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Let’s go over this one more time.

An expert explains.

A promising non-drug treatment.

Maybe I’m not the right person to provide a review of Leave the World Behind‚ the Sam Esmail apocalyptic film starring Julia Roberts‚ Mahershala Ali‚ Ethan Hawke‚ and Kevin Bacon that is topping the charts at Netflix this week. I’m going to struggle to be objective about two major facets of the movie without which it wouldn’t exist. First‚ I have very little patience with end-of-the-world films‚ and this is very much that. I find them repetitive and largely misanthropic‚ but‚ more than that‚ it’s the dishonesty and poorly hidden agendas‚ particularly coming from Hollywood‚ that rankle about that genre. READ MORE: Obama: Avatar of the New Anti-Semitism And second‚ Barack and Michelle Obama are listed as executive producers of Leave the World Behind‚ and the former president is said to have provided copious notes on the story‚ an adaptation of the Rumaan Alam bestselling 2020 novel. It’s Esmail’s story; he made major changes to the plot and characters from the book. But not much of Leave the World Behind would seem out of place from the expectation had this been a soup-to-nuts Barack Obama production. Then again‚ that applies to most of what the film industry has on offer these days‚ as the Obama effect on American culture‚ politics‚ and economics — as I discuss quite thoroughly in the new‚ soon-to-be-bestselling Racism‚ Revenge and Ruin: It’s All Obama — has been far more complete than his merits dictate. And‚ in this film‚ we have literal involvement in the production by Obama himself. It isn’t just the fact that Leave the World Behind’s director and much of the cast are friends and admirers; Obama helped to craft the script. So this can be said to be Barack Obama’s idea of an apocalyptic movie. Nothing about it is a surprise. I’ll try to do this without too many spoilers‚ as it’s not a wholly awful movie and‚ given the dearth of anything watchable these days‚ it’s conceivable that many of our readers will take the plunge into it. But you can certainly see this as a film that depicts America from the Obama worldview. Leave the World Behind features the tale‚ essentially‚ of two New York families — one white‚ the other black — who are thrown together amid a nationwide blackout courtesy of a cyberattack or … something. The white family‚ the Sandfords‚ played by Julia Roberts as Amanda‚ the advertising executive wife‚ and Clay‚ the city college professor husband‚ along with a teenaged son and a younger daughter‚ are well-off Brooklynites who book a Long Island mansion for a weekend getaway. They’re the typical white family presented on television — Clay‚ played by Hawke‚ is a classic non-capable beta male in flip-flops who largely goes to pieces as evidence mounts of society’s crumbling‚ while Amanda is a classic misanthropic AWFL who hates her life and distrusts everyone around her. Including‚ particularly at the beginning‚ the Scotts — a father/daughter combo played by Ali as George and Myha’la Herrold as Ruth. They’re black‚ and George is a high-end Wall Street fund manager/analyst who actually owns the vacation home the Sandfords have rented. They arrive at the house on the first night after the Sandfords settle in‚ asking to share the accommodations due to a blackout in the city. Things have already begun to descend‚ as the Sandfords have a day at the beach spoiled by the arrival of a wayward oil tanker that steams right up onto the beach‚ apparently as a function of a GPS failure. Couple that with the loss of cable TV and internet signals‚ and there is no information coming in about the outside world. So when the Scotts arrive‚ the Sandfords are already on edge. And with Ruth Scott copping an attitude that rubs Amanda entirely the wrong way‚ we’re off to an uncomfortable start. Naturally‚ there is a heavy pile-on of racial animus — you can’t imagine the Obamas being involved in a film project that doesn’t scratch at the racial itch‚ can you? Three of the four adults are mostly unlikable characters. George‚ who despite his capitalist background gives off a fairly thick Barack Obama vibe‚ is intensely