'Bad 25' Is About the Man and His Music, not the Madness

SPIKE Lee had a mandate from both the Michael Jackson Estate and Sony Music Entertainment: focus on the music and the art.

He followed through, and the result is “Bad 25,” the documentary that celebrates the 25th anniversary of Michael Jackson's iconic “Bad” album. It recounts the making of the album one track at a time.

The film makes its U.S. debut today in New York only for a weeklong run at the Loews AMC Theater (66 Third Ave). It will make its TV debut at 9:30 p.m. EST on 22 Nov. on ABC.

While “Bad 25” does not focus on the personal problems and peccadilloes of the King of Pop, his eccentricity comes through. For it is impossible to be that talented and not have a few oddball habits, and MJ – God love ’im – had his share. In his defense, however, he was at the time of the "Bad" recording trying to top (or come close) “Thriller,” which is still the biggest selling album of all time. Imagine the pressure!

“Bad 25” had its world premiere at the 69th Venice Film Festival on 31 Aug., exactly 25 years after the release of the “Bad” album and two days after the anniversary of MJ’s birthday. The film, which had its North American premiere at the 37th Toronto Film Festival, reveals a number of details that fans will savor. (See video above of SL at a press conference after the Venice screening of “Bad 25” and a video clip from the documentary below)

Without a doubt, SL is an MJ fan, and he doesn’t pretend otherwise. In fact, he admits it. Only one year older, he wanted to be MJ and the Jackson Five. His adulation, notwithstanding, doesn’t mean his film is revisionist propaganda. It is not, though at moments it feels a bit too adulatory. As SL says during the Venice press conference, “I think there were too many years, we – and I’m gonna include myself – we concentrated on stuff about Michael Jackson that had nothing to do with the music. This is a time to just concentrate on the music of Michael Jackson. It was a chance to dig into his creative process.”

The director also speaks with many who were influenced by MJ, as well as collaborators, including Quincy Jones and Martin Scorsese, who directed the “Bad” video.

Put the focus on the artistry – which even MJ’s most ardent detractors can’t deny – and the result can easily be “Bad 25.” To help tell the “Bad” story, SL uses never-before-seen footage – a huge benefit of having the cooperation of both the estate and the record company.

“We all are blessed with the final work but it is rare that you get to see how something is put together,” SL shared with his audience in Venice. “We don't see the blood, sweat and tears – all of the work that goes into how the masters work.”

Now, we do.

“Bad 25” will be showing from 26 Oct. through 2 Nov. at the Chinese 6 Theaters (6801 Hollywood Blvd.) in Hollywood.

New Lancia Flavia Owns Red Carpet at Venice Film Fest

The Lees: Satchel, Spike, Jackson and Tonya attend a cocktail party (with Flavia in background) at Lancia Cafe after a screening of "Bad 25.” Photo by Vittorio Zunino Celotto/Getty Images.

Logging lots of hours on the red carpet at the 69th Venice Film Festival (http://www.labiennale.org/en/cinema/) and other places aren't stars like Kate Hudson and Spike Lee. It is a new version of Flavia, brought to the world by Italian automaker, Lancia.

The comely convertible (see photos above and below) is not only on the red carpet but the catwalk and in the Lancia Café area. It is almost omnipresent! These are some of the benefits of sponsorship, and Lancia has committed seven years to the VFF and doesn’t appear to be experiencing an itch.

Gabriele Muccino and Flavia outside Lancia Cafe. Photo by Tullio M. Puglia/Getty images.

One of the vehicle’s attributes that Lancia is talking up the most is its red Pelle Frau® Pieno Fiore leather seats and armrests created by master craft brand Poltrona Frau. Italians know their leather, and the Lancia Flavia is easy on the eyes for it.

Zac Efron attending the "At Any Price" premiere, with Flavia hanging back. Photo by Vittorio Zunino Celotto/Getty Images.

According to Lancia, Flavia has the advantages of a coupe but the sensations of a convertible – read: comfortable (reasonably spacious with decent backseat legroom) and fast for those who like to ride like the wind.

Lancia Flavia sees Kasia Smutniak off to "The Reluctant Fundamentalist" premiere. Photo by Vittorio Zunino Celotto/Getty Images.

The car has brawn, too – like the regular Flavia – most apparent in a 2.4 liter engine capable of 175 horsepower, a peak torque of 225Nm and a six-speed automatic transmission.

Kate Hudson and Matt Bellamy off to "The Reluctant Fundamentalist" premiere with the apparent blessings of the Flavia. Photo by Vittorio Zunino Celotto/Getty Images.

It comes equipped, too, with features that one expects from a 21st century car i.e,. four airbags, latest-generation Abs, multimedia system with navigation capabilities and the much-ballyhoed Boston acoustic sound system.

Lancia has not yet announced when this Flavia will be available for purchase or its price point. As a point of reference, the regular Flavia is 49.900 euros in Europe.

