This review is for anybody out there who is a poor sucker, like me. If you are a poor sucker you might foolishly assume that this documentary about LORD OF THE RINGS fans is called RINGERS because it is like the movie TREKKIES. A horrifying look into the abyss. You stare at that fucker and it stares right back at you, or whatever. A freak show. A good time at the movies. A cultural document that gives you the fuckin creeps even thinking about it years later.
But you remember how TREKKIES seemed like it was trying to be respectful and non-exploitative of the fans, but the people they found were just so fuckin over the top that it didn’t work? You know, like halfway through the interview with the guy dressed as a woman that he says is the never shown on screen wife of a minor astrounaut character for one episode, they figured “Ah, fuck it, we can’t make a respectful documentary about these lunatics. Let the freak show begin.” Well this is not like that. This is more like a rejected VH-1 special. (read the rest of this shit…)

This is a documentary about the legendary cinematographer Haskell Wexler, only it’s directed by his son Mark, so instead of being about Wexler’s career and genius, it’s more about daddy doesn’t love me enough. The son rebelling against the father and then trying to make up before he kicks it (he’s in his ’80s).
Well I should get this out of the way upfront, there is no actual dynamite in this movie, or explosions of any literal kind. What this is is another wrestling documentary. It is not nearly as good as
This is a documentary about something I never heard of before, one of the first pay cable channels, one for movie buffs. This was in Los Angeles of course and started in the ’70s, before home video. The movie focuses on the obsession and tragic life of Jerry Harvey, who was the programmer for most of the time the channel existed.
(or DUFFY: A PRICK AND HIS DREAM)
This is not my favorite type of documentary, but it is an acceptable type. This is the type where the filmatism is not impressive at all, but it gets by completely on the fact that the subject itself is interesting. This is a movie about two sarcastic imposters who infiltrate the corporate world in order to make a point. They are activists, but not the frustrating kind who just make signs with awkward signs and chant “this is what democracy looks like” even if they’re being beaten by police for their political views (which I thought was NOT what democracy looks like, but I didn’t have a good way to chant that). These are the kind who are much more clever and ballsy.
Remember John Landis? John fucking Landis? The guy who directed THE BLUES BROTHERS and AN AMERICAN WEREWOLF IN LONDON back to back? I was never much of an ANIMAL HOUSE man myself and I know most of the rest was a mixed bag but MAN, those two movies– that’s enough to call the guy a genius I think. At least, a former genius.
I’m sure alot of you out there have that Criterion edition of FEAR AND LOATHING IN LAS VEGAS. Yeah, me too. So you may remember a special feature on there showing Hunter S. Thompson filming his cameo for the movie, and that footage was actually an excerpt from this movie, BREAKFAST WITH HUNTER. The same movie I am now reviewing as we speak.
You might find this shocking. But I like Michael Moore. Fuck it man, I love Michael Moore. Not that I ever met the dude but I love his pictures and his TV shows. I think he is a great satirist who finds goofy ways to illustrate his points and make them sink in better (like the time on The Awful Truth when he hired an actual pimp to turn out the bitches and hoes of congress, or the time he handed out fluorescent orange wallets to black New Yorkers so they wouldn’t get shot by cops like Amadou Diallo did).
Did you ever see that skateboarding documentary DOGTOWN AND THE Z-BOYS? Well STOKED is like the depressing, fucked up David Fincher part 3 to that where all the main characters from part 2 (except the cat) get killed offscreen in the opening credits and Z-Boy shaves his head and gets infected and jumps into a pit of molten metal at the end and burns himself up. Except kind of worse. And metaphorical.

















