Category Archives: Mockumentary

Analog This: Community, Pillow Fights, and Storytelling Algorithems

 The Changlourious Basterds.

Earlier this week, while reading a document for my English class, I realized something: studying theory can really suck, especially when words such as “interpellation” are used every other word. So I vow now, when discussing a comedic pop culture artifact* such as “Community,” I will do all I can to stay away from such language.

This seems necessary, especially when the story at hand is about how a pillow fight turns into war.
Last night’s episode of “Community,” entitled “Pillows and Blankets,” is a high note for a series that mainly consists of high notes. It did everything “Community” is known for doing right, and then some. Since its return from hiatus, “Community” has been on my mind lately. While maintaing the funny, the show has also delved into depths darker than any explored in its past. 
Troy and Abed, the inseparable best friends, get into a major fight once they are both faced with the prospect of becoming adults. The conflict escalated last week, as the two of them built separate blanket and pillow forts, and then declared war on one another. Such a silly subject strangely seemed so sad. That’s because they’re Troy and Abed, and they hosted the cheeriest fake talk show to ever exist.
But on to “Pillows and Blankets.” It is one of the series’s so called concept episodes. This episode, which was mainly based off of either either a History Channel special or a Ken Burns documentary, turned the pillow fight that broke out in last week’s episode (which was more a sendoff on “The Lord of the Rings”) into the Civil War. 
A few weeks ago, I discussed how I believed that “Community” was about the characters constantly trying to figure out their assigned roles. Even when out of typical sitcom form, every member of the study room seven acted exactly as they would have in a war. Public health major Annie took on a Clara Barton role, Jeff took on the role as mediator so he wouldn’t have to go to class, Britta acted as war journalist, and Pierce was doing everything he could to stay relevant. The episode, told partly in the slideshow form of the typical PBS documentary, doesn’t even have a single line of dialogue from Britta. However, she stole the show, with her terribly juxtaposed black and white photographs. When “Community” is imitating something, it is best at sticking to the form while throwing in very subtle jabs, such as the one that black and white does not necessarily make a photo good. Pierce’s pillow armor, which made him look like the Stay Puft Marshmallow Man, was also a nice touch.
“Pillows and Blankets” also displayed a few hilarious quotes throughout that could have been real, such as “feathers without birds” and “pajamas without children.” They include maps, with each part being named after a person (even “North” is named after a guy who’s last name is North), and a series of ever ridiculous arrows, obstacles, and retreats. No other network sitcom puts this much devotion into the little details. 
All of the perfection is thanks to wunderkind perfectionist Dan Harmon. Harmon, has been in the headlines a lot lately. Unfortunately, it is for all of the wrong reasons. But after the fallout of his argument with Chevy Chase, Harmon proved himself to be as humble and self-aware as the show he created with the apology he wrote on his blog earlier this week. But more importantly, an excellent profile written on Harmon in Wired reveals perhaps the most important piece of information about the show. Harmon has been pop culture obsessed for pretty much his entire life. With all of the “Die Hard” and “Doctor Who” he has watched, Harmon studied basic story structure, and broke it down into eight easy steps:
This is what Harmon uses as the backbone for every episode of “Community.” When looking over it, I find this structure to be incredibly accurate. The best part about it is how flexible it is. Every form of story, from movies, to television shows, to books, to songs, to documentaries, are all connected by this structure. That is why “Community” can have an episode spoofing Civil War documentaries, another spoofing “Hearts of Darkness,” and another spoofing “Goodfellas,” and have each one come out so perfectly. Dan Harmon, I believe, is one of the seminal storytellers of our time.
*That’s right, “Community” is an artifact.

Movie Review: Chronicle

Apparently, when you put together two genres together that didn’t need another entry (superhero; found footage), something good can happen. 

“Chronicle” is like taking a philosophy course, albeit an introductory one where you only go to half of the lectures. That doesn’t mean it isn’t intriguing, it just means that there could have been a little more substance to stick around for. 


