Saturday Matinee: Natural Born Killers

By Richard Propes

Source: The Independent Critic

Is “Natural Born Killers” an indictment of our current society that is so completely fascinated with crime, criminals and everything that waxes dramatic? Or, is it simply a glossy, stylized romp through random acts of violence?

Oliver Stone’s “Natural Born Killers” takes the life of two of society’s rejects, Mickey and Mallory, and allows them to fall in love and embark on a nationwide killing spree that becomes fodder for the press, an obsession for law enforcement and, ultimately, they become folk heroes to the common man across America.

The film, which on the surface appears to be incredibly and over-the-top violent, is actually far less violent than many films with a lesser rating. While we see shootings and killings, the vision is seldom graphic in nature. These events are much more about attitude and atmosphere than they are the violence itself.

The word “intoxication” is the word I think of most when I think of the film “Natural Born Killers.” Mickey (Woody Harrelson) and Mallory (Juliette Lewis) become intoxicated by killing and the fame it brings…Reporter Wayne Gale (Robert Downey, Jr.) becomes intoxicated by the story, the ratings, the spotlight…Warden McClusky (Tommy Lee Jones) is intoxicated by his power and justice.

The script, by Stone and Quentin Tarantino, vividly brings to life this intoxication in scenes that often resemble television shows and other times take on such a psychedelic feeling that it almost feels like we’re in the middle of one of those lava lamps where you look through the hole and you see different visions every time you look in it.

“Natural Born Killers”, for me, is a visionary film because it sees the truth of our society and where we are headed. We are living in a world where celebrity allows you to get away with most anything, such as in the O.J. Simpson trial, and where even the most heinous criminal becomes an overnight celebrity. In “Natural Born Killers,” Stone and Tarantino are, to me, clearly saying that we can’t just blame the criminals for the deterioration of our society…it’s all of us who buy into the drama, the glamour and the excitement that allows the cycle to perpetuate.

Stellar performances, a powerful, insightful script, groundbreaking camerawork and the unique vision of Oliver Stone combine to make “Natural Born Killers” a bold, visionary film that may shock, may offend, may alienate…but, in the end, it is a film you will remember.

Watch Natural Born Killers on Hoopla here: https://www.hoopladigital.com/title/14507250

Saturday Matinee: Ukraine on Fire – The Real Story

[Originally posted on 2/24/18]

https://vimeo.com/332524840

A Documentary You’ll Likely Never See

By James DiEugenio

Source: Consortium News

It is not very often that a documentary film can set a new paradigm about a recent event, let alone, one that is still in progress. But the new film Ukraine on Fire has the potential to do so – assuming that many people get to see it.

Usually, documentaries — even good ones — repackage familiar information in a different aesthetic form. If that form is skillfully done, then the information can move us in a different way than just reading about it.

A good example of this would be Peter Davis’s powerful documentary about U.S. involvement in Vietnam, Hearts and Minds. By 1974, most Americans understood just how bad the Vietnam War was, but through the combination of sounds and images, which could only have been done through film, that documentary created a sensation, which removed the last obstacles to America leaving Indochina.

Ukraine on Fire has the same potential and could make a contribution that even goes beyond what the Davis film did because there was very little new information in Hearts and Minds. Especially for American and Western European audiences, Ukraine on Fire could be revelatory in that it offers a historical explanation for the deep divisions within Ukraine and presents information about the current crisis that challenges the mainstream media’s paradigm, which blames the conflict almost exclusively on Russia.

Key people in the film’s production are director Igor Lopatonok, editor Alex Chavez, and writer Vanessa Dean, whose screenplay contains a large amount of historical as well as current material exploring how Ukraine became such a cauldron of violence and hate. Oliver Stone served as executive producer and conducted some high-profile interviews with Russian President Vladimir Putin and ousted Ukrainian President Viktor Yanukovych.

The film begins with gripping images of the violence that ripped through the capital city of Kiev during both the 2004 Orange Revolution and the 2014 removal of Yanukovich. It then travels back in time to provide a perspective that has been missing from mainstream versions of these events and even in many alternative media renditions.

A Longtime Pawn

Historically, Ukraine has been treated as a pawn since the late Seventeenth Century. In 1918, Ukraine was made a German protectorate by the Treaty of Brest Litovsk. Ukraine was also a part of the Molotov-Ribbentrop Pact of 1939 signed between Germany and Russia, but violated by Adolf Hitler when the Nazis invaded the Soviet Union in the summer of 1941.

The reaction of many in Ukraine to Hitler’s aggression was not the same as it was in the rest of the Soviet Union. Some Ukrainians welcomed the Nazis. The most significant Ukrainian nationalist group, Organization of Ukrainian Nationalists (OUN), had been established in 1929. Many of its members cooperated with the Nazis, some even enlisted in the Waffen SS and Ukrainian nationalists participated in the massacre of more than 33,000 Jews at Babi Yar ravine in Kiev in September 1941. According to scholar Pers Anders Rudling, the number of Ukrainian nationalists involved in the slaughter outnumbered the Germans by a factor of 4 to 1.

But it wasn’t just the Jews that the Ukrainian nationalists slaughtered. They also participated in massacres of Poles in the western Ukrainian region of Galicia from March 1943 until the end of 1944. Again, the main perpetrators were not Germans, but Ukrainians.

