W.

Written by Stanley Weiser
Directed by Oliver Stone
Starring: Josh Brolin, Elizabeth Banks, James Cromwell, Ellen Burstyn, Richard Dreyfuss, Thandie Newton and Jeffrey Wright


George W. Bush: I’m so bone tired of this Saddam. He’s always misunderestimating me.

Considering that at the time that I am writing this and while W. is hitting theatres, George W. Bush is still the president of the United States, is it unreasonable to ask if it is just too soon for a film biography of his life? Do we not need a little space in order to, first of all, get over the trauma of the eight-year long Bush administration, or more importantly, in order to gain some perspective on one of the most unlikely controversial figures in modern history? Lucky for us, the man behind the lens is Oliver Stone – a man who has never seemed to concern himself with objectivity to begin with. And I say lucky for another reason as well. We are lucky this movie has been made now because it actually allows for us to see a side of George W. that we’ve never really seen before – a sympathetic side. Sure the film is an entirely fictional imagining of the man but that doesn’t mean it doesn’t make for good entertainment.


Stone’s W. is not a documentary – thankfully because I can’t usually stomach watching the man on television for more than five minutes. Stone is under no obligation to be fair or well balanced. Besides, even documentary filmmakers these days seem to use the truth and objectivity as loose guidelines. Still, when W. opens with a conversation amongst the upper echelons of the Bush administrative staff as to what buzz words and catch phrases would best sell the Iraq war to the American public, you can’t help but wonder whether Stone has zero intention of being fair or whether he intends to lambast the man. In fact, up until the moment the film began, the most intriguing thing for me about this film was trying to understand why Stone was making it in the first place. What was he going to say about him? How was he going to say it? It is right after this opening, which introduces us to most of the key players in this fantastic cast, that Stone, under the structure of Stanley Weiser’s script, takes us back to meet a younger George – a much less presidential George, if you will.


We get to see George as a college boy getting hazed. We get to see George quitting job after job after job with no direction in sight. We get to see George promising ladies the world but giving them nothing but heartache. But then we get to see another side of George. We get to see him face his alcoholism. We get to see him come to find his faith again. And we get to see him fall in love with a young lady named Laura. The manner in which it all unfolds is rather conventional but still also believable, thanks to a fiery Josh Brolin as the big guy himself. Brolin got me to root for a guy I would ordinarily hiss at (not that I hiss at that many people) and he did so by personifying the man as a regular guy with regular guy hang-ups. Weiser’s script does oversimplify Bush’s psychology by implying that all of his decisions in life have been motivated by the need to prove to daddy what a good boy he can be. Still, Brolin brings more to it than that; he brings both passion and compassion to man who is generally considered to be a monster.


Was it Stone’s intention for W. to be a George W. Bush puff piece? Not at all. Without forcing Stone’s hand, the plot does follow through Bush’s election into office and right up until the point where his administration realizes that the Iraq war was going to be a lot harder than they had anticipated. It is in the war room that Stone sneaks in his now signature controversial touch. Suddenly, it makes sense why he made this movie now and why it is being released just a few weeks before the American elections that will see Bush leave office. Once you understand why you’re watching it, you realize that it was actually a lot more enjoyable than you thought it would be and that Stone has crafted a good ol’ American movie at the same time as he sticks it to American government.




GOING PAST THE MOVIE

The good folks at Lionsgate are auctioning off five autographed W. posters this weekend, in order to raise money for Stand Up To Cancer. Simply click on the eBay link below to place your bid for a W. poster, autographed by Oliver Stone, Josh Brolin, Elizabeth Banks, James Cromwell and Ellen Burstyn. Remember the auction ends October 20 so get crackin'.

Autographed W. Poster eBay Auction

THE TEASE ( A Trailer Review): W.

