Following up on The Toys That Made Us (previously reviewed here at borg), Netflix’s surprise hit documentary series leaning on viewers’ nostalgia with a look behind toys of the past, in 2019 the streaming service added a new series based on the same formula, The Movies That Made Us. The series took a new look at four movies in four hour-long episodes in its first season, including Die Hard, Ghostbusters,Home Alone, and Dirty Dancing, followed by two holiday episodes featuring Elf and A Nightmare Before Christmas. The Movies That Made Us isn’t really about the movies and their impact so much as what strange stories lie behind how the movies were created, from idea to release, including production foibles and hurdles. The show is trying to appeal to a broad spectrum of viewers, and it’s done it again with four new installments for its second season, featuring Back to the Future, Pretty Woman, Jurassic Park, and Forrest Gump. And new episodes are on their way featuring Aliens, Coming to America, and RoboCop, and October staples A Nightmare on Elm Street, Friday the 13th,and Halloween.
Most true crime TV tends toward the lurid, the sensational, the gory, the depraved. So Netflix’s new documentary series, This is a Robbery, comes as a breath of fresh air to the genre. Their cold case? A 1991 unsolved art heist at Boston’s Isabella Stewart Gardner Museum.
You may be familiar with the case—the night after St. Patrick’s Day, men wearing police uniforms hustled their way into one of Boston’s most beautiful museums and hustled their way out again 81 minutes later with thirteen irreplaceable (and uninsured) works of art, including Rembrandt’s only seascape, also a Vermeer, a Manet, five Degat works, and two other Rembrandts, worth a total estimated value of $500,000,000. Yes, five hundred million. The Gardner Museum made the gutsy decision to continue displaying the emptied frames in the gallery, where they still hang, 30 years later.
If you’ve been watching Michael Apted’s ground-breaking Up Series from its first installments, you know each new chapter in the real-life time travel journey makes the viewer feel like he or she has also reached some kind of achievement with the arrival of the new episode. But the series of documentaries is not for the faint-hearted, filled with gut-wrenching views into participants’ lives, participants who feel like family after watching them over 56 years since their first appearance. So compelling and personal is Apted’s look at this select group of fourteen English boys and girls turned men and women, revisiting them every seven years of their lives since 1964, the documentary series is practically an interactive experience. With Apted passing away since the UK premiere last year, and the U.S. arrival of the latest installment–the eagerly awaited 63 Up arriving on BritBox via Amazon Prime this weekend–the question is whether this ninth installment is the last. Key members of the crew since 28 Up have expressed an interest in continuing the series in 2027, but until then expect this to be a bittersweet end for the series, which Roger Ebert called the noblest project in cinema history and among the ten best films ever made.
At last Apted addresses the thesis of the show to each participant, “Give me a child until he is seven and I will give you the man,” and asks whether they agree after decades participating in this unique social experiment. Apted was a researcher when working on director Paul Almond’s Seven Up! in 1964. Seven years later the well-known director of Gorillas in the Mist, The World is Not Enough, Coal Miner’s Daughter and Gorky Park, was just out of university, and at 22 he revisited the original Seven Up! project. He would go on to direct the subsequent eight episodes over 56 years. The idea was to get a glimpse of England in the future year 2000 when these kids, the future leaders of England, were only seven years old. It is difficult to surpass the jolts and surprises of 42 Up, but 63 Up holds its own, although sadly viewers will say goodbye to one participant who has died, another is seriously ill, and another decided not to participate.
Following up on The Toys That Made Us (previously reviewed here at borg), Netflix’s surprise hit documentary series leaning on viewers’ nostalgia with a look behind select high-profile toy lines of the past, last December the streaming provider added a new series based on the same formula, The Movies That Made Us. The series looked at four movies in four hour-long episodes, including the modern Christmas staples, Home Alone and Die Hard. This December, Netflix is adding two new surveys of holiday movies to the mix: Jon Favreau’s Elf (2003) and Tim Burton’s A Nightmare Before Christmas (1993). Check out a preview below.
From Hong Kong to the U.S. and Australia to Uganda, Australian director Serge Ou and writer Grady Hendrix track the scope of the Hong Kong kung fu movie industry and its pop culture influence on the world in the documentary Iron Fists and Kung Fu Kicks, now streaming this month on Netflix. Splicing interviews with kung fu legends of the past with new discussions with martial artists and actors influenced by them, Ou offers up a surprisingly rich look at how and why kung fu movies gained an international following that continues to this day via Jackie Chan comedies, the Matrix movies (with a sequel due in theaters next year), and new television series like Wu Assassins and Iron Fist.