According to author Ryazard Szawlowksi, the Ukrainian nationalists first lulled the Poles into thinking they were their friends, then turned on them with a barbarity and ferocity that not even the Nazis could match, torturing their victims with saws and axes. The documentary places the number of dead at 36,750, but Szawlowski estimates it may be two or three times higher.

OUN members participated in these slaughters for the purpose of ethnic cleansing, wanting Ukraine to be preserved for what OUN regarded as native Ukrainians. They also expected Ukraine to be independent by the end of the war, free from both German and Russian domination. The two main leaders in OUN who participated in the Nazi collaboration were Stepan Bandera and Mykola Lebed. Bandera was a virulent anti-Semite, and Lebed was rabidly against the Poles, participating in their slaughter.

After the war, both Bandera and Lebed were protected by American intelligence, which spared them from the Nuremburg tribunals. The immediate antecedent of the CIA, Central Intelligence Group, wanted to use both men for information gathering and operations against the Soviet Union. England’s MI6 used Bandera even more than the CIA did, but the KGB eventually hunted down Bandera and assassinated him in Munich in 1959. Lebed was brought to America and addressed anti-communist Ukrainian organizations in the U.S. and Canada. The CIA protected him from immigration authorities who might otherwise have deported him as a war criminal.

The history of the Cold War was never too far in the background of Ukrainian politics, including within the diaspora that fled to the West after the Red Army defeated the Nazis and many of their Ukrainian collaborators emigrated to the United States and Canada. In the West, they formed a fierce anti-communist lobby that gained greater influence after Ronald Reagan was elected in 1980.

Important History

This history is an important part of Dean’s prologue to the main body of Ukraine on Fire and is essential for anyone trying to understand what has happened there since the collapse of the Soviet Union in 1991. For instance, the U.S.-backed candidate for president of Ukraine in 2004 — Viktor Yushchenko — decreed both Bandera and his military assistant Roman Shukhevych, who was also involved in atrocitites, were both named national heroes by Yushchenko.

Bandera, in particular, has become an icon for post-World War II Ukrainian nationalists. One of his followers was Dmytro Dontsov, who called for the birth of a “new man” who would mercilessly destroy Ukraine’s ethnic enemies.

Bandera’s movement was also kept alive by Yaroslav Stetsko, Bandera’s premier in exile. Stetsko fully endorsed Bandera’s anti-Semitism and also the Nazi attempt to exterminate the Jews of Europe. Stetsko, too, was used by the CIA during the Cold War and was honored by Yushchenko, who placed a plaque in his honor at the home where he died in Munich in 1986. Stetsko’s wife, Slava, returned to Ukraine in 1991 and ran for parliament in 2002 on the slate of Yushchenko’s Our Ukraine party.

Stetsko’s book, entitled Two Revolutions, has become the ideological cornerstone for the modern Ukrainian political party Svoboda, founded by Oleh Tyahnybok, who is pictured in the film calling Jews “kikes” in public, which is one reason the Simon Wiesenthal Center has ranked him as one of the most dangerous anti-Semites in the world.

Another follower of Bandera is Dymytro Yarosh, who reputedly leads the paramilitary arm of an even more powerful political organization in Ukraine called Right Sektor. Yarosh once said he controls a paramilitary force of about 7,000 men who were reportedly used in both the overthrow of Yanukovych in Kiev in February 2014 and the suppression of the rebellion in Odessa a few months later, which are both fully depicted in the film.

This historical prelude and its merging with the current civil war is eye-opening background that has been largely hidden by the mainstream Western media, which has downplayed or ignored the troubling links between these racist Ukrainian nationalists and the U.S.-backed political forces that vied for power after Ukraine became independent in 1991.

The Rise of a Violent Right

That same year, Tyahnybok formed Svoboda. Three years later, Yarosh founded Trident, an offshoot of Svoboda that eventually evolved into Right Sektor. In other words, the followers of Bandera and Lebed began organizing themselves immediately after the Soviet collapse.

In this time period, Ukraine had two Russian-oriented leaders who were elected in 1991 and 1994, Leonid Kravchuk, and Leonid Kuchma. But the hasty transition to a “free-market” economy didn’t go well for most Ukrainians or Russians as well-connected oligarchs seized much of the wealth and came to dominate the political process through massive corruption and purchase of news media outlets. However, for average citizens, living standards went down drastically, opening the door for the far-right parties and for foreign meddling.

In 2004, Viktor Yanukovych, whose political base was strongest among ethnic Russians in the east and south, won the presidential election by three percentage points over the U.S.-favored Viktor Yushchenko, whose base was asmostly in the country’s west where the Ukrainian nationalists are strongest.

Immediately, Yushchenko’s backers claimed fraud citing exit polls that had been organized by a group of eight Western nations and four non-governmental organizations or NGOs, including the Renaissance Foundation founded by billionaire financial speculator George Soros. Dick Morris, former President Bill Clinton’s political adviser, clandestinely met with Yushchenko’s team and advised them that the exit polls would not just help in accusations of fraud, but would bring protesters out into the streets. (Cambridge Review of International Affairs, Vol. 19, Number 1, p. 26)

Freedom House, another prominent NGO that receives substantial financing from the U.S.-government-funded National Endowment for Democracy (NED), provided training to young activists who then rallied protesters in what became known as the Orange Revolution, one of the so-called “color revolutions” that the West’s mainstream media fell in love with. It forced an election rerun that Yushchenko won.

