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writer Frank Pierson mine the film’s scenario for
Brett Morgen (The Kid Stays in the Picture)
every vein of dramatic richness. By the end, we
furthers his reputation as a bold stylist with this
feel that we intimately know Sonny, his part
flawed but electrifying documentary about Abbie
ner in crime, the police hostage negotiator with
Hoffman, Black Panther leader Bobby Seale and
whom they end up in a standoff and the dozen or
others who faced trial on charges of inciting ri
ots at the tumultuous 1968 Democratic National
so employee hostages.
Sonny is a somewhat down-and-out, work
Convention. Using archival footage, Morgen
ing-class Vietnam vet who’s desperate because he
skillfully interweaves scenes of peace rallies with
can’t afford to pay for his male-to-female partner’s
devastating images of police brutality. To depict
sex reassignment surgery. His occasionally funny
the trial itself, he goes out on a limb with mixed
ineptitude is ultimately touching; he’s not a ca
results, employing motion-capture animation
that’s alternately hallucinogenic and hokey. Nick
reer criminal, but he complicates the robbery just
as often through his humaneness toward his hos
Nolte, Hank Azaria, Mark Ruffalo and the late
tages as he does through his lack of experience.
Roy Scheider provide their vocal talents. A-
—Stephen Blair
The character is so well drawn and played that
Lumet and Pierson don’t have to make any special
Originally released in 1975, Dog Day After-
case for Sonny’s being human; the film just lets us
experience his humanity and that of those around
him, even in their moments of greatest conflict.
Dog Day Afternoon
Dog Day Afternoon is now playing in high defi
noon showcases both director Sidney Lumet and
star Al Pacino at the peak of their artistry. Based
nition at Living Room Theaters, and there’s every
on the true story of a bank robber turned unlikely
reason to catch it if you can. If you’ve already seen
underdog hero named Sonny, the film is a flat-out
it, you’ll better appreciate the film’s superb gritty-
4 •
. .1
naturalist feel on the big screen. And if you
haven’t, well, you’re in for a treat. A+
—Christopher McQuain
Praying with Lior
It feels like bad karma to denigrate a
film whose protagonist is a 12-year-old boy
503-973-5476
with Down syndrome who lost his mother
at age 6, but the fact is Praying with Lior is
www.thriveaesthetics.com
basically a compilation of glorified home
movie footage. Lior Liebling, who jokes
American Window Company
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that he has “Up syndrome,” is a cute and
funny Jewish kid who loves to pray. The
The 1975 classic Dog Day Afternoon had a rare
understanding of the ideals of gay liberation.
opinions of his family members vary from
classic, cinematically speaking, and it offers the
considering him a public embarrassment
to thinking he is “closer to God” than anyone
added pleasure of its almost unbelievably progres
else. His developmental disability is viewed as
sive attitude regarding its queer characters. In fact,
possibly a divine gift by Lior’s zealously religious
mainstream American cinema has rarely been so
queer-friendly, even in the years since; this film,
father, who drills him on the wisdom of the Torah
released only a few years after the Stonewall riots,
at his bar mitzvah. Closes March 23 at Hollywood
was a hit with a major star that had a rare under
Theatre. C+
and leads him to believe the Messiah will appear
standing of the ideals of gay liberation.
—Tony LeTigre
Dog Day Afternoon also demonstrates the rela
tive artistic freedom of its time; not for nothing is
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the 1970s still thought of as America’s last (and
Nine years after her impressive debut feature
perhaps final) golden age of cinema. The film is
riveting, but it isn’t afraid to slow down in order to
gain some depth and traction; Lumet and screen-
film, Boys Don’t Cry, queer writer/director Kim
berly Peirce returns with this searing yet humane
indictment of the war in Iraq. Ryan Phillippe is
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