You can never trust a trailer entirely. They want you to see the movie after all. It would appear though that Oliver Stone's hush hush George W. Bush biopic, W. (pronounced Dub-ya), seems to be taking some shape in the public eye with this first look preview. It looks to me that we're going to see how George Jr., an incredibly messed up goof in his younger years, somehow ended up being the President of the United States. I'm intrigued and certainly impressed by the overall look. You've gotta love watching the leader of the free world chugging beer through a funnel. Still, I'm not sure why they decided to list all the character names instead of wow-ing us by telling us who all the actors behind all the make-up. (Did you catch that split second shot of Richard Drefuss as Dick Cheney?) Maybe it's me but I thought names tend to get more people into theatres. Still, as you watch Josh Brolin running ragged at the tail end, you know that a fair amount of people are going to run to see what Mr. Stone has to say about it all. W. is in theatres October 17th.

Trailer Grade: B

SICKO

Written and Directed by Michael Moore


Tony Benn: If you can find money to kill people, you can find money to help people.


Years ago, Michael Moore set out to produce a documentary about the American health care system and how that affects both those with and without insurance. In 1999 though, the Columbine shootings redirected his focus towards gun control and teenage violence. The health care project was put on hold and BOWLING FOR COLUMBINE was made and went on to win the Academy Award for Best Documentary. Hollywood had found a new spokesman and Moore rode that wave for as long as he could. He was about to return to the health care project when the war in Iraq began. Again, Moore felt his efforts would be better put to use elsewhere. FARENHEIT 9/11, part expository documentary, part slander campaign to ensure George W. Bush would not be re-elected, became the highest grossing documentary of all time. He may have had notoriety like he had never known but he also had an increasing number of angry detractors. Moore’s success was inflating his ego and that ego was taking up more screen time than the subject matter itself in his films. Well, Mr. Moore has heard your complaints and has redirected his focus once again by removing it from himself and placing it back on the subject. Eight years after its original conception, Moore is finally ready to give us SICKO.


While Moore’s mug does still find its way into the action and his voice guides us along our tour of the world’s hospital waiting rooms, he is less invasive and more sympathetic in SICKO. In fact, we don’t even see him for the first third of the piece. Instead, real people with real horror stories of disappointment and struggle put a face to the bureaucracy. Having no insurance, Rick must make a decision between reattaching his middle finger ($60,000) or his ring finger ($12,000) after the tips are sliced off in a buzz saw accident as he cannot afford both. In her 50’s, Donna is forced to move in to her daughter’s storage room with her husband because their medical bills have far exceeded what their insurance will cover. The American people already know that their health care system does not work for everyone so SICKO ensures that people know the desperate realities of those that are left behind. Moore makes sure to get all his pills in a line by giving historical context to the deterioration of provided health care and establishes profit as the unsurprising devil. There have been so many stories of death and unnecessary suffering by this point in the film that the tears come naturally when you see the livelihood of real people being cast aside for profit expansion.


Yet through the tears, there is laughter to be had in SICKO and most of it is directed at Moore himself, as an American representative. Moore leaves the USA to explore whether socialized health care is as poor and pathetic as the American media and American Medical Association would have you believe. In Canada, he meets a hockey player who sliced several fingers off while playing and didn’t have to choose between having any one in particular reattached nor did he have to pay a cent for the operation. In England, he meets with a doctor who still earns a strong six-figure salary that affords him an Audi and a million-dollar home despite the government signing his checks. In France, he meets with a group of Americans who have relocated to France and are now enjoying social health benefits like 24-hour medical service that comes to your door. Moore seems as if in a constant state of shock and awe as he asks patients leaving hospitals what their bills cost. The response is always nothing but not before they have a good laugh at how ridiculous his question is.


When the initial urge to laugh has run its route, SICKO reminds us that we are laughing at how dire this situation has become. How else can one describe it when homeless patients, clearly without insurance, are dumped in front of shelters after being forced out of a hospital and forced into a cab? Moore still can’t resist a cheeky, sarcastic turn but his filmmaking is maturing. While past efforts struggled to maintain their objectivity, feeling at times like one man’s personal vendetta against the powers that be, SICKO is more like a rallying of the people, exposing many Americans’ selfish motivations to look out for themselves above all else as their ugliest problem. Instead of yelling incessantly at the Bush administration and the corporations that pull the strings, all Moore seems to be concerned with is how the American population is still allowing for a world where the weakest among them is left to die in the streets.