likable. We find out that his art-dealer wife‚ who might be white‚ was scheduled to fly home from Morocco the day the blackout happened‚ and he assumes he’ll never see her again. But that’s mostly the extent of his vulnerability; he exudes the kind of aloof cool that Obama was acclaimed for throughout his presidency‚ even when things go completely to hell later in the film. And then there’s Bacon’s character Danny‚ the survivalist-nut home construction contractor who turns out to have a plurality of the answers. Danny‚ who appears in only two scenes‚ is presented the way Republicans are by the Obama Democrat narrative: He’s utterly selfish and mean-spirited‚ and he rejects any semblance of cooperation until he’s bought off late in the story. Watching the interaction between Ali‚ Hawke‚ and Bacon in what’s supposed to be the film’s climactic scene‚ I couldn’t help but think of Obama’s frequent attacks on conservatism as an atomized‚ selfish ideology divorced from any concept of the civil society that Western civilization — the thing conservatism is trying to preserve against attacks from the Obamunists — is built on. He did this over and over during his presidency‚ and that comes across as heavily in Leave the World Behind‚ as does the conspicuous absence of any semblance of God or religion amid the end of the world. Very little of the apocalypse is explained. It just happens largely out of nowhere while the characters are at the beach. Leaflets indicating Islamic terrorism is afoot are dropped out of a drone aircraft‚ and there is a scene where self-driving white Teslas (gosh‚ no obvious‚ ham-handed metaphors there!) crash into a massive pileup on the only road leading back to civilization. There’s a panicked Spanish-speaking woman who accosts Clay along a desolate road as he finds a way to get lost on an island‚ and because he doesn’t speak Spanish he simply drives away and heads back to the vacation house without finding out any useful information at all. There are not one but two unexplained plane crashes along a beach‚ with no one coming even to gawk at the wreckage. And there are animals acting strangely. And an inexplicable illness without much of any context or usefulness to the plot other than to put the Sandfords and Scotts in conflict with Danny. It’s like a bad version of an M. Night Shyamalan movie‚ with the difference being that while Shyamalan’s plot twists and endings generally leak out too early in the film to generate a real payoff‚ in Leave the World Behind there is no payoff at all. I won’t give away the ending‚ but the vast majority of those who watch it are sure to find it vacant and unsatisfying. Just like Obama’s presidency‚ one might say. Apocalyptic movies — particularly those that depict the apocalypse happening — are suspect as a class because they so commonly come from the perspective that society deserves its own destruction. Leave the World Behind isn’t quite clay-footed in presenting that view‚ but it’s there‚ and it’s irritating to watch. Here are people who have profited beyond any rational expectation from the society in which we live‚ and yet they come off as gleeful to see it go. And in this film‚ it goes in a way in which a civilizational collapse would almost certainly not go — namely‚ with hardly any people around. There isn’t much tragedy in Leave the World Behind‚ for all the destruction it depicts. Perhaps that’s because the real tragedy is the entitled nihilism the film advertises in such a non-subtle way. It’s Esmail’s movie‚ but it feels as though it’s Obama’s. And the bleak‚ misanthropic hostility of the production toward its audience and our society bears his stamp regardless of how extensive his role in making it actually was. It isn’t the worst film you’ll see this year‚ but it doesn’t quite reward you for watching it‚ either. Rather‚ it’ll leave you desperate for a Hallmark Christmas movie as a palate-cleanser. If this is what we’re going to get from the Obamas as executive producers‚ then I’d have to say that less is more. Get your copy of Racism‚ Revenge and Ruin: It’s All Obama here today! The post Leave the Obamas Behind‚ Please appeared first on The American Spectator | USA News and Politics.

