gilbert seah

Movie Review: THE PROGRAM (UK/France 2015)

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the_programTHE PROGRAM (UK/France 2015)**
Directed by Stephen Frears

Starrting: Ben Foster, Chris O’Dowd, Guillaume Canet, Jesse Plemons, Lee Pace, Dustin Hoffman

Review by Gilbert Seah

Lance Armstrong is infamous the world over. The recent documentary on his disgrace THE ARMSTRONG LIE had informed the world of his demise, and now the fictionalized version is ready to do more of the same. Lance Armstrong (played by Ben Foster) is an American cyclist who won the Tour De France 7 years running. He entertained controversy of his taking performance enhancing drugs (particularly EPO in short). He denied it totally and the world believed him. But after his comeback after a 4-year break, a fellow team member, Floyd Landis (Jesse Plemons) confessed to his and Armstrong’s taking of EPO. The Tour De France stripped Armstrong of all 7 wins.

THE PROGRAM is understandably a French/British co-production as Armstrong obviously not only disgraced himself but the county he represented. THE ARMSTRONG LIE was made and shelved when the disgrace hit the news 3 years later, but released after Armstrong appeared on Oprah.

THE PROGRAM of the title refers to the drug program enforced by the French Doctor, Michele Ferrari (Guillaume Canet), who was eventually banned from practice after word came out of his abuse. When Armstrong realized other cyclists may be using performance enhancing drugs, he begged the doctor to put him on the program at all costs.

It is surprising that Frears and the script by Jon Hodge sees so little time on the Irish reporter, David Walsh (Chris O’Dowd) who uncovered the truth of the story. The film based on Walsh’s book “Seven Deadly Sins’ spends minimum time, showing the reporter’s work and quiet after Armstrong put him to shame. But when he was eventually proven correct, his triumph is just dismissed with the fact that the Sunday Times got their money they initially paid as damages to Armstrong back. Dustin Hoffman, credited in the film also has a one-line scene.

Armstrong is an extremely dislikable man. He shows no humility, is proud and obsessive and full of himself. A film that centres on a lead character with such a personality is obviously going to run into problems. Audiences disliking the lead will most likely dislike the film as a result. Director Frears who has in his carer made some excellent films (PHILOMENA, THE QUEEN) seems at a loss with the character of Armstrong. In his previous films that dealt with unsavoury characters like the pregnant teenage daughter in THE SNAPPER and homosexuality in MY BEAUTIFUL LAUNDRETTE, Frears used humour and satire to make his movie work. But in THE PROGRAM, Frears uses none of these tactics. He tells the story of the ARMSTRONG LIE in a straight forward story-telling convention. Using standard formulaic biopics story-telling, he charts the rise to fame, and slow downfall of the cyclist, highlighting his winning moments to lift the spirit of the story.

There is absolutely no need to watch another version of a disgraced human human being. Armstrong describes himself as a champion. But in reality he is one who has disgraced the sport and a spineless worm with no conscience. The documentary THE ARMSTRONG LIE has already told the same story and extremely well by Alex Gibney (ENRON, TAXI TO THE DARK SIDE), with the real Armstrong as himself using actual footage of himself at the race without any re-enactments. At least Frears shows him, as the worst person that can be, still trying to convince the world of his ability.

The end credits predictably showing each of the featured characters in real life from Armstrong, to the doctor that enforced the drug program re-enforce the fact that Frears seem to be gnu through the motion with this one.

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Movie Reviews of the TOP OSCAR Nominated Films

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Read movie reviews of the top films of 2015, that also happen to have received Oscar Nominations. 

Movie Review: CAROL (USA 2015) Top 10 *****

https://festivalreviews.org/2015/12/27/movie-review-carol-usa-2015-top-10/

Movie Review: ANOMALISA (USA 2015) ***** TOP 10

https://festivalreviews.org/2015/12/27/movie-review-anomalisa-usa-2015/

Movie Review: SON OF SAUL (2015, Hungary)

https://festivalreviews.org/2015/12/20/movie-review-son-of-saul-2015-hungary/

Movie Review: CREED (2015)

https://festivalreviews.org/2015/12/19/movie-review-creed-2015/

Movie Review: JOY (2015)

https://festivalreviews.org/2015/12/15/movie-review-joy-2015/

Movie Review: THE REVENANT (2015) ***** TOP 10

https://festivalreviews.org/2015/12/22/movie-review-the-revenant-2015/

Movie Review: THE BIG SHORT (US 2015) *****

https://festivalreviews.org/2015/12/25/movie-review-the-big-short-us-2015/

Movie Review: GODS OF EGYPT (USA 2016) **

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gods_of_egypt_poster.jpgGODS OF EGYPT (USA 2016) **
Directed by Alex Proyas

