Directed by Oscar-winning filmmaker Ron Howard best known for 1995’s Apollo 13 and 2001’s A Beautiful Mind, Pavarotti is a love letter of a documentary to the legendary and larger-than-life opera singer and tenor Luciano Pavarotti, and the film does an extraordinary job of capturing the truly remarkable life story of one of the greatest voices whose persona captivated the world. It follows in the traditional mold of a documentary by telling his story through photographs, archival footage, actual concert performances, and contemporary interviews with his family and colleagues. The true magic of the deeply fascinating documentary is the subject who we first meet as a young man from a working-class family living in Modena, Italy with the improbable dream of becoming a world-class opera singer. The audience does get a glimpse of his sometimes complicated personal life, especially as it relates to his love for beautiful women, who always adored his daughters even at his most difficult points in his life. We get to witness the rise of Pavarotti as he starts his career performing in a small Italian opera company and eventually become a major recording artist who did the unthinkable for opera stars by primarily giving concerts with a selection of songs from famous operas. The largely unseen personal archival footage shows a big-hearted giant of a man who exuded natural charisma and generosity while always enjoying the good things in life, including fine wine and Italian food. His desire to help those in need throughout the world began in earnest after he teamed up with fellow famous tenors Plácido Domingo and José Carreras, establishing what would be known as The Three Tenors. The documentary gives particularly interesting insight into the relationship between the equally charismatic Three Tenors by interviewing both Domingo and Carreras who beautifully reflect on the legacy of their dear friend Pavarotti. Overall, I found it to be one of the more engrossing documentaries that I have seen in recent memory, and I would definitely recommend it to anybody who enjoys music even if you are not a fan of opera, or really anybody who enjoys a good documentary about a remarkable person such as Luciano Pavarotti.
Directed by Emmy Award-winning filmmaker John Chester who is best known for his short films, The Biggest Little Farm is a surprisingly entertaining and uplifting documentary about nature that explores the ups and downs of running an organic farm. The movie begins with the filmmaker and his wife Molly finally deciding to pursue their life-long dream of owning and operating a farm based on natural organic principles. With the help of their friends and investors, they purchase the failing Apricot Lane Farms an hour outside of Los Angeles and are very much overwhelmed with the amount of work that must be done on the 200 acres. Eventually, they hire an expert on organic farming who gives them invaluable advice and also becomes a very close friend, and, over time, the crops and animals flourish. The film does an excellent job of showing the life of a growing farm by including footage over the course of eight years in which their progress in one area results in a serious problem in a different area of the farm. For instance, their goal of creating an organic farm in which all of nature is in complete coexistence with a large variety of crops and animals makes them face such challenges as dealing with coyotes eating their chickens and insects destroying their crops without pesticides. The documentary is also a love story about nature and includes such poignant moments as the bonding between Emma the pig and a lonely rooster named Greasy. Overall, I found it to be one of the best nature documentaries as a result of its engrossing story and quite beautiful cinematography that left me inspired by the majesty and ever-changing world we live in, complete with its pitfalls and complexities.
Directed by Todd Douglas Miller best known for the 2014 documentary Dinosaur 13, Apollo 11 is a stunning achievement of a documentary that provides an up-close look into the historic Apollo 11 NASA mission that led to the first humans landing on the moon. Unlike a traditional documentary, the film quite effectively shows the inner workings of the events surrounding July 1969 without the use of narration, voiceovers, or interviews. It presents the Apollo 11 mission in a linear fashion with never-before-seen footage lining up with the actual time that each incident took place. The archival footage that has not been public until now has been restored to astounding results that appear as if the footage was just filmed on modern cameras of today. Seeing the engrossing documentary in IMAX was particularly rewarding because some of the footage is in stunning 70 mm perfect for large movie theater screens. In addition to the extraordinary restoration, the film shows the importance of editing because it was edited in such a way to make for a truly compelling cinematic experience that made complete sense even without direction from a narrator. Yes, the story is universally known through history books and countless other documentaries and narrative films, but I have never seen a movie that has brought the Apollo 11 mission to such life as a result of presenting the actual footage from the various stages of such a technically challenging event. Overall, I found it to be one of the more exciting documentaries that I have ever seen and whose brilliant filmmakers and editors brought something new and very special to an already well-known event; it is a particularly important and timely documentary as we approach the fiftieth anniversary of Apollo 11.