Like many found footage movies, “Chronicle” begins with a camera reflected in the mirror, looking directly back at the audience. Misfit Andrew Detmer (Dane DeHaan) uses his camera to block out the outside world, just as the lock on his door blocks out his drunk and abusive father from continuing to make his life miserable. His only real friend is his cousin Matt (Alex Russell), who drives him to school every morning and rambles on about reading Schopenhauer. In between philosophical lectures, he tells Andrew to put his camera away, and to actually start interacting with people.

At a party one night, Andrew meets his female counterpart, a blogger (Ashley Hinshaw), who also films the events around her, but with a purpose. Every male blogger in the world just found their new MPDG. Matt and Steve (Michael B. Jordan, no relation to the other Michael Jordan) find a strange hole out in the woods with a glowing light coming out of it, and they bring Andrew along to film it. They get a bit too close to the light and next thing they know, Andrew has to buy a new camera.

The switch in quality of Andrew’s camera is also the movie’s shift in story. After no explanation of what happened immediately after finding the light (perhaps for the better), the three friends find that they have obtained telepathic powers. Like the other recent found footage movie, “Project X,” the most realistic part of the movie occurs in its early stages. Like anyone with newfound super powers, they test out their abilities. And while Andrew could try and save his dying mother, he instead blows girls skirts up and messes with bullies. Because what else would a high schooler want to do?

The so-called “testing” portion takes up a seemingly long, but actually very short, time in the movie. These scenes showcase some of the most impressive special effects I have seen in a movie in a quite a while. Watching the Seattle Space Needle be built of Legos, and then get torn down, is a stunning visual, and it offers some terrifying foreshadowing. Another scene in which Andrew tears a spider to bits, makes you wonder both how it was made, and what it means. It definitely portends to his psychotic side. Not looking too deep into it, it is a mind-altering sight.

Unlike most superhero movies, the heroes aren’t fighting for some cause, or against some villain. Rather, they are fighting against themselves. When one obtains powers, both a hero and a villain are created within them. If I am understanding Schopenhauer right, then it is our personal will which one we will actually become. Perhaps the battle over control of their powers is just representative of the problems of teen angst. We’ve all gone through it, but not in this way.

“Chronicle” goes deep, but perhaps not deep enough. At times, director Josh Trank gets a little too caught up in the movie’s unique special effects, and forgets to push the story forward. However, we are given a disarming yet frightening performance by DeHaan, who with just his eyes can control our emotions the same way Malcolm McDowell did with his glare in “A Clockwork Orange.”

At one point, Andrew describes himself as the apex predator: he is the top of the food chain, and therefore can do whatever needs to be done to survive. With great power comes great responsibility. This famous line from “Spider-Man” now makes absolute sense to me: when one obtains great power, they are responsible not just for what they do, but for whom they become. It is not just his slide into insanity that makes Andrew so disturbing, but rather the fact that he believes he is justified in his actions.

This is a very intense and absorbing moral dilemma. However, it leads to one of the film’s bigger problems: the complete disregard of all of the other moral dilemmas that could have come about. Andrew’s sick mother seems only to be in the plot as a means to anger his father more. But what would be the implications of Andrew both trying to kill his father, and save his mother? The world will never know. All we know is that he is a good son, and he tried. You’d think someone with telepathy would try a little bit harder.

The final battle is one to be remembered. The battle between cousins Andrew and Matt is very powerful, but would have been more so had the story delved into Matt further. Certainly, he is more complex than to serve simply as the good guy of “Chronicle.” In moral dilemmas, good guys shouldn’t be so easy to define.

Without giving too much away (because, I do hope readers go see this movie), “Chronicle” ends in an underwhelming way that is something of an injustice to the rest of the movie. While Matt seems to be doing a good thing in where he has gone to, a more ambiguous ending would have made a lot more sense here. Watching him fly off into the sunset, like a cowboy who can levitate, would have hammered the whole point across. The new powers the three friends obtain were supposed to make them more popular. In the end, great power is more alienating than no power at all.

