MAN OF STEEL, STEALS MY CHILDHOOD

Posted in Action, Fantasy with tags , , , , , , , , , , , , , , , , , on 06/18/2013 by joycereview

3--clawsmanofsteelMAN OF STEEL.  REVIEW 043

It’s been over 3 years since I’ve reviewed a film.  After seeing Zack Snyder‘s remodeling of the Man of Steel, and the dismantling of a personal childhood hero, I felt compelled to get back into the game; at least one more time.

I think most of us thought the trailer was phenomenal. Am I right?  And sensationally reviewed or not, I was going to sit in that theater and watch Superman fly into space, back into our lives and consciousness again.

Now, I don’t consider myself very resistant to change – but as I sat in that theater, I could feel my body cringe and the lightness in my heart sadden (similar to the feeling I had with George Lucas’ changes in Star Wars).

I needed to face some facts.  The viewing audiences are not the same as they were, nor are the studio executives and movie critics of Hollywood.  Critics don’t want to stand against a film, obviously because there is more exposure and more money in promotion.  Directors are becoming fixated on smoke & mirrors (CGI), diluting the story and disrupting the pace in order to keep viewers stimulated.  What they miss (when they follow this formula) is that people go to the theater to be “moved” (as James Lipton once put it).  Man of Steel, although superbly cast, is over-stimulating, devoid of humor, and re-invents Kal-El as a confused and somewhat immature orphan.

MY QUICK OVERVIEW

“I think it’s safe to say that Christopher Reeve still holds the mantle, that simplicity is best, and that 2-hours of special effects and blowing stuff up doesn’t amount to one General Zod being flung into a big Coca-Cola sign.”

THE BEGINNING (No ‘real’ Spoilers)

The malaise began immediately – no John Williams music*, no traditional Superman opening – instead, we go straight to Kal-El’s birth (and labor is just as just as painful on Krypton as it is on Earth).  Was that a spoiler?  I apologize if it was.

After Jor-El (Russell Crowe) sends his son to planet Earth, we meet a seemingly steriod-laden ‘Clark Kent’ (Henry Cavill) [who actually didn’t go by that name in order to hide his identity] as he helps man a fishing vessel.  I was confused to see that there were no ‘crystals’ to speak of on Krypton or in Superman’s possession, and a mode of Kryptonian transportation is a flying komodo dragon (very ‘Avatar’ of Synder/Goyer/Nolan).

THE CHARACTERS

general zod man of steel-1One of the saving graces of this film is due to the fact that it is star-studded, with each actor delivering a great performance.  It is a bit concerning, however, that the 13 year old Clark exhibits more emotion and depth than the main star.  But with that aside, Laurence Fishburne makes an excellent Perry White, Amy Adams Lois Lane, Diane Lane Martha Kent, Kevin Costner Jonathan Kent, and the list goes on.

Being a fan of the strong women in films, I greatly enjoyed Faora-Ul (Antje Traue) who plays the Kryptonian ‘right hand’ of General Zod (Michael Shannon).  But if you’re going to have General Zod and play on the banishment into the Phantom Zone, then why not have Ursa and Non (from Superman & Superman II)?  If you’re going to have Perry White and Lois Lane, why no Jimmy Olsen?  Did Snyder/Goyer/Nolan want the movie devoid of any comic relief (apart from the unneeded ‘measuring dicks’ remark from Lois Lane)?

THE SENSE OF URGENCY

superman helicopter sceneA strong element that I feel should be attached to any action film is a sense of urgency, suspense, or of possible death.  In Superman you had the intense helicopter scene where Lois Lane (Margot Kidder) is tangling from a seat belt.  In Superman II, you had 3 super villains hell-bent on provoking Superman through the destruction and killing of Metropolis citizens.  Superman had to change the battlefield, he had to use brain over brawn in order to save lives.  In Superman Returns, the ‘Man of Steel’ saves Lois Lane (Kate Bosworth) yet again, this time in a Boeing-Space Shuttle Launch catastrophe – not to mention, 2 near drownings, a Kryptonite shiv stuck in his side by Lex Luthor (Keven Spacey), and Superman’s death/’resurrection’.

