Tag Archives: drama

The Hunger Games: Mockingjay Part 1

MV5BMTA2OTM5MjQ0OTZeQTJeQWpwZ15BbWU4MDg3MzcyMDEx._V1__SX1859_SY847_The Hunger Games books, as I have said elsewhere, had a glaring flaw: I eventually stopped liking the narrator. As I have also said elsewhere[1], the movies have taught me that this is because of how much Katniss Everdeen doesn’t like herself. The third book has been split into two movies[2], and at least in this first half, the trend of Jennifer Lawrence portraying a much better Katniss than she ever portrayed herself through her narration continues like gangbusters.

See, there’s this civil war going on, right? Over the last two years’ Hunger Games, Katniss has demonstrated (accidentally? on purpose? does it matter, though?) that the Capitol can be fought, so now people are fighting back. Plus also there’s a secret rebel army that was lightly foreshadowed and a big propaganda war and all kinds of things that would be pretty big spoilers, so trust me: plotwise, it’s pretty okay.

But mostly what I have to say is more praise for Ms. Lawrence. Because, well, here’s the thing. I am quoting past me, after having read the entire trilogy: “the movie will succeed or fail on the strength of their Haymitch actor alone. That guy? He’s compelling.” And you know what? Woody Harrelson has done an outstanding job. But I was so very wrong, and it’s because I didn’t think Katniss could be redeemed. Instead, when I watch these movies, I see the character that the people of the Districts fell in love with, not the self-loathing, self-doubting emotional mess from the books. And the fact that she still lashes out with the same anger, collapses with the same grief, capriciously flits from one of her two men to the next and back… it was never about her actions, it was about her emotions, and this is a character I can get behind.

There’s still a movie left, but if it succeeds as well as the rest have, this will be my favorite adaptation of a series by a long mile. It kept everything good and jettisoned everything bad, and that pretty much never happens.

[1] At least, I think I have in print? Certainly I have aloud.
[2] I find myself wishing this was less common. It’s cool and all that, to my two year old memory, they are filming every scene in the book. But book adaptations are an art, and while I have nothing to complain about regarding this particular film, it nevertheless seems like a bit of a cheat to not have to go to the effort of actually adapting the book after all. Plus blah blah blah cynical money-grubbing studios, I suppose.

Veronica Mars

MV5BMTQ4MDc0Mjg4OV5BMl5BanBnXkFtZTgwODk3NjYyMTE@._V1__SX1217_SY911_I don’t even know how to review this movie properly. Which is to say, outside the context of a three season television series that you may not have seen before. Inside that context, it would be a breeze, believe me. But outside, there are two giant stumbling blocks in my way. One is how immediately immersed I was in the world, just as though I’d never left, without any of the pesky (albeit brilliantly accomplished) ten minutes of introduction to all the characters you wouldn’t know about if you’d missed the show in the first place. This lack, in addition to highlighting my lack of objectivity, serves to introduce the second stumbling block, which is that I spent a minor chunk of change on the kickstarter for the movie. Having been funded by fans, there’s a really good chance that it’s not my failure to separate out my sense of homecoming and look at it externally that’s the problem. They know where their money came from and who their primary audience would be, and I think maybe it’s not concerned with newcomers in the first place. So, I’ll give up on that angle and move on.

Do you even know they made a Veronica Mars movie? Fan or not, if you missed the kickstarter, it may have slid under the radar. Anyway, it released last weekend, and you can theater it or stream it. (I think I get a bluray eventually?  But it was streaming in this case, as I live in ye olde future.) If you are not a fan of the show through inaction, you’ll get a lot more out of the show than the movie, at least until later. If you are not a fan of the show through choice, you sadden me. If you are a fan of the show… here’s that really easy review I promised you a while ago.

