Friday, August 28, 2020

New Trump Doc UNFIT: A Good Case For What We Already Know

Debuting today on digital/streaming, VOD platforms, and in select theaters:

UNFIT: THE PSYCHOLOGY OF DONALD TRUMP
(Dir. Dan Partland, 2020)

One of the most used statements about Donald J. Trump before and after his Presidency was that he is “unfit for office.” Dan Partland’s (American Race, Going Hollywood) first feature length documentary, UNFIT, examines exactly why with anecdotal commentary by various psychology experts, political analysts, historians, and former Trump cohorts, including the oily yet surprisingly insightful Anthony Scaramucci (The Mooch!).

As can be expected from the title, the film is presented as a thesis that darts around Trump’s history attempting to break down 45’s psyche through segments with such titles as “Malignant Narcissism,” “Gaslighting,” and “Is Democracy Dead?”

The first and one of the most prominent of the interviewees is George Conway, an attorney, and co-founder of the Lincoln Project, but is probably best known as the husband of Kellyanne Conway, Counselor to The President. Conway, most amusingly and accurately tells us that “Donald Trump is like a practical joke that got out of hand.”

Agreeing with Conway are such noted Psychologist, psychiatrists, and psychoanalysts as John Gartner Ph.D., Lance Dodes M.D., and Justin Frank M.D., but who disagree with “The Goldwater Rule,” which states that it is unethical for psychiatrists to give a professional opinion about public figures whom they have not examined in person.

Former White House Communications Director (for 11 days!) Scaramucci appears to give us his take (s) on Trump and, like I said above, has weighty insights aplenty about his former boss. The slick, quick talking entrepreneur certainly knows his history, and is right on the money, sadly, when he says that Trump “is a reflection of the cultural zeitgeist, and an avatar for that anger.”

One interesting difference of opinion on the topic of Trump’s bigotry occurs when The Mooch says “He’s an asshole, but that’s different from being a racist,” while Conway (again, Kellyanne’s husband) tearfully states, “This man is a racist, he is evil.”

Meanwhile Trump is seen in a clip that’s been shown a bazillion times saying “I am the least racist person that you have ever met.” A truly batshit crazy moment in a career of batshit crazy moments.

Partland then goes further back in time with the help of Ruth Ben Ghiat, who speaks about Trump’s similarities to Mussolini, and Interwar Historian Cheryl Koos, who compares him to Hitler.

Now if those historical comparisons may seem overly familiar, as well as the bulk of the material about the film I’m babbling about, that’s because its themes and theories about Trump are obvious to the Nth degree. So much of the video footage has been aired and re-aired that any insight, whether comedic or psychological, has already been drenched dry.

Nonetheless, UNFIT is a weighty watch and has many smart moments. My favorite of the interview subjects is former Intelligence Officer Malcolm Nance, who once called presidential advisor Stephen Miller “Baby Goebbels” on one of his many appearances on Real Time with Bill Maher. Nance terrifyingly talks about people who are willing to bet their lives on Trump being a bluffer, a strategic thinker, who won’t start a nuclear war, while acknowledging that he’s a pathological liar. “You don’t know what the stakes are,” Nance chillingly concludes.

UNFIT could use more of that urgency, and less of all the obvious overused clips, but it does what it sets out to do. It makes a thorough, well-illustrated case. If only it its diagnosis wasn’t something we already knew everything about going in.

More later...

Tuesday, August 25, 2020

$24.95 To Stream The New BILL & TED Sequel? That’s Bogus!


This Friday, the long awaited third entry in the BILL & TED series will be released on premium video on demand and select movie theaters. Thing is, the movie which reunites Alex Winter as Bill S. Preston, and Keanu Reeves as Ted Logan as older versions of the time-travelling teens that won over comedy lovers decades ago, is available on many streaming services for the unappealing price of $24.95. 

What, do you think we’re made of money, dude?

Now, this isn’t anything new. The last film I saw in theaters before the Pandemic lockdown was THE INVISIBLE MAN, starring Elizabeth Moss. I enjoyed the thriller and recommended it to my parents, but was not aware that its price on video on demand was $19.99. I thought it would be $10 at the most – like the price of a movie ticket at the theater (yes, I know tickets in NYC are close to $15). Since then, I’ve seen that many new films were priced in that range since all the theaters had closed down.

In this age where many people are unemployed, and struggling, it seems like more affordable rates – like $9.95-$14.95 - for films like BILL & TED FACE THE MUSIC would not only be a nice gesture, it would mean bigger profits as more people would be likely to order them up. 


In early June, a comedy entitled THE KING OF STATEN ISLAND, starring SNL’s Pete Davidson, was released via video on demand for $19.99. I find Davidson funny, and wanted to see the picture, but not for that price. I doubt there were many others that shelled out for it either. It’s now available for around $5.99, so I bet that fans of BILL & TED will just wait a bit for a likewise more reasonable rental price.

This bugs me as I think the folks in charge of what rents for what price are missing an opportunity to build an audience for new VOD titles with less pricey programming. Are there really enough folks, even hardcore fans, willing to pay $24.95 for the third go-around of BILL & TED to make it a big hit? I doubt it, but I could be way wrong. I just know that I’ll probably wait, and may rewatch the originals in the meantime since it’s been decades since I’ve seen them.

I just can’t bring myself to spend that much money for a rental, even if it’s a movie I’m highly interested in. Can you?

More later...

Friday, August 21, 2020

Actors You Recognize, But Don't Know Their Names: Paul Dooley

 

You may know him best as Molly Ringwald’s father in SIXTEEN CANDLES, or maybe as Wimpy in Robert Altman’s POPEYE, or as Max Von Sydow’s doofus assistant in STRANGE BREW, or maybe…dammit, you’ve got to know him from something!

POPEYE was one of a bunch of Altman films that he appeared in like A WEDDING, A PERFECT COUPLE, HEALTH, O.C. AND STIGGS, and THE PLAYER. Other films include DEATH WISH, BREAKING AWAY, SLAP SHOT, SHAKES THE CLOWN, all three CARS movies, and three of Christopher Guest’s ensemble improv movies - WAITING FOR GUFFMAN, A MIGHTY WIND, and FOR YOUR CONSIDERATION. 

A couple of things I didn’t know before - Dooley was a comedian in the 60s, who performed frequently on The Tonight Show, and was part of the Second City players. He released a stand-up album entitled Booked Solid (the picture above is from the record’s cover). But most surprisingly (at least to me) is that he created the PBS program, The Electric Company. How about that?

Dooley’s other TV credits just go on and on but I’ll highlight apperances on Get Smart, Bewitched, The Golden Girls, Thirtysomething, Dream On, Curb Your Enthusiasm, and Shameless - this seriously only scratches the surface as this is another one of those mad prolific actors that make you wonder if they ever sleep.

More later...