CHEMISTRY

Iron Man has Pepper Potts, Spiderman has Mary Jane Watson, and Superman has Lois Lane.  Love, whether guys like it in their films or not, is a potent ingredient when it comes to film.  On-Screen chemistry is a hard thing to pull off in a lot of cases.  Some have it and some don’t.  However, in Man of Steel, there wasn’t enough time and attention to the Superman-Lois Lane story to feel that love was even possible.  But maybe ‘Love’ wasn’t what the director and writers were going for?

As someone who dabbles in script-writing himself, I don’t think we should simply ‘forgive’ Goyer/Nolan for this problem and I don’t think the audience should overlook the importance of this connection.  You must remember, Nolan played the same trick on us with the last Batman movie.  How did Catwoman go from unobtainable, pesky thief to finally locking lips with Batman in the end?  Shouldn’t Bruce Wayne find that odd or suspect?  Again, I suppose a kiss at the end of the movie is all studios think we want out of two attractive actors.

DIRECTION

Both Richard Donner and Bryan Singer are directors who care deeply for story.  They go to great lengths to make sure that their actors understand the characters of the film and the tone, mood and intensity at which they want their actors to play their respective parts.  To be fair, there is so much that goes on behind-the-scenes between directors, producers and studios that criticisms are merely opinions on the final product; nothing more.  Why was there nearly 45 minutes of non-stop action in the third act of Man of Steel?  Was it because they wanted to show us something new (which they did not) as far as visual effects, or did they do it to cover weaknesses to the story?

STORY-TELLING

The integral component to any movie is story.  Ideas, themes, scenes can be amazingly brilliant – but if there is little-to-no originality, if it’s un-relatable, and/or has no consistency, the film may be doomed to fail.  The way for audiences to relate to Superman is through Clark Kent.  Yes, Snyder/Goyer/Nolan gave us flashbacks of young Kent being bullied, and learning that he was an alien – and maybe the placement was decent (given the pace of the film) – but it wasn’t enough for the audience (in my opinion) to understand how these feelings changed his constitution, challenged and helped to form his sense of right and wrong.

When it comes to original, forward-thinking ideas, I thought the movie was shallow.  Krypton had a Matrix-like incubation chamber, villians that climbed after Superman using The Hulk method, and I already mentioned the flying dragons of Avatar.  In Superman II, Mario Puzo‘s story had Superman outsmarting the General Zod and his entourage by reversing the direction of his radiation chamber, deceiving both the villians and the audience at the same time.  I won’t spoil it for those that see Man of Steel, but let me just say that General Zod meets his end not-so-spectacularly. It left both my wife and I looking at each other going, “huh!? well,… alrighty then.”  On thing it certainly reminded me of was Nolan’s Dark Knight Rises and the seemingly obvious way at which he ‘permanently dispatched’ Bane.  Any warrior knows to go to his enemies’ weakness, and Bane clearly had a breathing problem (sorry if that was a spoiler, but the Dark Knight’s been out for a year!).

MUSIC*

I can’t believe I forgot about the music [I’m a fitting this in several days later].  While John Williams’ epic tracks continue to be what people hum when they think of Superman, Hans Zimmer didn’t do a bad job at all.  Hans has a great understanding of rhythm, pace, and mood and thereby, creates a superb soundtrack to a less-than-mediocre movie.  The sound is bold and original and would definitely be something I’d listen to at home.  My only criticism is that I wish it had a small resonation, an echo, of Williams’ theme(s).  I don’t believe, especially when it comes to Superman, that to incorporate the old with the new (in this situation) would be “taking the easy road” or plagiarism, but of a musical collaboration.

A QUICK ASIDE

Singer ComicbookMovieComI have even more respect for Bryan Singer’s vision, Superman Returns (2006).  Some of the reasons why people didn’t like Singer’s version is are: too close to Donner/Lester’s version, Brandon Routh’s portray was too like Christopher Reeve, it was too heavy with the the love triangle and with the Christ mythology/symbology.  As Singer explained to Ed Gross (2011. ComicBookmovie.Com),

…I am very much in love with the Donner picture, and for me the journey was exciting because I got the chance to reprise those images and explore it. When you’re fascinated by something and you love it, part of making the movie is trying to please everyone and make a successful movie, but part of it is an experimental kind of thing.”