But Yushchenko’s presidency failed to do much to improve the lot of the Ukrainian people and he grew increasingly unpopular. In 2010, Yushchenko failed to make it out of the first round of balloting and his rival Yanukovych was elected president in balloting that outside observers judged free and fair.

Big-Power Games

If this all had occurred due to indigenous factors within Ukraine, it could have been glossed over as a young nation going through some painful growing pains. But as the film points out, this was not the case. Ukraine continued to be a pawn in big-power games with many Western officials hoping to draw the country away from Russian influence and into the orbit of NATO and the European Union.

In one of the interviews in Ukraine on Fire, journalist and author Robert Parry explains how the National Endowment for Democracy and many subsidized political NGOs emerged in the 1980s to replace or supplement what the CIA had traditionally done in terms of influencing the direction of targeted countries.

During the investigations of the Church Committee in the 1970s, the CIA’s “political action” apparatus for removing foreign leaders was exposed. So, to disguise these efforts, CIA Director William Casey, Reagan’s White House and allies in Congress created the NED to finance an array of political and media NGOs.

As Parry noted in the documentary, many traditional NGOs do valuable work in helping impoverished and developing countries, but this activist/propaganda breed of NGOs promoted U.S. geopolitical objectives abroad – and NED funded scores of such projects inside Ukraine in the run-up to the 2014 crisis.

Ukraine on Fire goes into high gear when it chronicles the events that occurred in 2014, resulting in the violent overthrow of President Yanukovych and sparking the civil war that still rages. In the 2010 election, when Yushchenko couldn’t even tally in the double-digits, Yanukovych faced off against and defeated Yulia Tymoshenko, a wealthy oligarch who had served as Yushchenko’s prime minister.

After his election, Yanukovych repealed Bandera’s title as a national hero. However, because of festering economic problems, the new president began to search for an economic partner who could provide a large loan. He first negotiated with the European Union, but these negotiations bogged down due to the usual draconian demands made by the International Monetary Fund.

So, in November 2013, Yanukovych began to negotiate with Russian President Putin who offered more generous terms. But Yanukovych’s decision to delay the association agreement with the E.U. provoked street protests in Kiev especially from the people of western Ukraine.

As Ukraine on Fire points out, other unusual occurrences also occurred, including the emergence of three new TV channels – Spilno TV, Espreso TV, and Hromadske TV – going on the air between Nov. 21 and 24, with partial funding from the U.S. Embassy and George Soros.

Pro-E.U. protests in the Maidan square in central Kiev also grew more violent as ultra-nationalist street fighters from Lviv and other western areas began to pour in and engage in provocations, many of which were sponsored by Yarosh’s Right Sektor. The attacks escalated from torch marches similar to Nazi days to hurling Molotov cocktails at police to driving large tractors into police lines – all visually depicted in the film. As Yanukovich tells Stone, when this escalation happened, it made it impossible for him to negotiate with the Maidan crowd.

One of the film’s most interesting interviews is with Vitaliy Zakharchenko, who was Minister of the Interior at the time responsible for law enforcement and the conduct of the police. He traces the escalation of the attacks from Nov. 24 to 30, culminating with a clash between police and protesters over the transport of a giant Christmas tree into the Maidan. Zakharchenko said he now believes this confrontation was secretly approved by Serhiy Lyovochkin, a close friend of U.S. Ambassador Geoffrey Pyatt, as a pretext to escalate the violence.

At this point, the film addresses the direct involvement of U.S. politicians and diplomats. Throughout the crisis, American politicians visited Maidan, as both Republicans and Democrats, such as Senators John McCain, R-Arizona, and Chris Murphy, D-Connecticut. stirred up the crowds. Yanukovych also said he was in phone contact with Vice President Joe Biden, who he claims was misleading him about how to handle the crisis.

The film points out that the real center of American influence in the Kiev demonstrations was with Ambassador Pyatt and Assistant Secretary of State for European Affairs Victoria Nuland. As Parry points out, although Nuland was serving under President Obama, her allegiances were really with the neoconservative movement, most associated with the Republican Party.

Her husband is Robert Kagan, who worked as a State Department propagandist on the Central American wars in the 1980s and was the co-founder of the Project for the New American Century in the 1990s, the group that organized political and media pressure for the U.S. invasion of Iraq in 2003. Kagan also was McCain’s foreign policy adviser in the 2008 presidential election (although he threw his support behind Hillary Clinton in the 2016 race).

Adept Manipulators

As Parry explained, the neoconservatives have become quite adept at disguising their true aims and have powerful allies in the mainstream press. This combination has allowed them to push the foreign policy debate to such extremes that, when anyone objects, they can be branded a Putin or Yanukovych “apologist.”

Thus, Pyatt’s frequent meetings with the demonstrators in the embassy and Nuland’s handing out cookies to protesters in the Maidan were not criticized as American interference in a sovereign state, but were praised as “promoting democracy” abroad. However, as the Maidan crisis escalated, Ukrainian ultra-nationalists moved to the front, intensifying their attacks on police. Many of these extremists were disciples of Bandera and Lebed. By February 2014, they were armed with shotguns and rapid-fire handguns.

