Author Archives: basiltsiokos

Coming to PBS’s American Masters and to DVD today, Friday, March 4: LORETTA LYNN: STILL A MOUNTAIN GIRL

Vikram Jayanti’s tribute to the Queen of Country Music makes its world premiere on the long-running public television series, which celebrates its 30th anniversary this season. The doc debuts in conjunction with the release of Lynn’s Full Circle, her first new studio album in more than a decade, which is shown being recorded here, in part.

Jayanti’s film is a warm appreciation of the Grammy Award-winning best-selling artist, whose life story was memorialized in the Oscar-winning COAL MINER’S DAUGHTER, based on Lynn’s 1976 autobiography, and which, of course, takes its name from her most recognizable song. That song is so popular that Jayanti just can’t resist including what feels like more than a dozen renditions here, not only by Lynn in archival and present day footage, but by family members, other country stars, and, in what’s absolutely overkill, members of a tour group that come through Lynn’s ranch during an interview. This over-indulgence isn’t limited to that song, unfortunately, as the doc also features one or two too many riffs on “You Ain’t Woman Enough (To Take My Man),” contributing to a feeling that the project is a bit padded. On the plus side, Lynn is a warm, genuine presence, allowing her to win over viewers who might not have any particular affection for her style of music; and the entertaining stories her family shares of her tumultuous 48-year relationship with husband Doolittle demonstrate just how he inspired her catalogue of vibrant songs about cheating and drinking.

New to DVD this week: POVERTY, INC

Michael Matheson Miller’s investigation of charity’s pitfalls premiered at Anthem, the Libertarian Film Festival, in 2014. The doc also screened at Austin, Docutah, Chagrin Doc, Savannah, Denver, and Leeds.

I previously wrote about the doc upon its theatrical release here.

Coming to DVD and VOD today, Tuesday, March 1: GORED

Ido Mizrahy’s portrait of a matador made its bow at Tribeca last year. It went on to screen at CPH:DOX, Mar del Plata, Hot Springs, Raindance, Marfa, Key West, and the Bahamas fests. The doc now comes to DVD and to VOD platforms including iTunes, Amazon, and Google Play, among others.

Mizrahy’s film follows Antonio Barrera, who holds the unfortunate record of being the most gored bullfighter ever, as he debates whether he should finally retire for the good of his family. His ignominious track record doesn’t have Spanish promoters rushing him with offers, though, so the conflict is simply that he wants to succeed against the odds. However, his (in)famous luck with the bulls wins him fans in Mexico, paving the way for a farewell performance in Spain where he can finally prove his mettle. Barrera makes for an unusual subject – he is earnest and likeable enough, but it’s hard to sympathize with, or even truly understand, his quixotic – and dangerous – endeavors. Mizrahy doesn’t seem to want to engender any sense of Schadenfreude either, so the audience is left shaking its head as to why the matador persists in a field in which he’s clearly not suited.

New to DVD this week: WHY I’M NOT ON FACEBOOK

Brant Pinvidic’s exploration of the popular social networking site had its world premiere at Woodstock in 2014. It also screened at smaller events like the SF Indie and Manhattan film fests.

Pinvidic addresses the titular scenario on the eve of his son’s thirteenth birthday, the age when the latter becomes eligible to open a Facebook account – which he definitely wants to have. Just why isn’t his dad on the site? Taking a personal approach a la Morgan Spurlock, the filmmaker joins Facebook under an assumed name, easily amasses “friends” he’s never met, and serves as the constantly on-screen guide through the pitfalls of the social media age. On a platform that pushes users to share everything – even if prospective employers or college admissions officers might happen to see it – privacy, and, at times, common sense, are things of the past. But anyone who has been awake within the last decade knows this already, and that’s the main problem with Pinvidic’s film: there’s nothing new here – not the sociological or pop psychological analysis, nor the silly, tired pranks he stages, such as trying to get Kathy Griffin’s attention with a giant sign or showing up to the home of a Facebook “friend” he’s never met. Why isn’t he on Facebook? Who cares?