text:
Does Orexis work?
Is Orexis A Scam?
Before you buy Orexis, read our review first.
What Is Orexis?
Orexis, a male supplement manufactured and marketed by Urban Nutrition LLC, is a non prescription that was formulated to stop male erectile dysfunction. Orexis, being a fast acting sex pills, claims to work within 45 minutes.
Orexis claims to be different from other male supplements in the market as orexis employs a patented delivery technology so that the ingredients bypass the stomach acids for immediate and guaranteed results. In addition, Orexis also claims increase male size permanently.
Does Orexis really work as
claimed? In order to find out whether
works or not, we look no further than Orexis ingredients.
What Does Orexis Contains?
According to Orexis website, Orexis contain the following main ingredients...
- Yohimbe Bark
- Epimedium or Horny Goat Weeds
- Tribulus Terrestris
- Catuaba Bark extract
- Ginseng
- Damiana Extract
- Muira Puama Extract
Let's take a quick look at Orexis Ingredients.
Orexis contains potent herbs that are proven to eliminate erectile dysfunction. The key ingredients in Orexis is Yohimbe. Yohimbe is a highly potent herbs known for its ability to increase testosterone level and boost sexual libido.
Both tribulus terrestris and
horny goat
weeds are another two highly potent herbs that are proven effective
against male sexual problems as well as
increase male vitality. The inclusion of Ginseng, Damiana and Muira
Puama works to to increase sexual desire and sexual stamina.
Orexis Price
$49.99 per bottle. One bottle can last for a month with 60 capsules in a bottle
Orexis Dosage
2 capsules a day
Orexis Guarantee
Orexis offers a full 30 days money back guarantee
FInal Thoughts
Orexis certainly contains many potent herbs such as Tribulus Terrestris, Epimedium or Horny Goat Weeds. The only concern we have is with Yohimbe. Yohimbe is a highly potent male enhancement herbs, it work great to fight male sexual problems. But the problem with Yohibe is that long term use of yohimbe can cause nasty side effects such as heart palpitation, excitation and insomnia.
And Yohimbe is not suitable for those with heart disease, diabetes and hypertension. We strongly urge those who have health problems to stay away from Orexis as the side effects of long term use of Orexis may bring nasty side effects.
In addition, the fact that Orexis is also a fast acting pills and Orexis may not be suitable for those with heart disease, diabetes and hypertension.
If you feel that fast acting pills is not problem with you then we recommend you to also take a look at Instant Hard Rod, which works in 60 minutes, depnding on your health condition.
is no problem with you
If you're above 40s and do not wish to risk your health with Irexis, then one particular product we recommend you to check out is Rigirx Plus. Rigirx Plus is specially formulated for male above 40s and it is not a fast acting sex pills.
or you may also want to download Free Report:- Online Male Enhancement Scam Exposed! Read Before You get Scammed.
Distributed & Marketed by :
Urban Nutrition, LLC
Orexis Ingredients :-
30 days money back guarantee
Warning :-
Indigestion or vomitting
Blue Vision or nausea
Nasal Congestion
Heart Palpitation
Are You Having These Embarrassing Sexual Problems?...
Can't Get An Erection or Sustain An Erection?
Low Sexual Interest While Your Partner Is " In The Mood "?
Ejaculate Before Your Partner Reach Orgasm
Unable To Satisfy You Partner the Way She WANTs?
If you're having one or more of the following sexual problems and you've been looking for a natural solution to these problems and are confused about which male enhancers to buy, then this information could literally save you hundreds of dollars from being scammed by male enhancement manufacturers!
Don't Buy Any Male Enhancer Until You Read This First!
If You Take Viagra®, Cialis® or Any Other Sexual-Enhancing Drug:
"The widespread use of sexual enhancing drugs—is of concern because they can cause heart attack.
"The possibility of heart attacks is one reason why Viagra® is a prescription drug rather than an over-the-counter drug like aspirin. A doctor needs to understand your medical history and make sure that Viagra® won't cause a heart attack. Occasional patients who take Viagra® get painful, long-lasting erections and have to see a doctor to solve the problem.
"This might show up as cardiomyopathy with exercise intolerance—heart failure."
—The Lancet Medical Journal
Finally, there is some concern that some men, especially younger men who take Viagra® recreationally and who don't really need it for physical reasons, may end up with a dependency on the drug. That is, they may become unable to maintain an erection without taking Viagra®.The ONLY way to make sure you won't get any nasty side effects like heart attack while increasing your sexual performance is to avoid taking drugs at all cost.
Fremont, California
Dear friends,
Natural male
enhancement is a popular solution for sexual dysfunction in men of all
ages, and there is a lot of information put on the Internet. With
hundreds of companies trying to get your money, how do you know which
products actually work?
Before you purchase a male enhancer, you should research the available options carefully and ignore the hype.
A lot of male enhancement products make false advertising claims about their effectiveness - no product can make you gain inches, and herbal male enhancers are not manufactured to work immediately like prescription ED drugs such as Viagra, Cialis, and Levitra.
Natural male
enhancers work with your body over a time period of a few days to a few
weeks to gradually enhance what you have, safely and naturally. They
are virtually side effect-free, unlike prescription ED drugs.
With little information available about the effectiveness of male enhancement products, we've done the research and reviewed various male enhancers available on the market to show you what to look for.
Is Considered A Quality Male Supplements?!"
With so many arthritis and joint pain supplements out there in the market all claiming to be able to eliminate your arthritis and joint pain permanently, I know it is hard to tell which supplement really work.
And if you're confused about which brands of joint and arthritis supplements to buy, then make sure the joint supplements you buy contain some if not all of the following ingredients...
" 7 Highly Potent Ingredients You Must Know!"
#1 Cynomorium
Cynomorium is known in
Chinese as suoyang, which is based on the herb's medicinal
effects, "locking the yang." It is obtained mainly from the East Asian
species, Cynomorium songaricum, though the similar C. coccineum is
sometimes utilized as a substitute.
The plant harvested for Chinese medicine grows at high altitude, mainly in Inner Mongolia, Qinghai, Gansu, and Tibet. Songaria Cynomorium Herb is the dried fleshy stem of Cynomorium songaricum Rupr. (Fam. Cynomoiaceae).
It is used to tonify the yang (treat impotence and backache), strengthen the tendons, and nourish the blood to alleviate the blood-deficiency type of constipation (typically occurring with old age), Relieve aching and weakness of loins and knees and treat sexual problems (spermatorrhea).
#2 Polyrachis Vicinia Extract
If the sex pill you're currently using is ineffective or becomes ineffective after several usage, it's because it does not contain this...
The Little Known Secret "Herb Of Kings"
Ever heard of this Chinese Medicinal Classic called "Ben Cao Gang Mu" written by the famed 'granddaddy of Traditional Chinese Medicine", Li Shi Zhen?
Well, in it, Uncle Li reveals what he considers to be the herb of the highest order used by only Emperors and Noblemen as clearly stated in Imperial Records.
Guess what it is?
It'll blow your mind...it's... an ANT!
Polyrachis Vicinia is a species of Ant. Apparently ants are a superior tonic with such excellent curative powers that it's various beneficial effects include: increased strength, energy, stamina; strengthens the nervous system, digestive functions, detoxification functions and muscular system; boosts mental and physical energy.
To quote Uncle Li...
"Ginseng may be the King of Herbs, but ANT is the Herb of Kings!"
I know... sounds like a whole load of B.S.
Don't be too quick to dismiss it just because you only believe in Western Science though.
You don't need me to tell you this, but the Chinese have identified stuff like "Meridian points" and you know acupuncture has only been proven to be 'real' recently. (Though the Chinese have been doing it for thousands of years)
Hey, they invented gunpowder and got ripped off by Marco Polo who 'invented' Spaghetti, but that it is a totally different story.
The point is, the Chinese are far more 'advanced' than you think. And as far as I'm concerned, Western science sometimes makes a mockery of itself in validating what the Chinese have already known for YEARS.
You might be surprised to know that the zinc content of Polyrachis is the highest (180 mg) among all known living organisms, and we know how important zinc is in the manufacture of the bingo love chemical - Testosterone
#3 L-arginine
L-arginine works exactly like the drug sildenafil citrate (Viagra), L-arginine is thought to enhance the action of nitric oxide, which relaxes muscles surrounding blood vessels supplying the penis. The difference in how they work is that Viagra blocks an enzyme called PDE5 which destroys nitric oxide and L-arginine is used instead to help make more nitric oxide.
Arginine is
required to
carry out the synthesis of nitric oxide, a compound that, working
through cGMP, relaxes blood vessels and allows more blood to flow
through arteries. It has been hypothesized that taking extra arginine
will increase nitric oxide levels and increase blood flow to the penis.
Unlike Viagra, L-arginine must be taken daily.
L-arginine is a protein amino acid present in the proteins of all life forms. It is classified as a semi-essential or conditionally essential amino acid. This means that under normal circumstances the body can synthesize sufficient L-arginine to meet physiological demands. There are, however, conditions where the body cannot.
People with genital herpes should not take L-arginine because it may aggravate their symptoms
#4 Tongkat Ali ( Eurycoma Longifolia )
Tongkat Ali is a tree native to Malaysia, Thailand, and Indonesia. The part of the tree used medicinally is the root. Tongkat Ali was dubbed the "Asian Viagra" in a May 1999 report in the New Sunday Times. It has been used in Malaysia for many years by men to increase sexual desire, libido, sexual performance and to treat erectile dysfunction.
Extracts of Eurycoma longifolia (Tongkat Ali) are commonly used as a traditional medicine. It is generally accepted that E. longifolia possesses various bioactive compounds. Some compounds from E. longifolia are suspected aphrodisiacs. Tongkat Ali is a scientifically studied plant which holds up brilliantly under close scrutiny.
The root contains
a plethora of
beneficial compounds, including potent protective antioxidants which
inhibit cellular aging. Other phytochemicals in Tongkat Ali are
anti-viral, anti-malarial, and anti-cancerous. Others combat high blood
pressure, and quell dysentery. Quassinoids in the root prove twice as
potent as aspirin against fevers.
Even with its other serious medical applications, what excites most people about Tongkat Ali is that the root significantly boosts sex drive and function in both men and women, by building testosterone.