Starring: Gerard Butler, Nikolaj Coster-Waldau, Geoffrey Rush, Brenton Thwaites, Courtney Eaton, Chadwick Boseman, Elodie Yung

Review by Gilbert Seah

The Lionsgate blockbuster GODS OF EGPYT has been plagued by many problems the most notable of it being a totally white cast for its lead characters. But this is the least of the film’s troubles. Made by Lionsgate, the HUNGER GAMES company that desperately needs a big hit after their stock plummeted 30% in one day after the earnings announcement, this $140 million production is only expected to gross, by industry estimates only $15 million on its opening weekend. To Lionsgate credit, it claims that it only footed $10 million of the budget, the rest covered by pre-sales and tax credits. The Australian Government apparently paid half the production costs.

The director Alex Proyas (I, ROBOT, THE CROW) claims that the world of Gods of Egypt never really existed. It is inspired by Egyptian mythology, and therefore it would make no sense to attempt any historical accuracy because that would be pointless — none of the events in the movie ever really happened. So, it does not really matter that the film was never shot in Egypt but down-under.

The story of Gods and man is set in Egypt. At the film’s start, the audience is given the heads-up by voice-over of the film’s setting. Apparently God and man are co-existing side-by-side. The film distinguishes one from the other by the size. Gods are figures that appear much taller (or larger) than humans. The film opens with a common human thief, Bek (Brenton Thwaites) stealing an amulet to offer it as a gift to his everlasting love. They attend the coronation of the crowning of the new King, Horus (Nikolaj Coster-Waldau), whose throne is stolen by Uncle Set (Gerard Butler with all the growling he can muster!) After that, it is the quest of reclaiming the throne.

Since when do Gods die or fight for a throne? And where does the idea of so many Gods living together ever come from? The main premise is as ridiculous as it looks and it does look even sillier in a big budgeted film. One best example is the scene of the coronation with the screen filled with thousands of spectators as far the the screen can hold. How then can they hear what is going on on the stage when the microphone was not invented then. The scene reminds one of MONTY PYTHON’S LFE OF BRIAN where the Monty Python group complain about being unable to hear what Jesus was preaching during the sermon on the Mount.

The film running more than 2 hours is CGI gone mad. The special effects, 3D and CGI are costly and look good on the screen. But the script meanders more than the Nile giving the impression that the writers are making things up as they go along. For a multi-million dollar epic, the one-liners could at least being funnier. “Run…”, “Run Faster”… are the best the film has to offer. The climatic fight is good enough, performed at the top of a pyramid, but the entire adventure turns out to be a totally boring affair.

Never has so much money been devoted to the realm of boredom.

 

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Movie Review: EDDIE THE EAGLE (UK/USA/Germany 2016) ***

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eddie_the_eagle_poster.jpgEDDIE THE EAGLE (UK/USA/Germany 2016) ***
Directed by Dexter Fletcher

Starring: Taron Egerton, Hugh Jackman, Tom Costello Jr.

Review by Gilbert Seah

EDDIE THE EAGLE is the typical type of British export crowd pleaser that have charmed North American audiences. Similar films like KINKY BOOTS, THE FULL MONTY, BEND IN LIKE BECKHAM, BRASSED OFF and THE BEST EXOTIC MARIGOLD HOTEL have all done well at the box-office. So, why not a film about the feel-good story of Michael (Eddie) Edwards (played by Taron Egerton) appropriately called EDDIE THE EAGLE?

Eddie is a tenacious British ski jumper who believes he is good enough to enter the Olympics. He has never stopped believing in himself, much to the consternation of his dad, a plasterer who wants his son to follow his own footsteps. Even the British Olympic Selection Committee wants him out. With the help of a rebellious and charismatic coach (played with equal tenacity by Hugh Jackman), Eddie takes on the establishment and wins the hearts of sports fans around the world by making an improbable and historic showing at the 1988 Calgary Winter Olympics. Based on true events – as the titles at the films start tells the audience.