In Singer’s version, there is a sense of peril, urgency, and you truly felt for the characters involved – partly because they are extensions of the characters we know and love.  The Boeing/Space shuttle scene that reintroduces Superman to the world was genius, nail-biting, unique and nostalgic.  A good example (Superman) of this

“I hope this hasn’t put any of you off flying.  Statistically speaking…”

Great nod to the original.  It was almost as if Mr. Reeve was mouthing the words.  It sure felt good to hear those words again.

FINAL WORD

It will do me some good to get some time and distance from this film.  It might seem silly to some, but writing has always been a cathartic and certainly stress-relieving experience for me.  It’s a difficult thing for any director to tackle – especially trying to live up the the expectations of the 8 year-old inside me.  But on the other hand, I don’t feel like I was asking too much.  What I got from Man of Steel was mind-numbing action with only glimpses of greatness thrown in here and there (i.e. the touching scene w/ Mr. Kent and young clark, the school bus scene); all of which were in the opening trailer.  I will have to come to terms with this I know… because I share Bryan Singer’s thought (as he said to the Voices of Krypton), that my idea of a great Superman film “would simply be a reboot” of Donner’s (/Puzo’s) visions with “balls-to-the-wall” action sequences*

Of course, done the right way!

by: MICHAEL JOYCE

Also of: CombativeCorner.Com, OutFoxxed.Com & YourTherapy.Info

MOVIE DETAILS

WARNER BROS.  2006

PG-13.  TIME: 2 HOURS 28 MIN.

ACTION/ADVENTURE/FANTASY

PLEASE OFFER YOUR THOUGHTS OF THE FILM BELOW

WHERE THE WILD THINGS ARE :: FANTASY :: 042

Posted in Drama, Fantasy with tags , , , , , , , , , , , , , , , , , on 03/12/2010 by joycereview

Spike Jonzes’ cinematic version of the popular book, Where The Wild Things Are by Maurice Sendak, walks a fine line but holds a tightrope walker’s focus throughout.

Where The Wild Things Are (besides Dr. Seuss’ The Lorax) was my favorite book growing up.

Max, like myself as a youngster (and millions of kids the world over) uses his imagination to lift himself far away from his struggles.

Young Max is played by Max Records (The Brothers Bloom) and assumes the role with great depth and vulnerability.  Each expression on his face perfectly depicts the confusion, disappointment, jubilation, or whathaveyou, of a kid trying to find his place in the world, beit reality or amongst the creatures of his imagination.

The Wild Things are: Carrol (James Gandolfini), Alexander (Paul Dano), Judith (Catherine O’Hara), Douglas (Chris Cooper) and Ira (Forest Whitaker).

For those that know and love the book (as I, a child of the late 70s did), Where The Wild Things Are (the cinematic version) produces its own, leisurely paced addaptation of the 300-some-word children’s classic.  Jonze and Eggers give, in cinematic terms, exactly what Sendak was able to do in words and illustrations… and although the film may feel too “drawn out” for a full-length feature film (and you may be right), the situations, all from the point-of-view of 9-year old Max allows you to relive, (for me, drawing from my own childhood) and relate to the child within.

What did you think about the picture?

Give your thoughts below and…

Let the wild rumpus begin!

THIS IS IT :: DOC :: 041

Posted in Documentary, Special Interest with tags , , , , , , , , , , on 03/11/2010 by joycereview

The world loves Michael Jackson.   I love Michael Jackson. 

 I wish I could have loved this movie. 

A month ago, I watched clips of people’s reactions after watching this film and most of them came out teary-eyed and praising of the picture. 

Here’s what I saw:

I saw a very thin and pale version of the King of Pop, singing and dancing at 50% of his capacity in the rehearsals for his sold-out London concert.  His crew, Kenny Ortega and a slew of awe-struck dancers working tirelessly to make the show fast, bold and worthy of  “The final curtain call.”

This Is It, was a draw-out (111 min), behind-the-scenes of a concert that never happened.  Viewers are briefly entertained by new segments of “Smooth Criminal” and a redone, 3d version of “Thriller,” but besides this… all you see is a master of music working and perfecting the final presentation of his craft.

In an entire room of people that love Michael Jackson’s music, we all enjoyed it as background music as we played Bejeweled, uploaded pictures to facebook, and downloaded iTunes to their new netbook. 

I believe that Michael Jackson was our “Ambassador of Love” to the world.  There are very few people on this planet who have not heard his name.  His influence is felt in the lives of virtually everyone who has (heard his name), but this film didn’t show Michael the way that I want to remember him.  In his videos, in other documentaries, I’ve seen him much more happy – displaying his voice, dance and passion with more freedom and exuberance . 