Because tongkat ali increases testosterone levels it should not be used by men with breast cancer or prostate cancer, diabetes mellitus, heart disease, kidney disease, liver disease, or sleep apnea.
It is especially important to tell your doctor or pharmacist if you are taking insulin. Tongkat ali may decrease blood sugar levels
#5 Horny Goat Weed (Epimedium)
Epimedium is a genus of twenty-one related plant species. The Chinese refer to epimedium as "yin yang huo", which has been loosely translated by some as "licentious goat plant" and explains why Western supplement companies have adopted the titillating name by which it is known in the U.S: (horny goat weed).
Epimedium is grown as an ornamental herb in Asia and the Mediterranean region, and various species are used for medicinal purposes, including Epimedium sagittatum, Epimedium brevicornum, Epimedium wushanense, Epimedium koreanum, and Epimedium pubescens.
#6 Tribulus Terrestris Extract
Tribulus had been used
as traditional
medicine to treat sexual dysfunction and male infertility in Europe and
Asia for many decades before improvement in scientific extraction
techniques allowed identification of its active ingredient, called
More than nine clinical studies performed by six universities and academic hospitals on this purified extract have confirmed the herb's beneficial effect. These studies showed that Tribulus helps treat impotence caused by low testosterone level or an imbalance in the body's level of sex hormones.
The active ingredient of
Tribulus acts as
a natural precursor to these hormones and is converted into its final
forms by the body's own natural enzymes.
Other studies have suggested that Tribulus also acts by increasing the level of dehydroepiandrosterone (DHEA), a naturally occurring substance in the body believed to be important for a healthy sex drive
#7 Butea Superba
Butea Superba is
Thailand's endemic species known amongst local people as Red Kwao Krua
and was used as traditional medicine for tonic and rejuvenation for a
long time in Thailand. This plant can be found growing in forests in
the Northern regions, in the Eastern regions and along Kanchanaburi
The crude extract of this herb showed the same vsodilation effect as the blue pill. Its chemicals also promote energetic body without any nervous or muscular or cardiac over stimulation
The above are key ingredients in fighting erectile dysfunctino and a whole host sexual problems effectively. Studies have showed that containing 3-4 of the above mentioned ingredients are already enough to stop all your embarrassing sexual probmes and take your sexual experinec to anoher levels.
" What About Bioprene?"
Many male supplement alos include Bioprene in their formulation in order to improve the absorption of the ingredients by our body. Bioperine is a fruit extract from black pepper (Piper nigrum L) or long pepper (Piper longrum L). It consists of 95 percent piperine.
The manufacturer of Bioperine, Sabinsa, states that Bioperine increases nutrient absorption. Also, it is believed that Bioperine can enhance and increase the natural thermogenic activity of the body, thus aiding in weight loss. It is also thought to enhance longevity and improve the digestive system with additional nutrients, therefore causing enhanced absorption.
"Potentially Harmful Ingredients!"
Yohimbe is also a highly potent herbs that work effectively against sexual problems. Yohimbe work perfectly well with L-arginine in improving male erection. However, one concern with Yohimbe is that long term use can casuse nasty side effects.
Yohimbe is banned in many countries although not yet in the United States. However, Yohimbe is flagged by the FDA as a product of concern and is known to cause adverse side effects in many men.
You should talk to your doctor first if you wish to try a product containing it. One of the companies we called up (Enzyte) told us they had reformulated their product to exclude Yohimbe, after numerous customer complaints.
Long term of of Yohimbe can cause the following side effects...
Heart Palpitation
Just google yohimbe and you'll find tons of information about yohimbe side effects.
We must also mention that for those who can tolerate it, Yohimbe seems to work fine. The trade-off is safety and finding out whether or not you can tolerate it well. But, there is really no need to do this. There are enough, much safer ingredients available, that in our opinion, there is no need to take the risk.
"Fast or Slow Acting Sex PIlls?"
I know how depressed and desperate you are If you're unable to perform sexually. That's why's the sex enhancing pill industries prey on your desperation.
But let me give
you a blast of Brutal Honesty
About Fast
Acting Sex Enhancing Pills!
Whether you're a premature ejaculators, unable to obtain or maintain an erection or just want to increase your capacity to perform sexually, the most important thing is result, isn't it?
As human beings we all want instant gratification.
As a hot blooded male, who wouldn't want to be able to fuck all night without taking a break?. And if you've tried fast acting sexual enhancing pill before, you know they work amazingly fast.
It's like Down the pills go, UP goes your weiner.
You'' be amazed how little time, sometime in as little as 30 minutes is all it takes to transform your "Little Willy " into "Steel Member".
In fact, you
might be of the opinion
that they work even better than ED drugs. I'm certainly not psychic,
but I'm pretty sure with your 'erectile' power, your partner would be
impressed with your ability to rise to the occasion and perform.
Maybe the pill made you a stud....
Maybe the pill made you gain a whole load of new found self confidence and respect...
Maybe you even wound up 'inspiring' yourself...
Maybe you think the pills is the mini modern day miracle.
Your Hard On Worth
Suffering Side Effects Like These... !
If you've taken any fast acting sexual enhancing pills before, chances are you probably might have experienced...
Indigestion or vomitting
Blue Vision or nausea
Nasal Congestion
Heart Palpitation
All these are part and parcel of taking fast acting sex enhancing pills...Sure these side effects may not seem to be 'fatal' and you may be apt to just simply dismiss them.
Nothing could be further from the truth...
These side effects could be more ' dangerous' than you think and are good indication that your supposed 'herbal' sex pills is adulterated.
If you're looking for a herbal sexual enhancer to elevate your sexual performance to level never experienced before...then you should check out our reviews of top male supplements in the market.
"Our Top Picks!"
We've included
out top recommendations as well, based on the following criteria:
* Key ingredients: Cynomorium, L-Arginine, Epimedium, Tribulus Terrestris, Tongkat Ali, and etc
* Safety profile - Some products contain ingredients that may be unsafe for all users
* Product guarantee and return policy
* Price
* Customer Service
Listed below are the top 2 slow acting male enhancers that we would like you to know, unlike other review sites, we don't not list dozens of male enhancers. We recommend only the top two slow acting male enhancers that we have confidence in recommending at thi moment.
#1 : Rigirx Plus
Rigirx Plus is a male supplement made by Enhance Nutraceutical and Rigirx Plus is specially formulated for male above 40s who have health condition such as heart disease, hypertension, diaetes and enlarged prostate.
Rigirx Plus Key Ingredients :-
Rigirx Plus Price :
$57.00 per pack. Promotion $34.20 per pack.
Rigirx Plus Guarantee :
90 days money back guarantee
Potentially Harmful Ingredients :-
#2 : Zenerx
Zenerx is a product manufactured and marketed by Everest Nutrition Corporation. Zenerx claims to be able to make you Bigger, Firmer, Stronger and with long-lasting energy, and Zenerx will enable you to please your woman like never before...anytime, anywhere.
Zenerx is not a penis enlargement formulation.
Zenerx Key Ingredients :-
$59.95 per bottle.
Zenerx Guarantee :
90 days money back guarantee
Potentially Harmful Ingredients :
Top 3 Male Enlargement Products
#1 : Vigrx Plus
Vigrx Plus has been a leading brand for male enlargement for the pasr several years and it is the second generation male enlargement pills tha was formulated to increase blood flow to penis.
Vigrx Plus Ingredients :-
$76.99 for one month supply.
Guarantee :
67 days money back guarantee
#2 : Vimax
Vimax has received rave reviews since its inception and has become very popular these days. We believe Vimax is the only male enlarement product that can rival Vigrx Plus. Vimax contains unique formula that's formulated for peak male performmance.
Vimax Ingredients :-
$59.95 for one month supply.
Guarantee :
60 days money back guarantee
#3 : Prosolution Pills
Prosolution Pills is unique as it contains 2 trademarked ingredients Solidilin and Drilizen. These 2 ingredients combined to increase nitric oxide and testosterone production, dilate blood vessels and hence allow blood flow to achieve enlargement.
Prosolution Pills Ingredients :-
$78.95 for one month supply.
Guarantee :
6 months money back guarantee
I honestly hope to hear from you now!
for Health and
Adam Woods
P.S. If you have any questions then please don't hesitate to email me firstname.lastname@example.com


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Mexican first division soccer team Jaguares de Chiapas has a reputation for being a forward-thinking, innovative club. That makes sense, since the club has only been in existence since 2002.
Its latest bold move takes the social media movement right onto the playing field. Jaguares unveiled new jerseys on Friday that replace the names on the backs with a player's Twitter handle.
"Conscious of the age we live in, where we can all stay in touch through the Internet without regard to distance, Jaguares launched a campaign and realized various activities linked to Twitter," the club said on its website.
It's believed to be the first time a professional sports team has officially used Twitter handles on jerseys. The uniforms also feature the Twitter handle of club sponsor Cerveza Sol.
"In football as in life, 140 characters are sufficient to decide which side you're on," the club said.
Jaguares, which aggressively pitches its social media and fan-friendly attitude on its website, sits in a tie for second in the league standings, just three points out of first place. The club seems to know what it's doing.
Is this shrewd marketing or does this take sports down a new, perhaps slippery slope? How would you feel about this if it were your team?

subset: commoncrawl


text:
Review: Complete Unknown
Underneath the impersonal formal beauty and good acting is a familiar moral about self-imposed limitations.2.5
Many thrillers hide their true motives throughout their first acts, setting their traps in retrospectively plain sight. This construction often involves elaborate misdirection, attempting to convince the audience that they aren't watching a thriller at all. By contrast, Joshua Marston's Complete Unknown works in the opposite manner, going out of its way to prime the audience for something strange, only to spring a comparatively ordinary drama concerning affluent people at a figurative crossroads. Marston walks a tricky tightrope, as Complete Unknown is predicated on the notion of there being less to this film than we initially anticipated, which is meant to reflect the ennui with which the characters find themselves grappling. It's an ambitious empathetic device that's both admirable and, by design, disappointing.