Josh Trank’s First Feature:

Movie Review: Project X

There is a code of objectivity that all journalists are supposed to abide by. As a self-proclaimed film journalist who tries to live by these rules, there are times when my objectiveness goes right out the door. With something like “Project X,” there is no other way to approach it.

“Project X” contains pretty much everything I usually hate in a movie: its sexist, stupid, overlong, and incredibly unrealistic. I did not hate it, and I did not love it either. However, I enjoyed just about every single minute of it.

“Project X” falls into the subgenre of the mockumentary genre, under the kingdom of comedy and or drama, known as the found footage footage movie. I just wrote that last sentence because it made me sound like a scientist. Anyway, it is less hilarious than “This is Spinal Tap” but more developed than “The Blair Witch Project.” Three best friends in high school, all incredibly unpopular, decide to throw the party of the century in order to get noticed. They hire someone (Dax Flame) to film the whole experience for them. He turns out to be a pretty bad fly on the wall, and the party becomes both a success and a disaster.


Thomas (Thomas Mann) is all but unheard of by most of the student body. Thomas is at the crux of turning 17, a birthday that is pretty insignificant because it provides no drivers license, legal drinking age, or any others rights of passage into adulthood. However, it would allow him to finally see “Project X” in theaters.

On the eve of Thomas’s birthday, his parents go away for the weekend. I know it’s their anniversary that weekend but come on, what parents would leave their son at home alone on his birthday? His dad lays out a series of ground rules, and most importantly forbids Thomas from touching his Mercedes while he is gone. From there, it is obvious that the Mercedes will not be in good condition by the end of the night.

Of Thomas’s co-dependent best friends, Costa (Oliver Cooper) is the most instrumental in orchestrating the party. Costa is a little too confident in himself, and he is definitely not the marketer nor the ladies man that he thinks he is. However, the kid does pull out a pretty good defense, albeit an obvious one, when keeping the cops away. Think of him as a cross between Neil Schweiber and the creepy son from “World’s Greatest Dad.” Costa’s self-confidence is unearned, yet it works and is foul and degrading way of talking leads to many guilty laughs. Once he gets a better script, Cooper will become a big star.

Costa creates as much trouble as he gets into. He is like any Jewish kid I have ever known who thinks they are a lawyer just by default. He always manages to ruin Thomas’s life as he tries to make it better, because he is overall a bit too selfish. One of the movie’s primary problems is that this conflict is blatant, yet goes mostly unacknowledged throughout, and it tries to resolve itself through archetypal declaration of bro-love kind of scene. “Project X” has a lot of fun with the story at hand, but it never does anything new with it. Everything set up at the beginning of the movie will obviously come back to haunt the characters.

The two other best friends, JB (Jonathan Daniel Brown) and Kirby (Kirby Bliss Blanton), may also achieve big stardom. The awkward, overweight JB is the movie’s McLovin, and that’s why he is so easy to root for. But the biggest downfall of “Project X” is how it attempts to turn Thomas and Kirby’s friendship into a love story. It is as implausible as it is predictable.

Despite its unoriginality and predictability, the movie’s self-awareness and charm won me over at parts. “Project X” taps into gold in its first 30 minutes. It is at this time where the movie actually feels realistic. Yes, the kids are offensively vulgar, but they talk the way most teenagers and college kids talk nowadays. I don’t know what that says about our sick society, but “Project X” never attempts to be any kind of statement. All it ever wants to be is wish fulfillment.

When looking back at “Project X” I realize the very best of it lies in individual scenes, rather than the movie as a whole. Take for example how hilariously uncomfortable and creepy the sit down with the drug dealer is, as James Blunt’s “You’re Beautiful” plays in the diegesis.

A lot of the movie’s utter insanity starts off as fun, before it actually becomes utterly insane. The party’s 12-year-old security guards are scene stealers, and while it is morally offensive to cheer them on as they tase an innocent father, you don’t have to feel too bad because the party has to go on somehow. “Project X” asks you to think like a teenage boy. So yes, there will also have to be topless girls at this party.