I’ll simply watch (any of) the other videos/documentaries if I want to remember him.  Either that, or listen to my Jackson playlist that I’ve had since music could be put on computers.

What did you guys think?  Did it make you think it was any better than what we’ve seen from Michael Jackson in the past?  It feels bad to say, but to me, it seemed the simple and logical way to make millions on his name and legacy.

WHIP IT :: DRAMA :: 040

Posted in Crime, Drama, Sport with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , on 03/09/2010 by joycereview

Drew Barrymore’s directorial debut met my heart with shrills of “more Ellen Page,” with mounting excitement (after viewing Netflix’s “Very Long Wait” status), with an 8-year old’s jubilant bounce when I saw it at Best Buy for 50% off (only $9.99) and finally with saddening disappointment as it attempted to reach various highpoints, only to fall victim to cliches and poor acting.

Ellen Page plays Bliss Cavendar, a character as hip and independent as Juno, but without the tongue-savvy eloquence.  She’s somewhat a slave to her beauty pagent-loving mother (played by Macia Gay Harden).  One day she sees some tattoo-wielding roller derby girls and attempts to prove her best friend Pash (played by Alia Shawkat) wrong by auditioning for the preeminently underdog team, the Hurl Scouts.

There’s Smashly Simpson (Drew Barrymore), Iron Maven (Juliette Lewis), Rosa Sparks (Eve), Maggie Mayhem (Kristen Wiig), Bloody Holly (Zoe Bell), Eva Destruction (Ari Graynor) and Babe Ruthless (Ellen Page).  The names are fun, the energy is high (at times), and there is something sexy,… very sexy about girls being tough and headstrong.

Bliss Cavendar finds her passion in roller derby, and instead of giving non-derby-watching audiences a better understanding of the rules and competitive progression of the Hurl Scouts, screenwriter Shauna Cross (and director Barrymore) give us, even though some chemistry is present, an awkward courtship between Bliss and indie-rocker Oliver (played by Landon Pigg).

Let me explain myself a bit – –

  • Climbing through a window to have a very PG-13 sexual first in a lit-up pool.  Not your normal kanoodling; we’re talking about overly romantic, fully submersed aquatic relations with Page’s skinny bod desperately trying to stay submerged (let’s not forget that we are aware that her character wears contacts and couldn’t possibly keep her eyes open for that amount of time).
  • Also, when the very intimidating Iron Maven instigates what would realistically be a full-fledged cat fight, playfully becomes a benign food fight, despite the gutsy and “Ruthless” tackling by Bliss on Maven.
  • Band frontman Oliver and derby “Jammer” Bliss are laying on Oliver’s car hood.  When it’s time for Bliss to get to practice, he checks his pockets to find that his keys are lost, somewhere in the large wheat field.  Miraculously, through a game of Marco Polo, Oliver finds them… and then (obviously because he wants to keep Bliss longer) he throws his keys back into the field, creating a moment that (to me) would have meant something along the lines of an immediate castration.  But later on in the film, Bliss draws the “line in the sand” over him not returning her call.  Go figure.

Most of this film, we’ve seen before, but it’s a more-than-decent flick that continues to display the wonderful talents of Ellen Page.  Kristen Wiig is also sensational.  More of a drama than a comedy, Whip It entertained, but did not impress. 

Ellen Page should not have turned down Drag Me To Hell to play this movie, but then again Whip It, without Page, would have been something very frustrating.  It would probably be like when you come home from school and you press power on your old-school Nintendo and you get nothing.  You blow inside the gate, you blow the game inputs, and it leaves you with nothing; empty and depressed…all day long.

Glad that wasn’t the case. 

What were your thoughts on Whip It?

UP :: COMEDY :: 039

Posted in Animation, Comedy with tags , , , , , , , , , , , , , , , , , , , , , , , on 02/23/2010 by joycereview

Since I was little, Disney movies always held a sense of magic and wonderment.  As the animation became more detailed, it has come to the point where it hardly feels like your watching something designed for children.  If it weren’t for the brilliant colors, a house being carried away by balloons and a pack of dogs with voice translators, one would never know.

