Showing posts with label Jennifer Lawrence. Show all posts
Showing posts with label Jennifer Lawrence. Show all posts

Friday, November 06, 2015

fright nights

Last month I indulged my love of scary movies and held my own, informal spook-a-thon. I am more a fan of atmosphere and dread than blood and gore, which is why the majority of films are more ghostly than violent in nature. Here's a rundown of my top picks:

Crimson Peak. (Creepy and gorgeous).

The Last Man on Earth. I wanted to see if I'd like this Vincent Price classic, based on the Richard Matheson novel I Am Legend (which also gave birth to The Omega Man and Will Smith's I Am Legend). I did. Black and white and eerie zombie/vampires are as creepy as ever.

The Conjuring, The Enfield Haunting, and The Quiet Ones. Haunted houses and possessed kids. All movies had great casts and were OK, if you're in the mood for a haunting. But I had more fun finally reading The Haunting of Hill House, by Shirley Jackson. What a great, unsettling read.

The House at the End of the Street. Jennifer Lawrence is the reason to watch this teen-Psycho movie. It's too predictable to really be fun or scary, I'm afraid.

Scarlet Johanssenn's tour-de-force in Under the Skin. What a wonderfully icky movie. Almost a silent picture, with some times lush, sometimes gritty visuals. And a perfectly haunting soundtrack. A definite successor to The Man Who Fell to Earth, I can't recommend this spooky sci-fi/monster mash highly enough. It's hypnotic, sometimes hard to see and always hard to understand. I loved it.

"Need a lift?"

Scarlet Johansson, on the beach, in one of the most chilling scenes in Under the Skin.

Friday, January 16, 2015

favorite song friday: an unlikely hit

In the popular young adult movie franchise Hunger Games: Mockingjay Part 1 Jennifer Lawrence plays Katniss Everdeen, a reluctant symbol of a revolution. in one of the strongest (and most quiet) moments in the film the haunted Katniss sings an old folk song as she and her rebel crew are relaxing by a riverside. The song has a folk music sound to it, which is appropriate, as Katniss is supposed to hail from a part of her post-apocalyptic country of Panem that closely resembles Appalachia.


The lyrics to the song were written by The author of The Hunger Games trilogy, Suzanne Collins, and were included in her original Mockingjay novel. The music was composed by Jeremiah Fraites and Wesley Schultz of American indie folk band The Lumineers.



Katniss's song was one of the film's most powerful moments, so it is interesting that it is now climbing the charts as a dance remix. When I first heard it, the EDM beat spliced in seemed more than a little jarring. But the simple power of the song and its mood still shines through. "The Hanging Tree" seems to be the latest in a growing number of folk-inspired music. Neo folk?

Are you, are you
Coming to the tree
Where they strung up a man
They say murdered three.
Strange things have happened here
No stranger would it be
If we met at midnight
In the hanging tree ...

Tuesday, November 25, 2014

mockingjay, part 1: post-traumatic stress katniss

The Hunger Games: Mockingjay Part 1 picked up right where the second film, Catching Fire left off, but viewers may still feel like they got caught in a different film franchise, though it is following the original story, written by Suzanne Collins, (who also gets a screen credit for adapting her novel). This film is very deliberately paced, some may even feel slow-moving. But it is a very different story than the first few films, which followed Katniss Everdeen (Jennifer Lawrence) as she tried to survive two Hunger Games, an annual ritual that pits young people from each district in the country of Panem in a fight for survival — only the strong, and the last person standing — make it out alive. But in both instances Katniss thwarted the powers that be, which distinctly upset oligarch President Snow (Donald Sutherland). In her first Hunger Games she managed to also save fellow District 12 resident Peeta Mellark (Josh Hutcherson). Snow sent the pair and a host of other champions back the following year, trying to kill all of the insurgent birds with one stone. But Katniss destroyed the game zone and was airlifted out with other contestants Finnick (Sam Claflin) and Beetee (Jeffrey Wright), but Peeta was left behind, his whereabouts and fate unknown.

A rose by any other name — President Snow leaves a gift for Katniss

As the new film begins the Hunger Games are no more, and Katniss is bereft. She wakes up in the vast underground bunker of District 13, which had perviously been assumed to have been destroyed by Snow and the Capitol forces. But it has been built into a hidden fortress, led by the steely President Coin (Julianne Moore) with ex-Capitol advisor Plutarch Heavensbee (Philip Seymour Hoffman) at her side. Plutarch is convinced that Katniss, as the "Mockingjay" is the symbol they need for a successful revolution. Coin listens to him, but doesn't always agree. Katniss is reunited with her mother and sister Prim, who seem to have (mostly) adjusted to the totalitarian environment, and old pal Gale, who still seem to carry a torch for her, when he isn't busy becoming an uber-soldier for Coin. But Katniss can't connect with much around her, haunted by her guilt over the destruction of her home, District 12, and especially the missing Peeta's and her feelings for him. Mockingjay Part 1 is about war and its after-effects, from Katniss grappling with post-traumatic stress disorder to Snow's attempts to match District 13's rebellion with attacks on all of the country's districts — innocent lives lost to make a point.

