Movie Reviews

Movie Review: 'Pee-wee as Himself' unmasks Paul Reubens

Published

10 months ago

May 22, 2025

Movie Review: 'Pee-wee as Himself' unmasks Paul Reubens

Some bio documentaries are carried mostly by the reflective, archival footage that send you back to the subject’s heyday.

But in Matt Wolf’s “Pee-wee as Himself” — as wonderful as much of the archival stuff is — nothing is more compelling than when Paul Reubens is simply himself.

Before his death from cancer in 2023, Reubens sat for 40 hours of interviews with Wolf. His cooperation is clearly uncertain and sometimes strained in the film — he stopped participating for a year before talking about his infamous 2001 arrest — and his doubts on the project linger throughout.

Reubens would rather be directing it, himself, he says more than once. The man many know as Pee-wee Herman is used to controlling his own image, and he has good reason for being skeptical of others doing so. But beyond that tension over authorship of his story, Reubens is also delightfully resistant to playing the part of documentary cliche.

“I was born in 1938 in a little house on the edge of the Mississippi River,” he begins. “My father worked on a steamboat.”

Talking heads have gotten a bad rap in documentaries in recent years, but in “Pee-wee as Himself,” nothing is more compelling than Paul Reubens simply sitting before the camera, looking back at us.

Pee-wee may be iconic, but Paul Reubens is hysterical. And Wolf’s film, with that winking title, makes for a revealing portrait of a performer who so often put persona in front of personhood. In that way, “Pee-wee as Himself,” a two-part documentary premiering Friday on HBO and HBO Max, is moving as the posthumous unmasking of a man you can’t help but wish we had known better.

This image released by HBO Max shows Paul Reubens in a scene from the documentary “Pee-Wee As Himself.” Credit: AP

Reubens was a product of TV. He grew up transformed by shows like “Howdy Doody,” “The Mickey Mouse Club” and, later, “I Love Lucy.”

“I wanted to jump into my TV and live in that world,” he says.

Part of the delight of the first half of Wolf’s film is watching the wide range of inspirations — the circus culture of Sarasota, Florida, where his family moved to; Andy Warhol; performance art — coalesce into a singular creation like Pee-wee. That name, he says, came from a tiny harmonica that said “Pee-wee” on it, and a kid named Herman he knew growing up.

“It was a whole bunch of things that had never really connected connecting,” says Reubens.

This image released by HBO Max shows Gary Panter, left,... — This image released by HBO Max shows Gary Panter, left, and Paul Reubens in a scene from the documentary “Pee-Wee As Himself.” Credit: AP

Wolf carefully traces the birth of Reubens’ alter-ego through the Groundlings in Los Angeles, on stage at the Roxy and then out into the world, on “The Gong Show,” on Letterman, in the 1985 Tim Burton-directed “Pee-wee’s Big Adventure” and, ultimately, on “Pee-wee’s Playhouse.”

“I felt in a way I was bringing the character out into the wild,” he recalls. “I just stayed in character all day.”

That came with obvious sacrifices, too. For the sake of his career, Reubens stayed closeted as a gay man. He grew intensely private and seldom appeared in public not in character. Reubens also jettisoned some of his close collaborators, like Phil Hartman, as his fame grew. There’s tragedy, both self-inflicted and not, in Reubens’ increasing isolation.

When Reubens was arrested in 1991 and charged with indecent exposure, Reubens’ carefully guarded persona came crashing down. The scandal was worse because people knew only Pee-wee and not Reubens. There was also injustice in the whole affair, particularly the 2002 arrest that followed on charges of child pornography that were later dropped. In both cases, homophobia played a role.

When Reubens does get around to talking about it, he’s most resistant to painting himself as a victim, or offering any, as he says, “tears of a clown.”

Wolf, the director of films like “Recorder,” about Marion Stokes, who recorded television all day long for 30 years, and “Spaceship Earth,” about the quirky 1991 Biosphere 2 experiment, is better known as a talented documentarian of visual archives than as an compelling interviewer of celebrities.