Top marks for effort go to Hugh Jackman who plays disgraced skier Bronson Peary who eventually becomes Eddie’s coach. It must be tough for this talent to go through all the ropes. It is tough enough to pretend to play someone who cares, but to evoke all the fake emotions, do the silly dance training steps and act and cry as if it all matters, Jackman does the job. (He must have been paid a lot.) As for Egerton who plays the lead role, he looks and acts too much like Bubbles of the Trailer Park Boys. But to be fair, the real Edwards, shown at the end credits does look like Bubbles. The film contains a few neat cameos from the likes of Christopher Walken and Jim Broadbent.

To the film’s credit, the film set in the 80’s with the Calgary Olympic 1988 setting does have an authentic 80’s atmosphere aided by the film’s 80’s songs soundtrack. The choice of Van Halen’s song “Jump’ used is a bit too obvious.

Director Fletcher (whose credit in film lies in the acting department from various minor roles in films and television) has created a film that is 100% formulaic is 0% originality. Whether the film succeeds depends entirely of which school of audience one comes from. The general public would have no problem cheering whenever Eddie makes a jump or laughing whenever he falls as observed in the promo screening attended. The other school would only grimace and wish the real ‘Eddie’ with all the human faults be revealed in a feel-bad story.

For the general public, this is the kind for feel good movie many would have no problem paying good money for. Fletcher pushes all the right buttons – in fact too many right buttons so that nothing out of the ordinary can be expected. For this group of people, the movie would be rated 4 stars. For the other film cynical critics, filmmakers and art-house cineastes, this 1-star movie is a complete bore and a waste of time.

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Movie Review: EMBRACE OF THE SERPENT (Colombia/Venezuela/Argentina 2015) ***

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embrace_of_the_serpent.jpgBest Foreign Language Film of the Year

EMBRACE OF THE SERPENT (Colombia/Venezuela/Argentina 2015) ***
(EL ABRAZO DE LA SERPIENTE)
Directed by Ciro Guerra

Review by Gilbert Seah

Touted as the first Colombian film to be nominated for the best Foreign Film Oscar, EMBRACE OF THE SERPENT might just be the sleeper hit if voters for MUSTANG and SON OF SAUL cancel each other out.

The Colombian film plays like an a weird combination of art-house primitive feature. The film is set in the early 1900s, centring on a young shaman, Karamakate (Nilbio Torres) in the Colombian Amazon. He is reluctantly hired to help a sick German explorer, Theo (Jan Bijvoet) and his local guide (Miguel Dionisio Ramos) search for a rare healing plant. Flash forward a decade or so later when the same shaman (each played by a different actor, Antonio Bolivar) takes an American to search for the same plant.

Unfortunately, the film’s uncomfortable intercutting between the two twin stories makes little sense and spoils the momentum built in each segment before a switch. It would be better to tell the two tales in two parts one after another. Both stories are equally interesting.
The villain of the film and hero appears to be the white man. But director Guerra also shows the pompous native shaman as one that could learn a lesson or two. In short, the native and white man could do best to learn from each other, one of the messages hidden in the story. But the priest that beats up the native children for nonsensical sins is quite the shock to take in. Religion and colonization is treated as totally evil in Guerra’s film.

The film is shot in black and white, which enhances the images. The scenes of the boat gliding down the rivers of the Amazon are breath-taking.

But the slow pace of Guerra’s film and lack of narrative might be hard to take for some, despite the rare see images of the Colombian jungle.

It is revealed in the end credits that it is from the diaries of the two German and American explorers that the world got to learn about these Amazon tribes. And Guerra’s heartfelt film (must be his labour of love) will extend the knowledge to the world as well.

 

 

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Movie Review: THE MERMAID (Hong Kong 2016) ****

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the_mermaid.jpgTHE MERMAID (Hong Kong 2016) ****
Directed by Stephen Chow

Review by Gilbert Seah

Starring: Yun Lin, Chao Deng, Yun-Lin Jhuang

Thanks to Sony Pictures, THE MERMAID gets a distribution release in Canada and the United States. I just previewed the film on the second day of opening on a Saturday evening in a full-house of Cantonese speaking Asians. It was quite the experience.

THE MERMAID is produced, co-written and directed by Stephen Chow whose KUNG FU HUSTLE was widely released. To those unfamiliar with his works, his films are pure silliness. Lots of action, slapstick, fast dialogue with CGI added to this 3D comedic hilarity. The film has already broken records after opening Chinese New Year in Asia. See paragraph below (figures from and courtesy of Sony Publicity) before the review.

