Gravitas Ventures
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Michael Arthur
Screenwriter: Michael Arthur
Cast: Niko Alm, Mathé Coolen, Mienke De Wilde, Daniel C. Dennett, Pedro L. Irigonegaray, Edward J. Larson, Bruder Spaghettus, Derk Venema, Bobby Henderson
Screened at: Critics’ link, NYC, 7/2/20
Opens: July 7, 2020


What makes a book sacred? Is there anything intrinsically sacred about the Koran, the Bhagavad Gita, the Old Testament, the New Testament? For example, if members of the Guajajara indigenous tribe in Marantao state in Eastern Brazil saw a copy of one of these books, studied it, put a spear into it, would they find anything holy? Not likely. Is “The Art of the Deal” sacred? It is, if at least one American says it is, and you’ll probably find one patriot claiming that it is so. Books and the religious orders they teach are sacred only because people say they are. If you realize that much, you can go into a screening of “I, Pastafari” with an open mind.

Niko Alm (I) in I, Pastafari: A Flying Spaghetti Monster Story (2019)

When you inspect the title of this movie, which would be better called simply “Pastafari,” you will guess that it has something to do with spaghetti and its cousins like ziti, macaroni, and linguini. Are the Pastafarians a joke? Yes and no. Though the documentary does not support the premise that the Pastafarians are just some jokers on spring break, we discover that they take themselves seriously when they insist that theirs is a religion like Christianity, Judaism, Zoroastrianism, Mormonism and the like. In fact they make frequent journeys to courtrooms in their home countries, particularly in the Netherlands, Germany and Austria, to prove that they meet the criteria of real religions, because they’re serious. Worshippers of the flying spaghetti monster, the deity that should be put into capital letters as with other faiths The Flying Spaghetti Monster, love their logo featuring two eyes atop a mound of pasta with two meatballs. They even show off a painting of mankind reaching out, naked to the right, to receive the gift of life from a bowl of noodles.

Still of Bruder Spaghettus in I, Pastafari: A Flying Spaghetti Monster Story (2019)

Still, this is no “Animal House,” but features instead a multi-national group of some young people and some with long white beards who wear colanders on their head. They refuse to remove their respectful metal attire when told that they could not get drivers’ licenses unless they wear the headgear for religious reasons, so they pounce on that loophole and win the right, at least in the ultra-liberal Netherlands, to take their pictures, so long as their faces are clearly shown.

In archival films, we see the Pastafarians with somber faces defending their right to be considered a religion just like the older ones that have established themselves, winning a few court decisions, losing most. Those of us viewing the picture get the point that they are really atheists who piggyback the idea posited by proponents of the theory of intelligent design, that if you cannot prove that it’s wrong, it should be upheld as a legitimate point of view. Some archival shots of the so-called Monkey Trial involving Scopes, a high school teacher who lets himself be arrested when he taught the Theory of Evolution and whose lawyer, Clarence Darrow, trashed the state’s attorney William Jennings Bryan in an eight-hour interrogation (which was the subject of the enormously entertaining play “Inherit the Wind”).

Yes, Virginia, there really are Pastafarians in the world, who, instead of lecturing people, use the arguments of religious people to show the arbitrary nature of a faith in supernatural beings. In fact Franklin Foer did an article in the Atlantic magazine of November 2016 about Flying Spaghetti Monster acolytes across the Continent who are a genuine organized movement “founded in large part to critique organized religion…[with] the trapping and some of the social functions of a real religion.” He notes that their Sabbath is on a “Friday, because our god was faster than the other gods, and he finished with the creation of the Earth earlier.” New Zealand became the first country to legally recognize marriages.

Leave it to the U.S., a generally more religious country than much of Europe, to deny a Nebraska prisoner’s request to practice the Pastafarian faith, ruling FSM a parody and not a religion. The Netherlands went the other way granting the group official status. “If you are not satisfied,” notes 24-year-old Bobby Henderson, “Your old religion will likely take you back.”

“I, Pastafari” is a broadly humorous movie with a consequential metaphysical philosophy, marred only by an insistence on intrusive music in the soundtrack, as though director Michael Arthur in his freshman offering does not trust the theater audience to know when the Pastafarians are messing with our mind. And hey, it’s only 56 minutes long, so what can you lose (except your faith)? R’amen.