“Pee-wee as Himself” would have probably benefited from less one-sided interplay between subject and filmmaker. But Wolf’s time was also limited with Reubens and just getting this much from him is clearly an accomplishment.

Above all, Reubens says he’s doing the film to clear a few things up. In the end, the full portrait of Reubens — including all his playful, self-deprecating charm in front of the camera — add up to a much-needed retort to some of the misunderstandings about Reubens.

The day before he died, Reubens called Wolf to say one last thing: “I wanted to let people know who I really was and see how painful it was to be labeled as something I wasn’t.”

“Pee-wee as Himself,” a Warner Bros. release is unrated by the Motion Picture Association. Running time: 205 minutes. Three stars out of four.

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Movie Reviews

Dan Webster reviews “WTO/99”

Published

11 hours ago

March 10, 2026

Press Room

DAN WEBSTER:

It may now seem like ancient history, especially to younger listeners, but it was only 26 years ago when the streets of Seattle were filled with protesters, police and—ultimately—scenes of what ended up looking like pure chaos.

It is those scenes—put together to form a portrait of what would become known as the “Battle of Seattle” —that documentary filmmaker Ian Bell captures in his powerful documentary feature WTO/99.

We’ve seen any number of documentaries over the decades that report on every kind of social and cultural event from rock concerts to war. And the majority of them follow a typical format: archival footage blended with interviews, both with participants and with experts who provide an informational, often intellectual, perspective.

WTO/99 is something different. Like The Perfect Neighbor, a 2026 Oscar-nominated documentary feature, Bell’s film consists of what could be called found footage. What he has done is amass a series of news reports and personal video recordings into an hour-and-42-minute collection of individual scenes, mostly focused on a several-block area of downtown Seattle.

That is where a meeting of the WTO, the World Trade Organization, was set to be held between Nov. 30 and Dec. 3, 1999. Delegates from around the world planned to negotiate trade agreements (what else?) at the Washington State Convention and Trade Center.

Months before the meeting, however, a loose coalition of groups—including NGOs, labor unions, student organizations and various others—began their own series of meetings. Their objective was to form ways to protest not just the WTO but, to some of them, the whole idea of a world order they saw as a threat to the economic independence of individual countries.

Bell’s film doesn’t provide much context for all this. What we mostly see are individuals arguing their points of view as they prepare to stop the delegates from even entering the convention center. Meanwhile, Seattle authorities such as then-Mayor Paul Schell and then-Police Chief Norm Stamper—with brief appearances by Gov. Gary Locke and King County Executive Ron Sims—discuss counter measures, with Schell eventually imposing a curfew.

That decision comes, though, after what Bell’s film shows is a peaceful protest evolving into a street fight between people parading and chanting, others chained together and splinter groups intent on smashing the storefronts of businesses owned by what they see as corporate criminals. One intense scene involves a young woman begging those breaking windows to stop and asking them why they’re resorting to violence. In response a lone voice yells their reasoning: “Self-defense.”

Even more intense, though, are the actions of the Seattle police. We see officers using pepper spray, tear gas, flash grenades and other “non-lethal” means such as firing rubber pellets into the crowd. In one scene, a uniformed guy—not identified as a police officer but definitely part of the security crowd, which included National Guardsmen—is shown kicking a guy in the crotch.

The media, too, can’t avoid criticism. Though we see broadcast reporters trying to capture what was happening—with some affected like everybody else by the tear gas that filled the streets like a winter fog—the reports they air seem sketchy, as if they’re doctors trying to diagnose a serious illness by focusing on individual cells. And the images they capture tend to highlight the violence over the well-meaning actions of the vast majority of protesters.

Reactions to what Bell has put on the screen are bound to vary, based on each viewer’s personal politics. Bell revels his own stance by choosing selectively from among thousands of hours of video coverage to form the narrative he feels best captures what happened those two decades-and-change ago.

