Doc Corner Catch-Up: White Hot, The Automat, and ¡Viva Maestro!

By Glenn Dunks

White Hot: The Rise and Fall of Abercrombie & FitchYou may have noticed that the Doc Corner column has been a bit quiet. I have been unfortunately quite slack with the reviews in the first four months of 2022. It is usually a quiet period at the beginning of the year in general, but fatigue (awards season + life) means I have unfortunately missed the chance to talk about some of the titles that have come along. And then added onto that, I had COVID and despite being in mandated isolation for the week, my brain was living strictly on a diet of Harrison Ford movies and television catch-up (Shining Vale, Abbott Elementary, Troppo among them).

But we are here on the first of May. And so before we get back into regular coverage of some pretty big titles (some of which will be angling for Oscar's attention), we’re going to play a little bit of catch-up today. We have war-torn Ukraine, the history of American dining and fashion institutions, and globe-trotting philosophers...

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Doc Corner: Amy Poehler's 'Lucy and Desi'

By Glenn Dunks

I hadn’t expected it, but I somehow became a defender of an Aaron Sorkin movie across the most recent awards season. Unexpected because I was not a fan of Sorkin’s earlier directorial efforts. But his somewhat fictionalized film about Lucille Ball and Desi Arnez, Being the Ricardos, had—for all its faults—a point of view about its subjects and as a piece of storytelling. At least one that went beyond the more predictable birth-to-death narrative of star-laden biopics where performers are essentially asked to pantomime through famous moments across history.

I am sure many fans who disliked Sorkin’s film will embrace Amy Poehler’s documentary, Lucy and Desi. It’s also not a comedy in the way that non-fiction can be funny, but it plays a lot of clips from I Love Lucy, The Lucy Show and more, so it plays more like one...

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Review: Father Stu is a Watchable Mess

By Ben Miller

Rosalind Ross' Father Stu can't decide what film it wants to be. Is it the unorthodox story of a man coming to terms with aging, or is it the fish-out-of-water story of a man who shouldn't be a priest joining the priesthood? This lack of vision turns the film into a tonal mishmash, but one that is inherently watchable.

Mark Wahlberg stars as Stuart "Stu" Long, an amateur boxer approaching middle age in Montana.  Frequently drunk and delinquent, Stu looks to turn his life around by moving to Los Angeles to become an actor.

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Review: "Aline" is a Stranger Version of Your Average Biopic

By: Christopher James

Director/actress Valerie Lemercier tackles the life of "Aline Dieu" from age 5 to 50.Aline is a conundrum and a contradiction. More than any other recent biopic, Aline soldiers through all of the cliches and plot devices we’ve seen repeated ad nauseum. Yet, there’s a bizarre core that spins every scene on the axis. Much like the “subject,” Céline Dion, it’s a movie that tries to appear normal, but is so much wackier than one would imagine. 

Everyone’s first question is answered in the opening disclaimer. “This film is inspired by the life of Céline Dion. It is, however, a work of fiction. As such, some characters, places and facts have been modified, in keeping with the filmmakers’ vision.” Céline Dion songs are used throughout the film and the closest the movie comes to a central storyline mimics Dion’s own relationship with her much older manager, René Angélil. It’s hard to see why a name change was needed when so many other elements hewed close to life. 

So is Aline “so bad it’s good,” “better than expected” or just “bad bad”?

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Doc Corner: David France's 'How to Survive a Pandemic'

By Glenn Dunks

Documentaries about the COVID-19 pandemic aren’t rare. Just over two years into it, and already a long list of titles exist claiming to offer us insight into some area of the response. Some have worked (Nanfu Wang’s In The Same Breath, Hao Wu and Weixi Chen’s 76 Days—both shortlisted for the Oscar) while others haven’t delivered where you would expect. They have been sometimes rushed, likely out of sheer determination to be completed in time for relevance, little knowing just how deep we would be without a clear exit. Because of this reason, many are dated by the time we get to see them.

How to Survive a Pandemic is unfortunately more of the latter. The film is something of a curiosity for its director David France. Curious because despite having the weight of timeliness on its side, Pandemic lacks the propulsive immediacy of his earlier films How to Survive a Plague and Welcome to Chechnya.

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