Directed and produced by Peter Jackson who is best known for the worldwide phenomenon Lord of the Rings and Hobbit film series, They Shall Not Grow Old is a truly remarkable and game-changing documentary that explores the daily lives of British and Imperial soldiers fighting in the trenches during World War I. The film is compiled from over 100 hours of original film footage taken from the Imperial War Museums and the BBC based in the United Kingdom, as well as over 600 hours of interviews given by 200 veterans in various oral history projects. Although it is comprised of the now dated archival footage taken during the war, the amazing documentary vibrantly brings the soldiers back to life by colorizing the black-and-white footage and altering it to better match modern cinematic formats. Going even a step further, a team of lip readers were assembled to try and understand what the soldiers were saying in the silent footage and, in turn, their work is used by voice actors who speak the very words that the soldiers may have been using. This pioneering use of modern technology throughout the film has a profound impact on the viewer who for the very first time is able to witness the most realistic account of a war that ended 100 years ago, stories that have been lost through time and place. Unlike a traditional documentary in which there is a single narrator that pieces together a narrative about the subject and many interviews are presented as is in a linear fashion, the filmmaker makes the unusual yet extremely effective decision to rely on audio given by 120 veterans interviewed over the years as the only narration. Each soldiers’ oral testimony gives the already vivid documentary a much more personal tone in which the soldiers themselves recount first-hand their harrowing experiences during such a tragic and brutal war that resulted in the deaths of millions and widespread destruction across Europe. Overall, I found it to be one of the more mesmerizing historical documentaries that I have ever seen, and I have no doubt that the film’s unique realism will stand the test of time as one of the most important pieces of history about World War I.
Directed by documentary filmmakers and married couple Elizabeth Chai Vasarhelyi and Jimmy Chin who are best known for the award-winning 2015 mountain climbing movie Meru, Free Solo is an extremely fascinating and visually arresting documentary that follows the rock climber Alex Honnold as he plans to climb El Capitan in Yosemite National Park using the free solo technique. Alex is a thrill-seeker who is regarded as one of the foremost free soloists in which he climbs cliffs by himself and without any ropes or other safety equipment; an extremely dangerous sport in which the smallest slip will result in certain death. Besides showing the actual preparations and the free solo climb that takes place on June 3, 2013, the documentarians, who are skilled climbers and outdoor enthusiasts themselves, also attempt to explore Alex’s personal life and background without really questioning why he pursues such a risky passion. Rather unexpectedly, Alex is a very quiet and somber individual who has difficulty expressing his emotions, and he really does not feel alive except when he is on a mountain. For several years and during most of the film, he lives out of a van and leads a very solitary life without many close friends or family members outside of the climbing community. Even when he talks about the deaths of fellow mountain climbers and free soloists that he knew fairly well, Alex rather nonchalantly brushes off their fates as part of the thrill. The tragic ends of these friends does very little to dissuade him from tackling the seemingly impossible task of making a free solo ascent of the notoriously difficult El Capitan mountain. The only obstacle that he faces is the pressure he feels from his new girlfriend who tries to help Alex transition into a more normal lifestyle and even encourages him to purchase a house in Las Vegas. Despite her trepidations, he goes full steam ahead and, in some rather harrowing sequences, he goes on several practice runs with the traditional safety mechanisms before the climax of the film in which he free solos the almost 3,000-foot sheer cliff. The filmmakers do an excellent job of presenting the spectacular yet terrifying climbs of Alex through the use of skilled mountain climbing cameramen and drones, all giving the thrilling effect that the viewer is actually there alongside Alex. At several points during his final climb, even the documentarians and crew members are petrified that they may be filming the final moments of their new friend Alex and so several of them have to look away. Overall, I found it to be one of the more gripping documentaries I have ever seen as a result of its effective ability to explore the largely unthinkable extreme sport of free solo rock climbing through the mesmerizing and quite frankly scary footage of Alex Honnold as he fulfills his daredevil passions.