Tom and Ramina (Michael Shannon and Azita Ghanizada) are a married couple living in an affluent brownstone in New York City. He's on an economic board that influences land reform, while she crafts jewelry that's gotten her admitted into a school in California. The timing of Ramina's admission into this program is awkward for the couple, as Tom's negotiating a stalled deal that may finally be reaching resolution. Details are planted in the film with surgical finesse, particularly the fact that Ramina speaks Farsi, which represents a cultural divide between her and Tom that exists both as a source of estrangement as well as a fount of attraction. Ramina's background is only alluded to, but she's clearly more traveled and experienced than Tom, who appears to be an intelligent, gifted American who's locked in his own head, more comfortable with the theoretical than the actual.
The film is set almost entirely over the course of one evening, Tom's birthday, which is the occasion for a dinner party and a night of dancing that leads to an explosion of Tom and Ramina's tensions. A woman who calls herself Alice Manning (Rachel Weisz) arrives at Tom's house with one of his colleagues, and Tom evinces an immediate distaste with her that casts suspicion over the festivities. We're also suspicious, because a prologue has given us privileged information about Alice, who assumes many names and lives, going from a nurse to a bohemian to a magician's assistant in China. At the party, Alice casually speaks of fleeing to Mexico as a young woman, allowing her family to believe her to be dead, and so the group's initial impression of her as an awesome traveler and adventurer curdles over into unease.
Alice is a construct, both of the film and of herself, who contrastingly reflects Tom's insecurities about himself as an unseasoned man and uninteresting intellectual. Alice embodies a more intense version of the contrast that Ramina also offers Tom, which he's coming to resent. We initially wonder if Alice is a stalker, and she certainly is by a strict definition of the term, but she isn't at Tom's door to boil bunnies or terrorize Ramina, though the menacingly earthy and murky nighttime cinematography conjures a mood of yuppie horror in the key of Adrian Lyne. Complete Unknown concerns everyday emotional textures, such as regret over the road not traveled.
The film is gorgeously mounted and well-acted, particularly by Shannon and Weisz, who poignantly dramatize two people with a wealth of unresolved history between them. Shannon's plainspoken poetry, his brilliance at playing gifted, closed-off men with seemingly no effort, meshes evocatively with Weisz's ephemerality, which often contains an element of pain that resists the caricature of the gorgeous mystery woman of male fantasy. Complete Unknown is worth seeing for their rapport, and for their graceful exploration of the trap of identity, which Marston understands as an unstably subjective construct. Tom tethers himself off from life with a rigid adherence to his identity, while Alice alters hers over and over again, experiencing an enviable wealth of differing lives, though her sense of isolation ultimately and ironically resembles Tom's. Tom and Alice are both static despite their differing approaches to life, because neither know themselves.
But Complete Unknown is too comfortable with the smallness of its characters, using their turmoil and confusion as a rationalization not to fully explore them or the scenario in which they find themselves. They're held at arm's length, and, yes, that's the point, but it's a point that grows tiresomely limited. Underneath the impersonal formal beauty and the good acting is a familiar moral about self-imposed limitations. The film's intentional slightness serves as a get-out-of-jail-free card for Marston, empowering him to embrace tidiness. The potential existential horror that unites Tom and Alice is tamped too far down, rendering Complete Unknown polite and forgettable, altogether less than the sum of its parts.
Cast: Rachel Weisz, Michael Shannon, Azita Ghanizada, Kathy Bates, Danny Glover, Michael Chernus, Condola Rashad Director: Joshua Marston Screenwriter: Joshua Marston, Julian Sheppard Distributor: Amazon Studios and IFC Films Running Time: 90 min Rating: R Year: 2016 Buy: Video
All of Quentin Tarantino's Movies Ranked
On the occasion of the release of Once Upon a Time…in Hollywood, we ranked Tarantino's feature films.
Quentin Tarantino's commitment to fortifying the themes of Once Upon a Time…in Hollywood with layers of self-reflexivity, while still anchoring its concepts to fully realized, emotionally invested characters, makes the film one of his greatest—a dense but focused effort that validates the divisive artist's status as one of American cinema's preeminent pop-cultural figures. The film navigates late-'60s Hollywood, an immersive playground of opulence and iconicity, alongside Rick Dalton (Leonardo DiCaprio), a fading star of TV westerns trying to break into the movies, and his best friend and longtime stuntman, Cliff Booth (Brad Pitt), before then jumping six months ahead to take the temperature of Hollywood on the eve of the Charles Manson murders. As the landscape and the sociocultural identity of Hollywood continue to change, Once Upon a Time…in Hollywood takes on an elegiac quality, with Dalton and Booth returning to L.A. from a sojourn to Europe and a pregnant Sharon Tate (Margot Robbie) preparing her home for the arrival of her baby boy.
The flash and fun of the film's first half gives way to a haunting decline into the valley of alcoholism, and to increasing signs that a new generation is about to push the old one out. And, then, inevitably, those tensions come to a head one August night on Cielo Drive in the Hollywood Hills. We won't spoil the ending here, but we will tell you below where Once Upon a Time…in Hollywood falls on our ranked list of Tarantino's features. Sam C. Mac
10. Death Proof (2007)
With his hair combed in a flashy pompadour and a white scar running down his cheek, Kurt Russell plays evil Stuntman Mike as a swaggering, folksy raconteur. Even in the universe of Tarantino, which suggests a self-contained and increasingly self-referential cinephile's mixtape of the countless films he's absorbed throughout his life, Russell feels like a living, breathing human being. By comparison, Mike's victims simply suggest regurgitating pop-culture sponges. Indeed, by the time Mike comes after them in his skull-painted hellmobile, we connect more to the graphic image of the stunningly crafted gore than we do to the loss of life. When the female characters turn into avenging angels, their motivations seem to turn on a dime. Their attitude toward life and death, whether it be their own ("I'm okay!" one of them happily beams right after she's almost been decimated by Mike's muscle car) or Mike's, is so casually flippant that we're denied that sense of righteous rage. Maybe it's a joke on those old drive-in movies, which never gave much thought to life or death either, but somehow the reverent self-referential quality of Death Proof is more offensive than those old grindhouse filmmakers who were in it simply to make a buck. Jeremiah Kipp
9. Django Unchained (2012)
With Django Unchained, Tarantino doesn't transcend the tropes of the revenge film, or the odd-couple buddy comedy for that matter. For all the film's ostentatiously shocking imagery and dialogue (Tarantino employs the n-word in a fashion that resembles the gimmicky scare tactics associated with director William Castle), one can't escape the suspicion that this film's a bloated vanity project with delusions of grandeur. Django Unchained features a blunter treatment of slavery than we routinely encounter in mainstream American cinema, but the garish fantasy violence only superficially distracts from Tarantino's allegiance to the same damn clichés that govern politer "issue" films. Django Unchained is ultimately a white fantasy of purging shared cultural guilt, one that follows a benevolent white man (Christoph Waltz is the lead regardless of what his Oscar may say) as he befriends and liberates an appreciative black man who goes on to symbolically wipe the slate clean on subjugation. Chuck Bowen
8. Kill Bill: Vol. 1 (2003)
Even when he isn't at the top of his artistic game, Tarantino, like Jean-Luc Godard, is talented enough that he doesn't put this kind of spot-the-references playfulness front and center in his films: Tarantino always provides us with some kind of plot or emotional context in which such references—and in a QT film, they're legion—mean something to viewers other than the fact that they're referencing something. In other words, you don't have to know a great deal about the martial arts genre to enjoy the sheer kinetic energy of Kill Bill, Vol. 1 any more than you have to know about the various crime thrillers Godard references in order to enjoy Breathless or Band of Outsiders. It might enhance one's appreciation of those films more, but there's more to them than just showing off how encyclopedic their movie knowledge is. Although Tarantino's films sometimes make recognitions toward real-world hurt and pain, they almost invariably take place in a movie-induced fantasy world, one that takes no part in political discourse and prefers instead to wallow in the detritus of popular culture and movie history—entertainment, in other words. Kenji Fujishima
7. The Hateful Eight (2015)
Rather than following a clean genealogical path back to Hollywood westerns of the Golden Age, The Hateful Eight often resembles Italian giallo horror, less for that subgenre's tendency to luxuriate in synth scores and extravagant lighting setups than for its less-celebrated preoccupation with cruelty and pain. As in those extravagant and supernaturally tinged slashers, characters in The Hateful Eight who choose to have any agency apart from maintaining a cover story find a nebulous reward for forcing fate's hand. When the gun smoke clears, we somehow end up with more dead bodies than we had living ones at the start, and the film proves to have quite a lot in common with John Carpenter's The Thing, apart from having the same lead actor (Kurt Russell) and largely identical blizzard conditions: Death emerges from the floorboards, and, following a crisis, an impromptu "court" is established to distinguish between friend and foe. Even the final moments echo the creature classic: Having dispensed justice at long last, two doomed men share a laugh over a great lie, and the camera retreats upward and away from their near-lifeless detente. The haberdashery, by design a sanctuary, has been transformed into a self-cleaning oven, now strewn with an assortment of particulate matter, and we arrive at an unexpected Reservoir Dogs callback: a vetting of moral arithmetic that leaves no survivors. Jaime N. Christley
6. Kill Bill: Vol. 2 (2004)
From a structural standpoint, Kill Bill's two volumes connect us to serial cinema past, specifically the two-part films of Fritz Lang. It's a mess at times, but a seemingly intentional and glorious one. Certainly, Tarantino's greatest skills are literary and his numerous digressions recall the stylistic flourishes of Thomas Pynchon. When Tarantino abandons the Bride (Uma Thurman) in her premature burial deathtrap to focus on an extended flashback of her martial arts training, it's reminiscent of Pynchon's nine-page aside in Gravity's Rainbow, which details the biography of a light bulb named Byron. If that comparison makes Kill Bill sound like so much compulsive masturbation, rest assured that Tarantino has a point. Consider the movie's two volumes as yin and yang: The first installment, focusing primarily on the Bride, corresponds to the Chinese principle of darkness, negativity, and femininity, while the second, with a tone heavily influenced by the charming and seductive Bill (David Carradine), corresponds to the opposing principle of light, heat, motivation, and masculinity. Tarantino revels in the filmic power of verbal and (meta)physical pas de deux, and it's in the final section of the second part, detailing the Bride and Bill's surprising confrontation, that the entire enterprise reveals its profoundly mortal (and moral) soul. Keith Uhlich
Review: The Great Hack Is an Elusive Look at the Cambridge Analytica Scandal
It seems so invested in a rehabilitation of Brittany Kaiser's image that the filmmakers' own motives end up being its most interesting subject.1.5
Karim Amer and Jehane Noujaim's documentary The Great Hack opens with a sweeping and essentially meaningless drone shot. "Somewhere in Nevada" a sole title reads over the image of a city that sprawls across the desert in the shadow of a rather stubby mountain range. Tedium has already begun to set in as ominous strings fade in on the soundtrack and the film cuts to the opening of the Burning Man festival, where Brittany Kaiser—former business development director at notorious data-mining firm Cambridge Analytica—sets out to do whatever it is that privileged white people do at Burning Man.