The documentary style of “Project X” lends itself well to the story, but it does break away for the format quite a few times. The movie as a whole is a great time until it goes down hill at the end, and succumbs to Multiple Ending Syndrome. No movie that is under 90 minutes long should ever feel like it drags on. But what can I say, this review is only going to be half negative. I ate up almost every minute of “Project X,” and I found myself in fits of laughter at times, laughing at things that had no right to be that funny. Even when the dog gets high, I laughed. The spirit of anarchy throughout works.

“Project X” is polarizing in its demographic reach, but for once, can’t us guys get something more or less just for us? Something that’s vulgar, unintelligent, and even kind of real? Sorry, “Twilight” still doesn’t work for us.

Movie Review: Exit Through the Gift Shop

There can be a point in a certain film where it stops being a film and starts a living, breathing creature. Some call this meta. Some may think it doesn’t even deserve a name. Whatever meta may be can be the only way to ever truly describe the riveting maybe real or maybe fake documentary, “Exit Through the Gift Shop.”

“Exit Through the Gift Shop” that tells multiple stories and is, believe or not, multiple films rapped within one. The main focus of “Exit Through the Gift Shop” is on Thierry Guetta, an eccentric French-American man who is obsessed with filming everything he sees. Thierry’s annoying filmmaking begins to find a purpose once he gets sucked into the world of street art, meeting such famed street artists as Shepard Fairey.
One day, Thierry is asked to become the personal filmmaker to the most famous, most elusive modern street artist: Banksy. Banksy also directed “Exit Through the Gift Shop.” Discuss.
The interesting thing about describing “Exit Through the Gift Shop” is that it may sound like I’m describing a narrative film rather than a documentary. That’s because “Exit Through the Gift Shop” does a better job than most modern documentaries at taking its parts and constructing a coherent whole.
“Exit Through the Gift Shop” proves that Inception can be a real thing: once an idea is planted in someone’s head, it can never be eradicated. Once the idea that this movie might be a hoax comes to mind, it makes almost too much sense. “Exit Through the Gift Shop” is either the best documentary or the funniest comedy of the year, or both.
However, Guetta seems almost too strange to have ever been invented. At first, he is likably ambitious. After a little twist, he begins something more of a psycho who has absolutely no clue what he’s doing. Nevertheless, it is fascinating to see this man somehow become an extreme success in the world of street art.
Thierry Guetta may be the film’s main star, but “Exit Through the Gift Shop” is always surrounded by the idea of Banksy. After all, this is a Banksy production. Even though he is nothing more than a man in a black hoodie with a muffled voice, he still feels so real and powerful. He also proves here that he is a multi-talented artist, not just mastering the world of street art, but also the world of filmmaking.
Real or not, “Exit Through the Gift Shop” does exactly what it’s meant to do: explore the world of street art. It gives us a look at how street artists function in a way that is so close and exclusive that the viewer begins to become enveloped in the world itself. Notice the film barely uses the term “graffiti.” Instead, all the artists say “street art.” “Exit Through the Gift Shop” will make you more open minded about what art can be.
What “Exit Through the Gift Shop” is really trying to answer (besides who its own director is) is this age old question: what is art? Nearly any object in the world can be taken and turned into art. What Banksy is really asking is this: maybe it isn’t. Could we be living in a world where the idea of artistic expression has been taken too far? That seems possible, especially in a world where people like Thierry Guetta can pick up a camera or a paint brush.
“Exit Through the Gift Shop” becomes meta in that it is a film about the making of the film. It is like a behind the scenes documentary that is way more informative than the average behind the scenes documentary you’d find on Showtime. It is not really about the stars, but about the art that the stars create. What Banksy has created a behind the scenes look not about himself, but about his art. In that art, maybe the real Banksy can be found.
I could be thinking to myself right now that it is a real shame that I didn’t see “Exit Through the Gift Shop” earlier on, for its brilliance deserves a spot on my list of the ten best films of 2010. However, I find it impossible to say that. “Exit Through the Gift Shop” doesn’t even deserve to be on a list of its own. Its unique, reality-bending view on art defies the entire idea of lists.