On Feb. 20, 2014, a mysterious sniper, apparently firing from a building controlled by the Right Sektor, shot both police and protesters, touching off a day of violence that left about 14 police and some 70 protesters dead.

With Kiev slipping out of control, Yanukovich was forced to negotiate with representatives from France, Poland and Germany. On Feb. 21, he agreed to schedule early elections and to accept reduced powers. At the urging of Vice President Biden, Yanukovych also pulled back the police.

But the agreement – though guaranteed by the European nations – was quickly negated by renewed attacks from the Right Sektor and its street fighters who seized government buildings. Russian intelligence services got word that an assassination plot was in the works against Yanukovych, who fled for his life.

On Feb. 24, Yanukovych asked permission to enter Russia for his safety and the Ukrainian parliament (or Rada), effectively under the control of the armed extremists, voted to remove Yanukovych from office in an unconstitutional manner because the courts were not involved and the vote to impeach him did not reach the mandatory threshold. Despite these irregularities, the U.S. and its European allies quickly recognized the new government as “legitimate.”

Calling a Coup a Coup

But the ouster of Yanukovych had all the earmarks of a coup. An intercepted phone call, apparently in early February, between Nuland and Pyatt revealed that they were directly involved in displacing Yanukovych and choosing his successor. The pair reviewed the field of candidates with Nuland favoring Arseniy Yatsenyuk, declaring “Yats is the guy” and discussing with Pyatt how to “glue this thing.” Pyatt wondered about how to “midwife this thing.” They sounded like Gilded Age millionaires in New York deciding who should become the next U.S. president. On Feb. 27, Yatsenyuk became Prime Minister of Ukraine.

Not everyone in Ukraine agreed with the new regime, however. Crimea, which had voted heavily for Yanukovych, decided to hold a referendum on whether to split from Ukraine and become a part of Russia. The results of the referendum were overwhelming. Some 96 percent of Crimeans voted to unite with Russia. Russian troops – previously stationed in Crimea under the Sevastopol naval base agreement – provided security against Right Sektor and other Ukrainian forces moving against the Crimean secession, but there was no evidence of Russian troops intimidating voters or controlling the elections. The Russian government then accepted the reunification with Crimea, which had historically been part of Russia dating back hundreds of years.

Two eastern provinces, Donetsk and Lugansk, also wanted to split off from Ukraine and also conducted a referendum in support of that move. But Putin would not agree to the request from the two provinces, which instead declared their own independence, a move that the new government in Kiev denounced as illegal. The Kiev regime also deemed the insurgents “terrorists” and launched an “anti-terrorism operation” to crush the resistance. Ultra-nationalist and even neo-Nazi militias, such as the Azov Battalion, took the lead in the bloody fighting.

Anti-coup demonstrations also broke out in the city of Odessa to the south. Ukrainian nationalist leader Andrei Parubiy went to Odessa, and two days later, on May 2, 2014, his street fighters attacked the demonstrators, driving them into the Trade Union building, which was then set on fire. Forty-two people were killed, some of whom jumped to their deaths.

‘Other Side of the Story’

If the film just got across this “other side of the story,” it would provide a valuable contribution since most of this information has been ignored or distorted by the West’s mainstream media, which simply blames the Ukraine crisis on Vladimir Putin. But in addition to the fine work by scenarist Vanessa Dean, the direction by Igor Lopatonok and the editing by Alexis Chavez are extraordinarily skillful and supple.

The 15-minute prologue, where the information about the Nazi collaboration by Bandera and Lebed is introduced, is an exceptional piece of filmmaking. It moves at a quick pace, utilizing rapid cutting and also split screens to depict photographs and statistics simultaneously. Lopatonok also uses interactive graphics throughout to transmit information in a visual and demonstrative manner.

Stone’s interviews with Putin and Yanukovych are also quite newsworthy, presenting a side of these demonized foreign leaders that has been absent in the propagandistic Western media.

Though about two hours long, the picture has a headlong tempo to it. If anything, it needed to slow down at points since such a large amount of information is being communicated. On the other hand, it’s a pleasure to watch a documentary that is so intelligently written, and yet so remarkably well made.

When the film ends, the enduring message is similar to those posed by the American interventions in Vietnam and Iraq. How could the State Department know so little about what it was about to unleash, given Ukraine’s deep historical divisions and the risk of an escalating conflict with nuclear-armed Russia?

In Vietnam, Americans knew little about the country’s decades-long struggle of the peasantry to be free from French and Japanese colonialism. Somehow, America was going to win their hearts and minds and create a Western-style “democracy” when many Vietnamese simply saw the extension of foreign imperialism.

In Iraq, President George W. Bush and his coterie of neocons was going to oust Saddam Hussein and create a Western-style democracy in the Middle East, except that Bush didn’t know the difference between Sunni and Shiite Moslems and how Iraq was likely to split over sectarian rivalries and screw up his expectations.

Similarly, the message of Ukraine on Fire is that short-sighted, ambitious and ideological officials – unchecked by their superiors – created something even worse than what existed. While high-level corruption persists today in Ukraine and may be even worse than before, the conditions of average Ukrainians have deteriorated.

