Held Hostage by Al Qaeda: LFM Reviews Held Hostage; Premieres on PBS Tues., 10/22

By Joe Bendel. Algeria’s In Amenas gasoline processing facility would be the perfect setting for a Die Hard movie. It is an isolated spot, surrounded by vast stretches of the Sahara Desert in every direction. That is why many survivors wonder how several truckloads of al-Qaeda affiliated terrorists could launch a ground assault on the facility without the Algerian authorities noticing. Not surprisingly, many in the Algerian government would prefer to forget the embarrassing international incident. Fortunately, director Bruce Goodison and his team have assembled a comprehensive tick-tock history of the In Amenas hostage crisis. Their revealing look at contemporary Islamist terrorism, Held Hostage, airs on most PBS outlets tomorrow.

With al-Qaeda reportedly operating freely to the south and east of In Amenas in Mali and Libya, security was obviously a concern for the expat workers long before January 16th, 2013. Paul Morgan, the British security chief, had actually tendered his resignation out of frustration with lax plant security days before the attack. (Tragically, he would not survive to be vindicated by events.) While military and gendarmerie escorted workers on and off the premises, no facility personnel were allowed to carry arms. That meant once Mokhtar Belmokhtar’s band of terrorist-brigands reached the plant, there would be no means of organizing any resistance.

From "Held Hostage."

Securing the first on-camera interviews of many survivors and victims’ family members, Held Hostage provides a very personal perspective on the terrorist attack. Perhaps the report’s most shocking moment involves the circumstances surrounding the truly cruel and senseless murder of Filipino expat Angelito Manaois, Jr. Three Americans died at In Amenas, which should concern us all, but the losses were greater for Britain, Norway, Japan, and the Philippines. Regardless, the crimes committed in In Amenas warranted far greater attention than they received from the traditional old media.

Goodison’s team broaches a number of inconvenient questions throughout the program, particularly with respect to the conduct of the Algerian military. Granted, refusal to negotiate with terrorists is a defensible position, but it rather looks better if there is some attempt to stall for time while organizing a rescue operation. Whereas, strafing carloads of hostages is just hard to defend from any standpoint.

Held Hostage is technically quite well constructed, instilling a full sense of the factors that contributed to the desert calamity in just under an hour. Viewers will have the sense they could lead their own briefing session after watching it—and perhaps they should. It a real expose and a wake-up call, but its warning is likely to fall on deaf ears. Easily the most important television of the week, Held Hostage airs on most PBS stations tomorrow (10/22).

LFM GRADE: B+

Posted on October 21st, 2013 at 12:02pm.

Escaping North Korea: LFM Reviews Seeking Haven, Narrated by Moon Bloodgood

By Joe Bendel. North Korean defector Kim Young-soon is a beautiful woman. The same is probably true of her sister, Mi-hee, but viewers cannot tell for certain. That is because her face is kept scrupulously obscured to protect her from potential reprisals in North Korea. Unfortunately, it might be too late for her already, but her sister will still doggedly pursue any means possible to bring her over the border in Hein S. Seok’s documentary, Seeking Haven, which screens on the opening night of the 2013 Korean American Film Festival in New York.

When we first meet the Kim sisters, they are living in an underground shelter for defectors in China. These are relatively happy times, because the sisters are together and have sufficient food to survive. However, they live in the constant fear of exposure and repatriation to North Korea. Eventually, Kim Young-soon sets off on the arduous journey to lasting freedom, overland through China and Laos to Thailand, where North Korean defectors are formally recognized as legitimate political asylum seekers.

It is a hard trek, involving several narrow escapes from various border patrols, dramatically captured by Seok’s cameras. Unfortunately, when Kim finally arrives in South Korea via the Bangkok embassy, she learns the Chinese authorities raided her former safe house and deported her sister back to the DPRK. For the rest of the film, she will periodically return to China, where she will deal with various dodgy brokers, in the hopes they can arrange transit for her family, or at least bring back news on their situation.

From "Seeking Haven."

Not surprisingly, Kim suffers from a powerful case of survivor’s guilt. Yet, she is only in her early twenties and fully entitled to live her own life. Viewers will want to offer her emotional comfort, as they start to suspect the worst for her family. While just under an hour, Haven contains more reality than a month of network television. These are real people, feeling real fears, as they face life-and-death situations.

Haven tells a very personal story, but it is also a rather shocking expose, capturing the perils endured by North Korean defectors through a few hidden cameras and considerable chutzpah. While it is comparatively circumspect in addressing the sort of persecution that is an everyday reality in North Korea, this is clearly out of concern for the Kims and other family members of defectors. Nonetheless, the obvious fear of potential repercussions speaks volumes regarding the appalling state of human rights in the DPRK.

Kim Young-soon is an achingly compelling POV figure who hopefully will find peace and happiness in the next phase of her life. She certainly commands viewer sympathies. Haven is a gutsy doc, shot guerilla-style in nations like China and Laos that do no respect basic freedoms of expression. For a touch of celebrity, Moon Bloodgood serves as narrator, demonstrating a nice voice for such work. Highly recommended, it screens this Thursday (10/24) at the Village East Cinema as part of this year’s KAFFNY.

LFM GRADE: A-

Posted on October 21st, 2013 at 11:59am.

LFM Reviews From Tehran to London @ The 2013 Noor Iranian Film Festival in Los Angeles

By Joe Bendel. It is not precisely finished, but it makes a cogent and compelling statement. Mania Akbari started shooting an intensely personal Cassavetes-style examination of a disintegrating marriage, but halted the production mid-way through when the Iranian government started arresting many of her prominent filmmaking colleagues. Relocating perhaps indefinitely to the UK, Akbari reshaped her footage into a more experimental-feeling long short film or short feature. There are rough edges to the resulting From Tehran to London, but they were both a choice and a necessity. A fascinating work on multiple levels, Akbari’s film screens during the 2013 Noor Iranian Film Festival in Los Angeles.