Beneath what is in essence an overview of the genre is a smart mixture of social and cultural commentary on a global phenomenon centered on an artform mixing athleticism, dance, and grace. Kung fu made its way to American audiences with Tom Laughlin in Billy Jack, and into millions of homes via the Kung Fu series. This was paralleled by Bruce Lee movies and lesser films (they call them Bruce-sploitation) from China and U.S. studios, direct-to-video crotch-kicking and “squirrel-grabbing” action on VHS tapes in video stores, heroines leading the way as a sub-genre, eventually moving to black and inner city audiences embracing the culture, starting with martial artist and actor Jim Kelly (who co-starred with Bruce Lee in Enter the Dragon), re-emerging later as an influence on hip hop music. The genre got even bigger boosts with Jackie Chan heavy-stunt comedies, followed by The Matrix and the Academy Awards arrival of the genre with Crouching Tiger, Hidden Dragon. Chinese co-productions with other nations, and actors of Chinese background in the mainstream outside of Asia would eventually come along.
Viewers meet (or revisit) early kung fu icons Cheng Pei-Pei and Sammo Hung in new interviews, along with Billy Banks, who would turn the genre into his own fortune via the creation of the Tae Bo workout, early American female kung fu star Cynthia Rothrock, martial artist Richard Norton, plus from the 21st century shows, Iron Fist actor Jessica Henwick, Wu Assassins actor JuJu Chan, Doctor Strange actor Scott Adkins, and Marvel stuntwoman and choreographer Amy Johnston, among others. It’s all interspersed with great action sequences and other clips from more than 100 films. A theme underscoring much of kung fu movie history is a distinct lack of safety standards, with more than one participant in the documentary stressing that Hong Kong kung fu movies couldn’t be made anywhere else for that reason.
Following up on The Toys That Made Us (previously reviewed here at borg), Netflix’s surprise hit documentary series leaning on viewers’ nostalgia with a look behind select high-profile toy lines of the past, this weekend the streaming provider added a new series based on the same formula. The Movies That Made Us takes a four episode-per-season look at what someone somewhere thinks are important movies in the national consciousness. The series arrives nicely timed, since season three of The Toys That Made Us already is showing signs the studio has run out of ideas.
Like The Toys That Made Us, the new series isn’t really about the subject of the series, instead taking viewers on a deep, dark dive into the business world of pop culture. Like the first series, The Movies That Made Us has some fascinating gold nuggets. It also has its problems. The biggest issue being the odd introductory selection of movies, and the second, the glaring omission of key players viewers want to see interviewed for the stories. As for the first issue, understandably the show is trying to appeal to a broad spectrum of viewers. But it seems highly unlikely any single person, whether a movie buff or casual moviegoer, would put the following four movies on their list of must-see films: Dirty Dancing, Home Alone, Ghostbusters, and Die Hard. As for the second problem, part of the issue is the series is too late to the table. So many of the key players behind and in front of the camera in these films have died, like Ghostbusters writer/actor Harold Ramis, Dirty Dancing director Emile Ardolino and co-stars Patrick Swayze and Jerry Orbach, Home Alone writer John Hughes, and Die Hard actors Alan Rickman and Alexander Godunov and writer Roderick Thorp. But people die and that shouldn’t hold up a good story, except that so many players that could have been interviewed who are living also didn’t participate. A documentary about Dirty Dancing without star Jennifer Grey? Die Hard without Bruce Willis? Ghostbusters without Bill Murray, Sigourney Weaver, or Rick Moranis? And the clincher… they couldn’t get Macauley Culkin, Joe Pesci, or Catherine O’Hara to say anything about Home Alone?
It really gets to the point of audience expectation. Movie buffs will enjoy this series’ first season even if they didn’t care for the films, simply because it’s always going to be interesting for them to watch the wheeling and dealing of the studio machine told from the people who were there. In that regard, the episodes about Dirty Dancing and Home Alone were entertaining by virtue of their tales of odd ideas that managed to emerge like the phoenix from dead deals to become major box office successes through a lot of luck and happenstance (told nicely in the episodes). And the same was true for The Toys That Made Us, although after nine episodes an hour of the retired talking heads of Toyland has lost its luster. To that end, the series should be called something more accurate, like The Making of the Movies That Made Us, etc. But even that would set the expectation that you’d see more than talking heads interspersed with fuzzy snapshots from productions of the past.
From an educational standpoint and an historian’s eye, the Holocaust is the most important subject of study for anyone to understand why humans look to the past for answers. Every aspect of historical scholarship can be found in studies of the subject, understanding politics, religion, power, discrimination, survival, and the worst potential of mankind. A powerful new documentary takes a new look at the Holocaust through the eyes of a grandson and great-granddaughter of one artist, Moshe Rynecki (1881-1943), whose vivid, stunning expressionist and minimalist paintings document a broad look at life, tradition, and culture in Jewish Poland prior to World War II. Produced, directed, and written by his great-granddaughter Elizabeth Rynecki, Chasing Portraits illustrates the competing challenges in the debate over the repatriation of cultural artifacts, as it also pulls in issues of borders, the distance of time, and the critical importance of studying art history.