You know how I said it immediately felt like a homecoming? That was not a clever riff on the fact that one of Veronica’s reasons for returning to Neptune is her ten-year high school reunion. (The main reason being, of course, a murder.) Because, really, it felt like no time had passed at all since the last episode I watched. And okay, not remembering much of what happens in either of the latter two seasons meant I was playing a little bit of catch-up, but not much, and not in a way that took me out of the joy of coming home. By the end of the movie, I was ready for a new season or a new movie either one, and pleased as I could be that the door is wide open for that. So: you should really go see this movie, or stay home and see this movie, or whatever it takes to convince them to do it again soon. If not for yourself, do it for me. Aw, who am I kidding, seriously, do it for me, and I’ll hope in turn that you enjoyed yourself while doing it.

Because I am a good person.

The Hunger Games: Catching Fire

MV5BMjIyMjMwNDU3OV5BMl5BanBnXkFtZTcwMzYxODU5OA@@._V1__SX640_SY720_Cutting right to the chase, the cinematic adaptation of Catching Fire was superior in every way to the first film, and more than that, it told a better story than its source material did. So there’s quite a lot of good here.

See, the really quite spectacular Jennifer Lawrence[1] has been given much better material this time around, and what looked in the book like a girl stumbling blindly into the role of hero of the rebellion looks here like a game of cat and mouse between Katniss Everdeen and President Snow. (In case I’m pretending you already know what’s going on in the sequel of an adaptation of a trilogy of books, I am. In case that bothers you: there’s this girl who not only won an annual deathmatch designed to keep the common folk down on bended knee before Snow’s Capitol, she beat the system and won for her boyfriend(?) as well, which nobody has ever done before. She made Snow look symbolically weak, and people have become inspired by her, and this entire movie is basically a reaction to that premise. Also, there’s another deathmatch, since those are annual like I said.)

Whereas in the book, I contemplated that Katniss’ transformation into a symbol of the rebellion was certainly implausible but possibly not meant to seem that way, it is played note perfect here. She’s only trying to be a good person, but everything she does exposes the hollowness behind Snow’s power, so it’s easy to see why people would be inspired by her, despite her own doubts, anger, and insecurities. And it still doesn’t hurt that you can’t see inside her head, as she is growing more likable along the film trajectory instead of less so along the one that played out in the novels.

I’m still not convinced that the mess of a third novel can be rescued, but if the same writing/directing team tackle that adaptation, I will find myself hopeful all the same.

[1] I have got to see Winter’s Bone. Probably also the movie last year she got the Oscar for?

Gravity

And then I finally saw a new movie, for the first time in I really don’t want to look up how many months. Gravity pits George Clooney (charm amped up to 12) and Sandra Bullock (charm amped down to 5 or so) against space in a nailbiter of an escape movie. See, there’s an exploded satellite that, post-explosion, has become a debris field, but not to worry, that won’t stop either Bullock’s specialist repairs on the Hubble nor Clooney’s “you didn’t have to be there because I’m so good at painting the picture” stories that everyone in Houston has heard dozens of times before. ….until it does. Debris fields can be a real bitch that way.

What follows is 60 minutes of sheer adrenaline broken up by 20 minutes of philosophical musings, gorgeous tracking shots of the earth and space and the tiny objects floating above the former from within the latter, and occasional bursts of tension-relieving humor. Do you want to see it? Probably, as long as you like solid acting and are not allergic to being tense for long periods of time. Do you want to see it on an IMAX screen in 3D? Yes, unless you have that motion-sickness problem some people get, and even then, still probably yes unless you can find it in IMAX 2D, because you’ll be a pretty sad panda if you see it on some middling five-story screen. I mean, it’s space. Space is supposed to be big! Y’know?

But seriously? It was good. And absurd once or twice in the best kind of way, where you are saying to yourself, “Come on! That’s not fair!”, but you are not thinking “Come on! That could never happen!” Also, in the interests of full disclosure, I grew up in the ’80s when the shuttle program was in full swing, and was raised by a man who built parts for it for basically his entire career. So I may be more than usually locked into the idea that space missions matter, among the non-scientist set. But that said, I’m pretty sure this was a really good movie on its own merits, and not just because space is cool. But that said, it was definitely as cool as it was[1] only because space is as cool as it is.