Ava is a poet and an artist who feels unfulfilled in her marriage to the well-heeled Ashkan. However, the way they bicker and grouse like a prematurely old couple suggests there must have been some feeling there originally. They certainly know each other very well, but neither suspects the other harbors deeper feelings for their trusted house servant, Maryam.

Eventually, scandal will shake their household, but viewers will not see it. Instead, Akbari resorts to straight out telling us what would have happened. Obviously, there are all kinds of abrupt tonal shifts and sudden temporal jumps. Akbari hardly had the luxury of returning for pick-up transitionals. Yet, her kit-bashing techniques speak volumes regarding the wider circumstances.

Frankly, from what viewers can tell, the story of Ava and Ashkan could only be considered political around the margins. Certainly, it would have (and does) address issues of gender roles and sexuality in contemporary Iran, but the Albee-like marriage is the centerpiece. In fact, the initial scenes of the couple sparring are surprisingly grabby. There is real bite to the chemistry shared by Neda Amiri and Bijan Daneshmand. Through the moody lightning and suggestive sound of rain outside, Akbari and her crew create a sense of foreboding that is unusually eerie.

Although quite accomplished as a director, Akbari is still probably best known as the nearly unseen driver in Abbas Kiarostami’s Ten. In front of the camera, she is quite convincing as Ava’s more conventional worrywart sister, Roya. She also deserves tremendous credit for her commitment to free expression, starting the film with a dedication to: “all those filmmakers in Iran, who have served a prison sentence and the ones who are still in prison.” That alone is worth seeing on the big screen.

At just over forty five minutes, Tehran easily pulls viewers in and leaves them wondering “what if?” Yet, it should be considered definitive, as the very particular product of its time and place. Challenging, intriguing, and maddening, From Tehran to London is a significant film that deserves greater attention. Highly recommended, it screens Tuesday (10/22) as part of the Noor Iranian Film Festival.

LFM GRADE: A-

Posted on October 19th, 2013 at 11:55am.

Where Awesome Lives: LFM Reviews the Japanese Superhero Classic, The Golden Bat

By Joe Bendel. He has the looks of the Red Skull and the flamboyance of a Lucha Libre wrestler. The Golden Bat is Japan’s oldest superhero, dating back to at least 1930, nine years before Bruce Wayne repurposed his dungeon, so show some respect. This Thursday, Brooklyn’s Spectacle Theater pays homage to the strange, caped avenger, who has constantly saved our butts in manga, anime, and motion pictures, with Hymns of the Golden Bat – a special one night only program of the Ōgon Batto’s greatest hits, culminating with Hajime Satô’s impossibly manic seventy-three minute live-action epic, The Golden Bat.

Right, the Earth is pretty much in for it. The planet Icarus (dig the mythological reference) is speeding towards us on a collision course, but the scientific establishment is too snobby to heed the warnings of Akira Kazahaya, a teenaged factory worker who dabbles in astronomy. Fortunately, the Pearl Research Institute has been on the case. Led by Dr. Yamatone, they too have tracked Icarus, developing a Dr. No-certified laser canyon to blow-up Icarus in the nick of time. They just need a lens strong enough to withstand the laser’s force, which is ironic, considering Pearle can usually craft your lenses in under an hour.

Seeking a natural lens, Dr. Yamatone and nearly the entire Pearl staff is lured to the long lost island of Atlantis, where the evil Nazo has the drop on them. Ah, but not so fast. Within the temple of Atlantis, they find the Golden Bat’s Egyptian sarcophagus, where his is re-animated by Emily Pearl, the granddaughter of the Institute’s founder. Good thing they thought to take a fourteen year old along on such a dangerous mission.

Needless to say, the Golden Bat pops-up and lays a proper beatdown on Nazo’s henchmen. Of course, they are not out of the woods yet. In fact, that is just the first ten minutes of Golden Bat’s mayhem. There will also be multiple doppelgangers to contend with and laser battles galore, accompanied by the Ōgon Batto’s ominous sounding laughter and big, brassy chorale theme music.

The Golden Bat is the kind of film that can make pedantic fussbudgets’ heads explode. You just have to toss logic to the wind and hang on as it careens from one spectacle to another, like a pinball. Where else will you find a super villain decked out in a fuzzy-wuzzy rat costume with four eyes? The plot rather defies description and the laws of science, but fortunately the title caped crusader constantly reappears to pummel bad guys with his Scepter of Justice.

Oddly enough, a young Sonny Chiba is present, but largely not a factor in the smack-downs as the Picard-esque Yamatone. Frankly, Emily Takami is much better than you would expect as her young namesake, hardly cloying or annoying at all as the teenaged world-saver. Whoever was sporting the Golden Bat costume was certainly physically energetic, while Osamu Kobayashi’s voice-overs are bizarrely distinctive.

Indeed, The Golden Bat is a thing of beauty to behold, from the trippy sets to the hyper action sequences. Satô, probably best known for helming the darker cult favorite Goke, Body Snatcher from Hell, clearly was not one to do things by halfsies. There is something for everyone here, including fans of Ultraman, Kaiju movies, alien body snatcher films, and men in capes.The Spectacle should be the perfect venue to appreciate his charms with a like-minded audience of any of the above. Highly recommended to all fans of cult cinema, The Golden Bat should be a fitting capstone to a mind-expanding night this Thursday (10/24) at the Spectacle in Williamsburg, Brooklyn.

LFM GRADE: A

Posted on October 21st, 2013 at 11:52am.