The Great Hack turns an undeniably important series of political events into a two-hour look at a wealthy criminal lounging in pools and riding in Ubers. The doc fakes its viewers out, though, after its pointless Burning Man prologue, introducing us to Professor David Carroll, an expert in social media marketing whose interest in recovering the data profile Cambridge Analytica illegally compiled of him—as it did of most every American—is meant to form something like the film's impetus. Carroll explains, in terms a tad too elementary for a digital-native audience, that he's concerned with the effect that targeted misinformation campaigns directed at specific users are having on global democracy. Or, in his both too lofty and too simple words, "How did the dream of a connected world tear us apart?"
One of the answers to Carroll's question is that very specific people—people like Brittany Kaiser—decided to use the internet for precisely that purpose. In voiceover, Carroll explains what Cambridge Analytica was and, in broad strokes, how its methods of data collection and analysis helped sway both the British EU referendum and the 2016 U.S. presidential election. Carroll's explanation is illustrated with animated visualizations more concerned with appearing complex and sensational than they are with clearly presenting information. The corporate structure of Cambridge Analytica is presented with a conspiratorial air, as if the web of profile photos that the The Great Hack pieces together represents something far more nefarious and mysterious than a company's personnel page.
In its first act, the documentary makes ample use of such CG animations, including a rather repetitive motif in which photographed objects appear to pixelate and float up into the sky. We understand well before the fifth time we see this effect the metaphor that all that's real is moving willy-nilly into the cloud. But after Carroll makes it to London to sue Cambridge Analytica for his data, Amer and Noujaim more or less abandons him and his pedagogical approach for Kaiser, whom the filmmakers track down in Thailand, sipping a Mai Thai poolside. Kaiser is despicable, but The Great Hack appears to never tire of watching her stare pseudo-pensively out of car and airplane windows, or inventing new ways to rationalize her work for Cambridge, even as she turns state's witness in Britain.
The film spends so much time lingering on the mini-dramas of Kaiser's jet-set life—and so little time detailing exactly what it was that Cambridge Analytica did, or investigating how we might stop it from happening again—that one can conclude that in Kaiser the filmmakers believed they had found some kind of key to understanding our ongoing digitally fueled social catastrophe. The Great Hack befuddlingly includes a sequence in which Kaiser panics because she thinks she's lost her passport on her way to Heathrow, only to find it seconds later in her bag. Why include such an insignificant moment—or, for that matter, other sequences of Kaiser simply en route somewhere or waiting for something? What Amer and Noujaim see in Kaiser remains elusive. In fact, this meandering documentary seems so invested in a rehabilitation of her image that the filmmakers' own motives end up being its most interesting subject.
Director: Karim Amer, Jehane Moujaim Screenwriter: Karim Amer, Erin Barnett, Pedro Kos Distributor: Netflix Running Time: 113 min Rating: NR Year: 2019
Review: Skin Confronts White Supremacy from a Dubious Point of View
The film's not-strictly-linear structure and handheld camerawork come to feel like attempts at masking a certain conventionality.2.5
In 1951's The Origins of Totalitarianism, Hannah Arendt identifies the early adherents of the Nazi movement in Germany as belonging to a "mob," which she distinguishes from the "mass" as a motley group of the disaffected who felt themselves in various ways betrayed by the dominant institutions of society—in essence, the outcasts from the masses. Guy Nattiv's Skin finds this mob of resentment thriving in the American Rust Belt, where neo-Nazi leader Fred "Hammer" Krager (Bill Camp) recruits young runaways to his organization, baiting them with hot meals and a simulacrum of family warmth. He and his wife, Shareen (Vera Farmiga), indoctrinate young drifters into their disciplinary, Oedipal clan, with Fred as the fearful father figure and Shareen as the mother whose affection they must earn.
A remake of Nattiv's Oscar-winning short of the same name, Skin is based on the true story of Byron "Babs" Widner (Jamie Bell), who grew up under Fred and Shareen's tutelage but is beginning to harbor doubts about the group's cause. The film opens with a confrontation between a march of allied neo-Nazi groups and a counter protest headed by the activist Daryle Jenkins (Mike Colter), in which Babs and other skinheads corner and assault a black protestor, disfiguring the young man and running off. Babs has a conscience, and he slowly comes to regret this assault. Early on, the film gives us another example of his cloaked sense of right and wrong: At a rally where Fred announces his congressional candidacy, another white nationalist verbally accosts a trio of young girls singing a folkish—or rather, völkisch—tune, and Babs defends them, beating up the much larger man with a mic stand.
In Nattiv's film, the face-tatted Babs's practiced, neutral expression becomes an ambivalent mask hiding wounded insecurity, explosive rage, or both. His violent defense of the young girls earns him gratitude from their mother, Julie Price (Danielle Macdonald), a legacy member of the white power movement who's decided to begin to removing herself from her family's milieu. As Julie and Babs's connection becomes romance—and as Jenkins pursues Babs, thinking he might be able to convince the neo-Nazi to become an informant—the couple puts more and more distance between themselves and Fred and Shareen's perverse surrogate family, placing themselves in direct conflict with a dangerous mob.
To symbolize Babs's gradual break-up with his violent family, the film periodically flashes forward to the grueling, years-long process of removing the racist tattoos plastered across his body. Close-ups on ink being pulled out through skin, accompanied by Babs's fraught screams, suggest that the pain his skin causes him in these scenes is just recompense for the crimes he committed and endorsed on behalf of an ideology built around the color of that skin.
Skin offers some insight to the appeal and functioning of white supremacist groupings, but after a while, the film's not-strictly-linear structure and handheld camerawork come to feel like self-conscious signs of "gritty" realism, attempts at masking a certain conventionality. This is, in the end, the story of a bad man being redeemed by the love of a good woman, and it's worth questioning why Babs, rather than Jenkins, is at the center of the film. As Skin illustrates in an early, exposition-heavy scene, Jenkins has facilitated the turning of around a half-dozen Nazis. That a black man would dedicate so much time, at great personal risk, to penetrating the minds of avowed, violent racists seems the much more interesting—and relevant—story here. It's not that anything in Skin runs egregiously contrary to the facts, or that Babs's story isn't moving as presented, but one may be justified in contemplating why his turn away from Nazism is presented primarily as a personal redemption arc, and not primarily one of tireless activism and resistance by the opponents of fascism like Jenkins.
Cast: Jamie Bell, Danielle Macdonald, Daniel Henshall, Bill Kamp, Vera Farmiga, Mike Colter, Louisa Krause, Zoe Margaret Colletti, Kylie Rogers, Colbi Gannett Director: Guy Nattiv Screenwriter: Guy Nattiv Distributor: A24 Running Time: 120 min Rating: R Year: 2019
Odessa IFF 2019: The Cossacks, Queen of Hearts, Monos, & Projectionist
The festival feels like a long-awaited apparition in a place where events of its magnitude might be scarce.
At first glance, Odessa recalls the Algeria of the 1980s as described by playwright Jean-Luc Lagarce, a place where local "currency has no value and there is nothing to buy anyway." Odessa seems coy about offering a fantasy version of itself to those who aren't already confined to it and to whom displaying the city—in the shape of superfluous possessions or souvenirs—would amount to a perverse redundancy. It's a city coherent to the brutal honesty of its human faces, a city virtually without store windows to hawk unessential goods to passersby—unless one traverses its center, where a McDonald's and a Reebok shop appear as reminders of a glossier elsewhere. Perhaps the way Cameroon, as one Cameroonian once told me, is a country without sidewalks, "unless you go to Douala." This is, of course, a respite from the capitalist assaults of places where to experience the city is to stack up on its mementos. It's this context that made the Odessa International Film Festival (OIFF) feel like a long-awaited apparition in a place where events of its magnitude might be scarce.
By the Lermontovskiy Hotel, where the international journalists covering the OIFF stay, only food seems to be for sale. There's a 24/7 supermarket that closes when the security guard sees fit, a "Japanese and Thai Asian Café," and a regal restaurant named Aleksandrovskiy, which sits inside a garden full of Versailles-esque fountains and statues, and where a select few can feast on a scrumptious leg of lamb on a bed of polenta for 12 euros. Perhaps the same select few who show up for OIFF's outdoor screening of the 1928 film The Cossacks at the Potemkin Stairs but don't use the steps as bleachers, like the rest of us, instead taking their seats in the large cordoned-off VIP section close to the live orchestra for a few selfies and then dashing off.
A brief video pleading for the release of Crimean filmmaker Oleg Sentsov from a Russian prison preceded the film, eliciting passionate applause. Those actually using the steps as seats seemed to truly savor the event, which took the shape of what film screenings were probably more like in the early 20th century: raucous fair-like happenings with lots of talking and where the film was only one of many multi-sensorial elements. In many ways, The Cossacks is about how the production of a nation is entwined with the production of gender norms. Lukashka (John Gilbert) is seen as a softie. He's derided as being a fraction of a man, or a half-Cossack, because he would rather spend his time reading than fighting, to the horror of his entourage. He ends up going to war in order to legitimize his status as a man for his family and his beloved Maryana (Renée Adorée). In the world of the film, becoming a man involves killing at least one Turk or two, and becoming a woman means marrying a man who has killed Turks.
The Cossacks was a fascinating selection to screen at the Potemkin Stairs because it wrapped a critique of normativity in some of the most sexist of cinematic languages, female ass shots as gags and all, making it hard to know what kind of selective reading of the film the audience might be making. The men on the screen are always either accosting, harassing, molesting, or trying to rape Maryana, which might be what triggered Rose McGowan, one of the festival's celebrity guests, to leave just a few minutes into the screening.
