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    Sundance Film Festival 2017

    How Trump trumped the media: Documentary examines how the press got the election so wrong

    Jane Howze
    Jan 24, 2017 | 11:20 am

    Donald Trump may have officially assumed the nation's highest office in Washington, D.C., but he continues to be a major presence at the Sundance Film Festival in Park City, Utah. “Trumped: Inside the Greatest Political Upset of All Time” was screened for 200 members of the press Monday in a tent off Main Street in Park City, Utah, while a ferocious blizzard caused water to drip from a leaky ceiling. Despite the less than ideal conditions no one left.

    The documentary, created by John Heilemann, who has covered every election since 1992, Mark Halperin and former Austin political operative Mark McKinnon (creators of Showtime’s The Circus) analyzes the 2016 election from the vantage point of hindsight and as a result offers an outside-the-bubble perspective of how nearly everyone in the media got the bizarre and unprecedented presidential election so wrong. It traces Trump’s entry into the race, his destruction of each Republican contender, and culminates in his surprise election victory.

    Heilemann, in the Q&A session following the film, acknowledged that Sundance booked the film when it was just an idea and that his team had worked around the clock since the election and had only finished editing the film this week.

    The highly entertaining documentary focuses on the campaign from the press’s perspective, including many of the sound bites already seen on TV. Political junkies expecting insight from his advisers will be disappointed — the filmmakers let the story unfold through replays of his press conferences, the debates and several short interviews from the Trump private jet — always with a TV on in the background. I found these particularly interesting.

    On one you can catch a glimpse of Trump from a distance talking animatedly and affectionately with Melania Trump. On another, an interviewer asks Trump if he gets coached on what to say and he says no, he doesn’t need that. He speaks from his heart. Indeed he does and the film shows that while many supporters don't like all he says, they like that he is unscripted.

    This documentary has some laugh-out-loud parts, perhaps because truth can sometimes provide the best humor. Does anyone remember in 2015, when then-President Obama was asked if he could imagine Trump as president and he replied “yes, in a Saturday Night Live skit?” Similarly Trump’s comments about his….er…manhood, when replayed, had many in the audience chortling. If you just watched those snippets, you could see how the election was so shocking.

    Yet, through the lens of hindsight, the spectacle of the Trump plane pulling up to a hangar full of supporters, the excitement of the crowds (one young woman stated “I grew up watching him on The Apprentice”) and the politically incorrect and supremely confident Trump provided a moment of “How did we all miss this?”

    The film chronicles election night at Hillary Clinton’s extravagantly outfitted Jacob Javits Center election party that included a glass ceiling and a stage in the shape of the United States. One of the first signs that all was not going well was NBC's Andrea Mitchell telling the filmmakers that she is getting unsettling reports from Michigan. The film shows the shock and dismay of the filmmakers: “We were wrong and we need to figure out why.”

    Concluding the Q&A, Heilemann was asked by someone who was tactfully critical of the press (this is Sundance after all — not many openly Trump supporters here), asking what happened to reporter objectivity. He replied that everyone agrees the press is “fucked up” but they disagree on why.

    Some critics have taken the filmmakers to task for not trying to destroy Trump. He commented, “I think that it is incumbent on journalists not to become dispassionate because that’s phony. I think you should be passionate for the things that matter which are things like truth and accountability. We should try to represent the interests of the country and to hold people in power accountable and try to stay focused on what is true and which is false. “

    Even those who didn’t vote for Trump will find this documentary interesting, entertaining and instructional for future campaigns —even though, in the documentary, Bernie Sanders warns that an election should not be sport or a soap opera. The documentary will be screened on Showtime on February 3.

    Even those who didn’t vote for Donald Trump will find this documentary interesting, entertaining and instructional for future campaigns. It premieres on Showtime February 3.

    Donald Trump hat
    Photo via nydailynews.com
    Even those who didn’t vote for Donald Trump will find this documentary interesting, entertaining and instructional for future campaigns. It premieres on Showtime February 3.
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    Movie Review

    Fawning Michael Jackson biopic Michael ignores the singer's complexities

    Alex Bentley
    Apr 23, 2026 | 1:30 pm
    Jaafar Jackson in Michael
    Photo by Glen Wilson
    Jaafar Jackson in Michael.

    Michael Jackson remains among the most complicated figures in pop culture history. On one hand, he’s responsible for some of the most enduring music of all time, thrilling generations with his voice and dance moves. But his later years were marred by accusations of child sexual abuse and erratic behavior, including his premature death at the age of 50.

    So the new biopic Michael is a tough one to judge from a critical standpoint, not least because director Antoine Fuqua and writer John Logan have elided — perhaps temporarily — the thornier parts of Michael’s history. Instead, this film focuses on the 20-year period in which Michael (played as an adult by Michael’s nephew Jaafar Jackson) goes from the prepubescent lead singer of the Jackson 5 to one of the biggest music superstars of all time.

    That choice puts an overly sympathetic tint to Michael’s story, as he spends most of that time under the thumb of his domineering father, Joseph (Colman Domingo). Joseph has a vision for Michael and his brothers, and he pushes them hard in a quest to become rich and famous. Even when they achieve that goal, though, Joseph refuses to let up, holding onto Michael even when it’s clear he should go out on his own.

    As a reminder of the enormous impact Michael Jackson had on the music industry and world at large, the film is successful. Fuqua and Logan include plenty of music, naturally, but they seem to be most interested in depicting Michael as a human being. They lay it on thick, whether it’s showing him spending time among his family members away from the stage, hanging out with bodyguard Bill Bray (KeiLyn Durrel Jones), or visiting sick kids in hospitals. The message that Michael is a harmless, good person couldn’t be clearer.

    The film hints at but doesn’t really explore Michael’s oddities. His obsession with kids literature and movies, especially Peter Pan, are seen as inoffensive quirks, as is his menagerie of animals, including a creepy CGI version of Bubbles the chimp. His arrested development seems to be partially blamed on his parents treating him like a child well into his adulthood, and the resulting fallout is not (yet) addressed.

    Many viewers will be most interested in the music sequences, and — save for some repetitive shots of fans fainting at the mere presence of Michael — they are handled well. Whether it’s at home, in the studio, on the set of the “Thriller” video, or at live performances, the film manages to fully get across just what a phenomenon Michael was at his peak. The staging and editing of each scene is dynamic, complementing Michael’s other-worldly abilities well.

    If there is one reason to see the film, it is the performance of Jaafar Jackson. Whether he’s capable of doing any other kind of role is undetermined, but his portrayal of his uncle is compelling, as he demonstrates singing, dancing, and acting skills in equal measure. He’s aided by an equally great performance by Domingo, who — with the help of facial prosthetics — overcomes the trope of the bad father. Nia Long and Larenz Tate are also good in smaller roles, but Miles Teller is an odd presence as Michael’s manager.

    There are reports that legal complications prevented the filmmakers from using previously-shot scenes delving into accusations against Michael, and there are rumors that a second film will be made about the last 20 years of his life. But that speculation can’t absolve Michael of showing all the positive aspects of Michael Jackson’s life and not even touching any of the negative ones.

    ---

    Michael opens in theaters on April 24.

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