And, the Ukraine conflict has reignited the Cold War by moving Western geopolitical forces onto Russia’s most sensitive frontier, which, as scholar Joshua Shifrinson has noted, violates a pledge made by Secretary of State James Baker in February 1990 as the Soviet Union peacefully accepted the collapse of its military influence in East Germany and eastern Europe. (Los Angeles Times, 5/30/ 2016)

This film also reminds us that what happened in Ukraine was a bipartisan effort. It was begun under George W. Bush and completed under Barack Obama. As Oliver Stone noted in the discussion that followed the film’s premiere in Los Angeles, the U.S. painfully needs some new leadership reminiscent of Franklin Roosevelt and John Kennedy, people who understand how America’s geopolitical ambitions must be tempered by on-the-ground realities and the broader needs of humanity to be freed from the dangers of all-out war.

James DiEugenio is a researcher and writer on the assassination of President John F. Kennedy and other mysteries of that era. His most recent book is Reclaiming Parkland.

Saturday Matinee: Din of Celestial Birds

By Jason Hoffman

Source: The Third Eye

Din of Celestial Birds (2006) A film by E. Elias Merhige. Black and white, sound, 16mm, 14 mins.

American filmmaker E. Elias Merhige’s experimental film Din of Celestial Birds (2006) is the second part of an as yet unfinished trilogy of films, the first part being his bold and visionary debut feature Begotten. Most people coming to Din of Celestial Birds will have watched Begotten and are presumably expecting more of the gruesome and haunting imagery that distinguished the style of that feature, however as the movie begins, we are reassured to “Not be afraid … Be comforted … Remember … Our origin…”.

“A transcendental meditation on creation and consciousness”

I came away from the film thinking of it as Begotten enacted on a microscopic scale: a depiction of the divine mystery of creation through an exploration of processes prior to it, but where Begotten did so as a metaphorical psychodrama, Din of Celestial Birds does this as if a nature documentary of life, in a style reminiscent of Man Ray and other Surrealists.

The opening credits actually attribute the film to Q6, a collective consisting of a visual philosopher (whatever that is), a computational visual neuroscientist, a multi-media performance artist, a composer, and a sculptor; all of whom Merhige collected around him to produce the movie in a hands-on fashion employing techniques used by the work of cinema pioneers like the Lumiere brothersFritz Lang, and Jean Cocteau, in addition to software and technology created specifically for the film.

Though Din of Celestial Birds arguably ploughs the same furrow as its conceptual predecessor, the film is nevertheless testament to a unique artistic vision, exploring representations of the fringes of consciousness by challenging the limits of cinema.

Saturday Matinee: Voyage of the Rock Aliens

By Chris Scullion

Source: That Was a Bit Mental

Director: James Fargo

Starring: Pia Zadora, Tom Nolan, Craig Sheffer, Michael Berryman, Ruth Gordon, Alison La Placa

“I still can’t believe you’re an alien. What a novelty act!” (Dee Dee, Voyage Of The Rock Aliens)

One day in the future, when I have children, there will come a day when I’m asked “dad, what were the ’80s like?”

I already know how I’ll respond. Without saying a single word I’ll gesture to the couch, insist they sit down, turn the telly on and make them watch Voyage Of The Rock Aliens. Just to fuck with them.

After all, as a massive fan of anything ’80s I reckon I’ve seen enough movies and TV shows to determine what best sums up the decade. And this, quite frankly, is the most ’80s thing I’ve ever seen by a long way.

And I’ve seen this photo:

You see, what we have here, friends, is a sci-fi musical comedy in which all the songs are the catchiest, cheesiest ’80s pop you can imagine. And it’s brilliant.

It tells the story of a bunch of aliens, led by the super-serious ABCD (pronounced ‘Absid’, naturally), who fly around space in a ship shaped like a massive Flying V guitar.

These aliens are tasked with exploring the galaxy and studying anything they find in order to try to locate the source of Rock & Roll. Guess where they end up? That’s right, Venus Earth.

Here’s one of them, STUVWXYZ. About as inconspicuous as a toe up the arse

More specifically, they land in the town of Speelburgh (ahem), where local prettyboy Frankie rules his fellow teenagers with an iron fist.

As the lead singer of his band The Pack, he’s somehow managed to impose some sort of musical dictatorship banning anyone else in the town from playing instruments or singing.

This includes his girlfriend Dee Dee (singer Pia Zadora), who fancies herself as the next big musical sensation but is being held back by Frankie’s harsh singbargo.

Enter the Rock Aliens, who you’d better believe are going to ruddy well sing and dance all they want because it’s all they know. And once they do, the rest of the Speelburgh teens – Dee Dee included – are blown away by their new musical style (which is basically Devo).

Mind you, Dee Dee’s got some singing skills too. Pia Zadora’s pretty good in this, actually

ABCD quickly takes a shine to Dee Dee, by which I mean his head literally explodes and his limbs fall off the first time he sees her. That’s not a figure of speech, that actually happens.

For some reason this doesn’t put Dee Dee off and the two fall for each other, with ABCD asking Dee Dee to join his band.

Dee Dee is thrilled, but how will she react when she discovers that ABCD and his bandmates are aliens? And is Frankie really going to let this weird prick win his girlfriend over? Dramaaaaaa.

I genuinely uttered the phrase “what the fuck is this all about” five or six times throughout the course of Voyage Of The Rock Aliens. And that’s no bad thing.