As much as watching a film such as George Hill and Clarence Brown's silent drama at the place where one of cinema's most iconic sequences was shot feels like the crossing off of a bucket-list item we didn't realize was on that list until we experienced it, the off-screen drama was just as enticing. There was, for instance, the blatant spectacle of Ukrainian income inequality with "the people" huddled up on the uncomfortable steps for two hours eager to engage with a silent film while Ukrainian socialites decked out in animal prints treated the event more like a vernissage. There was also the impossible quest for a public bathroom mid-screening. This involved walking into a half-closed market across from the Potemkin Stairs and interrupting a loud quarrel between a mother and her adult son, who worked at one of the market stalls.
It's difficult to guess where queerness goes in Odessa. Maybe it only lives as disavowal, as in The Cossacks, which ends with Lukashka, after anointing his masculinity by slaughtering 10 Turks, stating to Maryana heterosexuality's mathematical logic in its simplest form: "I am your man. You are my woman. I want you." And the anointing is never final, the film seems to say. Indeed, as his father lies dying in his arms, Lukashka asks him: "Father, am I Cossack?" The question of where queerness might live, in this context, would be finally answered a few days later when I visit the only gay club in Odessa, Libertin, and meet a trans woman name Jalala, who confides that there's a "place" in Odessa where straight men can go to to have sex with women like her. "Is it an app?" I ask. Jalala smiles and says that it's a park. "But it's dangerous," she tells me. "It's very exciting and very dangerous." Because there are skinheads, she says. "Do the skinheads want to kill you or fuck you, or fuck you and then kill you?" I ask her. "I don't know," she responded. "That's why it's dangerous."
The festival main grounds, in front of the majestic Odessa Academic Theatre of Musical Comedy, aren't unlike London's Southbank Centre in the early days of summer, where visitors and locals are both sold the idea that the city is this fun all year long. The atmosphere is cosmopolitan, with Nina Simone remixes or early Erykah Badu playing in the background, food trucks, a Mastercard stall, and outdoor sitting poufs. There's also no stress in the air, no suffocating crowds, and as such no anxiety about being turned away from a screening.
When looking at the festival's program, one may scoff at the apparent lack of diversity and, more specifically, queerness. After a few screenings, though, one may get the sense that queerness does live at the Odessa International Film Festival and, per Jalala's account, in Odessa more generally—it just isn't publicized. In Queen of Hearts, for instance, director May el-Toukhy takes the age-old narrative of the stranger who turns up to disrupt domestic bliss, or ennui, and gives it a daring incestuous twist. Anne (Trine Dyrholm) and Peter (Magnus Krepper) live an idyllic life in a mansion somewhere in Denmark with two young, and creepily angelic, twin daughters (Liv and Silja Esmår Dannemann). There's something eerie about this setup even before Peter's problematic teenage son, Gustav (Gustav Lindh), from another marriage is shipped from Sweden to live with his dad and unsettle everything.
What's uncanny about Anne and Peter's home is, of course, the way it gleams a kind of speckless completion of the heterosexual project, which could only ever be possible as a mirage. Theirs is the home of dreams bound to become nightmares by the introduction of even the most vaguely foreign element. Such as reality, that most irksome of registers, or a long-lost son. The house of Queen of Hearts, whose drama is so latent you'd only have to snap your fingers for chaos to erupt, evokes the house of Bong Joon-ho's Parasite, the kind of immaculate luxury that could only be sitting on top of some macabre bunker full of roaches and well-fed zombies. The drama that links these homes is the notion that the epitome of the heterosexual family bliss borders its very obliteration, with the unruly resurfacing of all the gunk that had been swept underneath, as the very foundation for its habitat.
When Gustav arrives, then, and ends up having an affair with his stepmom, a trench coat-wearing lawyer for young victims of sexual abuse, we're only surprised at how careless they seem to be about being found out. El-Toukhy is smart to avoid sensationalizing the taboo-breaking premise of the narrative with a camera that sides with Anne: her sexual hunger, her contradictions, her stretch marks. This isn't a film about roundabout incest, but one about the impossibility of satisfaction even for the most privileged woman, one with a high-powered and socially engaged job, money to spare, and a mansion by the lake in a Scandinavian country.
Queen of Hearts focuses on Anne's paradoxes: She's a savior and a monster, a middle-aged mother and a horny teenager, unabashedly exposing the inconvenient pores that remain underneath even the most beautifully made-up Nordic skin. And the film is about skin, ultimately. In the way Anne and Gustav have raw sex and the marks on Anne's stomach are filmed with purpose, sincerity, and no apology. The affair begins when Anne walks into Gustav's bedroom and gives him a handjob without bothering to lock the door. This comes soon after he brought a girl his own age home and Anne had to sit in her living room, staring at her laptop and drinking a glass of wine, while listening to the teenagers having sex. By the time Anne goes to the lake with Gustav and one of her twin girls, and Anne decides to get in the water, we know the deal is done. "But you never swim," says the girl. Water in Queen of Hearts bears the same prophetic sexual force that's appeared in many films, queer or not, from F.W. Murnau's Sunrise to Alain Guiraudie's Stranger by the Lake.
The affair isn't about love, of course, or passion. It's not even about the sex itself. The affair is a settling of accounts, a vampiric attempt to deny the passing of time, which, by virtue of having passed, feels like it's been wasted. For Anne, the culprit is Peter, who becomes a cock-blocking nuisance. The film, a melodrama with a superb final shot that offers no closure, at times tries too hard to provide a cause for Anne's passage à l'acte. When Gustav asks Anne who she lost her virginity to, she answers, "With someone it shouldn't have been," which makes it seem like the film is suggesting that predatorial behavior is a sort of damned inheritance. The Queen of Hearts is much more successful, and courageous, when it follows the logic of sexual yearning itself, not worrying about rational justifications.
The first few sequences of Alejandro Landes's Monos evoke Claire Denis's Beau Travail, except it isn't only men training in the deserted landscape. A few young women join them, which, inevitably takes the narrative elsewhere, even if the films' basic premises are similar. In Monos, teenage guerilla fighters are supposed to guard a foreign hostage, Doctora Sara Watson (Julianne Nicholson), and a conscripted cow named Shakira. Intrigue and sexual tension ensure that nothing goes according to plan. The only thing that never finds any respite is the flow of violence, which increasingly loses its metaphorical sheen, becoming gratuitous toward the end. What starts out like a social critique gains the aura of an unnecessarily grisly horror film, more about overtly visible chains than the allegorical slaughtering of cows by paramilitary children named Rambo, Lady, Bigfoot, and Smurf.
It turns out that queerness lives even in the faraway mountaintops of the Colombian jungle, as one of the guerilla girls makes two boys kiss at the start of the film, which brought a discrete discomfort to the screening room I was seated in. By the time Nicholson's character shares a brief lesbian kiss with a reluctant fighter who's supposed to watch over her, later in the film, queerness is no longer a conceptual surprise hinting at meaningful registers beyond the narrative's surface, but a kind of desperate attempt to make the plot seem cryptic. Like The Cossacks, Landes's film is also about the impossibility of maintaining complete control over one's claim of masculinity, or power more generally. In moments of crisis, the line between predator and prey get very thin, and even the most well-armed warriors have a way of becoming disarmed, naked, and sentimental.
Yuriy Shylov's Projectionist follows the frailty of all flesh, hawkish accessory in hand or not, through the portrayal of the end of a film projectionist's 44-year tenure at one of Kiev's oldest movie theaters. It's an end that coincides with the crumbling of projectionist Valentin's own coughing body, and that of his bedridden mother. It turns out that the movie theater, too, is reaching its expiration point. Soon, its doors will close and its employees will be fired, and there's a sense throughout Shylov's documentary that analog cinema will be dealt a major blow with the theater's closure. What will become of the space? Perhaps a Reebok or a McDonald's. Perhaps a derelict muse for a Nikolaus Geyrhalter portrait of decay.
"You think you're loud, but in reality you can only hear yourself," Valentin tells his mother at one point. Her futile yelling of her son's name from her bed is one of the most haunting motifs in the film. An uttering for uttering's sake, a demand without expectations of an actual response, a mantra to remind oneself that one is, for now, still alive. Valentin has installed a whistle next to the bed, which he would actually be able to hear when she called if only she'd use it. But the mother mostly refuses to blow in the pragmatic apparatus, instead finding solace in the calling that won't be heard and, thus, will need to be repeated ad nauseam.
Projectionist can feel a bit aimless, but it's a welcome reminder of how the materiality of film, and thus its finitude, has something in common with our own—a kinship of frailty that the flawlessness of the digital image erases. Analog is the only technology that Valentin knows, whether he's sewing, as he's seen doing in the film, fixing a neighbor's straightening iron, or projecting old home videos on filthy kitchen tiles. There's pleasure to be found, for Valentin, not just in the stories, concepts, and metaphors of cinema, but in the very stuff that supports his craft, the paraphernalia of cinema that's bound to crack, to dry out, to turn to dust, to disappear forever: film stock, Movieolas, spools, and so forth. Cinema, we're reminded, is necessarily a tool of exposure, not just of the human condition in the face of death, but the human condition as an always gendered affair. It's a tool that's never settled, never comfortable, and never forgotten. "Men are cowards, didn't you know that?" is how Valentin puts it toward the end of Projectionist. In his world, one would know, by looking at the projector, at the very stuff of cinema, how much longer a film would last. The remainder of the film's "life" is perfectly real, perfectly tangible, and alive because it's in constant danger of being jammed up and torn by the very engine that ensured its running.
The Odessa International Film Festival runs from July 12—20.
Review: In Angels Are Made of Light, a Nation Rebuilds in the Ruins of War
The film is an intimate portrait of a nation terminally anxious about who will see fit to rule it next.2.5
Early in Angels Are Made of Light, a voice breaks through a sea of chatter in a classroom teeming with young boys: "I only know about the time since I was born. What's history?" The child goes on to explain that history isn't taught at the Daqiqi Balkhi high school in Kabul, Afghanistan. The question's poignance is self-evident, particularly because the building itself appears to have been disturbed by the city's recent trauma. The opening shot of James Longley's first film since Iraq in Fragments captures splotches of sunlight entering through holes in the school's exterior. Later, one of the building's walls collapses, and the children relocate to a location supported by American funding.
