Oh, look: one of the most ubiquitous peddlers of the Bush administration’s company line on cable and network channels has ties to a defense contractor. The NYT has the scoop on General Barry McCaffrey, who in his public apperances has always sounded like Mike Huckabee might after his bass guitar was locked in a cupboard overnight. But McCaffrey was doing his employers’ biding; NBC News has no excuse. As Glenn Greenwald reminds us, this is not the first time that this story has shamed the networks — and hardly the first that the corporate behemoth has pretended nothing happened.
The enthusiasm with which this movie was received shouldn’t have surprised me; what did though was how reliable skeptics like Stephanie Zacharek and A.O. Scott willfully chose to forget the candy apple liberal sentiments that it espouses. In the first third, writer-director Thomas McCarthy (who played the Jayson Blair wannabe in “The Wire”‘s last season) and lead Richard Jenkins (of “Six Feet Under”) remind us of their background in the Corduroy Elbow Pad School of Television Realism, whose values force you to project to thirty million people as if you were John Barrymore at the Old Vic: every miserable thing about depressive Jenkins’ life is pinned down with plastic scissors. When he learns to play African drum in time, or gratefully receives his first Fela Kuti album from illegal alien Haaz Sleiman, it could be Jack Nicholson’s Midwestern loser Schmidt writing letters to his East African pet pal. But the warmth of Sleiman’s performance – his smile defines “infectious” – and some understated writing in the last two-thirds redeem the picture, with big help from Hiam Abbass as Sleiman’s mother. A superb camera subject, Abbass pulls the impossible trick of being at once stoic and sexy. I’m once again frustrated by the writer-director’s decision to concentrate on the wrong character. How much more vivid The Visitor might have been with Abbass at its center – the tragedy of an educated, mildly Westernized Syrian woman who has to live with the fact that she played a role in fucking her son up for life.
Zoolander, fifteen minutes longer. Down-low jokes (including Lance Bass cameo), expected riffs on “the industry,” Tom Cruise “expanding his range,” Ben Stiller constricting his, Robert Downey, Jr. deepening his.
Among other things, Barack Obama’s most charming bad habit is his smoking. Michael Kinsley, after jumping through too many hoops to convince his audience that he considers smoking a disgusting habit, agrees.
Well, here’s something from it’s-news-to-me file: Jackson Browne and John McCain wrangling over the fair use of “Running On Empty” during the campaign:
The first is a standard motion to dismiss, claiming that McCain’s use of the song was fair use. The campaign’s fair use reading is based on the application of the standard four-factor test that includes the purpose and character of the use of the song (McCain argues it was non-commercial and transformative); the nature of the work (McCain derides the song as old, old, old, with a title that’s an acknowledged cliche); the amount and substantiality of the use of the song (McCain only used the title phrase, and cites a recent judgment against Yoko Ono, who had sought to prevent the unauthorized use of John Lennon’s “Imagine” in a film); and the effect of the use of the song (McCain says that rather than damage the song’s commercial potential, his use “will likely increase the popularity of this thirty year-old song”
I can’t argue with the last point; I think I saw “Running on Empty” in the iTunes top 20 a few months ago. As for Browne, he’s an example of the kind of Angry Liberal that my, shall we say, intemperate colleagues over here claim they work with and make their lives miserable.
On his first (released) solo album since 1999, Q-Tip’s burr, halfway between a mumble and a giggle, is as compelling and fluent as ever. “Gettin‘ Up” is his sexiest love man jive since the underrated “Find A Way” and maybe “Electric Relaxation”; the Raphael Saadiq duet and “Dance On Glass” are the kind of hip-hop elder statesman equivalents of those late eighties/early nineties records by Richard Thompson and Lou Reed that scored well on Pazz & Jopp…and yet, and yet…I have unreal expectations of Q-Tip. I expect more from a self-produced, self-written album like The Renaissance. Now that he’s demonstrated he can step back in the game, he should try a little harder to step on Mos Def’s thoughtful-polymath toes.