“MĚI RÉN YÚ (direct translation: Pretty Human Fish i.e. Mermaid)” opened in China on Chinese Lunar New Year’s Day (February 8) and shattered box office records. On opening day in China, it opened in the #1 spot, grossing a whopping $66 million. In Hong Kong, the film also opened to #1 on opening day with $709,000. To date, the film has grossed over $348 million in China. In Singapore, the film was the highest grossing Sony release for a Chinese film with $838,000, while in Malaysia it was the highest grossing opening day of all time for a Chinese-language film at $528,000. In Malaysia, it was also the highest grossing film opening on New Years and also the highest opening day gross for director Stephen Chow.

THE MERMAID tells the tale of a mermaid (Jelly Lin) who falls for the evil business tycoon (Deng Choa) she’s been sent to seduce and assassinate.

The CGI in THE MERMAID is used for the most ridiculous purposes. The flapping of the mermaid’s tail, the movements of the octopus’ tentacles, the shoals of fish in the sea, the air-borne back-strapped contraption are some examples. But, they do to Chow’s credit generate the most laughs.

Anything can happen in a Stephen Chow film and the man will do anything to get a laugh out of his audience. Take for example the important scene in which an old sage (in the form of a mermaid) tells the legendary tale of how humans and fish used to co-exist. All the mermaids and other fish are listening. Before she ends her story, she falls asleep snoring. Another is the octopus cook acting as if nothing is happening while his tentacles are being cooked up in the open kitchen.

The film contains, as in all comedies, hits and misses. The hit/miss ratio, thankfully is high, with the laughs coming fast and furious. There will be classic segments that might go down in Hong Kong comedy history like the chicken cooking/exercise segment in the Hui Brothers’ THE PRIVATE EYES. One of these is the segment where Deng Chao goes to the police station to report being kidnapped by the mermaid. (See trailer below or part of this segment.)

If you can throw logic and sanity out the window, THE MERMAID will turn out to be a big treat. THE MERMAID is as silly (and hilarious) as can be. The millions of asian moviegoers cannot be wrong.

 

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Movie Review: TRIPLE 9 (2016) ****

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triple_9.jpgTRIPLE 9 (USA/UK 2015) ****
Directed by John Hillocoat

Starring: Casey Affleck, Chiwetel Ejiofor, Anthony Mackie, Gal Godot, Kate Winset, Aaron Paul, Teresa Palmer, Michael Kenneth Williams

Review by Gilbert Seah

No stranger to violent films, director John Hillcoat’s (LAWLESS, THE ROAD and his best film THE PROPOSITION) latest entry into gangster genre proves himself apt at serious comic book sensibility. TRIPLE 9, the code for ‘officer down’, plays like a ‘real’ serious adult comic book version of DEADPOOL.

It takes a while for the film to settle on its bearings. The script by first time writer, Matt Cook is clever enough not to reveal all the plot points, but keeps the audience always one step behind what is happening. An example is the bank heist. Who are the robbers working for? What is their aim? One point is a bank officer removing a safety deposit box from the vault. As far as I now, it requires two keys, one from the officer and the other from the customer to open a box. It is a good tactic. For example, the audience is aware that one officer is going down, but never sure which one or for what reason. The characters are also individually distinct and eccentric all aided by superlative performances from a eclectic cast.

The key performance comes from Casey Effleck (brother of Ben) who has proven his acting mettle in previous films like THE TOWN. His character is the only uncorrupt one, and the key one that puts the whole story into prospective. The good must always prevail. The script contains a few too many close calls for his character. As for the ambiguous baddies, there are too many too count. Interesting enough, many do good for the wrong reasons. The true baddie appears to be the Russian moll, Irina played by Kate Winslet , complete with Russian accent and is barely recognizable in her makeup.. She is also doing bad for a good reason, to aid her crooked husband escape.

Hillcoat keeps the action and fury fast and furious and nonstop. Be prepared to be glued to your seats! The film alternates between highly charged action and drama sequences. For the action segments, the bank heist at the film’s start is hard to beat. The robbers show no mercy and show they mean business. They do not shout warnings. They fire and beat up the victims, and talk later. All this makes the heist even more gripping. Hillcoat also realizes that the devil is in the details. On the highway, a robber points his rifle at a car, only to have it rammed from behind and the robber moving backwards to avoid being hit. The camerawork is excellent, the best example being the one where the camera pulls back during a car chase showing where each in on the maze of highways in the city.

Hillcoat does not skimp on the violence as evident by showing a bag of bloodied teeth at another point in the film. The characters are always angry, screaming at each other but not without reason. Every character is desperate. Every character is ready to kill.