[1] “Cool” and “good” are not the same thing, obviously. But it’s always better when they intersect.

The World’s End

I made the mistake of watching a movie the day before I vanished from the internet for a week and a half, and I made the further mistake of not writing the damned review before said vanishment. So, um, sorry about that.

On the bright side, the movie I saw was The World’s End, a movie which you no doubt already knew you wanted to see because of its links to the brilliant Shaun of the Dead and the pretty okay Hot Fuzz. The formula is not precisely the same as before, I guess? Where the other two movies were parodies of the zombie and action genre, this is less parody and more mash-up. In the unlikely event that you aren’t spoiled for the mash-up by previews, I will leave out one of the genres, but the other is…. well, okay, hard to qualify. It’s not precisely coming of age, because although Simon Pegg plays an uncomfortably old-looking man-child, all of his friends have clearly grown up[1]. It’s not precisely whatever genre The Big Chill is, if only because the mood isn’t nearly as solemn as all that.

But anyway, whatever it is, it’s funny and well-acted and building towards something meaningful and fellowshippy, when suddenly…. but, y’know, that’s why you should go see it.

On an unrelated note, I am sad that I do not have a bar named The World’s End to go to. And not only because of books Neil Gaiman wrote once upon a time.

[1] If anything, that’s the point.

The Hunger Games

I’ve already told you what The Hunger Games is about, back when it was a book. See, in a dystopian future (or alternate sci-fi world if you prefer, the movie makes no indications either way), twelve production districts are held in thrall of a totalitarian Capitol, partly by the extensive number of shock troops monitoring each district and partly by the annual sacrifice of their children to a televised arena deathmatch. And then there’s our heroine Katniss Everdeen, and the beginnings of possible change, and maybe a hint of a love triangle, but mostly just a really cool arena deathmatch and generally interesting characters.

Which is to say, it is extremely similar to the book in almost every respect. Sure, some scenes were trimmed back like always happens, but pretty much, this was a dead-on translation of the story. With one important exception! The story is not told in first-person, which is on one hand obvious, since what movie could be?, but on the other hand, I’m saying there’s not even any occasional narration. I’m also saying this is great news, as it makes Katniss far more likable than when you can never escape from her head, with its anger and its self-doubts. That wasn’t actually so bad in the first book, but I think it will make the next pair of movies far better than the books were.

Chronicle

You ever see Akira? I haven’t, but I went to see Chronicle on the strength of it completely reminding me of the version of Akira that’s in my head. That worked out pretty well for me. See, there’s this disaffected teen with a camera, and he wanders around filming everything, like disaffected teens with cameras in movies do. (Well, okay, also like skeptical husbands and best friends and film students and, okay, pretty much anyone in the last 15 years who has ever had a camera in a movie.) And he even meets a blogger chick with her own camera at a party, but before you have time to realize how tragically underused she’s going to be, even before he gets a chance to consider being into her, she starts flirting with his cousin instead.

Which doesn’t really leave a lot of conflict, just 80 minutes of emo misery, right? Well, no, but only because he and his cousin and his cousin’s class president friend find a hole in the ground that leads to a glowing macguffin that gives them all, y’know, powers. And then they start figuring out how to use their powers, and how to use their powers to change their lives. And then, you know, other things happen. Good psychology, good superheroing, good primary cast, mediocre supporting cast (with one infuriating exception), really good use of multiple cameras (considering the context), plus also it’s set in Seattle, if that has any relevance.

It’s not a great movie, but it’s a pretty good one, and considering this is February? It’s close to great after all.

The Girl with the Dragon Tattoo (2011)

MV5BMTgwNjEwODcxNF5BMl5BanBnXkFtZTcwNjU3MDY5Ng@@._V1__SX1217_SY911_You know those Swedish books everyone has read and Swedish movies everyone has seen, and now there’s an American version of the same stuff? Yeah, I never did any of that, so I showed up for The Girl with the Dragon Tattoo knowing nothing except what was in the previews, that an investigative journalist and a punk hacker join forces to solve a forty or fifty year old murder. I will add for the purposes of anyone who did come in like me with no idea of what was going on that said team-up, while natural and organic, took a good long while to accomplish, so it was kind of unsettling (from a story balance perspective) to watch Daniel Craig all embroiled in plot progression while this justifiably angry chick was just kind of living her life and developing her character and seemingly completely uninvolved with anything else in the other scenes.