Once you get past the first minutes, which seem to be filmed on an old camcorder, this amateur documentary steps up into a compelling journey, thanks in part to a musical score that ties it all together, by Matthias Zimmerman. The German Nazis murdered Moshe Rynecki in a concentration camp in Warsaw in 1943. Many of his more than 800 paintings and some of his sculptures and carvings were smuggled out. Hundreds were taken out by his son and her wife, who escaped Warsaw with their young boy, the documentarian’s father. Other works fall into the categories of gifts, works purchased legally, and works that may have been stolen and resold. Elizabeth Rynecki first meets with her father in her documentary, whose house walls are lined with his grandfather’s paintings. She also points to a closet where several works are rather haphazardly stacked, no doubt viewed only by few people over the past 70 years. In one moment her father replaces a framed piece that falls to the side with a thunk. This becomes a key scene–although it’s not clear that the director realizes it–as she does not circle back to it later. It’s key because she begins a journey of discovery that takes her from the U.S. to Poland and Jerusalem, inside major museums and private collections, in part to reclaim what she believes are paintings that rightfully belong to her family today. By the end of the film she acknowledges that tens of millions of visitors have admired her great-grandfather’s works in the museums, and she interviews museum directors that have clearly given the paintings the care any curator would give to his/her collections.
The question for the viewer becomes one of moral rights and legal rights–the debate over repatriation of cultural and artistic works. And the crux of the debate over where these cultural works belong today–to descendants in private collections or on display in national museums as educational tools for a vastly wider audience. Eventually Ms. Rynecki files a claim for three works held by a private person in Jerusalem, whose method of acquiring the works is questioned. But ultimately she retracts the claim. Along the way she interviews her father, who says he clearly would prefer to forget his memories of Poland during the war. Yet he complies with his daughter’s requests to document his memories, until it becomes too much for him emotionally and physically. Clearly there is importance to the works, to his experience, and to sharing both with future generations, and Ms. Rynecki encounters numerous crises of conscience as she takes each step forward in her pursuit. How far should she go? How far is enough? Her time travel to the past explores these questions and much more.
Today marks the first day of a new streaming service, Ovid.tv, a film access platform combining the efforts of eight U.S. independent film distributors. The new service is one effort to fill the gap left behind by the demise of FilmStruck, a favorite of cinephiles that was closed down by AT&T after acquiring Time Warner. Initial film distributors providing content to Ovid.tv include First Run Features, Women Make Movies, Bullfrog Films, The dGenerate Films Collection, Distrib Films US, Grasshopper Film, Icarus Films, and KimStim, with more companies expected to add content to the service. The goal of the platform is to provide North American viewers access to thousands of titles not yet available on other streaming platforms. Initial content includes several of filmdom’s best documentaries, and on Day One more than 350 films are available for immediate streaming.
In a trial run of the platform, we immediately took in a screening of the award-winning film56 Up, which has been called the greatest use ever for the film medium. It’s simply one of the best dramas ever captured on-screen. We reviewed it seven years ago here at borg, and now is a perfect time to screen the film for the first time, or to watch it again, as director/producer Michael Apted has recently wrapped the next segment in the film series, 63 Up, expected to be released later this year. We also foundThe Penguin Counters streaming on Ovid.tv, a great film previously reviewed here at borg. Social issues, auteur filmmakers, and foreign and domestic art house features fill out the initial round of content, including the works of filmmakers like Chantal Akerman, Nikolaus Geyrhalter, Patricio Guzman, Heddy Honigmann, Chris Marker, Ross McElwee, Bill Morrison, Raoul Peck, Jean Rouch, Wang Bing, and Travis Wilkerson. Works of others are expected to be added in the coming months, from the likes of Bi Gan, Pedro Costa, Claire Denis, Bruno Dumont, Cheryl Dunye, Philippe Garrel, Nikita Mikhalkov, Eric Rohmer, Raul Ruiz, Dominga Sotomayor, and Jean-Marie Straub.
Notable fiction features available today include the independent production mystery I, Anna, starring Charlotte Rampling and Gabriel Byrne, the Japanese horror film Creepyby Kiyoshi Kurosawa, the award-winning The Widowed Witch by Cai Chengjie, and Shoehei Imamura’s 1967 film, A Man Vanishes.