56 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online

Story – B+
Acting – B
Technical – B
Overall – B+

AN AMERICAN PICKLE – movie review

Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Brandon Trost
Screenwriter: Simon Rich adapted from his novella “Sell Out” in New Yorker Magazine
Cast: Seth Rogen, Sarah Snook, Sean Whalen, Jorma Taccone, Joanna Adler, Jeff Daniel Phillips, David Mattey
Screened at: Critics’ link, NYC, 7/30/20
Opens: August 6, 2020

An American Pickle' trailer: Seth Rogen talks 'unique' HBO Max comedy

Rip van Winkel fell asleep in the borscht belt and woke up twenty years later. Or so he thought. “Fiddler on the Roof” focuses on the Jewish community in 19th Century Eastern Europe, its residents always watching out for the Cossacks. In the movie “Borat,” the title character, Borat Sagiyev, wanders to the U.S. from the Kazakh backwaters to interview people in the modern U.S. In David Mamet’s “Homicide” (1991), Bobby Gold (Joe Mantegna), a police detective investigating a murder that takes place within an Orthodox Jewish community, is criticized by a Hasidic Jew for being secular, the latter wondering whether there is anything spiritually real in a cop who does not embrace his religion. All of these and more are channeled in “An American Pickle,” directed by Brandon Trost in his freshman offering and written by Simon Rich, based on the writer’s novella “Sell Out” which appeared in New Yorker magazine January 28, 2013. By the very title of this HBO Max production, you’d figure that it would be a comedy since, after all, isn’t Seth Rogen, veteran of “The End,” “Super Bad,” “Sausage Party” and “Sorority Rising,” one of the great comic artists in the movies today?

Seth Rogen's An American Pickle finds a home at HBO Max

Truth to tell, “An American Pickle,” which bills itself as a comedy-drama, or dramady, is sadly unfunny and its lesson on the importance of religion and family is generally superficial. The one big plus is that it takes place not only in Eastern Europe but mostly in my home town, Brooklyn. Oh but wait. It was filmed in Pittsburgh.

Let’s look at an example of Simon Rich’s original novella in the New Yorker.

One day at work I fall into brine and they close the lid above me by mistake. Much time passes; it feels like long sleep. When the lid is finally opened, everybody is dressed strange, in colorful, shiny clothes. I do not recognize them. They tell me they are “conceptual artists” and are “reclaiming the abandoned pickle factory for a performance space.” I realize something bad has happened in Brooklyn. The science men come and explain. I have been preserved in brine a hundred years and have not aged one day. They describe to me the reason (how this chemical mixed with that chemical, and so on and so on) but I am not paying attention. All I can think of is my beautiful Sarah. Years have passed and she is surely gone.

The initial twenty minutes or so takes place in Eastern Europe in 1820 when Herschel Greenbaum (Seth Rogen) courts and weds Sarah (Sarah Snook), supporting his new family with a job in a pickle factory. Assigned to swatting innumerable rats who begin to attack him, he falls into a barrel of pickles just as the factory is closing down for good. The lid is placed on the barrel, and the factory is unoccupied until Herschel wakes up one hundred years later, preserved in brine so that he has aged not at all. He goes to America where he learns of a relative, Ben Greenbaum (Seth Rogen in his second role!), who has been working on providing a logo for a website called Boop Bop. With a full beard and an Eastern Europe hat, Herschel quickly learns the meaning of “logo,” and is of course astonished by what he sees in Brooklyn and Manhattan—just as you and I would be if we woke up in one hundred years to observe people wearing strange outfits and speaking Esperanto.

He works at what he knows, selling pickles, obtaining cucumbers from a dumpster and sinking them in rain water and salt. At first he is a success covered by TV but has a falling out from his envious brother who retaliates against Herschel for involving him in criminal activities—seemingly ending Ben’s career.

Seth Rogen's An American Pickle Gets A UK Trailer

The virtues of national attention through TV interviews and features in lecture halls appear to propel the man onward and upward but he makes one mistake, and it’s a mistake that makes me worry about how the Christians in the audience for this movie will react. I’m all for free speech, but even the First Amendment (like the Second) has its limits. What Herschel states in answer to a question about Jesus and Mary is so despicable that it has no place in such a film. Couldn’t the producers have found some other screw-ups if they wanted to show the evanescence of fame? We get enough racist crap and Islamophobia weekly from Donald Trump. There’s no need for disparagement of a religion with billions of followers. Sure it’s OK to kid as does the movie “I, Pastafari” (a bizarre group of people follow a religion whose god is a flying spaghetti monster) which opened July 7th and has all of eight reviews on Rotten Tomatoes. But this is going too far.

Ultimately, the picture turns sentimental, when the brothers reunite after their schism, announcing that family is important, and (according to this picture) so is religious ritual. But there is not much in the way of either comedy or drama, though the visuals—which allow Seth Rogen to play both roles, even to hug each other seamlessly—are awesome.

90 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online

Story – C-
Acting – B
Technical – B+
Overall – C+