As the 82nd Academy Awards rolls around; now only 12 days left (Sunday, March 7th), I am desperately trying to see each title up for Best Picture.  UP, the Disney/Pixar sensation, is the only animated film in the listing and although the underdog to win (up against Avatar, The Hurt Locker, Precious, The Blind Side, Up In The Air, A Serious Man, Inglourious Basterds, An Education, and District 9), it is certainly in my Top 3 personal choses to win.

BEAR BONES

Up is the story of Carl Fredricksen, a 78-year-old whose dream it has always been to visit and explore the wilderness of South America (like his childhood idol Charles Munts).  Thwarting his “capture” by the Shady Oaks Retirement Village, Carl heeds his late wife’s words of “…go have an adventure of your own” and sets sail to the sky via house and helium balloons.  Little did Carl know that wilderness explorer Russell (age 8), still looking to earn his “Assist The Elderly” badge, is along for the journey.  There are snipes, dogs, and enough fantastically cute moments that you will may feel a bit light-headed from all the laughter.

Similar to Pixar’s other brilliant work, Wall-E, the first act of the film is almost entirely bereft of dialogue.  For Up, we see the meeting between two young, like-minded and playful souls and it builds cements (quite delicately) an emotional foundation that carries the audience “up”, “up” and beyond most animated films of today.

The folks at Pixar are geniuses.  I’ve been convinced of this for a long time (even as I am getting older and more critical).  I was surprised, however, to see them break the mold and have as its main character, a crotchety old man named Carl.  Every generation believes that, when they were young, people respected their elders.  “Elders” are definitely looked over these days, until Christmas & birthdays roll around.  This movies shows that, although life gives hard lessons, the spirit of adventure seldom dies completely.

Remember all!

A wilderness explorer is a friend to all, be a place or fish or tiny mole!

I’m off to explore!  I hope you’ll explore your thoughts about this movie and write them below*.

*Your chance to win a FREE DVD.  Simply comment on the review of your choice and you’ll be instantly entered into the month’s random drawing.

JUNEBUG :: DRAMA :: 038

Posted in Comedy, Drama, Indie with tags , , , , , , , , , , , , , , , , , , , , , , on 02/21/2010 by joycereview

I’ve been lucky the past few weeks.

I say “lucky”, because as a film buff,… as someone who loves to dive into the gigantic pool of cinema (often daily), I watch many films that lack substance.

Away We Go wasn’t like that, and Junebug certainly isn’t either.

JuneBug was absolutely a joy to watch from the moment George Johnsten uttered his character’s first words, “I’m from Pfafftown, North Carolina.”

As many of my readers know, I’ve lived and grown up in the city of Winston-Salem, not fifteen minutes away from where this story takes place.  And although North Carolina is the host state for many movies (primarily Wilmington, NC), very few have had stories so closely affixed to our “Southern ways,” not-to-mention the universal complications within families, Life, and our place in them.

BEAR BONES

Meet George Johnsten (Alessandro Nivola) a charming, near-perfect Southern gentleman.

It’s been three years since he’s been home to visit his family, and it just so happens that his wife, a passionate and career-driven Chicago art dealer, Madeleine (Embeth Davidtz), must visit a reclusive artist in Pinnacle, North Carolina (not far from where George grew up).  Seeming like the perfect opportunity to meet her hubby’s family for the first time, her visit creates a windstorm of emotion and uncovers more than could ever have been perceived, about her in-laws, her relationship with George and herself.

Strangely enough, my celebrity crush of Amy Adams, who plays George’s doe-eyed, child-like and very pregnant sister-in-law didn’t  officially begin until I saw this film.  Nominated for an Academy Award for “Best Supporting Actress (2005)” for her role as Junebug’s “Ray of Southern light,” is an inquisitive and perpetually “sunny” character that says (virtually all in one breath):

[Ashley; about Madeleine] I wonder what she looks like.  I bet she’s skinny.  She probably is.  She’s skinnier’n me and prettier too.  Now I’ll hate her.  I can’t wait!

But obviously she never does (hate her)… as Ashley doesn’t seem to hate anyone.