Directed by Academy Award-winning documentarian Michael Moore who is best known for 2002’s Bowling for Columbine and 2004’s Fahrenheit 9/11, Fahrenheit 11/9 is an entertaining and provocative documentary that is to be expected from Michael Moore who mixes comedic elements and liberal indignation to primarily criticize President Donald Trump. He delves deep into the current highly toxic political environment of the United States and is not afraid to have a no holds barred portrayal of Trump as a largely negative figure in today’s society. However, I was surprised to discover that the film covers a much larger range of topics that do not necessarily connect to President Trump, including the water crisis in Flint, Michigan, the media, the Electoral College, and even President Barack Obama. Definitely preaching to the choir, Moore goes through what led up to the election of Donald Trump in 2016 and its impact on the nation as a whole by interviewing everyday American citizens who either love or despise the rhetoric of Donald Trump. Also, at several points throughout the movie, Michael Moore visits his impoverished hometown of Flint, Michigan where he discusses the water crisis that started in 2014 and expresses anger at the state government, especially Republican Governor Rick Snyder who he believes is responsible for the negligence and apparent lack of caring that resulted in the toxic water supply that continues to this day. In typical Michael Moore fashion, the film includes a stunt in which Moore sprays Governor Snyder’s gubernatorial mansion with the lead-infused water that has come directly from the Flint water supply. At one point, he unexpectedly criticizes President Obama for his visit to Flint where he pretends to drink the water and does not entirely live up to his promise of finally solving the issue. The documentary then returns to what Moore believes is the extremely dangerous and unprecedented current presidential administration and blames the media and the outdated Electoral College for helping Trump get elected despite losing the popular vote and being counted out by the political establishment as a viable candidate. Despite most of the movie painting a rather dire picture of the current political landscape, Michael Moore tries to encourage Americans to stand up through civil discourse and voting. He discusses how ordinary people and activists are running for office, including an outspoken veteran trying to get elected to Congress as a Democrat from West Virginia. Furthermore, there is a glimmer of hope among activists as Moore describes the teacher strikes in West Virginia and its spread throughout the country demanding that public school teachers receive much-needed pay raises. Overall, although I realize that just the mention of Michael Moore will discourage most conservative audience members, I found it to be a well-meaning film that goes after both sides of the aisle, obviously with a more disdainful approach to President Donald Trump, and uses Moore’s techniques to create an effective and enjoyable documentary about today’s divided political discourse.
Adapted from the critically acclaimed 2009 book of the same name written by well-known author Jonathan Safran Foer, Eating Animals is a powerful and thought-provoking documentary that delves into the issues surrounding large-scale factory farming of animals for human consumption. Narrated by vegan activist and Oscar winner Natalie Portman, the film provides a brief history of the early days of farming and how it evolved into an assembly line production mostly owned by such large corporations as Tyson Foods and Perdue Farms. Unlike many other environmentalist and vegan-promoting exposes, it provides a more nuanced view of the current state of animal farming by presenting interviews with a variety of farmers, including those adversely affected by working in the corporate realm and local conscientious farmers who are trying to bring back the old heritage methods of farming. Furthermore, the movie focuses on all of the implications that the mass production poultry and cattle industries has on humankind: the irresponsible dumping of animal byproducts and fertilizers that harm the environment, the corporate takeover of farms that harm the economic interests of the local farmer, and the public health hazards of consuming animals processed and filled with antibiotics. The documentary also features disturbing footage of the mistreatment of animals living in overcrowded and dangerous conditions and have become deformed as a result of practices promoting rapid growth and mass production. However, the purpose of the film is not just to encourage people to stop eating meat but to help inform the audience about ways to consume meat in a more responsible manner by purchasing from so-called heritage farms who care for the animals in a more traditional, healthy way. Overall, I found it to be an enlightening glimpse into the often unseen world of animal farming and a extremely important film that taught me that there are ways to be a more ethical meat consumer without becoming a vegetarian or vegan.