The first ten minutes of the new CNN documentary film Three Identical Strangers is intriguing enough to merit a major motion picture adaptation. The film re-tells the story of an adopted teenager who steps into the life of someone else on his first day at community college, only to find that he had an unknown identical twin brother who attended the school the prior year. Director Tim Wardle‘s introduction and interview with Robert Shafran, now 57, and the best friend who in 1981 knew the newfound twin brother, Eddy Galland, and was shocked to meet Robert on campus, is the kind of exciting filmmaking that illustrates why there are fans of documentaries.
But that was only the first unlikely collision of events. Only days later when the story was published in New York newspapers, another teen, David Kellman, born on the same day, was reading the story, and his mother showed him the photographs of the twins that looked identical to him. Identical triplets, adopted out of the same agency, which had separated the triplets at birth instead of trying to place them into a single home.
The story was reported everywhere back in 1980, on shows like Donahue, and the triplets would go on to appear in a scene with Madonna in Desperately Seeking Susan in 1985. Only the collective forgetfulness of a country of the men’s 15 minutes of fame allowed the story to fade away over the decades. But there was more to the story, and Wardle would put together a contemporary writer’s research and remnants of the past, busting open a psychological study that breached any sensible person’s ethics. The triplets weren’t merely studied from afar, their families were specifically targeted for placement, and their parents conned into letting the researchers into their homes each year for subsequent testing. And yet there’s still more to the story, as Wardle interviews other relatives, an investigative reporter, and two former researchers involved in the study. It’s a creepy look into the kind of science carried on by Nazi Germany during World War II and banned by the medical profession since, all with an eye toward digging into the battle between nature vs nurture in determining who each individual is in life and what they become.
Back for another four episodes, the documentary-style series about toy lines and toy companies of the pastThe Toys That Made Us is now streaming on Netflix with its Season 2. As with the first four episodes reviewed here at borg.com in January, the series really isn’t a show for kids, but a behind-the-scenes account of the good and the bad of the history of the toy business. Because of the toy lines covered in this short Season 2–LEGO, Transformers, Hello Kitty, and Star Trek–expect a more international flavor to the show’s coverage than of Star Wars, G.I. Joe, Barbie, and Masters of the Universe. You can’t get around the fact that this is about business and business politics, with the added opportunity for those who just want to spot their very favorite toy of their youth to shout out during at least one of the episodes, “I had one of those!”
Back is the sugar-coated dialogue of the enthusiastic narrator Donald Ian Black. The series continues to be of value mostly for the gold nuggets nestled within its lighthearted framework. Excerpts of an interview with former Mego President Marty Abrams tops the list. Despite the high highs and the low lows of his days leading Mego, Abrams seems to have been in the middle of a great time for the toy biz, seen in the first of the new episodes, where he admits passing up the deal to secure the valuable Star Wars account, supposedly for being out-of-town at the time. The episode of Transformers is surprisingly emotional, including interviews with Optimus Prime himself, lo-o-o-ong-time animated film voice actor Peter Cullen (who was also the voice of Winnie the Pooh’s Eeyore), and the much revered Hideaki Yoke, the Japanese company Takara’s lead designer responsible for the brilliant puzzle-piece designs of the vast Transformers line of characters. As with Masters of the Universe, comic books were important to the development and success of Transformers, and viewers will learn Hello Kitty originated with comic book artists. The most unexpected storytelling may come from the Hello Kitty episode. Hello Kitty, a Japan-originated phenomenon turned international craze not tied to any book, TV series, or film, benefited from the coup of celebrities using the products publicly (without paying endorsement fees). The discussion of the Japan cultural concept of kawaii and its relationship to the development of the Hello Kitty brand, character, and mythos will come as a surprise to most.
For Star Trek fans the episode featuring the franchise’s toy pursuits might have a few surprises. Yes, that crazy Spock and Kirk helmet from the 1960s rears its ugly head again. It’s too bad the show feels the need to explain what each franchise is first (we probably wouldn’t be watching if we didn’t), because fans would probably instead rather hear more about subjects the show creators didn’t leave time for. We were looking for a discussion of the advance release of a line of Star Trek Generations action figures with costume styles that were changed before the film was released (a rare mishap), coverage of the very extensive (and once popular) line of attractive 12-inch scale action figures, the scope of the segment of Playmates company toys featuring characters from not only the series (discussed) but the movies through Star Trek: First Contact, and a little about the “why” of decisions behind toy releases, like why every NextGen line seemed to have two different Worf figures. From theLEGO segment viewers learn a comprehensive overview of the company, plus some interesting bits like the fact that the early color scheme was directly inspired by the artist Mondrian, and that the outer space series caused the modern line of toys to really take off. LEGO goes back some 80 years, and the history of the town that made it famous and impact of the brand is a great piece of history. As with the rest of the episodes business and marketing trends are a great focus, and the 1958 LEGO patent for the interlocking brick–and loss of the patent–is part of that.
