If the signs of the times have rendered you lethargic and voting
just doesn’t appeal to you, then IFC’s
”
The F Word
”
couldn’t come at a better time.
If the signs of the times have rendered you lethargic and voting just doesn’t appeal to you, then IFC’s “The F Word” couldn’t come at a better time. Or a better day – Monday Nov. 6 (10pm), Election Day Eve. Directed by Jed Weintrob, this quasi documentary blends fact and fiction to create a political quilt that attempts to illustrate the crumbling morale of Americans in the wake of all the debates over free speech.
Weintrob’s technique here is simple. He goes for guerrilla-style reporting with a fictional talk show host named Joe Pace, played the believable ends by Josh Hamilton. After Pace’s radio program “The F Word” receives its pink slip from the FCC, he’s out to do one more show on the last day of his broadcast. It just so happens to be the day of the 2004 Republican National Convention in New York City. This was the infamous time when 500,000 protesters took to the streets to protest the convention.
Hamilton does the same, documenting the happenings in a live broadcast. Here, he interacts with real politicos, leaders of actual protest movements as well as some other actors who seemed to be tossed into the mix to add more color to the piece.
One of the film’s minor flaws, actually, is that some of these actors – Sam Rockwell, Cailie Thorn, Zac Orth – fail in comparison to the real deal. There’s some real juice, some lovely illumination whenever the “real” people interact with Hamilton, the actor. You can’t beat candid moments with the likes of Reverend Billy, Peter Camejo, John Perry Barlow or the savage “Billionaires for Bush.” The real emotion of the film comes from the actual footage of the protests. Weintrob, in a stroke of genius, manages to capture shots few have seen. Why many of these images were never aired by the media becomes the question of hour.
While “The F Word” creates a tone that smacks of anti-establishment – in a way, it really does stick up its middle finger to the entire Bush Administration – it’s a bold, brassy undertaking with shades of ’60s and ’70s activism that managed to generate real change in the country. While more flashy filmmakers would go for something more over the top, by keeping the film’s tone at an even keel, Weintrob manages to deliver a product that illustrates just how over the top the political climate in America has actually become. (Three stars out of four.)
What’s at Stake in the
November Sweeps This Week?
Where to begin? Expect some blood to spill on the less-than-brilliant-but-still-good Desperate Housewives (9pm Sunday, ABC); another wild – and long – evening with the 40th annual Country Music Awards (8pm Monday, CBS); and more pathos on the-picking-up-steam post-apocalyptic-ish Jericho (8pm Wednesday, CBS).
What Happened to This Show?
It had all the makings of a hit but the real verve that was present in the pilot seems to, like the title of the show itself, “Vanished.” You know things are heading south when one of the series’ stars gets killed in an early episode. That would be Gale Harold, whose (FBI) Agent Kelton was gunned-down before the show went on hiatus for the World Series. In his place, FOX has ushered in former Invasion hunk Eddie Cibrian. Which brings us to another interesting anomaly. Fox also lured Cibrian’s Invasion co-star William Fichtner over to Prison Break as a brooding FBI agent this season.
While it’s nice to see these great actors popping up in new shows, it takes a while for the viewer to adjust to them in their new digs – especially after just a short amount of time.
Back to “Vanished:” The show returns from hiatus in its new timeslot (8pm Friday, Fox). The bad news? It’s been told by the creative minds up to wrap up the storyline of the governor’s missing wife by December. After that, “Vanished” actually will have vanished for good.
Save This Show
“30 Rock.” It has the unfortunate timeslot of 8pm Wednesdays on NBC, but this refreshing outing from SNL alumnus Tina Fey generates some of the best laughs of the season.
With Alec Baldwin, Tracy Morgan, Jane Krakowski and a gaggle of other on-the-mark players, the series is developing its own dynamic rhythm and shines with genuine intelligence. Fey, who created the series, does some wonders with the writing here. Tune in and let me know what you think.
Don’t Save This Show?
“20 Good Years.” Who said being 30 wasn’t better than being 20? I wasn’t that impressed with the pilot of this over-acted show and after the first few episodes, it seems the writing continues to raise eyebrows. Most notable: John Lithgow’s over-the-top banter. While series co-star Jeffrey Tambor fairs better, the writing annihilates an otherwise brilliant premise: Two men, in the autumn of their lives, trying to find meaning.
Much like other failed sitcoms of late – “Freddy, Hope & Faith” – things are played so far out of range that nothing is believable. (And while I adore “Ugly Betty,” you can already see signs of that emerging there.) Here’s an idea to sitcom creators: Don’t do that.
Greg Archer is an entertainment writer based on the Central Coast. He writes about television, film and being human. E-mail him at ga*****@**********rs.com or visit www.greg-archer.com.