Stay for the end credits. The 1980’s song ‘Pigs” (called so for obvious reasons) by Cypress Hill is inventive, catchy, hilarious and totally appropriate. The song can also be played on YouTube.

Movie Review: RACE (2016) Directed by Stephen Hopkins

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raceRACE (Germany/France/Canada 2016) ***
Directed by Stephen Hopkins

Stars: Stephan James, Jason Sudeikis, Eli Goree, Jeremy Irons, William Hurt

Review by Gilbert Seah

The word RACE of the film title could mean the running competition or a people of the world. Stephen Hopkin’s biographical sports drama tells both the story of African American athlete Jesse Owens (Stephan James) running in the Berlin Olympic games in 1936 and the controversy ensuing with the then upcoming Hitler regime. Owens went on to win 4 gold medals. Hopkins is no stranger to biography, having directed THE LIFE AND DEATH OF PETER SELLERS.

The script, written by Joe Shrapnel and Anna Waterhouse, covers many stories. The first and foremost is the story of the athlete Owens and his white coach Larry Snyder. The other is the romance between Owens and his girl, Peggy (Amanda Crew), who he has already had a daughter with, when going to the games. A political subplot involving the boycotting of the Games by the U.S. due to Germany’s racial policy of exclusion of blacks and Jews makes good interest into an otherwise too often told tale of underdog achieving the top prize. This story pits Avery Brundage (Jeremy Irons) against host of adversaries. Despite the many stories, director Hopkins always has the main story in focus, the winning of the games, while keeping the other side stories in perspective. The overall feel is a solid narrative.

Newcomer Stephan James inhabits the role of the star athlete very comfortably. He looks young as well as buff enough to pass off as an Olympic medallist. He is convincing without having to overact his role. But it is the supporting cast that deliver the prized performances. Carice van Houten steals the show as German filmmaker Leni Riefenstahl, commissioned by the Hitler to film the games. She runs head to head with the Interior Minister, Dr. Joseph Goebbels (played with sinister relish by Barnaby Metschurat). One could watch both van Houten and Metschurat, two German acorn forever.

The period piece was sot in both Berlin where the Games took place as well as Montreal to stand in for spots of Berlin. The atmosphere of 30’s Europe is satisfactorily convincing, but not over-stunning. The shot of the Games are excitingly executed with camera intercutting among the faces of the athletes, the looks on the faces of the coaches and of course, the spectators.

It is odd that this piece of anti-racism is a co-production between Germany and Canada. One would have expected the film, supported by the by the Owens family, the Jesse Owens Foundation, the Jesse Owens Trust and the Luminary Group to have some American financial backing.

Hopkins plays his film safe without trodding into too deep waters. The racial controversy is tackled with tact and quickly covered for. The result is a rather mild anti-racist film, that is more suited for the family than one to invoke controversy.

The film ends with the pictures of the real characters against the actors that played them. Again, formulaic safe filmmaking, like a history lesson that disturbs no one and stirs no still waters!

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Movie Review: THE CLUB (EL CLUB) (Chile) ***1/2

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the_club.jpgEL CLUB (Chile 2015) ***1/2
Directed by Pablo Larrain

Review by Gilbert Seah

Pablo Larrain’s (NO, TONY MANERO) latest film is a very different drama that is as absorbing as it is deadly slow-moving. The title of THE CLUB (EL CLUB) refers to an open prison for disgraced priests. The 4 priests and nun confined there in the seaside town of La Boca in Chile by the church are about to have their idyllic sojourn shaken to the ground.
EL CLUB is a very complex film, in a way similar to last year’s CALVARY starring Brendan Gleeson, a black comedy about a priest taking on the sins of a murderer. Both films coincidentally take place in a seaside setting.

The film begins innocently with a greyhound race that takes place in La Boca. The grey greyhound wins the race. It is slowly revealed that the animal is trained by a father who resides in the roomed building. There are three other priests who all place bets. It turns out that Father Vidal (Alfredo Castro), Father Ortega (Alejandro Goic), former army chaplain Father Silva (Jaime Vadell), and senile Father Ramirez (Alejandro Sieveking), disgraced priests are all dutifully tended to by a similarly “retired” nun, Sister Monica (Antonia Zegers), who is apparently not that innocent. She is called a bitch by one of the fathers later on in the film.