Though it inevitably gestures toward American occupation, Angels Are Made of Light is rare in its nearly undivided attention to civilian life in a region fundamentally altered by the U.S.'s so-called war on terror. Much of the film is composed of footage Longley shot at Daqiqi Balkhi from 2011 to 2014, with a particular focus on three brothers: Rostam, Sohrab, and Yaldash. The trio speak in voiceover throughout, and seem to define themselves by their relative interest in work and studying. Sohrab excels in school and doesn't see himself as fit for manual labor, while the older Rostam works closely with their father. Yaldash, the youngest, works at a tin shop and is anguished when his job interferes with his educational aspirations.
The documentary's classroom scenes exude a tone of controlled chaos, shot mostly at eye level with the students as they struggle to hear and be heard over the din of their classmates. (This is particularly true at their school's first location, where numerous classes are taught outside right next to one another.) The passage of time is marked by changes in seasons and the repetition of certain ceremonies, like a teacher appreciation day featuring musical performances by students. Concurrently, there's a Malickian quality to the near-constant voiceover of the brothers, whose concerns veer from the quotidian (earning money for the family, achieving in school) to the philosophical. Though their voices are profound, their limited perspective yields lengthy stretches of repetitive, meandering sentiments that are inflated by John Erik Kaada's sometimes intrusive score.
If the children aren't taught about their country's history as a site of hostile takeover by other countries, the Taliban, and groups of mujahideen, they have clearly internalized the trauma their homeland has endured. "Death is coming. Doomsday is coming. Everything is coming," one says. All seem to agree that learning about computers (none of which are seen in the documentary) is the only sure ticket to an escape or a successful career.
As Angels Are Made of Light proceeds, its chorus of narrative voices expands, adding a number of teachers (including the boys' mother) and another schoolboy who sells hot food at an open market. The teachers add flashes of historical context, which Longley plays over archival footage of Kabul and its ruling governments over the previous decades. Cuts between the city's past and its present are stark: The contemporary skyline is pockmarked with absent buildings that have been replaced by makeshift structures, and the city's center is now cluttered with billboards advertising mobile phones and alcohol produced in NATO countries. Eventually, Longley shows current political action in the streets, as mujahideen gather to flog themselves in public, other groups march for democracy, and all focus their attention on 2014 presidential election where Hamid Karzai democratically transfers power to his successor, Ashraf Ghani, as rumors swirl about the Americans' sway over the vote.
Longley's decision to avoid addressing Afghani politics until the latter half of his film is sound, perhaps a signal that his young characters are becoming more attuned to the corruption that pervades daily operations in their city, but Angels Are Made of Light lacks the sort of structural framework that can properly sustain its lack of plot and rather confusing array of editorialists speaking in voiceover. The closest the film comes to a guiding focus is the recurring image of a large, ghostly white blimp that looms over Kabul, a blot of menace as children and other citizens look to the sky in hope or prayer. Presumably an observational surveillance craft, the blimp is an ironic mirror of the documentarian's predicament—a totem that reminds everyone who sees it of the West's influence on their lives. Longley is aware that his camera serves a similar function, and it's admirable that he's able to achieve an intimate portrait of a nation terminally anxious about who will see fit to rule it next.
Director: James Longley Distributor: Grasshopper Film Running Time: 117 min Rating: NR Year: 2018
Review: Mike Wallace Is Here Honors a Legend by Arguing with Him
Much like its subject, Avi Belkin's documentary knows how to start an argument.3
Much like its subject, Mike Wallace Is Here knows how to start an argument. Avi Belkin's archival documentary begins with the legendary broadcaster (who died in 2012) interviewing Bill O'Reilly at the peak of the latter's influence as a Fox News blowhard. "That is not an interview, that's a lecture," Wallace moans before O'Reilly calls him a "dinosaur" and then really twists the knife: "You're the driving force behind my career," he tells Wallace. The exchange is riveting and, in some ways, inscrutable, as both of these TV personalities are so skilled at performance it can seem impossible to know if their dialogue is in earnest or some knowing fight among titans happy to march into battle.
Though it's almost certainly fair to say that Wallace set the stage for an era of ostentatious and increasingly dangerous "personality journalism," the breadth and quality of Wallace's work is rich enough to lend some tension to Belkin's exploration of the reporter as celebrity. Assembled with a propulsive momentum from dozens of televised interviews of and by Wallace, Mike Wallace Is Here portrays its subject as a self-made man, or, as his colleague Morley Safer calls him, "an invention." Born Myron Wallace, he adopted his broadcast name while working as a performer on radio and then television, a decision made with no shortage of anxiety due to Wallace's self-consciousness about his acne scars from childhood.
Ironically, Wallace's breakthrough as a broadcaster (after a series of acting and promotional gigs) came with a show that revolutionized the television interview through its intense lighting and use of invasive closeups. Clips from his show Night-Beat—the first of two Wallace-led interview programs sponsored by cigarette companies and cloaked in smoke—reveal that the media personality was already aware of the showmanship innate in his brand of journalism. He introduces the show by saying "My role is that of a reporter," and hones his skill for unsettling his guests with obnoxious editorial comments before asking questions. ("Many people hated your husband, and you," he once said to Eleanor Roosevelt.)
Belkin weaves Wallace's personal story into the documentary's parade of interviews in a manner that's unsurprisingly superficial, glossing over his many marriages, the death of his 19-year-old son, Peter, in a mountain-climbing accident in Greece in 1962 (Wallace cites the tragedy as a pivotal moment in the creation of 60 Minutes and the revival of his career), and a suicide attempt circa 1986. In interviews where Wallace is the subject—with the likes of Barbara Walters and other 60 Minutes colleagues—he's alternately open and evasive about these flashpoints in his life, often demonstrating the very behavior he has no patience for as an interviewer. Belkin shrewdly reveals Wallace's hypocrisy through editing, cutting to, for instance, a clip of Wallace grilling Larry King about his string of failed marriages.
Mike Wallace Is Here only suffers in its treatment of the broadcaster's time at 60 Minutes, dispensing with cleverly edited commentary in favor of a swift survey of the major news of the second half of the 20th century. These include necessary digressions, such as General William C. Westmoreland's libel suit against a CBS Reports special that Wallace anchored accusing the Army general of falsifying the American military's analysis of the strength of the Vietnamese army in order to keep the war in Vietnam going, and the tumultuous process of televising Wallace's interview with the tobacco industry whistleblower Jeffrey Wigand (the subject of Michael Mann's The Insider). But this extensive highlight reel seems to forget that the documentary is scrutinizing Wallace as it's celebrating him.
At its nerviest, Mike Wallace Is Here uses the words of other celebrities to psychoanalyze Wallace. The film argues (and at times Wallace acknowledges) that his success is a product of his sense of shame, first about the way that he looked and then about the way that he behaved, loved, and parented. When Wallace is coy, Belkin effectively imagines a more honest response by cutting to someone else saying what he believes is true. After showing Wallace dancing around his lack of pride for a while, he cuts to Barbara Streisand talking about how "fear is the energy toward doing your best work." In the very same interview, she calls Wallace "a son of a bitch," and Mike Wallace Is Here is at its best when it seems to be in direct debate with this journalistic legend. The film honors Wallace best when it seems to be arguing with him.
Director: Avi Belkin Distributor: Magnolia Pictures Running Time: 94 min Rating: PG-13 Year: 2019
Japan Cuts 2019: Demolition Girl, And Your Bird Can Sing, & Being Natural
Japan Cuts has established itself as the definitive Japanese film festival in the United States, thanks to the scope of its programming.
Japan Cuts has established itself as the definitive Japanese film festival in the United States, thanks to the scope of its programming. The 2019 edition is no exception, with over 30 events over 10 days, among them talks, screenings, and Q&A sessions with filmmakers as diverse as Macoto Tezka (The Legend of the Stardust Brothers) and Shinya Tsukamoto (Tetsuo: The Iron Man), the latter of whom is this year's recipient of the festival's Cut Above award, which is given to a defining figure of Japan's cinema, and will be awarded before the East Coast premiere of his latest film, the samurai action-drama Killing.
Lest you think Japan Cuts is only a showcase for genre exercises, the festival abounds in works that explore the struggles that erupt from the Japanese capitalist system, and are felt in different ways across generations. Demolition Girl, Genta Matsugami's feature debut, is among the strongest of recent films to bluntly speak about class difference. It follows 17-year-old Cocoa (Aya Kitai), who, in the wake of her mother's death, has decided to forgo a university education and get a job. But as her shifts at a local amusement park only pay so much, she starts to perform in adult fetish videos that see her stomping on cans, trash, and balloons.
At his best, the film taps into the heightened experience of the poorest of the people living on the edge. For one, whenever Cocoa's father (Yota Kawase) has some money on hand, he yearns for instant satisfaction, spending it on expensive sushi. As for Cocoa, who's isolation is emphasized through shots that see her alone in corridors, or studying late at night in her room, it's almost as if she's destined to fail. And, indeed, when her school finds out about the adult videos she's been making, and just as she was beginning to realize her promise of going to a Tokyo university, her life falls apart. When confronted by friends about why she made the videos, all she can do is yell at them: "You wouldn't understand, you're rich, you wouldn't know. Will you pay for my expenses?" In this moment, Kitai's triumph is making her character's wail against a cruel economic system feel as if it could be our own.
And Your Bird Can Sing, directed by Sho Miyake, is focused on two late-twentysomething slackers: the unnamed protagonist (Tasuku Emoto) and his roommate, Shizo (Himizu and Parasyte star Shōta Sometani). Both work crappy jobs, and they try to stay sane through copious amounts of drinking and pointed mockery of the economically fraught lot they've been handed in life. The protagonist's attitude could be summed up by one early sequence, when he meets a co-worker and convinces her to go on a date, only to later miss the date, fall asleep, wake up, and decide to spend his night drinking with Shizo.