Visit http://www.lancia.com/ to learn more about Lancia Flavia.

An Extraordinary Wish in ‘Hari-Kiri: Death of a Samurai’

A samurai (Ebizo Ichikawa) goes to his feudal lord (Koji Yakusho) with a surprising request: He desires an honorable death by ritual suicide in the former’s courtyard.

Taken aback, the lord recounts the tale of another who made such a request and came to a bad end, owing to less than honorable motives.

The samurai won’t take a stern warning for an answer and pursues his quest by any means necessary, setting off the action in Takashi Miike’s “Hari-Kiri: Death of a Samurai.”

Shot in 3D, the Tribeca Film release is available on VOD and is playing in select theaters in the United States, including Four Star Cinema in San Francisco.

Of Hari-Kiri: Death of a Samurai, TM said in production notes, “What excites me about resurrecting this film from the past is being able to feel first-hand the existence of the universal human suffering which "Hari-Kiri: Death of a Samurai" depicts at its core as it transcends time, genres and countries.” In Japanese with English subtitles. (See trailer above).

Hari-Kiri: Death of a Samurai is not rated. Visit http://www.harakiri2012.com to learn more about the film.

'Red Hook Summer' Moving Beyond Borders of New York
SPIKE Lee's "Red Hook Summer" (http://www.ow.ly/cTvf4) is slowly rolling out across the country.

Set in Brooklyn, the film chronicles the multiple culture shocks experienced by a 13-year-old middle-class Atlanta boy who journeys to New York to spend the summer with the religious grandfather he is meeting for the first time. It opens today in Atlanta, Baltimore, Chicago, Los Angeles, Philadelphia and Washington, DC. (SL reflects on "Red Hook Summer" in video).

“Red Hook Summer” is rated R for brief violence, language and a disturbing situation. Visit http://www.redhooksummer.com/ to learn more about the film.

In Theaters: 'Red Hook Summer' & 'The Bourne Legacy'

ONE of Brooklyn’s greatest ambassadors is none other than Spike Lee. The director, writer, actor and sometime-activist loves the borough that some refer to as “God’s Country.”

Despite his fame and fortune, SL is still holding it down in the country. This extends to his films, too, in particular a series dubbed the “Chronicles of Brooklyn.” It started with “She’s Gotta Have It” and the culture-transforming “Do the Right Thing.” The last film in the series was “He Got Game.” The latest is “Red Hook Summer,” which SL wrote and directed. It opens in limited release today. (See video above).

Despite some subject matter that put it in danger of an NC-17 rating, “Red Hook Summer” is essentially a coming-of-age film. In a geographic reversal, 13-year-old Flik Royale (Jules Brown) is planted in New York where he is to meet for the first time and live with his paternal grandfather, Bishop Enoch Rouse (Clarke Peters). Poor Flik can’t catch a break.

On the one hand, his massively religious grandfather is trying to convert him. On the otherhand, this middle-class Atlanta boy is learning – sometimes the hard way – about life in the big city. In the projects … It’s hard out here for an imp!

'Tis always refreshing to see any ethnic group portrayed in various degrees of its complexity. In his 20-plus-year career behind (and sometimes in front of) the camera, SL has never strayed from examining black folk in our numerous shades of gray. Keep doing the right thing, Spike.

“Red Hook Summer” is rated R for brief violence, language and a disturbing situation.

Also opening today, nationwide, is another film in the “Bourne” franchise.

Don’t expect to see Matt Damon, though. He begged off starring in the fourth installment of the successful films flimsily based on Robert Ludlum’s spy novel. Horrors! One can just see the suits at Universal Pictures sitting around a conference table twiddling fingers and fondling Blackberrys, i-’s and other smart phones trying to figure out how to keep milking this cash cow.

Eureka! In a clever bit of marketing, they cheekily tell the moviegoing public that there was never just one Bourne, in a story extrapolated by Tony Gilroy who also directs. Apparently, Bournes or Bourne types are as potentially numerous as the Borg. Well, goodbye Jason Bourne aka Matt Damon and hello Aaron Cross aka Jeremy Renner.

Aaron Cross (Jeremy Renner) is a wanted and haunted man in "The Bourne Legacy." Photo by Mary Cybulski for Universal Studios.

Not surprisingly, there is lots of action. Fasten your seatbelts to avoid whiplash; it’s a bumpy ride. No need to know the synopsis beyond the fact that Aaron has gone rogue and must be restrained by any means necessary. On either side of the misunderstood agent are new and returning faces in the guise of Rachel Weisz, Edward Norton, Albert Finney, Joan Allen and Scott Glenn.

All the A-list star power notwithstanding, this is JR’s film. But can he make it his own as did his predecessor? No doubt, viewers will decide.

“The Bourne Legacy is rated PG-13 for violence and action sequences.