Opposable Thumbs: How Siskel &; Ebert Changed Movies Forever By Matt Singer (G.P. Putman’s Sons‚ 352 pages‚ $30) In the late 1960s‚ Gene Siskel was a young reporter at the Chicago Tribune and Roger Ebert a young reporter at the rival Chicago Sun-Times when each was offered his respective newspaper’s movie beat. Neither had a background in professional criticism of any kind; they weren’t film scholars or trained practitioners of the in-depth critical analysis of‚ well‚ anything. No‚ they were newspapermen of the old school‚ ready to cover anything from a murder trial to a baseball game to a chamber-music recital. Movies? Siskel‚ as Matt Singer writes in his entertaining and reverential new book‚ Opposable Thumbs: How Siskel &; Ebert Changed Movies Forever‚ remembered having had “an intense reaction” at age 6 to the Tony Curtis biopic Houdini; Ebert had fond memories of seeing Danny Kaye in the RKO musical Hans Christian Andersen‚ which came out when he was 10. (I loved that one‚ too.) But neither of them had been the kind of kid‚ like Steven Spielberg or Peter Bogdanovich‚ who was obsessed with film.  Still‚ fate made them film critics. And in 1975‚ a Chicago public-TV channel‚ WTTW‚ invited them to team up for a series that‚ in one incarnation after another‚ would last until Siskel’s death in 1999 (and‚ in other formats‚ and of course without Siskel‚ would limp along for a few more years). Singer — who edits a website called ScreenCrush.com and has written a previous book about‚ of all things‚ Spider-Man — confesses in his acknowledgments that he became a devoted fan of the series at age 13‚ and his continued devotion to it is obvious not just from his rather hyperbolic subtitle but from statements like this: “Siskel &; Ebert was the first and perhaps greatest TV show in history where the struggle between the two antagonists was entirely intellectual.”  READ MORE from Bruce Bawer: Napoleon: Full of Sound and Fury — But Signifying What? “The first”? Really? Um‚ Firing Line‚ anybody? (Later in the book‚ Singer — who pays virtually no attention to Siskel and Ebert’s newspaper reviews — actually suggests that Siskel &; Ebert was the direct ancestor of shows like The McLaughlin Group and CNN’s Crossfire.) As for “entirely intellectual” — well‚ when one watches old episodes of Siskel and Ebert’s show‚ many different adjectives come to mind‚ but “intellectual” isn’t one of them. Singer records that when Ebert first saw the gory 1967 movie Bonnie and Clyde‚ he “immediately recognized it as the first masterpiece of his tenure as the Sun-Times’ film critic‚” calling it “a work of truth and brilliance.” Well‚ at the time I thought Bonnie and Clyde was cool‚ too. I was 10. In later years I came to recognize it‚ along with pictures like Easy Rider and Midnight Cowboy‚ as part of a lamentable revolution in American film that made heroes out of bums‚ creeps‚ and crooks. As for Siskel‚ he loved the moronic Saturday Night Fever so much that he placed the winning bid on John Travolta’s dance outfit when it went up for auction.  And both of them‚ as Singer records‚ slobbered over the sappy‚ synthetic Terms of Endearment‚ celebrating it as a rich portrait of human relationships. Quoting their encomia‚ Singer shows no signs of finding the praise excessive. By contrast‚ in his account of one 1988 episode of the TV show‚ Singer dismisses the truly masterly Cinema Paradiso — which they discussed on that episode — as a not “particularly extraordinary” film that is only “slightly remembered” today. One episode that Singer doesn’t mention‚ but that I recall vividly‚ is the one on which they reviewed The World According to Garp‚ a film that had absolutely bowled me over. I still remember watching that episode and being shocked at both men’s utter failure to grasp the film’s point. One more gripe: The other day‚ I watched an old clip of them discussing the 1994 Best Film nominees with David Letterman; while they gushed over Pulp Fiction and Forrest Gump‚ they didn’t say a word about another nominee‚ The Shawshank Redemption‚ which is now widely — and rightly — considered one of the most monumental films ever.  