Doc Corner: 'Whose Streets?'

It has been 25 years since the L.A. riots, an overflowing of racial unrest spurred on by the not guilty verdicts of the police officers charged in the beating of Rodney King. To mark the anniversary, there have been a number of documentaries about it including L.A. 92 and Burn, Motherf*cker, Burn! – unfortunately uncovered by The Film Experience due to access issues. It would be sad enough to watch Sabaah Folayan and co-director Damon Davis’ Whose Streets? in the shadow of that event; a sad indictment that in a quarter of century not much of anything has changed.

However, I sat down to watch this film last night, my digital screener playing in one tab of my internet browser while in another sits a news article about the Charlottesville protests, while in another is Twitter and in another Facebook, both flooded with angry, sad and hopeless words by friends and strangers (some call it a liberal leftist bubble, I call it an oasis) alike not entirely capable of reconciling the fact that actual Nazis have not just made a cultural comeback, but that they have done so with more political and police approval than the Black Lives Matter movement has ever been granted.

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Doc Corner: 'I Am Not Your Negro' is a Towering Achievement

In Doc Corner, Glenn Dunks looks at current, future and past documentaries of note...

With new year resolutions no doubt already a distant memory (it's been three days!), it’s probably time to remember that it is really hard for people to change. And I don't just mean quitting smoking. We can try all we want, but even those of us who consider ourselves ‘progressive’ probably can’t say with any real confidence that we're not set in our ways; the same person deep inside that we were a decade ago. And even if that isn’t the case, as hard as it is to change just ourselves, just think how much harder it is to change the larger mass. And with a new President about to be inaugurated on the back of violent, blatant racism, it is sadly even more pertinent to remember this.

Now, these are not necessarily ideas that are at the forefront of Raoul Peck’s superb I Am Not Your Negro, but as it was with 13th, 10 Bullets, 3 ½ Minutes, O.J.: Made in America and many other documentaries about race, it is a recurring theme that bubbles to the surface as if by default. The more we think things are changing, the more they sadly stay the same. A film about race in the 1950s and 1960s is, sadly and inevitably, a film about race in the modern age for we are doomed to repeat the sins of the past no matter what we do...

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Doc Corner: 'O.J.: Made in America' a Compelling Success

Glenn here with our weekly look at documentaries from theatres, festivals, and on demand. This week we're looking at ESPN's much-buzzed five-part documentary about O.J. Simpson.

Even more coincidental than the release of ESPN’s O.J.: Made in America so soon after Ryan Murphy’s star-studded FX mini-series, The People v. O.J. Simpson, is that the rise to fame of their subject coincided so precisely with the rise to prominence of the African American civil rights movement. The irony was not lost on Simpson with the handsome man who everyone thought “had it all” never being able to out-run the shadow that his own meteoric ascent cast over seemingly the United States’ entire black population. Nor is it lost on director Ezra Edelman who makes the parallels the structural spine of this exceptionally thorough, exquisitely compiled, and exhaustively compelling five-part documentary. It’s not called “Made in America” for nothing – another coincidence it’s worth noting, Made in America is also the name of a pretty good 2008 documentary about the Crips and Bloods war in L.A. by Stacy Peralta – and across 463 minutes, Edelman and his collaborators have crafted a powerful demonstration of the dichotomy of race, fame, and justice in America.

Starting in the 1960s with Simpson’s rise in college football, Edelman’s film wisely doesn’t focus exclusively on the murder of Nicole Brown and Ron Goldman and the trial that followed. In fact, it takes until the third episode to even bring it up, instead preferring to spend time examining these early passages of his life for clarity and for clues. Unlike the FX series, O.J.: Made in America is more concerned with attempting to find out how a man like Simpson and the country came to be. [more...]

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Box Office As Told By Animal Emojis

01. $55 million (cumulative $235.3)

02. $12.5 million (cumulative $117.1)

 

03. $11.8 million (new!)

04. $8.6 million (new)

05. $8.2 million (cumulative $31.7)

06. $7.2 million (new)

07. $5.5 million (cum. $23.7)

08. $3.8 million (cumulative $921.6)

09. $3.8 million (cumulative $165.1)

10. $2.6 million (cumulative $26.1)

What did you see this weekend? I went to The Witch again and it was just as good as I remembered from TIFF.

But let's go from the great to the terrible. When was the last time you chanced upon something truly awful? I ask this because last night, bone tired, and flipping channels I came across The Crow: City of Angels (1996) in its opening scene. I had never seen it and for a minute I mistook it for The Crow: Salvation (2000) which I have also never seen and thought to myself  'Self, hey, watch a few minutes since Kiki Dunst is in this' About 20 minutes later, I turned it off, jaw long since acclimated to floor. Every single scene was worst than the last. It was truly incompetent and absurd and mine eyes had witnessed some of the most atrocious acting ever committed to celluloid.