For example, you’ve got the opening sequence, set on another planet, in which Pia Zadora (playing someone else) and Jermaine Jackson sing their new single for no reason at all: after which Jackson fucks off and is never seen again.

“Let’s get out of here, Michael.” “I’m not Michael.” “You’re not?” “No, I’m Pia Zadora.” HAHAHA, YOU THOUGHT I MEANT JERMAINE JACKSON, OH CHRIST WHAT A TWIST

Then there’s the bizarre subplot involving two escaped mental patients, one of whom (The Hills Have Eyes‘ Michael Berryman) falls in love and sees the error of his ways.

These are but a few moments of madness: others include a robot helper (voiced by Peter ‘Optimus Prime’ McCulloch) disguising itself as a fire hydrant, an odd dance number set in a ladies’ toilet, and a giant mutant octopus thing which is sitting in the nearby lake waiting to take over the town.

Then there’s Ruth Gordon playing a bizarre sheriff who has a surprising lack of tact when phoning the families of accident victims:

“Am I speaking to the widow of John S. Lamont?”

“You must be mistaken, I’m not a widow.”

“The hell you’re not!”

This being a musical, the songs are naturally of great importance, and anyone into cheesy ’80s pop will be in heaven.

Each track is delightfully catchy and yet charmingly shit, with nonsensical lyrics all over the shop (“It’s the nature of the beast / I’m keeping up my status quota”) that often don’t have anything to do with the story. Which is sort of the point of songs in a musical, but fuck it, I’m giving it a pass.

The best of the bunch is definitely the opening track though (the one with Jermaine Jackson in it). Curious? Enjoy:

Of all the ’80s sci-fi musical comedies I’ve seen over the years, Voyage of The Rock Aliens is undoubtedly the best. It’s also undoubtedly the only, but let’s not try to ruin the mood.

Get some similarly ’80s-minded friends around, shit fancy dress optional, turn the volume as loud as it can go without the neighbours coming round to cave your face in, and enjoy a helping of delicious ’80s cheese so plentiful that you’ll having dreams about hairspray, synthesisers and robot fire hydrants for weeks to come.

Saturday Matinee: Macross: Do You Remember Love?

Remembering Macross: Do You Remember Love?

By Victor de la Cruz

Source: 3rd World Geeks

There have been so many anime movies that have come and gone. A lot of them have, deservedly so, have been called classics and must-watch animes. You’ve got your My Neighbor Totoro, Ghost in the Shell, Weathering with You, Your Name and Akira. They are undoubtedly classics in their own right and every anime fan needs to see them. But there always seems to be one anime film that’s left out of the conversation for one reason or another. I’m here to shine a spotlight on that anime that usually gets lost in the shuffle when people list down great anime movies.

That movie is Macross: Do You Remember Love?

But before I do talk about Macross: Do You Remember Love?, I do have to talk about my very complicated relationship with the first Macross franchise. Like most anime fans, the very first contact I had with Macross wasn’t actually called Macross. It was from Robotech. Now, Robotech was this weird mishmash of three animes, namely, Super Dimension Fortress Macross, Super Dimension Cavalry Southern Cross and Genesis Climber MOSPEADA. The original Japanese animes had nothing to do with each other. However, the people over at Harmony Gold had the bright idea to attempt to link these three disparate shows. The writers did a good job with what they were given but this did greatly affect how the later chapters, more specifically the Southern Cross story, was almost totally revamped to retrofit it into the overarching story. Thankfully, as it was the first chapter in Robotech, Macross was hardly touched story-wire. Basically, if all you have is the Robotech version of Macross, you’re still getting pretty much the original story.

I also have to mention that my first experience with Do You Remember Love? isn’t by watching the movie. The first time I did see the movie was the Clash of the Bionoids dub. And, god help me, I loved it! I managed to catch this by pure accident while channel surfing when I was a kid. Seeing they actually pushed out a movie based on Robotech (because I didn’t know any better then) blew my mind and maybe that was a part of why I loved it so much. It would be an easy excuse to say I was young and foolish to like something as bad as the dubbing done in Clash of the Bionoids. But there’s just something so earnest in the performances! Oh, I also didn’t know they cut out a lot of stuff from the original film but, hey, I didn’t know there was an unedited version back then! Of course, now that I’ve seen the original cut, it’s hard to go back to Clash of the Bionoids unless it’s to kind of laugh at some of the dialogue.

Anyway, back to Do You Remember Love? and why I believe it deserves to be called a classic. For one thing, just look at it! Despite it being released way back in 1984, a good 35 years ago now, Do You Remember Love? still looks incredible. I can’t deny they touched up the film to bring everything into high resolution. But even so, you gotta admire the amount of detail the animators put into each frame of animation here! The number of little things, like lights flashing on the screen, the wires that stick out of a console, how the shadows lay on objects realistically, the tiny details of the Valkyrie stabilization thrusters looks outstanding.

The animation of how the Valkyrie also transform from mode to mode so seamlessly is also incredible. Of course, you also have to love those spiraling missiles the Valkyrie fire at the enemy Zentradi and how well animated those things are. Considering this was way before computer animation was a thing, that means you had a bunch of animators drawing up each and every frame of those missiles careening at wild directions while making it look real. They did a fantastic job on Do You Remember Love?

