DiMauro and Morgan Pehme

 

When looking at modern American politics, specifically on the Republican side, it’s hard not to wonder how a party that at one time was the bastion of thinkers like William F. Buckley, populists like Dwight Eisenhower and gentlemen like Everett Dirksen has become the party of trash politics, of misinformation and exclusion, of divisiveness and corruption. Ladies and gentlemen, allow me to introduce Roger Stone.

Or more to the point allow this Netflix documentary to introduce him. Described by New Yorker writer Jeffrey Toobin as “the sinister Forrest Gump of American politics,” Stone has been at the center of much of the most important political changes of the last 30 years. At 19 he was the youngest person to be called to testify before a Watergate committee; he was also one of the innovators of PACs and Super PACs that transformed campaign finance. He was a disciple of Roy Cohn, the pit bull of a lawyer who was Joseph McCarthy’s attack dog and one of the most amoral political figures to ever walk the face of the Earth. He co-founded (with Paul Manafort and Charles Black a firm that became known as the “torturer’s lobbyists” for all the third-world dictators they represented.

Perhaps worst of all, he saw political potential in a real estate mogul named Donald J. Trump. Stone groomed him over more than 30 years, pestering him to run for President (but never pushing). He is given credit for getting Trump aboard the Birther train that essentially established him as a political figure. As a campaign advisor, Stone helped shape the vicious tenor of the campaign, often seen wearing a t-shirt of former President Bill Clinton (husband to the Democratic nominee) with the word “Rape” below in a snarky parody of the Obama “Hope” poster. Stone made sure the country thought of the former President as a rapist as prodigious as Bill Cosby, conveniently ignoring the fact that his own candidate had been accused of sexual assaults himself.

Stone is an affable fellow in person, a respectable raconteur that at first glance you might not mind having a drink or two with. However, it wouldn’t take long before you notice that mostly what Stone talks about in an underhanded way is himself. He has a tremendous ego and a need to be the center of attention; it is no surprise to anyone that the Trump campaign couldn’t handle more than one ego like that That’s likely the reason why Stone was removed from the campaign itself, although he continued to offer advice when asked and support Trump on his own.

The film is divided into sections headlined by what Stone calls “Stone’s rules,” a series of aphorisms that he uses to guide his political philosophy. Some of them are meaningless; “Business is business,” for example. What the hell else would it be? There are others like “Hate is a greater motivator than Love” which is cynical in the extreme but frustrating because he’s largely right in that case.

Stone is a master of dirty political tricks and feels no remorse for anything. His guiding principle is that winning is the ONLY thing. Stone would probably tell you that you can’t implement a political philosophy if you lose; only winners get to determine the course this country and indeed the globe takes. As far as Stone is concerned, nothing is out of bounds so long as it doesn’t violate campaign laws. If the truth is stretched and people misdirected, that’s all right. If people are gullible enough to believe the big lie, then they deserve the leadership they get. It is something of a page out of the Hitler playbook.

Yes, if you haven’t noticed by now I’m a leftie that Stone would be somewhat amused by. I don’t think he hates liberals; he just wants to beat them. The fact that he’s so good at doing so tends to frustrate the hell out of the left. It allows Stone to gloat and he does so with a smug expression on his face.

As far as getting to know the real Roger Stone, don’t bet on it. Stone is a master at creating images – anyone who can characterize a real estate billionaire as a man of the people has to be admired to an extent. Although the filmmakers are also liberal (which Stone jokingly warns his friends of) in many ways Stone controls the narrative here. Although the filmmakers turn the documentary into almost a black comedy that is as cynical as can be, it is Stone having the last laugh.

This is tailor made for those conservatives who take great satisfaction in twisting the knife into bleeding hearts. Liberals may have a hard time watching this, particularly towards the end. It’s hard to watch the soul of your country being corrupted by someone who doesn’t care what the effects of this amorality has on the psyche of a nation. I’m sure Roger Stone has no issue with the Vince Lombardi quote “Winning isn’t everything; it’s the only thing” but even Lombardi knew that there were some costs that were too high to make winning worth it.

What Stone doesn’t understand – could never understand – that when you corrupt the soul of something, it ceases being what you admired about it in the first place. Making America great again has nothing to do with the rhetoric spewed by Trump, Stone and their ilk – it’s in fulfilling the dreams of the founders and those that followed them, being the place that embraced the American dream rather than trying to cut it off from the masses so that only those who have already achieved it can benefit from it. That is the real tragedy of Roger Stone – in winning he has lost everything he was fighting for, and he doesn’t even know it.

REASONS TO GO: This is in a lot of ways a black comedy; the fact that it’s true is depressing.
REASONS TO STAY: The lack of ethics is very hard to watch at times.
FAMILY VALUES: There is a fair amount of profanity here.
TRIVIAL PURSUIT: Stone’s political ideology was largely shaped by reading Barry Goldwater’s The Conscience of a Conservative at a young age.
BEYOND THE THEATER: Netflix
CRITICAL MASS: As of 3/9/18: Rotten Tomatoes: 90% positive reviews: Metacritic: 75/100.
COMPARISON SHOPPING: You’ve Been Trumped
FINAL RATING: 6.5/10
NEXT:
Ashes