Movie Review: District 9

For decades, Hollywood has been fascinated with the concept of life on other planets. The first films about extraterrestrial life began as ones where the aliens were portrayed as villainous, inhumane creatures looking to enslave the human race. Then, in the late 1970s, things turned around when Steven Spielberg proposed the idea that maybe the invading aliens were nothing but friendly, curious creatures. Stemming from that idea is “District 9,” one of the biggest surprises of the summer.

“District 9″ takes us to Johannesburg, South Africa’s largest city. One day, a giant alien space ship stops and hovers over the city. The ships stands hovering over the city for 20 years. Eventually, the government opens the ship up to find an entire alien colony inside. With the ship immobile and the aliens stuck on Earth, the humans decide to segregate them into an area called District 9. We are never told what their race is called or what planet they are from, but simply that humans give them the derogatory name of “Prawn.”
While in Johannesburg, the Prawns are mistreated and District 9 turns into a slum. The government plans a giant relocation project for the alien community. This mission is led by Wikus Van De Merwe (Sharlto Copley). At first, Wikus finds him self battling Prawns. Soon however, he finds himself all to close to them.
A lot has been written in recent weeks about the many feats pulled of by “District 9.” Most articles have focused on the film’s extremely low budget ($30 million) and it’s starless cast and first time director. They act like these are impediments, but in fact they are benefits. These elements just serve to make “District 9″ more original and more refreshing. The blockbuster and the sci-fi thriller seem to be dying thanks to uninspired ideas and adaptations of toys and video games. Here is the first sci-fi thriller I’ve seen in a long time that is totally inspired and totally new. 
The first time director at the helm of “District 9″ is Neill Blomkamp. Although it’s only his feature debut, he directs like a pro. Much of “District 9″ is shot in documentary style. A majority of the movie is taken from security camera shots and news footage. However, the whole film isn’t shot in documentary style. It transitions at times to a typical filmmaking style. The film always transitions smoothly between these two styles. Often when a film attempts to balance out these two styles, it usually turns out poorly (for example, “Public Enemies”). “District 9″ does the rare thing that most experienced filmmakers rarely achieves and makes a successful film that is part mockumentary, part narrative.
The typical blockbuster has needed a big makeover in recent years. Films like “Transformers” and “G.I. Joe” have nearly destroyed the idea that entertaining action films can also have a brain. “District 9″ brings the brain back to sci-fi. 
Part of “District 9″‘s big brain comes from the fact that it’s an allegory on apartheid. This makes sense as to why exactly the film is set in South Africa; it’s a country that was once torn apart by bitter racial apartheid. This time, the apartheid is against the aliens. The message here isn’t just that apartheid is bad, it’s that the forced segregation of any being ends up de-humanizing further those who aren’t being segregated. It’s not the aliens that look like monsters here, it’s the people.
While most have talked about the film’s connection to apartheid, it also mirrors several other current events. District 9 resembles the slums of Mumbai, and the way that South Africans talk about the visiting Prawns sounds a little bit like the way some people talk about illegal immigrants in this country.
The aliens of “District 9″ look like giant grasshoppers who talk like Jabba the Hut. But it’s not so much the appearance that is groundbreaking but rather the personalities of the aliens. Even though they are aliens, they behave like people. They raise families, they buy food, and they live in houses. The alien Christopher’s troubles makes him seem basically like a human being.
“District 9″ is not the best sci-fi film ever made, but it’s the best one that’s come out in years. It contains some incredible action sequences involving a vaporizer gun. The film also has an ongoing, very dark sense of humor and the emotional finale in a sci-fi film since “Blade Runner.”
Already a huge success, there has already been talk of a sequel for “District 9.” I usually am not a huge fan of sequels, but this is one the few films that I actually would want a sequel for. That is just how much I liked the characters, and just how much I liked the movie. “District 9″ proves that in an unoriginal world, a little bit of unique ideas can go a long way.
Recommended for Fans of: Close Encounters of the Third Kind, E.T., Blade Runner, Alien, Cloverfield