No‚ the main appeal of Siskel and Ebert’s TV show wasn’t intellectual stimulation. Or critical insight. Or impeccable taste. But what their debates about new movies did provide‚ in spades‚ was a diverting display of brio‚ humor‚ passion‚ chutzpah‚ and (not least) near-pathological competitiveness. And it succeeded beyond anybody’s expectations. Eventually it went from a monthly to a weekly broadcast; it was put into national syndication; it moved from WTTW to Tribune Entertainment and then to Disney. And as these changes took place over a period of many years‚ the series went through several names‚ among them Sneak Previews and At the Movies. Finally‚ it was simply Siskel &; Ebert. That’s how famous these guys were‚ in the end: their very names‚ by the mid 1980s‚ had become synonymous with film reviewing. (READ MORE from Bruce Bawer: The Crown’s Death Porn) And yet their show’s formula was exceedingly simple and essentially unchanging. So were their reflections about the art of film criticism — at least‚ the ones that Singer chooses to hold up for our admiration and edification. He tells us‚ for example‚ about Siskel’s discovery that when reviewing a movie “he had to think along two parallel tracks simultaneously: one watching the movie‚ the other watching himself as he watched the movie‚ trying to understand his own reactions.” Siskel also proposed what he called “The Great Movie Test‚” which Singer explains as follows: “If you rewatch a classic over and over‚ do you get new things out of it each time? If yes‚ then it is a truly great film.” I understand that Singer adores Siskel and Ebert‚ but I wish he hadn’t served up these truisms as if they were rocket science‚ or as if his heroes had actually come up with them. Yes‚ Singer does address the fact that not everyone shared his enthusiasm for the Windy City duo. “Some hard-core cinephiles‚” Singer admits‚ “accused Siskel &; Ebert of dumbing down the conversation around cinema‚ reducing nuanced discourse to a series of binary yes or no votes.” By now‚ of course‚ the crudely “binary” approach to criticism that gives Singer’s book its title is a familiar cultural phenomenon. But it wasn’t ever thus. When I first became aware of Siskel and Ebert‚ I was a graduate student in English; and‚ yes‚ perhaps I was a bit too sober about these things for my own good‚ but their “thumbs up” and “thumbs down” schtick struck me as downright barbaric.  Then again‚ thanks to Siskel and Ebert‚ a great many Americans who never would’ve read a full-length movie review‚ let alone a long‚ dense essay in Film Quarterly‚ at least became acquainted with the notion of pondering films critically. At the time‚ phenomena like Siskel &; Ebert and MTV and minimalistic “Literary Brat Pack” fictions by tyros like Jay McInerney and David Leavitt had some of us convinced that the future of middlebrow culture lay in catering to short attention spans; then‚ somewhere between Gene’s death in 1999 (at 53) and Roger’s in 2013 (at 70)‚ the World Wide Web came into its own‚ making possible a wide range of podcasts and similar offerings that provide serious long-form discussions of cinema and that render TV shows like Siskel &; Ebert superfluous and outdated. No‚ most of these online cineastes don’t make anywhere near the kind of money that Siskel and Ebert ended up raking in‚ but — hey — that’s entertainment.  And in the final analysis‚ that’s what Siskel &; Ebert was: entertainment. They deserved their wealth and fame — not because they were world-class models of critical acumen‚ but because they hit on a TV formula that was perfectly designed for them and for the times and that delighted a huge audience‚ and they plugged away at it year after year‚ heaven bless ’em‚ until it had made them TV legends. Jamie Bennett‚ the Disney executive who snatched Siskel &; Ebert away from Tribune Entertainment‚ tells Singer that it was one of two series in American television history “that are really just all about the talent and who they are and the fact that what they do and how they do it is perfect TV.” The other such show‚ according to Bennett? Julia Child’s The French Chef. It’s precisely the right comparison. For‚ like Julia‚ Siskel and Ebert came along at just the right historical moment; like her‚ they put their very specific sets of skills into a zingy‚ zippy format that served up useful information with a big dose of personality. No‚ it wasn’t brilliant film criticism. But it was great TV. And in Opposable Thumbs‚ Matt Singer has written a charming‚ well-deserved tribute to those two fellows in the balcony.  READ MORE from Bruce Bawer: My Name Is Barbra: The Political Delusions of a Brilliant Diva The Glittering Cast of Vienna’s Postwar Émigrés The post Imperfect Criticism‚ Great TV: Remembering Siskel &; Ebert appeared first on The American Spectator | USA News and Politics.