If nothing else, WTO/99 does reveal a more comprehensive picture of what happened than we got at the time. And, too, it should prepare us for the future. The way this country is going, we’re bound to see a lot more of the same.

Call it the “Battle for America.”

For Spokane Public Radio, I’m Dan Webster.

——

Movies 101 host Dan Webster is the senior film critic for Spokane Public Radio.

Movie Reviews

Movie Review: ‘Scream 7’ – Catholic Review

Published

24 hours ago

March 9, 2026

Press Room

Movie Review: ‘Scream 7’ – Catholic Review

NEW YORK (OSV News) – As its title suggests, “Scream 7” (Paramount) is the latest extension of a long-lived horror franchise, one that’s currently approaching its 30th anniversary on screen. Since each chapter of this slasher saga has been a bloodsoaked mess, the series’ longevity will strike moviegoers of sense as inexplicable.

Yet the slog continues. While the previous film in the sequence shifted the action from California to New York, this second installment, following a 2022 quasi-reboot, settles on a Midwestern locale and reintroduces us to the series’ original protagonist, Sidney Evans, nee Prescott (Neve Campbell).

Having aged out of the adolescent demographic on whom the various murderers who have donned the Ghostface mask that serves as these films’ dubious trademark over the years seem to prefer to prey, Sidney comes equipped with a teen daughter, Tatum (Isabel May). Will Tatum prove as resourceful in evading the unwanted attentions of Ghostface as Mom has?

On the way to answering that question, a clutch of colorless minor characters fall victim to the killer, who sometimes gets — according to his or her lights — creative. Thus one is quite literally made to spill her guts, while another ends up skewered on a barroom’s pointy beer tap.

Through it all, director Kevin Williamson and his co-writer Guy Busick try to peddle a theme of female empowerment in the face of mortal danger. They also take a stab, as it were, at constructing a plotline about intergenerational family tensions. When not jarring viewers with grisly images, however, they’re only likely to lull them into a stupor.

The film contains excessive gory violence, including disembowelment and impaling, underage drinking, mature topics, a couple of profanities, several milder oaths, pervasive rough and considerable crude language and occasional crass expressions. The OSV News classification is O — morally offensive. The Motion Picture Association rating is R — restricted. Under 17 requires accompanying parent or adult guardian.

Movie Review: “THE BRIDE!” – Assignment X

Published

1 day ago

March 9, 2026

Press Room

Movie Review: “THE BRIDE!” – Assignment X

By ABBIE BERNSTEIN / Staff Writer

Posted: March 8th, 2026 / 08:00 PM

Rating: R
Stars: Jessie Buckley, Christian Bale, Annette Bening, Jake Gyllenhaal, Peter Sarsgaard, Penelope Cruz, Jeannie Berlin, Zlatko Burić
Writer: Maggie Gyllenhaal, based on characters created by Mary Shelley and William Hurlbut and John Balderston
Director: Maggie Gyllenhaal
Distributor: Warner Bros.
Release Date: March 6, 2026

“THE BRIDE!” (as with the recent “WUTHERING HEIGHTS,” the quotation marks are part of the title) is awash in homages, and not just the ones we might reasonably expect in a movie that takes its most obvious inspiration from 1935’s BRIDE OF FRANKENSTEIN.

There’s that, of course, plus its source, Mary Shelley’s 1818 novel FRANKENSTEIN; OR THE MODERN PROMETHEUS, and its sober 1931 film adaptation FRANKENSTEIN. But there are also big nods to wilder takes on the legend, including YOUNG FRANKENSTEIN and THE ROCKY HORROR PICTURE SHOW and even movies that have nothing to do with FRANKENSTEIN, like BONNIE AND CLYDE.

Writer/director Maggie Gyllenhaal casts a wide net in metaphors and ideas and looks. Sometimes “THE BRIDE!” is a comedy, sometimes it’s a crime drama, sometimes it’s a love story, occasionally, it’s even a musical.

