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THE BITTER BUDDHA is a documentary that tells the story of comedian Eddie Pepitone's failure to have become a successful comedian by age 52. Understandably, he's bitter; it's the nectar of his humor. The "Buddha" part is less obvious. If it was intended to mock his improved outlook after achieving sobriety, I'm not laughing. Maybe this is a clue why comedic success has eluded him.< That's not entirely fair for me to say. He is actually very funny, albeit inconsistently. He's addicted to tweeting, here's my favorite featured in the movie: "Whenever someone yells 'can I get a woot woot?' I like to yell 'only if you promise to read a book in your lifetime."< There are many talented artists who fail to achieve material success, and it is a very sad and all too common circumstance. One tries to control luck, contain their bewilderment and confusion as less talented people speed right past them. If these factors seem discouraging,imagine the impact of having the story of your failure as the subject of a film that features comments from your more successful peers praising your talent as they contemplate why you haven't been able to achieve what they have. Gee, if only they could put in a good word for you…… Dana Gould, a (rather) successful comedian comments: "I wouldn't say he walks the talk so much as he trudges the trudge." With friends like these….. I couldn't discern the intention of this movie. If it's meant to be a launching pad for his comedy career, it's disingenuous. It feels like a showcase (a performance intended for an industry audience, usually not as good as a show for a general audience). If it's meant to depict the unfortunate realization of unrecognized talent, it feels mean spirited. Despite this criticism, I am comfortable recommending the film, as Mr. Pepitone is genuinely funny, but I add the caveat that it will be most enjoyed by comedy fans and those who know the entertainment business rather than civilians who have had no exposure to what happens behind the scenes while they're laughing.

Joplin native Chip Gubera's documentary JOPLIN MISSOURI: A TORNADO STORY is a comprehensive, informative account of the devastation wrought on his hometown by a natural disaster and its subsequent recovery. On May 21, 2011 the deadliest tornado ever recorded struck Joplin, an F5 in which wind gusts exceeded 200 mph. In fact, it was not a single tornado, but a multi-vortex tornado created by two converging storms. As local meteorologist Jeremiah Cook explained, this meant that the half mile wide tornado had several "fingers," each an individual tornado, and the rains were so heavy one could not see them before they struck. Narrator George Noory's jovial voice and the monotone recollections of survivors belie the overwhelming scope of the devastation. Fortunately, director Gubera uses footage from weather satellite photos, security cameras, and police vehicle audio and video recordings to convey the immense power of the storm and the apocalyptic destruction it wrought. Before the rain has stopped falling, the citizens of Joplin begin to come together to account for their neighbors and rebuild their town. Assimilating all the details of how this is accomplished, one begins to realize this disaster could easily be called the "Anti-Katrina". Missouri state and federal programs contribute funds and facilitate applications for programs like SBA loans. National retailers set up temporary stores and assign some employees to help with cleaning up neighborhoods; local businesses keep their employees on their payrolls, despite lacking inventory or even a location. Church groups anonymously show up to help clean neighborhoods, asking nothing in return and refrain from proselytizing. Insurance agencies proactively file claims for their clients who may be too shell-shocked or depressed to meet deadlines. Donations from charities, celebrities, and countries as far away as, and as surprising as, the United Arab Emirates flow in. Everything was not perfect; Joplin did attract looters and shady contractors. However, it becomes clear that the sense of community coalesced by the disaster was certainly the greater force. Bail bondsmen will not do business with arrested looters. The question of why this disaster was so effectively handled compared to Katrina is overtly hinted at, even though it is beyond the scope of this film. However, it does linger in the background and highlights the lack of diversity in the community. Fortunately, this movie creates a record of the disaster that cannot be had through news updates as it is unfolding. A complete picture is only possible with the passage of time that can allow for a full physical assessment of the devastation and the space survivors need to even begin to process their experience.

CASTING BY is a surprisingly entertaining documentary. Its title is somewhat misleading as it's doesn't really explain the occupation of casting directors, rather it is a valentine to Marion Dougherty, the woman who coined the term as she carved out a unique role when she began working in the entertainment business. Ironically, she wanted to be an actress herself, but didn't pursue a career, believing it would be too difficult. Fortunately, an entry level position at NBC producing live plays sponsored by Kraft proved a better fit for her theatrical instincts. As she was living in New York City, she had ample opportunity and desire to go to the theater where she discovered the talent whom she cast. The film has a treasure trove of footage of the first roles given to future stars, the most entertaining one is a 22 year-old Warren Beatty imitating fellow Lee Stasberg graduate Marlon Brando. Fortunately, Ms Dougherty, who was not an acting teacher, remanded him that "The Method" did not mean "The Mumble."

The cavalcade of stars whose careers she launched is astonishing, but equally important is the serendipitous era in which she achieved prominence. The cinema of the 1970s was groundbreaking in that talent was allowed to trump looks, and the collapse of the studio movie-making machine allowed risqué movies like "Midnight Cowboy," "Panic in Needle Park," and "Taxi Driver" to be made.

Marion Dougherty's LA counterpart, Lynn Stalmaster, is profiled as another example of a casting director. But based in LA, the criteria and talent pool meant that his accomplishments are complementary to hers, but not comparable.

The movie is enjoyable, fast-paced and certain to be enjoyed by cinephiles, but should not be viewed as a representation of the profession of casting directors.

This writer has first-hand knowledge of the acting industry in Los Angeles. The majority of casting directors do not have anywhere near the authority of those interviewed in the movie. While it is a more difficult proposition for an LA-based casting director to go to the theater to discover talent, few make the effort nor have any appreciation for the actor's craft. Crassly, some actually teach acting classes and charge fees for aspiring actors to meet them.

Just as in the modeling world, there are the Victoria's Secret models at the top and an exploitative ugly underbelly that are not depicted together, so it is in the casting business. There's a documentary to be made there, but this movie is not it. It is about the cream that has justifiably risen to the top and gifted us with some of the greatest actors we may ever see.