I also have to commend the writers of managing to streamline the entire 36 episode arc into something that would fit into roughly a couple of hours. Well, it’s not exactly streamlining as Do You Remember Love? alters the story quite a bit. But the changes they did do make sense. The movie actually starts right in the middle of the Macross’ journey back to Earth and ends after the defeat of the Zentradi leader Boddole Zer. This does leave out a good chunk of story but it also cuts out the more boring parts. We get to see the Macross transform without having the long, complicated episode explaining how they figured out to do so. We don’t have the Macross return to Earth only to be exiled to deep space. We also don’t get the aftermath of the Macross War and see the Zentradi have difficulty integrating in human society. These may be part of the entire drama of Macross. But, by cutting out these more slower parts, Do You Remember Love? gets into the meatier part of the entire story, which does makes things more satisfying.

Of course, no talk about Do You Remember Love? can be made without talking about the phenomenal final act of the film. The big battle where the loose forces of the Zentradi, Meltradi and remaining humans join forces to attack Boddole Zer while Lynn Minmay sings the titular song. There’s just something to the entire buildup to the song and the beautiful simplicity of the lyrics that makes it come off as more awesome than it should be. Of course, it certainly doesn’t hurt that Mari Iijima, who does both the normal and singing voices of Lynn Minmay, sounds really ethereal with her performance of the song. There’s also a kind of beautiful message in the scene where a simple love song can touch even the hardest of hearts to make them do the right thing.

I’m not saying Do You Remember Love? is a flawless anime film. I actually have to say I have some problems with it. The melodrama can be irritating at times as the characters would suddenly start behaving like they’re in the middle of a cheap soap opera. Lynn Minmay can definitely be grating at times because of how bratty she comes off in certain scenes. And while I did give high praise to the writers for focusing on the more important elements of the series, there are a couple of times when things just seem to happen in order to move the story forward.

However, these shortcomings should not really detract from how great Do You Remember Love? actually is. There’s just an overall epic feel to the story and the animation, despite its age, seems to have richer details than the anime movies we get today. But it’s that really memorable final act that really clinches it for me. The song, while nothing great in itself, feels much more epic in scale because of everything that accompanies it. Honestly, I would’ve watched it for those final ten minutes and still feel satisfied with how well done everything is.

I honestly think Macross: Do You Remember Love? deserves a little love as it seems to have been lost in the shuffle of all of the other anime films out there. If you’re interested in watching it, you’re in luck! The entire movie is available on YouTube on the Macross channel. It’s not in super hi-def but the high quality animation will make you forget it isn’t.

Give it a watch if you can spare a couple of hours. You can thank me later.

Have you seen Macross: Do You Remember Love? What did you think of it? What other classic anime films do you think deserves a little more attention? Let me know in the comments section below!

Saturday Matinee: Capricorn One

By Ken Zurski

Source: Unremembered

In 1976, a controversial new book was released that contended the Apollo 11 moon mission never happened. We Never Went to the Moon: America’s Thirty Million Dollar Swindle was written by Bill Kaysing, a Navy midshipman and rocket specialist, who claimed to have inside knowledge of a government conspiracy to fake the moon landing.

Kaysing believes NASA couldn’t safely put a man on the moon by the end of the 1960’s (a promise made by President Kennedy) so they staged it instead. Kaysing’s theories were technical and persuasive and soon a movement of nonbelievers, inspired by the book, was born.

Whether you believed Kaysing or not was a moot point for American screenwriter and director Peter Hyams.  A former TV news anchor, Hyams was more interested in how such a thing could actually be pulled off?

“I grew up in the generation where my parents basically believed if it was in the newspaper it was true,” Hyams said in an interview with a film trade magazine.  For him, he admits, it was the same with television. “I wondered what would happen if someone faked a whole story.”

So he wrote a story based on the concept.

That was in 1972, four years before Kaysing’s book was released. Hyams shopped the script around but got no takers.  Then something unexpected happened. Watergate broke and America was thrown into a government scandal at its highest levels. Interest in a story like a fake moon landing (in the movie’s case, the first manned mission to Mars) had appeal. In 1976, Hyams was given the green light to make his movie as part of deal with ITC Entertainment to produce films with a conspiracy bent.

“Capricorn One” was released in the Summer of 1977. “Would you be shocked to find out the greatest moment of our recent history may not have happened at all?” the movie posters read.

Reviews were mixed. Chicago Tribune film critic Gene Siskel called it “a surprisingly good thriller” while another critic Harry Themal said it was a “somewhat feeble effort at an adventure film.” Variety was even less complimentary calling it “underdeveloped” and the cast “scattershot.”

In the movie, Sam Waterston, James Brolin and O.J. Simpson play the three astronauts. Elliott Gould, Hal Holbrook, Telly Savalas, Brenda Vaccaro and Karen Black round out the cast. While Brolin was known mostly for his television role as Dr, Steven Kiley on Marcus Welby, M.D. Simpson was a celebrity athlete whose acting career was just beginning.

In hindsight the cast was impressive, but the actors weren’t as important as the story.

After the landing is staged and broadcast as real, the nation is told the three astronauts died instantly in a failed reentry.  But Gould, as journalist Robert Caulfield, is suspicious. The astronauts, who are harbored, realize they have no recourse but to escape or be killed. “If we go along with you and lie our asses off, the world of truth and ideals is, er, protected,” say’s Waterston’s Lt Col. Peter Willis. “But if we don’t want to take part in some giant rip-off of yours then somehow or other we’re managing to ruin the country.”

