2016: Obama’s America

Culture Warrior on 2012

In this end-of-year editorial, Landon Palmer discusses the pattern that movies demonstrated in 2012 for telling stories through protagonists defined by their various personality traits rather than through conventional, straightforward characters. In so doing, movies this year showed how our individual identities have become divided within various aspects of modern social life. This trend made some of the year’s movies incredibly interesting, while others suffered from a personality disorder. Landon argues that movies ranging from The Hunger Games to The Dark Knight Rises to Holy Motors alongside cultural events and institutions like the Presidential election, social media, and “Gangnam Style” all contributed to a year in which popular culture is finally became open about its constant engagement with multiple cults of personality. Six years ago, Time magazine famously named its eagerly anticipated “Person of the Year” You in big, bold letters. Its cover even featured a mirror. As a result of the established popularity of supposedly democratized media outlets like Facebook and the home of the cover’s proverbial “You,” YouTube, Time declared 2006 as the year in which the masses were equipped with the ability to empower themselves for public expressions of individual identity. More than a half decade later, social media is no longer something new to adjust to, but a norm of living with access to technology. Supposing that Time’s prophecy proved largely correct, what does it mean to live in a 21st century where we each have perpetual access to refracting our respective mirrors?

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Zero-Dark-Thirty

As dissent continues to flourish in this country, it shouldn’t come as any surprise that discordant responses to films is also on the rise. Divisiveness has always been one thing among film critics, with publications throughout the past decade loving to showcase opposing views of everything from Dancer in the Dark to Tree of Life. But it’s another thing for broader American society to not only disagree with one another but to really go at each other over a certain motion picture or movies overall. This is the year that a right-wing political documentary (2016: Obama’s America) outgrossed all but one of Michael Moore’s films, including the gun violence issue doc Bowling for Columbine. It’s also a year, now, when the notion that violent films may have an impact on gun violence more than guns themselves is being spouted by everyone from NRA leaders to actor Jamie Foxx. Does that make Foxx’s new movie, Django Unchained, one of the most dangerous films of 2012? It depends on whether or not you agree with that idea of films and video games being so influential. Also depending on your side of a debate, you might agree with those calling Zero Dark Thirty “dangerous,” as Oscar-winning filmmaker Alex Gibney (Taxi to the Dark Side; My Trip to Al-Qaeda) has now done. I haven’t seen the film yet, so I can’t offer any real opinion on the torture scenes provoking discussion, but here’s what Gibney has to say about it in a lengthy article he wrote […]

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Ender

What is Movie News After Dark? It’s news, discussion, opinions, things! It’s everything that a fan of filmed and televised entertainment could want right before bed. Tonight it’s all about Hobbitses and Guardians, with yet another “Mini-Review” for the masses and plenty of fun to be had. Staring Down Butterfield – We begin this evening with the first look at Ender’s Game, the film based on the book by Orson Scott Card. It’s kind of like Space Camp, but with a way cooler story, budget, cast. The only thing missing is the nostalgia. Oh look, it’s Harrison Ford playing a badass. There’s the nostalgia.

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Welcome back to This Week In Discs! As always, if you see something you like, click on the image to buy it. Moonrise Kingdom It’s 1965 in New England, and two young lovers have run away from their homes. They’re twelve years old, and they live on an island, but it’s the thought that counts. Their decision sets in motion a chain of events involving Bob Balaban, Frances McDormand, Bill Murray, Ed Norton, Jason Schwartzman, Tilda Swinton, Bruce Willis, a scout troop and an impending storm. A spectacular cast isn’t the only thing going for Wes Anderson’s latest film though as he weaves a beautiful, romantic and bittersweet tale complete with a sonderful score by Alexandre Desplat. It’s a sweetly funny visual feast guaranteed to put a smile on your lips and in your ears. [Extras: Featurettes]

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One of the most difficult Oscar categories for pundits (let alone regular folk) to predict is the one for feature documentary. And this year more than ever it’s going to be hard to pick the five nominees, because changes to the rules of qualification and voting have given the race an extra element of complication: there is no precedent for how things turn out with this particular selection process in place. In a way, it’s a wide-open field with no certainty that higher-grossing films or more issue-oriented titles or discernibly cinematic works have the greater chance at a nod. Some expected the number of contenders to be cut in half as a result of the new rules; instead it grew, much to the chagrin of branch leader Michael Moore. And until the annual shortlist narrows them down to 15, we have 130 eligible films to choose from. But most of those docs aren’t plausible nominees. Many of the kind that Moore gets upset about for paying for a screen rental to qualify aren’t likely to go all the way. So they qualified. Now they have to be good and popular enough for people to notice.

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Obamas America

The Expendables 2 and The Bourne Legacy continued to make money this weekend. In fact, the top 7 box office earners from last week all kept their spots this time around except for Sparkle which dropped to 11th place and allowed The Dark Knight Rises and Timothy Green to improve their positions. Premium Rush opened to 7th place with $6.3m on 2,255 screens – resulting in a per screen average that was on par with movies that have been out for two to three weeks and lower than some new offerings. It wasn’t an auspicious opening, but even as the top winners ossify in the August doldrums, the real winners are indie films, and at the top of the heap is 2016: Obama’s America. Based on the book “The Roots of Obama’s Rage” by Dinesh D’Souza and co-directed by D’Souza and John Sullivan, the documentary takes a look at what the country and world might be like if the President were to earn a second term. After a limited run in July, the documentary had a successful weekend with $6.2m (which you’ll note almost beat out Premium Rush), vaulting to the number 6 spot on the list of highest-grossing political docs. Even more dramatic, it’s now the highest-grossing right-leaning political doc, beating out Expelled: No Intelligence Allowed (which was produced by Sullivan) for the honor. It seems possible that Obama’s America might be able to increase its position on the overall list by earning $5.3m more to overtake Capitalism: A Love Story. Depending on how the expansion is handled, and how audiences […]

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