The pay-off, of course, is that Lisbeth Salander is Incredibly Cool. So, totally worth it, just briefly unsettling. Speaking of unsettling things, I should mention every other part of the movie, because I assure you it does not pull any punches. You will see things nobody should really ought to see, and you will meet a spectacularly dysfunctional (yet entirely plausible, just like the eventual team-up was from earlier) family, and you will probably care about what happens to any and all of them. Which is part of why the “no punches pulled” part of the movie is even rougher than you think it is. And you will find that research can in fact have dramatic tension. You may find that Trent Reznor’s soundtrack, while every bit as meaningfully atmospheric as the act of filming a scene outside in Sweden is, sometimes drowns out the dialogue. So that’s unfortunate but it’s really the only thing I didn’t like. Rumor has it that the book is pretty hard to read, so I suppose I’ll just stick to the sequels.

One thing I wonder, though: are we meant to care that she has a dragon tattoo? Other than its existence, I could not find any underlying purpose for it, neither in subtext nor plain text alike. It’s cool if it was just an identifier, but I can’t help wondering. (Another thing I wonder is whether it is possible for a Swedish film to be non-bleak? Is it like a climate thing, or does the happy stuff just never get exported?)

50/50

Meanwhile[1], I saw another movie tonight! It’s because I’ve been kind of way behind on them, y’know? Horror is just about all that’s left to me at this point[2], though there are a couple of interesting things on the horizon. 50/50, on the other hand, was pretty much an interesting thing on the opposite horizon, only showing in a handful of local theaters by now. So it’s good that I caught up to it in time!

Especially good because of how it was, you know, good. I cannot help but draw a comparison to The Road. Just as that novel was a meditation on the end of the world, this movie was (when not being funny, which it also managed quite well, but really, can you expect less from Seth Rogen at this point?) a meditation on the end of the world writ small: really, can you see 50% odds of beating the cancer in your spine that you didn’t know you had until earlier today as anything less than the end of your world? The fundamental difference between that book and this movie is, of course, the presence of hope. There are dark moments, horrible people, and of course lame Hollywood misunderstandings about the way the world actually works, because, despite anything going on in the plot or theme, that’s how Hollywood rolls. But put all that aside, and there’s still an undercurrent of fundamental hope. I guess what I’m [still] saying is that it doesn’t matter how either story turns out; what matters is what the road was paved with.

[1] The game is still on, in extra innings now. It is really hard to think about other things, much less write them.
[2] He says, as though complaining. Ha!
[3] This review is complete, and the game is still going. I guess, if you are a historian with extremely limited access to first- and second-hand documentation, you will never know how the 2011 World Series turned out, Dammit.[4]
[4] Don’t start with me about how footnote 3 wasn’t referenced. Seriously. You can go fuck yourself.

Contagion (2011)

MV5BMTY3MDk5MDc3OV5BMl5BanBnXkFtZTcwNzAyNTg0Ng@@._V1__SX1859_SY893_I do not have a whole heck of a lot to say about Contagion, but that is mainly because it is so well-packaged that it does most of its speaking for itself. First, you take a ridiculously powerful cast (well, it’s also extremely large, so I guess the dilution might make it a merely powerful cast, but then again, through the powers of homeopathy, it may instead be the strongest cast imaginable), then you put them into a terrifying script where an unknown disease is running rampant through pretty much the whole world. But it’s not like The Stand, because instead of proceeding to tell a religious story, they tell the story of how the world might really look in such a circumstance. Sure, it wasn’t a horror movie, but it was tense and dramatic all the time. But it was also really damn scary.