Trouble brews when another disgraced priest, Father Lazcano (Jose Soza) is delivered to the house. He shoots himself after a young local fisherman, Sandokan (Roberto Farias), recognizes him. Sandokan, kind of a crazed bum, remembers the abuses he suffered as an altar boy at Lazcano’s hands and starts screaming the abuses outside the doorstep. Then the church dispatches Father Garcia (Marcelo Alonso), a crisis counsellor, to settle things. The priests come to believe, that Father Garcia’s intention is to close the house down.

The story turns into a horrid tale of survival. It is each man for himself, even for Sandokan and Father Garcia who is disliked and looked upon with suspicion by all.

Director Larrain is a great story teller always keeping the audience in anticipation with always a twist in the story around very corner. His camera work is meticulous, capturing the tranquility and imprisonment of the subjects despite the beautiful seaside setting. Violence is kept at a minimum, and mostly left to the imagination. He also keeps each priest as interesting as the other – each having their own individuality despite being there for the identical purpose.
One of the greatest pleasures of the film is the director’s use of Arvo Part’s music. I first heard the Estonian composer’s music, ‘Spiegel I’m Speigel’ when I first saw Gus Van Sant’s 2002 film, GERRY years back. Part known for his classical and religious music, he delivers a beautiful score that adds to both the serenity and eeriness of the film’s proceedings.

Whether the film ending is a happy one is arguable – best left to the audience to decide. But EL CLUB is a story that concerns many key issues – identity, beliefs, redemption, fulfilment but mostly forgiveness and how one can live with oneself after any terrible deed.

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Movie Review: WHERE TO INVADE NEXT. (USA 2015) ***

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where_to_invade_nextWHERE TO INVADE NEXT. (USA 2015) ***
Directed by Michael Moore

Review by Gilbert Seah

When the title of Michael Moore’s new movie WHERE TO INVADE NEXT. was announced at the Toronto International Film Festival, it was followed by an auditorium of laughter. What would s***-disturber Michael Moore come up next to enrage his new film subject(s)? His then new film was totally hush-hush till it premeired at TIFF. Surprisingly, WHERE TO INVADE NEXT. offends no one. It is a crowd-pleaser with Moore even praising the United States, though only at the film’s very end. Moore must be getting soft in his old age.

The premise is a neat one. Moore travels to different countries, steals the ideas that work and returns with them to the United States. Moore plants the American flag wherever he travels in victory after stealing the ideas, though many countries would gladly have the U.S. adopt them. Italy is first visited first. Th idea of paid vacations, extended holidays and happy workers is the norm of the Italians. In France, it is the wonders of a different public school cafeteria food that makes the difference in healthy kids. Other countries visited include Germany, Portugal, Norway, Iceland and the highly surprising Slovenia and finally Tunisia. It is a fun trip. But the film runs long at close to 2 hours and like any vacation, no matter how entertaining, can grow a bit tiresome.

But what Moore clearly misses out on are the reasons the United States can never follow the ‘stolen’ policies of Moore’s invaded countries. One cannot just take one working concept from one country and implement it into another. Culture, upbringing of the people all come into play. Americans are known to be taught to be individualistic, and one against all, quite unlike for example the asians where, respect for oneself comes last.

Unlike Moore’s other films like ROGER AND ME and BOWLING FOR COLUMBINE in which the subjects were very focussed like GM’s auto factory and gun availablity, this film is scattered and is all over the place like the countries he hops to, one after another. Why did Moore pick most of the countries in Europe, one from Africa and none from Asia? There is also no reason for the order of his countries in terms of the importance of policies.

But Moore captures the film’s idea in one brilliant segment in which he asks a Tunisian woman to give a two-minute advice to the American people. “If you have to minutes of advice to give to the American people, what would it be?” And what she says hits the nail right on the head. This is the common theme tying in all of the film’s ideas of what makes a country work. The film contains many other moving moments like the one in which a Norwegian father of a dead son (the 2011 Norway summer camp massacre) confesses that getting revenge on his son’s killer solves nothing.

Moore’s film is nicely concluded, like a textbook with an ending to please the U.S. Moore says all the success stories from the countries have all originated from ideas in the United States. All the Americans need to do is to follow. But easier said than done. In this way, Moore tries the other way, (compared to using anger as, in his other films) i.e using niceness to get his point across.

The result is a crowd-pleasing, very entertaining film that somehow will have the same difficulty of getting Moore’s point or points implemented. The question is whether audiences like the nastier old Moore or the nicer new Moore.

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