A love triangle between the roomies and one of the protagonist's co-workers, Sachiko (Shizuka Ishibashi), brings some solace to the men's lives. There's redundancy to the way that Miyake frames these characters, showing their faces up close rather than the screens they peer at as they text each other, but his wide shots speak to how they all work to fill empty spaces. Miyake's style is relaxed, almost as if his camera has absorbed everyone's slacker vibes. Especially of note is a sequence that lingers at length on Sachiko paying for groceries while the two men in her life try to hold their laughter, saying to each other that she's going to regret her purchase. Miyake's gaze is empathetic, and there's truth in his understanding that you have to sometimes laugh at your underprivilege in order to prevent yourself from screaming.
More tonally varied, and operating on a larger scale, director Tadashi Nagayama's satirical Being Natural broaches the subject of gentrification as it immerses viewers in the daily routines of a middle-aged man, Taka (Yota Kawase), who lives in a small town in the countryside of Japan and works with his cousin, Mitsuaki (Shoichiro Tanigawa), and their friend, Sho (Tadahiro Tsuru), at a fishpond inherited from his deceased uncle. Everything starts to derail for the three men when a family arrives on the scene from Tokyo with the hopes of opening up an old-style café that will only sell natural and locally grown products. At the start of the film, the still-grieving Taka doesn't fully understand what he has until someone tries to take it away from him, and by the end, a spectacular show of violence will see him finally realizing the nature of the economic system he's trapped within.
The film's style is initially sweet and mellow, with the softest of songs dotting the soundtrack. Taka plays bongos, and the sounds of the instrument are also heard throughout. At first, this sound creates a calm atmosphere that's in sync with the bright cinematography. But as the film introduces a series of sinister twists, those bongos come to take on an almost murderous bent. The sounds of the instrument point to the encroachment of a capitalist economy on a place relatively untouched by it. In its final minutes, Being Natural takes a turn toward the supernatural, and it's satisfying for giving the main characters the reprisal they want, but also poignant for the way it has us understand that it only occurs in the realm of fantasy. The film, in the end, acknowledges that it's difficult to go against the system, and that to stay sane means finding a little pocket of happiness in the world and enjoying it while it lasts.
Japan Cuts runs from July 19—28.
Review: David Crosby: Remember My Name Sees a Legend Carrying On
The film captures a man haunted by his past mistakes and nearly certain that he doesn't have the time left to begin making up for them.2.5
One gets the sense when hearing David Cosby perform that, like many naturally gifted vocalists, he was born to express himself through song, and given his tumultuous personal and professional life, the act of singing may be the only means through which Crosby can briefly maintain an equilibrium amid so much chaos. Womanizing, drug abuse, and band breakups are certainly par for the course for countless musicians, especially those who came up in the late 1960s, but Crosby is an extreme case even by those standards. It's difficult to think of another living musician more strongly and uniformly despised by his former bandmates and collaborators and, aside from Keith Richards, another whose continued survival is more shocking in light of what he's put his body through.
Aided by Cameron Crowe, who, as a Rolling Stone writer, interviewed Crosby various times and is on hand here to again pick the musician's brain, A.J. Eaton's David Crosby: Remember My Name opens with a fairly standard music-doc overview that traces Crosby's productive early years with the Byrds and his ascent to fame with both iterations of Crosby, Stills & Nash. There's no effort made to hide Crosby's thorny personality or the chaos he brought to each of these early projects, but Eaton and Crowe seem initially content to butter Crosby up, joining him in waxing rhapsodic about his widespread influence and lasting importance as a musician.
The hagiographic tone slowly fades as the film moves past the perfunctory career retrospective and begins delving into the nitty-gritty details of Crosby's bumpy road to stardom and his rapid descent into disgrace, spurred on by his decades-long battle with drug addiction. While Crosby often proves a tough nut to crack, rarely willing to linger too long on the painful moments of a life eventful enough to fill several documentaries, Crowe and Eaton eventually disarm him enough to tap into the frustrated, damaged, and regretful man hiding all those years beneath his patented walrus mustache and wispy, long hair. As Crosby discusses the petulance and rage he often unfairly directed at fellow bandmates and his mistreatment of many of his girlfriends, several of whom he got hooked on cocaine and heroin, one can sense not only the depth of his remorse and anguish, but also the resigned helplessness that little can be done in his twilight years to repair the many bridges he's permanently scorched.
Throughout Remember My Name, archival interviews with Stephen Stills, Graham Nash, and Neil Young make it abundantly clear that Crosby has alienated each of his former bandmates to such a degree that none of them will talk to him again. Only former Byrds frontman Roger McGuinn appears in a newly recorded interview for the film, and he does so presumably only to describe how "insufferable" Crosby was as a fellow bandmate.
At nearly 80 years old, Crosby is happily married and in the midst of a creative resurgence with a string of acclaimed solo albums, but even these small joys are mitigated by his admission that he's only touring, and thus often away from his wife, because he needs the money. During a leisurely drive with Crowe, Crosby visits his old stomping grounds in Laurel Canyon and the Sunset Strip and recounts those halcyon days when he lived with Joni Mitchell and sang his first song with Nash and Stills. But the magic of these locales has long since faded, leaving Crosby in an uncharacteristically introspective state and all too aware of how close he is to the end of his life. As he wistfully tells Crowe that he already has eight stents in his heart and will likely die in the next couple of years, the film captures a man haunted by his past mistakes and nearly certain that he doesn't have the time left to begin making up for them.
Director: A.J. Eaton Distributor: Sony Pictures Classics Running Time: 95 min Rating: R Year: 2019
Review: Cassandro, the Exotico! Shoulders the Strange Burden of Empathy
Marie Losier's empathy, if not love, for Cassandro hinders her from examining his wounds with much depth.2.5
Queerness isn't just about the relationship between bodies: the ones we desire, the ones that will never desire us back, the ones we wished we possessed. It's also very much a matter of cloth, color, and adornment. Many a pop-cultural figure has manifested this queer sartorial drama, from Liberace to David Bowie, from Leigh Bowery to early Lady Gaga, from Pepper LaBeija to Shangela Laquifa Wadley. And with her new documentary, Cassandro, the Exotico!, Marie Losier introduces us to a lesser-known, yet just as subversive, purveyor of that drama: Mexican luchador Cassandro, a Universal Wrestling Association winner and former junkie with a penchant for gaudy garments.
Ridiculous stage wear is, of course, fundamentally associated with professional wrestling, but Cassandro's textile-informed camp isn't compensated by violent machismo or a heterosexist mise-en-scène. Instead, this exótico is unapologetic about the seamless kinship between his queerness and that of the clothes he wears. And the continuum between queer sexuality and fashion places him simultaneously as the exceptional gay figure in a supposedly macho sport, the Mexican lucha libre, and as the element that outs wrestling writ large as an already queer affair. Cassandro, né Saúl Armendáriz, is, then, a ready-made cinematic character, bearing the contradictions of his world from the inside—a world where, much like ours, heterosexual male violence is performed through patently homoerotic means.
Although skin, bones, and fabric are all—to various degrees of visible and invisible discomfort—stitched into the gendered body, the film is precisely concerned with the moment when these connections come apart at the seams. After decades of fighting for a living, Cassandro's body is giving out. This is a moment of desperation for someone who turned to wrestling as something between religion and therapy. We see him literally hanging his flamboyant costumes to dry on a clotheslines as he speaks about retirement, about how quitting would appease his body but demolish his ego. As the film progresses, his dislocated chin, limited hand movements, and multiple head concussions will seem like the belated embodiment, if not the psychosomatic scream, of a childhood marked by molestation and sexual abuse. A history of spectacular violence catching up to years of a much less visible brutality.
Cassandro, the Exotico! is largely observational, with occasional interventions from Losier. It wouldn't be fair to call the film hagiographic, but the director's empathy, if not love, for her subject hinders her from examining Cassandro's wounds with much depth. When faced with Cassandro's misery, Losier's response is to console him as if wanting to change the subject. She cuts one moment of candidness short, when Cassandro is addressing his fears via Skype, by telling him, "I wish I could give you a kiss." It would have served the documentary better had Losier granted her subject the possibility to work through his pain in front of the camera.
Visually, the documentary, which is shot on 16mm film stock, recalls canonical diaristic works that expose people's troublesome feelings in raw and unbridled fashion (think Jonas Mekas, Sadie Benning, and Su Friedrich). Which makes the juxtaposition of Losier's visual language and her reluctance to examine Cassandro's frailties feel particularly displeasing. Perhaps afraid that scrutiny would shatter Cassandro, Losier fails to realize that it's precisely through such shattering that redemption can emerge, maybe even reparation.
Director: Marie Losier Screenwriter: Marie Losier, Antoine Barraud Distributor: Film Movement Running Time: 73 min Rating: NR Year: 2018
Interview: Marc Maron on Sword of Truth, WTF, and the Possibility of Change
Maron discusses modern media discourse, the communicative bridge linking his acting with his podcast, and how he likes to be directed.
Marc Maron is presently enjoying one of the most unlikely and inspiring success stories in Hollywood. Once known as a bitter "comic's comic" who was eclipsed in success by contemporaries such as Louis C.K. and Jon Stewart, Maron has been reborn into a poster boy for empathy, starting with his blockbuster podcast, "WTF," and continuing with roles in the hit television series Maron, Easy, and GLOW. With each role, Maron has rapidly evolved from a "comic who acts" into a first-rate character actor capable of subtly altering his charisma to fit a variety of oddballs who, like himself, struggle with self-doubt while attempting to walk a straight and sober path.
Now, with Sword of Truth, Maron makes his debut as a cinematic lead, playing Mel, a pawnshop owner who ends up on a road trip that stirs long-festering feelings of estrangement, which parallels the forms of isolation gripping a variety of other characters, and which the film's director, Lynn Shelton, links to the reactionary myths and politics currently gripping this country. The role marks another career high point for Maron, who talked to me last week about the communicative bridge linking his acting with his podcast, how he likes to be directed, and the "mind-fuckery" currently gripping modern media discourse.
Given that you've previously worked with Lynn Shelton on Maron and GLOW, did you two have a kind of collaborative shorthand going into Sword of Trust?
Well, I'm generally filled with anxiety and resistance. I don't know if there's a shorthand, but Lynn knows how to get the best out of me and works with me pretty well. I like directors who're hands on with me and guide me.