Ashley’s clearly the “creme-filled center” of Junebug (if you find the “creme” to be the yummiest part of the doughnut), however this film’s sugary-goodness comes from the remaining cast.  Peg (played by Celia Weston), the matriarchal mother-in-law to Madeleine, does two things: voices her opinions and looks after her young’ns.  Her husband, Eugene (Scott Wilson) plays the role of the tight-lipped father… a common trait among spouses of brazen, out-spoken, women.  Even though through most of George and Madeleine’s visit Eugene’s looking for a lost screwdriver (a “Phillips head”), his character shines with the reality of what many good ol’ Southern boys become (especially with a wife such as Peg).  Sometimes what Eugene says is for his benefit only, mostly he keeps quiet, and (like many of us) conveys a Buddhistic wisdom.  Consider for a moment a tense moment in the film when Madeleine walks in on a private conversation between Eugene and Peg.  Maybe she heard what Peg had said about her; maybe not.  Peg gets up from the table and leaves the room.

[Madeleine] She’s a very strong personality.

[Eugene]  That’s just her way.  She hides herself.  She’s not like that inside.  (pause) Like most.

Where the story comes up short is through the character of Johnny (Ben Mckenzie), Ashley’s frustrated and tantrum-giving husband.  He’s a torrent of anger and self-loathing; second-rate when it comes to his successful brother, and emotionally handicapped when it comes to showing affection (this is, perhaps, because he feels that he is undeserving of it).  This is evident in the scene where Johnny desperately scrambles to tape a television show on meerkats.  He knows Ashley loves them.  But like everything in his life thus far, he fails.  Either the acting of Ben Mckenzie was over-done, or it was poor directing on  Morrison’s part,… but it was very hard to believe that Ashley; adorable and pregnant – quite plumply of a bump with his child, could ever arouse such anger and internal discord.

The only other sour point, comes by way of the mentally-challenged, heavily accent, “sought after” genius artist, David Walk.  He lives in Pinnacle, NC (which gives us sentimental Carolinians a beautiful shot of Pilot Mountain) but paints lurid, allegorical pictures of American history.  Madeleine, intent on signing and representing him in the art world, comments over a particular piece –

I like all the dog heads and computers,… and scrotums.

I know very little of art, but the art that I do have an appreciation for… makes sense.  People look like the people they are drawn after.  Picasso, someone whose work I wouldn’t pay for (if I never knew the value) seems more like art than the shallow and jejune “art” described as “breath-taking.”

Junebug, written by Angus MacLachlan and directed by Phil Morrison, is…above all else… a story that shows that the problems of Life can seldom be solved within the scope of a single film.  The evolution of the character’s relationships with one another, the deep undercurrent of emotion and pain, and any sort of resolution or understanding cannot be deciphered in 106 minutes (nor could it be solved in 300).  I can’t wait to personally own this film, not only to watch again, but to pass amongst my fellow North Carolinians as a relatable, highly-authentic story about real people… living, loving… and dealing.

THE COVE :: DOC :: 037

Posted in Documentary, Drama, Special Interest with tags , , , , , , , , , , , , , , , , , , , , , , , , , on 02/13/2010 by joycereview

The Cove, winner of the Audience Award at the Sundance Film Festival, is a film that everyone should view (at least once… and soon).

World renown dolphin expert, trainer and activist Ric O’Barry (Flipper, television series; 1960s), along with a crack squad of specialists, attempts to expose the horrific animal abuse and potential health threat in Taiji, Japan.

Not for the faint-of-heart, The Cove shows us brutal reality, in hopes that we may become more aware, emotionally invested and sympathetic to the plight of the dolphins (and other whales).  I’ll never look at a captive dolphin the same way, nor will I return to the person I was before I saw this film.

Nature’s cruelest joke is that a dolphin’s smile makes him/her appear to always be happy.  …Captive dolphins are constantly stressed and must be given medicines with their food to prevent ulcers.

After watching, The Cove, something else that O’Barry said struck me to my very core.  He said, “If you aren’t an activist, you’re an inactivist.”

From day-to-day, there is much that we can do.  Living in the “information age” should not only be the mighty catalyst for the exchange of information but for the creation of real change.  If there is one thing that this film shows you, (besides the abuse of animals and the destructive nature of man) is that one person can make a difference, and a group of people can change the world.

Watch this for yourself.  The Cove is just as good as any espionage film, will (very likely) move you to tears …and it is, every bit, real.

For more information on the film, visit: TakePart.Com

[While your there, Sign the petition, and spread the word!]

* * *

THIS FILM IS RATED PG-13 FOR DISTURBING CONTENT

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