Movie Review: Surfwise and The Strangers - Two Sleepers for Those with Alternative Taste in Film

by Tony Dayoub



Surfwise opened this weekend here, in Atlanta, at the Midtown Art Cinemas, and it is a welcome breath of fresh air for those tired of the summer blockbuster rollout. Doug Pray's documentary is an even-handed look at the quirky Paskowitz clan, often referred to as the first family of surfing.


Patriarch Dr. Dorian "Doc" Paskowitz, left a promising career behind after two divorces to move to Israel in the 50s. After spending some time in the desert, learning to subsist on a diet of raw, natural foods, and introducing surfing to Tel Aviv, he returned to the U.S. where he met wife, Juliette. Together with their family of 9 children, they travelled across the country, surfing, following Doc's strict raw food diet, and observing the Jewish tradition while all lived together in a crowded 24 foot camper. In 1972, they established the world-renowned Paskowitz Surf Camp in San Onofre beach in California.

The film honestly depicts the fallout of such a nonconformist life on the now-grown children, and implies that Doc was more than a little selfish in his pursuit of his dreams. The nine siblings contemplate, on camera, whether they were well served by skipping society's obligations, such as schooling, for one. But while some bemoan their lack of business savvy or difficulty with normal societal routines, it is apparent that all nine of them have ended up leading interesting, and dynamic lives. Among them there are three rock singer-songwriters, two film producers, a chef, a surfing champion, a screenwriter, and a fashion designer, all successful to some degree.

The film is shot beautifully on high definition video, and is a fast-paced, enthralling look at family dynamics with a surf culture backdrop.

 The Strangers continues plugging away at the box office while in the shadow of the more traditional summer fare, and for good reason. Written and directed by first-timer Bryan Bertino, it captures the helplessness, loneliness, and spooky anonymity of true fear inherent in an act of random violence. And it does it swiftly (less than 90 minutes) with a minimal amount of gore. No mere purveyor of "torture porn", Bertino masterfully knows how to manipulate our fears, giving us a voyeur's look at the action that rivals De Palma's stylings, and a sound design worthy of Lynch.

To say anything more of the film would be to dispel its necessary aura of mystery. But see this one twice, once on the purely visceral level of its horror genre, and the second time as a metaphor on Americans' submission to the faceless terror that haunted us post-9/11, for a time.

For a list of current and upcoming theaters playing Surfwise go to www.surfwisefilm.com.

The Strangers is currently playing nationwide.

The Big Sleep: The Current State of Things and a Few Words on Glenn Kenny

by Tony Dayoub

So here is the current state of things around here. Got back from Tribeca a week ago when the following proceeded to occur:

• My laptop died. Thought it'd be a simple matter of replacing the hard drive and recovering some data from the old one. Turns out the whole motherboard is fried (or some such shit like that... I'm not the tech-savvy type) and the data is, to quote Roy Batty (Rutger Hauer) in Blade Runner, "lost... like tears in rain." Included in that data, pictures of my son's first Christmas. Lesson: Always back everything up.
• My cell phone is dying. Which has made it almost impossible to conduct business while I wait for my new laptop, since my cell was the only way I could answer email. Working on getting that replaced as well.
• My car could go any day now. Scary is hoping your car doesn't die out in Atlanta traffic with an unreliable cell phone to depend on.

The good news is that I've had plenty of time to watch a stack of screeners that was waiting for me when I got back from NYC. So you'll be getting plenty of reviews as soon as I'm back up, including:

• A survey of all the Indiana Jones material available out there as we approach the release of the new chapter: Kingdom of the Crystal Skull
• Todd Haynes' look at Bob Dylan, I'm Not There
• Hilary Swank in the romance, P.S. I Love You
• A look at some new Sinatra material, out on DVD tomorrow
• Several documentaries like Surfwise, At the Death House Door, and When the Moors Ruled in Europe

Until then, let's talk about something else that has been on my mind. Premiere Magazine, a film magazine that started in France (and continues to be published there), was first published in the U.S. in 1987. Some have been critical of the American magazine for trivializing the art of film, i.e. concentrating on celebrities and box office tallies, and even putting out an annual list ranking the most powerful people in Hollywood. I was a subscriber from day one, and I can tell you that at fifteen, it was a considerable influence on my approach to analyzing cinema. Sure, if you were looking for scholarly examination of film in the context of world cinema you were probably better served by reading Film Comment (a publication I still enjoy greatly). But there was still room for Premiere's brand of journalism. Because though some would accuse it of trivializing the medium, I found it was honest in covering American film in the grander scheme of things, covering everything from independents to blockbusters, films to home videos, spotlighting actors both famous and obscure, and never letting you forget that though you may love film for its art, it was ultimately the business forces that decided if it would get made or not. Last year, Premiere, in the U.S., succumbed to the erosion of advertisement income now plaguing much of print media in the face of the rising popularity of the internet as news outlet. Many of the staff lost their jobs as it transitioned to a second life on the net, except one.

Glenn Kenny, the mag's resident film critic, continued in that capacity as the magazine became one of many entertainment sites that abound online. His singularly distinctive voice and style was one of the few reasons to continue to visit the site, as he also supplemented his reviews with a fantastic blog, "In the Company of Glenn". Not only does this man have an opinion (which I frequently disagreed with), but he is a master of the English language. You'd be surprised how few of those exist online. Here's an example of his way with words from his post on 4/21/08 entitled Monday Evening Palate Cleanser:

It vexes me. I am terribly vexed.

Why, on this mild Monday evening, do the words of Joaquin Phoenix's Commodus echo through my head?

That's a rhetorical question. I know exactly why. That answer's multi-faceted. Part of my vexation stems from encountering, in this here blogosphere, a putative paean to a particularly distinguished work of cinema, which praises the particular work at the expense of practically every other movie the director of that work ever did, trotting out heavyweight quotes the better to swat at...David Denby, who recently had the temerity to cite said director's "refinement." What such score-settling has to do with the work at hand is, naturally, beyond me. But the score-settler seems to believe he's achieved the ambition of that character in Gass' "In The Heart of The Heart of The Country," which I guess is nice for him, not so nice for those turning to him for some wit or perception. And in thinking about all this, I further think, "Dude, you really want to get into it like this?" "It" being the week, after a weekend of examining some of the other discontents readily available in the film-appraisal corner of our world. And I answer, "No, I do not."

I bring up Mr. Kenny because Premiere just terminated his position. And as NPR reported on a story on the very day Kenny announced his departure, he is but the latest casualty in a long string of critics who've accepted buyouts or have been terminated from magazines and newspapers nationwide. So a site struggling to stand out from all the others just got rid of the one person who had the most potential to help them in doing so. And another veteran film critic loses his job because of ever increasing competition from bloggers who write more often, more incoherently, and often for free.

Though I am thankful for the immediacy, and facility, that the online world affords me in expressing my views on this subject I adore, cinema, I will always defer to journalists with formal training and experience when it comes to writing. Here's hoping that Mr. Kenny will land on his feet quickly, and get on with the business of provoking us to think on cinema from his perspective, no matter how often I may disagree with it.

An archive of Glenn Kenny's blog for Premiere, "In the Company of Glenn", is up, for the moment, under my Recommended Blogs to the left. His new writings may be found under a blog he set up, all by himself, called "Some Came Running", also under my Recommended Blogs.