Do you like to receive a lot of explicit direction, or is your process more intuitive?
Well, I do what I do. I definitely welcome suggestions, because I'm certainly not going to think of all the possibilities of a scene. Most of my choices are not necessarily correct. I usually come in pretty intense and hot, and there's subtleties that can be coaxed out with minor tweaks. And I like working like that. I wouldn't have the confidence to assume that my take is the "right" one necessarily.
There's a stillness to you in Sword of Trust that I'm not sure we've seen before.
Your weight as a performer is really felt here, especially in that scene when Mel first see Lynn's character in his shop. I love how you enter the room from the closet, and how one can feel the emotion bubbling up in Mel.
Thanks, man. I think this is a heavy-hearted guy who's sort of surrendered to his lot in life. He also has a certain amount invested in his own. I don't know if it's heartache, but he's definitely a broken dude who's making the best of whatever time he has left. I don't know if the other characters are really like that. They are always in forward motion.
You also inform Mel's appraising of objects with all these lovely emotional textures. He's not only talking about a sword.
The guitar too. As I act more, I try to take some of the space that you're talking about. With acting I feel that I've been learning on the job in a way, and over time I've started to explore different possibilities with owning whatever my space is, whether it's a movie or on stage. Certainly, over decades of doing stand-up, I've figured out my space on a stage, but being on a set and pacing yourself and taking the time to engage with what's around you I think makes a lot of difference in how a performance comes off. It's about being present in an environment.
Has your ascending acting career changed how you relate to actors on your podcast?
Over the last few years, since I've started acting more, I've had more actors on. I tend to try to pull a nice acting class out of that. I think a lot of what my guests say makes sense. Once again, a lot of acting is about listening and being present. In another time in my life, I saw certain actors as mythic. Now that I've talked to so many of them, I've started to realize, not in a disappointing way, that…what's the word I want? That these are people doing a job, all in their own way. Once you get on set with people, you realize, "Well, that's how they're approaching this job," and when you get into the ring or the scene, you're in it.
That inside knowledge gives "WTF" an edge too. For many interviewers, like myself, art-making is basically theory. But you have your feet on the ground so to speak.
I think that happens over time. I don't think I ever set out to interview. I've framed what happens on my podcast as conversations, and they either go somewhere or they don't. There's a few points I may get hung up on, and there are places I go to fairly regularly in interviews, but I generally don't see these conversations as question-and-answer situations. I don't have any expectations really other than to feel a connection or to sort of be enlightened. I think those of you who have a job to interview, for an outlet, for the content and the word count and everything else, might have more restrictions. I don't have to answer to anybody and I don't know what I'm looking for half the time.
Yeah, and a challenge I've found with interviews is that one doesn't always entirely know what is and isn't in bounds, which can lead to an impersonal vibe. By contrast, your podcast has such an intimate layer throughout.
You have to feel that stuff out, you know I'm not necessarily intuitive about that. I'm not really in the business of sandbagging anybody.
Usually you get somebody comfortable and things come out. If people are comfortable and engaged it doesn't really matter what they're talking about. Audiences will say, "Oh, wow, I didn't know that." These conversations don't require information, but an emotional connection. I'm so happy about that, especially considering the never-ending torrent of garbage that we have to move through every day.
I think about politics. Politics online are rarely civil, but when you get someone in person, and start slowly, and are willing to have a conversation, you can normally get farther than you might expect.
Online culture isn't civil and there's a momentum to everything that's based on mind-fuckery. I know for myself—as somebody who was relatively disinterested and uninformed about the functions of government and why politics and leadership make a difference—that people are perfectly willing to volunteer their brains to these strange flashpoint reactors that trigger them emotionally. People live by these black-and-white decisions. It's not good. We need to consider what we really know and how we know it and what we're telling other people.
People are so empowered by garbage information that's being related in a relatively shallow way, which doesn't take into consideration the influence and context of the rest of our lives. It's sort of a disaster. I try to stay away from that stuff in terms of the conversations that I'm having. I'm trying to deal with something more human and experiential. Most people are regurgitating talking points on both sides without thinking of how someone feels and how to affect change. I got an interview with Geena Davis [who stars in the new season of GLOW] coming up, about her work with her foundation and her work in this documentary about women in show business. It's called This Changes Everything. I tell you man, when someone's that personally invested in something they believe in, and it's righteous, and they lay it out for you and it makes sense, that's what heartens my belief in this possibility for change.
To change gears a bit, is it cathartic for you, as someone who's long been in recovery, to play characters who're either reformed or have drug issues?
Yeah, sure. Most obviously there's the last season of Maron, where my character has a relapse, which frankly didn't happen in real life. When you really understand the nature of addiction, and you've seen it from the inside, and know the powerlessness and the struggle to live a life that's not in the throes of it—I mean, it's such a common struggle. And what's amazing to me is how many people don't find a way out of that or don't seek help. Or are ashamed of it or don't know how to get the help. I never set out to do this, but I'm thrilled and humbled by the effect my work has on people who're isolated by this sickness. It's really one of the more satisfying results of the podcast: how much mail I get from people who're struggling and who want advice, or who feel less alone from what I've said. The great thing about recovery, and about playing these parts, is that it gives you a context that's very specific—a way to legitimately help people that can change their entire lives.
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My husband Ted and I have four children – Rose, Lily, Sage, and Dillan, who we call Dill. I had breastfed all my children and when I was weaning the youngest I noticed a lump and some inflammation of my breast. The doctors thought it might be an infection because I had breastfed for a long time. Ordinarily I wouldn't have had a mammogram since I was only 38 at the time. It was July 2011 and I was diagnosed with stage 4 breast cancer. It was a big shock because of my age and the fact that there had been no family history.
With four little ones you wonder what will happen. You never know what's going through their minds. My oldest daughter was distant for a while and we talked about it. It turns out she thought maybe she could catch it. People sometimes ask how do you do it with four kids, but I say that's why I do it … FOR the four kids. . I love herbs and flowers and these four are my own little garden, Rose, Lily, Sage and Dill.
I've been through radiation and chemotherapy and some surgeries and I have just learned that the cancer has come back and is in the bones. It's a whole different ball game now because now I'll have a different treatment plan. It's scary but at the same time it's just another chapter of life. My faith has not wavered and I know that God will get us through this. You play the hand you are dealt and with God's help, you succeed. I know I didn't go through this without a reason. I want to show other people that this is not the end; it's a new beginning.


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Extreme Makeover brings your inner beauty to the forefront
How to achieve luscious younger looking lips; explore all your options
Ask the Surgeon / Health Tip / What's New
The phenomenon of the television show, Extreme Makeover on the ABC network, has everyone talking about making over one's total appearance. Each week, viewers see firsthand how an undesirable pre-makeover appearance can limit a patient's self-esteem and how deeply the participants are affected by the change. The show addresses having multiple procedures, the recovery process, and the final results of having cosmetic surgery.
I love watching Extreme Makeover , says Katie S., an avid watcher. I am always interested to see what procedures they are going to suggest, and it has given me good ideas as to what I might change as well. Multiple facial plastic procedures are often done concurrently; the patients depicted are going to the extreme in the number of procedures and body parts they are addressing at once. Featured procedures include rhinoplasty (nose surgery), blepharoplasty (eye surgery), lip enhancement, Botox injections, porcelain veneers, and more.
If you are considering having more than one area of your face enhanced or improved, there are advantages to having the surgeries simultaneously, such as fewer anesthetic administrations, shorter cumulative surgical time, shorter cumulative recovery time, and more dramatic results. However, more surgery means more to heal.
The recovery process on the television show depicts convalescence realistically. The patients endure some bruising and swelling initially; although, it should be noted that these are patients who have had a number of procedures. Your recovery process will depend on what procedure you are having and the invasiveness of the surgery.
Extreme Makeover is also very appealing in how the participants' stories are shared. The show concentrates on the psychological effects of cosmetic surgery; the patients find that dramatic changes in their appearances significantly and positively impact their lives. Studies have proven this correlation between improving one's appearance and increasing self-image. The show allows the public to witness this transformation repeatedly with each patient.
When you see them pre-makeover and listen to their stories, says Katie, you identify with certain aspects of their insecurities. You want them to feel better about themselves and when you see them through the makeover you can't help but feel elated with the end result and seeing the person so confident and happy inside and out, says Katie.
The television series has brought awareness of cosmetic surgery, an acceptance that it is okay to enhance your appearance, and also recognition of the benefitsinside and outsideto patients. Come in for your consultation appointment to discuss your minor or major makeover.
Extreme Makeover is a trademark of The American Broadcasting Companies, Inc.


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Latest Prevention & Wellness News
FRIDAY, May 30, 2014 (HealthDay News) -- Intensive-care unit patients who receive steroids seem to be at greater risk of developing delirium, according to a new study by Johns Hopkins researchers.
Steroids are given to ICU patients for a number of reasons, including to reduce inflammation and to treat septic shock, the study authors said.
The researchers examined the medical records of 330 lung injury patients who were on ventilators in intensive-care units of four Baltimore hospitals between 2004 and 2007. Patients were 52 percent more likely to develop delirium if they'd received steroids the previous day.
Being older was also linked with an increased risk of delirium, which can cause poor memory and thinking, hallucinations, agitation and disorientation, the researchers said.
The study authors noted that delirium typically subsides after a few days. But previous research has shown that delirium in intensive-care unit patients can have lasting effects, including mental impairment equal to moderate brain injury or mild Alzheimer's disease.
The study findings, published in the June issue of the journal Critical Care Medicine, suggest that limiting the use of steroids in intensive-care patients could reduce their risk of delirium.
"We need to be cautious in our use of steroids in critically ill patients and weigh the risks and benefits of using them," study leader Dr. Dale Needham, an associate professor of medicine and of physical medicine and rehabilitation, said in a Hopkins news release.
"Sometimes they are necessary, but we need to be thoughtful about minimizing the dose and duration of steroid use when possible," he added.
The study was supported, in part, by a grant from the U.S. National Institutes of Health's National Heart, Lung, and Blood Institute.
-- Robert Preidt
Copyright © 2014 HealthDay. All rights reserved.
SOURCE: Johns Hopkins Medicine, news release, May 27, 2014