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A documentary that follows a billionaire couple as they begin construction on a mansion inspired by Versailles. During the next two years, their empire, fueled by the real estate bubble and cheap money, falters due to the economic crisis.
Director:
Lauren Greenfield
Stars:
Virginia Nebab,
David Siegel,
Jaqueline Siegel
Tells the story of a chimpanzee taken from its mother at birth and raised like a human child by a family in a brownstone on the upper West Side in the 1970s.
Director:
James Marsh
Stars:
Nim Chimpsky,
Stephanie LaFarge,
Herbert Terrace
A documentary on 85-year-old sushi master Jiro Ono, his business in the basement of a Tokyo office building, and his relationship with his son and eventual heir, Yoshikazu.
Young filmmakers document their colleague's budding online friendship with a young woman and her family which leads to an unexpected series of discoveries.
Directors:
Henry Joost,
Ariel Schulman
Stars:
Yaniv Schulman,
Ariel Schulman,
Henry Joost
Using state-of-the-art equipment, a group of activists, led by renowned dolphin trainer Ric O'Barry, infiltrate a cove near Taijii, Japan to expose both a shocking instance of animal abuse and a serious threat to human health.
Director:
Louie Psihoyos
Stars:
Richard O'Barry,
Louie Psihoyos,
Hardy Jones
Filmmaker Errol Morris was sued by Joyce McKinney, the central figure of the documentary for allegedly tricking her into appearing in the film. See more »
Some people are serial fantastists, or serial self-publicists: it can be hard to tell the difference. Errol Morris' entertaining film 'Tabloid: Sex in Change' will seem familiar to anyone whose seen the (altogether more serious) film 'True Lies': in both cases, someone collaborates with a contemporary film-maker to tell "their story", even though the film-maker is able to simultaneously compile a large body of evidence to suggest that this story is utter tosh. The protagonists of both films could be considered con-artists, but if so, neither of them are exactly very good: in taking part in these films, they manage not to control the narrative, but to destroy themselves (although, if self-publicity is the aim, they do succeed, albeit in a peculiar fashion). Joyce McKinney's story (both the real one, and the one that she tells) is straightforwardly bizarre; while the linked tale of the behaviour of tabloid newspapers is predictably depressing, although one can't help but wonder whether or not Morris would have done better to let sleeping dogs lie (something McKinney didn't do when she had her dead pet cloned) rather than give the whole affair another publicising blast of the oxygen. It's hard to draw many conclusions from such a weird tale about the state of our society, or even about the interior workings of McKinney's mind; yet it's also impossible not to be entertained, albeit in a prurient way, by the extraordinary details of her tale.
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Some people are serial fantastists, or serial self-publicists: it can be hard to tell the difference. Errol Morris' entertaining film 'Tabloid: Sex in Change' will seem familiar to anyone whose seen the (altogether more serious) film 'True Lies': in both cases, someone collaborates with a contemporary film-maker to tell "their story", even though the film-maker is able to simultaneously compile a large body of evidence to suggest that this story is utter tosh. The protagonists of both films could be considered con-artists, but if so, neither of them are exactly very good: in taking part in these films, they manage not to control the narrative, but to destroy themselves (although, if self-publicity is the aim, they do succeed, albeit in a peculiar fashion). Joyce McKinney's story (both the real one, and the one that she tells) is straightforwardly bizarre; while the linked tale of the behaviour of tabloid newspapers is predictably depressing, although one can't help but wonder whether or not Morris would have done better to let sleeping dogs lie (something McKinney didn't do when she had her dead pet cloned) rather than give the whole affair another publicising blast of the oxygen. It's hard to draw many conclusions from such a weird tale about the state of our society, or even about the interior workings of McKinney's mind; yet it's also impossible not to be entertained, albeit in a prurient way, by the extraordinary details of her tale.