It's been a decade since Al Gore's wake-up-call documentary won the Oscar. And here he is, back with an update that looks at how climate change continues to alter the face of the planet. What's surprising is that this film is much more hopeful, exploring not just the threat but the things people around the world are doing to make life better for future generations. It's also a reminder that this isn't a debate: it's a question of how we respond to the fact that the world is indeed changing.
The film is beautifully assembled with gorgeous footage from around the globe, vividly offering imagery to back up the scientific facts, accompanied by Gore's narration, which carefully outlines the issue without blinding us with detail. It's a clever approach that focuses on the truth of what's happening, connecting issues of climate change with politics, economics and wars. The fact is that renewable energy provides more jobs and higher income than burning fossil fuels, but only where governments and big business have the sense to encourage them.
Filmmakers Bonni Cohen and Jon Shenk keep things moving briskly, following Gore around the world to explore a variety of key situations: roads flooding regularly at high tide in Miami, glaciers melting in Greenland, the aftermath of superstorms in The Philippines and New York City, energy concerns in India, pollution concerns in China. While these scenes were shot over the past several years, they are edited out of sequence into a thriller-style narrative centred around the Paris climate summit in November 2015, where Gore engaged in some seriously touchy negotiations to secure a unanimous commitment from every country on earth.
Continue reading: An Inconvenient Sequel: Truth To Power Review
For Walter Vale (Richard Jenkins), existence is a stifled sleepwalk of commitments and complaints. He hates teaching. He hates faculty politics. He especially hates the lonely life he leads as a widower. His wife long dead, Vale just can't find a purpose. Forced to travel from his new home in Connecticut to his old apartment in New York City to present a paper, he discovers two strangers living there. As illegals, Arab Tarek (Haaz Sleiman) and African Zainab (Danai Jekesai Gurira) have no real place to go, so Vale reluctantly lets them stay. When the Syrian Tarek is wrongfully arrested and detained, our quiet professor becomes his champion. The arrival of Tarek's mother (Hiam Abbass) from Michigan makes matters more complicated.
Continue reading: The Visitor Review
Like Traffic, Syriana is a messy Gordian knot of plot, only with no Soderbergh to slice it neatly open. Instead of drug trafficking, the subject this time is the nexus where oil corporations, the U.S. government, Islamic extremism, and Middle East dictatorships come together in an unholy fusion of polity and greed. The characters are introduced at a leisurely pace, Gaghan laying it all out with perhaps a little too much care. Once things start to cohere, the film shunts into a political thriller about an unnamed Gulf State where the ailing king's two sons are jockeying for control; one is a lazy playboy beloved by U.S. interests and the other is an educated reformer who wants to modernize his country and stop kowtowing to the west.
Continue reading: Syriana Review
The story of the witch-hunt has endlessly retold, usually laden with the same self-satisfied 20/20 hindsight that afflicts stories of the civil rights movement, and fortunately Clooney and co-writer Grant Heslov see no need to go through it all again. With admirable precision, they've sliced away most all the accoutrements often used to open up the era for the modern viewer, ala Quiz Show. This is a film that takes place almost entirely inside a CBS studio and newsroom, with occasional trips to hallways, elevators, and a network executive's wood-paneled office. Once, they all go out to a bar. It's best in the studio, because that's where we find Murrow - incarnated with almost indecent accuracy by David Strathairn - looking and sounding like as though Rod Serling had decided to rejoin the human race, his manner clipped and astringent, cigarette cocked in one hand like a talisman warding off evil.
Continue reading: Good Night, And Good Luck Review
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