From there its a cat and mouse game between the good guys and bad. A dramatic helicopter chase scene ensues. In the end, Caulfield with the help from Brolin’s character exposes the conspiracy.

The movie’s tag-line accentuated the drama:

The mission was a sham. The murders were real.

“In a successful movie, the audience, almost before they see it, know they’re going to like it,” remarked Hyams. “I remember standing in the back of the theater and crying because I knew that something had changed in my life.”

The film’s final chase scenes were pure escapism. “People were clapping and cheering at the end,” Brolin relayed to a reporter shortly after the film’s release.

Today, the film’s legacy may be in the conspiracy only.  It’s impact may also have been diminished by the negative attitudes towards O.J. Simpson who in 1994 was charged and acquitted in the brutal murder of his ex-wife, Nicole Brown.

Even Hyams concedes to his own bizarre trivia: “I’ve made films with two leading men who were subsequently tried for the first degree murder of their wives,” he said referring to Simpson in Capricorn One and Robert Blake in his first film Busting (1974).  

Fifty years later, on the 2019 anniversary date of July 20, 1969, the moon landing is still celebrated as one of man’s greatest achievements. “We choose to go to the Moon in this decade and do the other things, not because they are easy, but because they are hard,” President Kennedy prophetically said in 1962.

For some, apparently, that was just too hard to believe.

Several years after it happened, a movie showed how it could be done…Hollywood style.

Saturday Matinee: District B13

By Brian Eggert

Source: Deep Focus Review

If the movies from French producer Luc Besson’s factory of B-grade actioners, District 13 (Banlieue 13, 2004) stands among the best. This is your typical martial arts-laden action extravaganza, filled with thumping techno music, a thin plot, and impressive stunts. But the increasingly prosaic clichés evident in Besson’s other films, which are also evident here, electrify with an uncommon kinetic energy. The action feels and looks real thanks to its stuntmen stars. The plot seems to have a social resonance behind it. And indeed the French soundtrack of techno and rap augments the no-holds-barred attitude of the movie.

The setting is Paris, 2010, which upon the release of this movie in 2004 was the future. Use your imagination. The city is plagued by unruly slums, and to isolate the problem areas, the government has erected a wall around a particular neighborhood known as District 13. The walls create a makeshift ghetto wherein all schools, all civil servants, and all hope has been evacuated. Inside, two million people are divided into various gangs and the police have no say, except that no one can leave through the guarded checkpoints. Drugs and crime run rampant on the streets within. Meanwhile, Elitist politicians would prefer to wipe this blotch off their maps entirely and start over.

Two heroes ban together to fight both a crime boss polluting the inside and political corruption stewing from outside the walls. One hero, Leïto (David Belle), comes from the slums. After being double-crossed by the local police, Leïto watches as his sister, Lola (Dany Verissimo), is taken hostage by the seedy gangster Taha (Bibi Naceri), and then he’s put in jail for 6 months to rot. Enter the other hero, supercop Damien (Cyril Raffaelli), who is commissioned by his superiors to go undercover, befriend Leïto, stage a prison break, and then use Leïto to sneak into District 13 to defuse a deadly bomb. The bomb was supposedly stolen from the government by the District 13 gangs, but this McGuffin proves to be slightly more complicated. And of course, Damien has only 24 hours to complete his mission.

Nevermind the plot, though. You’re not watching to find out what happens with Leïto, Damien, and the bomb. You’re watching to see the physical bravado of the two leads, as they demonstrate some of the most impressive stunts you’ve ever seen in any action movie. Belle and Raffaelli run across rooftops, leaping from building to building with ease. They scale obstacles and scuttle across walls like Spider-man. Whenever surrounded by a horde of goons, the heroes take them down without a minimum of fuss, exacting fisticuffs with a seemingly effortless precision. Through it all, they keep up a light banter that keeps the tone chummy and enjoyable.

Belle and Raffaelli are actual stuntmen and practitioners of a street-born, pseudo-martial art known as Parkour. According to the definition of those who practice it, “Parkour is the physical discipline of training to overcome any obstacle within one’s path by adapting one’s movements to the environment.” As opposed to a direct defensive strategy such as karate or jujitsu, Parkour involves running and jumping with fluidity, dodging obstructions with competence and speed through a complete awareness of one’s surroundings. But all you need to understand Parkour exists within this movie. The most amazing scenes aren’t those brimming with violence, they’re the chase scenes where Parkour skills are used to escape.

Director Pierre Morel, who would later helm Taken and From Paris with Love for the American market, exhibits clear and decisive action. The editing captures all the movements of Belle and Raffaelli with amazing clarity, whereas action movies nowadays so often rely on shaky-cam to disguise the stuntmen standing in for big-name stars. There’s nothing to hide in District 13, however, as Belle and Raffaelli complete the stunts and the fights themselves. Comparable to Jackie Chan in his heyday, these actors have the charisma, humor, and ability to advance themselves from stuntmen to stars, and they advance this movie from another dull actioner to must-see entertainment.

Watch District B13 on Tubi here: https://tubitv.com/movies/439503/district-b13