Mary Shelley (Jessie Buckley) narrates the tale to us from beyond the grave. She is haughty and naughty, intoxicated by verbiage and her own literary genius. She is going to tell us a story, she says, that she didn’t even dare imagine while alive.

We’re in 1930s Chicago, where a young escort (also Buckley) is having a really awful evening out at a fancy restaurant with some of her peers and a bunch of crass gangsters. Shelley dubs the woman “Ida” and takes possession of her, causing her to speak and act in ways that get her escorted outside. There she stumbles and takes a fatal fall.

The two goons who were with Ida are happy to describe her tumble as the result of their intentional actions to their horrible gangster boss (Zlatko Burić). Ida was suspected of talking to the cops.

Around the same time, Frankenstein’s creation (Christian Bale) – let’s just call him “Frank,” like everybody else does – comes to Chicago to seek out the groundbreaking scientist Dr. Euphronious (Annette Bening), whose published works he has read.

Frank wants the doctor to create a companion for him. His appearance is unusual, but the most alarming injuries are covered by clothing, so he’s not as extreme-looking as, say, Boris Karloff in the role. This isn’t about sex, Frank explains when Euphronious asks why he doesn’t just hire a prostitute. After over a century of loneliness, he seeks a soulmate, and he is sure this can only be achieved by reviving a corpse.

So, Euphronious and Frank dig up the grave that turns out to belong to Ida (we never do learn how they know it belongs to a soulmate candidate as opposed to a shot-and-dumped male gangster). Euphronius revives her. Ida remembers how to walk and talk, but not who she is or what happened, so Frank and the doc tell her she’s been in an accident.

Even without Ida’s beauty, Frank is already devoted to the very notion of her. A more accommodating suitor would be hard to find. Frank has another passion, the musical films of Ronnie Reed (Jake Gyllenhaal, the filmmaker’s brother), a Fred Astaire-like star. Frank imagines himself in the midst of those dance routines, and we get some more within “THE BRIDE!”’s “real” action.

One thing leads to another, Frank and Ida go on the run, leaving a trail of bodies in their wake. They are pursued all over the country. Among those seeking them are sad-eyed police detective Jake Wiles (Peter Sarsgaard) and his secretary Myrna Mallow (Penélope Cruz), who’s better at this whole crime-solving business than he is.

It’s all very kaleidoscopic and energetic, occasionally impressive and sometimes very funny. Bening as the frazzled, worldly Euphronious has some great moments. Buckley, currently and justifiably Oscar-nominated leading performance in HAMNET, juggles the very unalike personas of Mary and Ida with impact.

Oddly, Bale underplays Frank. We get that he is trying his hardest not to spook Ida (or anyone else), but it seems like he should have a bit more spark. Cruz, going for a snappy ‘30s working woman, has her own style that works.

But in addition to being entertaining and eye-catching, Gyllenhaal has a message that gets very muddled. This is less because it’s so familiar by now that it feels a little redundant, and more because a crucial part of the set-up collides head-on with the feminist slant.

Ida seeks to be her own person, but she is literally bodily controlled by Mary Shelley, who puts her creation in danger with her outbursts. This may help get Ida out of the clutches of the mob, but it is possession, the aftereffects of which the character understandably finds confusing and upsetting.

If Gyllenhaal wanted to discuss or dramatize the clash between what Mary, as a woman, is doing to this other woman, that would make sense, but it seems we’re just meant to somehow overlook this while being immersed in how men control women. The resulting cognitive dissonance adds another layer to a movie that already has more than it can comfortably service.

Additionally, when Mary has one of her outbursts while inhabiting Ida, the plot comes to a screeching halt until she’s finished. Many viewers will wish Mary would stop declaiming and just let Ida be herself.

“THE BRIDE!” succeeds in being trippy and some of it is memorable. By the end, though, it is more disjointed than even a movie about experiments and a character made up of multiple people’s body parts ought to be.

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