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Satire

Touchstone’s Swing Vote is a political fable on the value of the individual vote; a tale of reversed roles in a dysfunctional family, and the best thing Kevin Costner has done in a decade. The plot revolves around one vote being ruined because of mechanical failure – and the courting of the supposed caster of that one vote by the incumbent Republican President [glossily played by Kelsey Grammer] and the principled Democratic challenger [a surprisingly delicate performance by Dennis Hopper].

The problem is that Ernest “Bud” Johnson [Kevin Costner] got drunk and passed out, thereby missing his appointment with his daughter, Molly [Madeline Carroll – Watch out, Dakota! Look out, Abigail! There’s a very talented new kid in town!] at the polling station. When Bud fails to show, Molly takes it upon herself to sneak into a voting booth [after sneaking a voting card and forging her dad’s signature]. Unfortunately, a cleaning lady accidentally unplugs the machine just as Molly tries to cast Bud’s vote.

Kevin Costner & Madeline Carroll

Once the word gets out that Bud will have to re-cast his vote, he becomes the center of a three-ring circus that includes the President and Democratic candidate. As Bud is interviewed, the two candidates are lead by their campaign managers [Stanley Tucci and Nathan Lane] into adopting each other’s policies, until finally, Bud is called out by Bill Maher on national TV ["Bud Johnson is a dumbass!"].

Costner does a great job as the befuddled Bud, who has never recovered from his wife leaving him and Molly. As we see in the first two acts, he is a drunk who can’t hold on to a job packing eggs – and Molly is really parenting him. When he suddenly becomes the center of attention on all the news shows, he rides the wave without really thinking what he’s saying – or what it effect it will have on the country’s image around the world. The two candidates are so focused on winning that they ignore their principles as they try to persuade Bud to vote for each of them.

There’s a bit of speechifyin’, but it’s done with sincerity and a bit of unexpected wit, and really speaks to issues like hypocrisy in politics – while simultaneously giving us the story of a loser who finds something inside himself that he truly didn’t expect to be there. Perhaps the film works because Costner financed the film himself and thus felt a real connection to the material – or maybe, the film’s secret ingredient is Carroll, who is definitely one to watch. Whatever the case, even though it is a mite long, Swing Vote does work.

Director/Co-Writer [with Jason Richman] Joshua Michael Stern has, in Swing Vote, produced a thought-provoking little dramedy that deserves to be seen. Hopefully, it will corral all the moviegoers who choose not to brave the crowd of the weekend’s blockbuster fantasy/adventure movie [you know, the one with the mummies].

Final Grade: B

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With an A-story that features the love story between WALL*E [Waste Allocation Load Lifter - Earth Class] and EVE [Extraterrestrial Vegetation Evaluator], and a B-story that involves humanity’s possible return to a post-apocalyptic Earth, WALL*E is more than a bit of a gamble on PIXAR’s part.

Neither WALL*E nor EVE has a large vocabulary [at least, in terms of actual words - he has a number of R2D2-like sounds that clearly express what he's feeling, and she has her own electronic vocabulary as well] – and neither has what you could call a real face [he's a pair of binoculars on a box and she's a floating egg with occasional arms & hands] – and yet we always know exactly what they are thinking and feeling.

Their romance is a classic one – and simultaneously poignant and hilarious – even though the film goes almost twenty minutes before a word of English is spoken.

The B-story features humans who have, in 700 years in space, become obese figures on floating couches/chairs. They live on a gigantic starship called the Axiom, where they are waited on, hand & foot, by robots of all sizes, shapes and functions [there’s more than a bit of eco-satire here, and it’s quite sharp].

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The appearance of EVE [and WALL*E] with a fragile little plant from Earth should signal a return to Earth, but there are problems…

WALL*E does pay homage to various classic SF films [he resembles ET more than Johnny 5, and the ship's autopilot, Otto, will certainly remind one of Hal from 2001], but homages are only cool if the film is worth seeing.

WALL*E is, quite frankly, dazzling. Purely from a cinematography perspective, almost every frame of the film is a perfect composition – and yet not predictable, or in any way sterile.

Some of the best moments include the realization that the deserted city we first see is only partly man-made [you'll see what I mean...]; the lovely moment from the trailer when WALL*E trails his hand through asteroid dust like a little boy trailing his fingers through the water as a motorboat zips across a lake [see photo]; the beautiful skyscapes that open the film, and so many more [including the fact that WALL*E is hooked on Hello, Dolly – and has a cockroach as his only friend!].

WALL*E is the best film of the year – let alone the summer – so far. Easily. It may be too intense or hard to follow for younger children [the lady and four kids, ages about three to six, who were sitting next to me got up and left well before WALL*E reached the Axiom], so you should be aware of that.

Grade: A+

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