The first film in the series to be shot digitally, Mockingjay Part 1 is dark, with much of the action taking place underground in District 13. Also the first not to be released in IMAX, the film didn't bow to the blockbuster de riguer 3D, which it had no need of. But what really sets the film apart is the quality of its cast. It is fascinating to watch Lawrence as Katniss, a raw nerve, and more of a pawn than ever, being buffeted by the political and emotional forces around her. Philip Seymour Hoffman is also a wonder, as always, bringing layers of nuance to his role as the main brain of the war room. The film is dedicated to his memory.

Philip Seymour Hoffman and Julianne Moore appear in their fourth film together (Boogie Nights, The Big Lebowski, and Magnolia)

As dark and serious as things are for Katniss, there are also some welcome moments of levity. It is great to see her trainers Haymitch (Woody Harrelson) and Effie (Elizabeth Banks) again. Both actors have a blast with their fish-out-of water characters, a dried-out Haymitch without his requisite bottle of spirits to help him through the day, and the irrepressible Effie suffering from all the gray-on-gray surrounding her. A big silly cat called Buttercup also brings not just a touch of humor to a few scenes, but provides for a silly, but necessary jolt of action mid-film.

In the land of the drab, Effie makes it work

Is Mockingjay Part 1 a film that can stand on its own? Yes and no. It works well as a set-up for the final installment, due this time next year. Could it work without the greater context of the Hunger Games? Not really, but it wasn't really intended to. This is serial story-telling. It is hard to call it a cash grab, however, as might be said about the bloated approach to The Hobbit taken by Peter Jackson. Mockingjay's themes of war and its aftermath, especially the toll it takes on the young is worthy of exposition. A single film may have had to rush Katniss's experiences in favor of a fiery finale. Mockingjay may not be the blockbuster movie that everyone thought they were going to get, but in this age of televised torture and warfare, it may be the deeply emotional film that we need.

Tuesday, September 02, 2014

the illusion of privacy and the reality of theft

All of the recent buzz about the latest phone hacking scandal has got me thinking about the internet and privacy. It seems to be common knowledge that anything posted online, or on a device that has online access, might be fair game for a hacker, yet we seem to be constantly surprised when something like this happens. And it keeps happening more and more often.

I think everyone has been looking at this situation the wrong way. Many people are sharing their unasked-for opinions that if the hacked celebrities involved didn't want their nude selfies shared with the world they never should have taken them to begin with. Thank you, Captain Obvious, but apart from that being textbook victim-shaming and blaming, it misses the point. The victims involved had items that belonged to them stolen. This argument is about as nonsensical as saying if you didn't want your car stolen, you never should have had one to begin with. Hacking is a crime, pure and simple.


There are countless know-it-all articles popping up on how to super-encrypt your email and Facebook so that this sort of thing couldn't happen to you. But after trying to double-authenticate my email I couldn't get in the next day via my phone, no matter how many times I tried the new code. How many people are going to go through all those extra steps to just check email (numerous times a day) on their phones, iPads, laptops, etc.?

Six years ago, after I had my daughter, I knew I wanted to have an expressive outlet, and toyed with starting a blog. But I was concerned about the privacy issue. A colleague who worked in the IT department told me that if anyone really wanted to get information about me, they could, blog or no blog. I decided to go for it, and I don't regret having an online presence, but I also don't kid myself that I can preserve any true sense of anonymity.

Regarding the morality of this particular situation, I can't help but feel for Jennifer Lawrence and all of the other celebrities. Not only are they going through the embarrassment of having intimate photos stolen and then shared, against their will, with the world, but they have been subject to the false morality and criticism of the same people who are eagerly viewing said photos while clutching their strands of pearls. There is nothing wrong with someone taking a nude photo of themselves, for themselves, or with the intention of sharing with a loved one. But having a bunch of them stolen and then posted on the web is another matter.

It's interesting to note that in the same week a member of a teen boy band, Calum Hood, of Five Seconds of Summer, had his own mini-scandal when he posted a video of his privates to a female fan on Snapchat, who then promptly uploaded it for the world to see. There is a big difference here, as he at least chose at first to share (if not overshare) his nude body, but the results are the same. Someone thought they were sharing an intimate photo with one person, and soon the whole world was the audience.

I have no doubt that Lawrence and others will weather this storm just fine. But it does call into question the morality of the internet and the hacker(s). This is not a Julian Assange sort of hacking. If one wants to peruse naked boobs and butts on the internet there are many, many sites that cater to those desires. But to grab photos of a famous person, against their will — there can be no other reason to do this except as a trophy or humiliation.

Thursday, May 29, 2014

back to the '70s with the x-men: days of future past

I have been a casual watcher of the X-Men films through the years. I really liked the first one, which came out in 2000, directed by Bryan Singer, and starring and launching the film career of Hugh Jackman as Wolverine. Wolverine was the anchor for a story that helped introduce to non-comic book fans like myself a host of interesting characters: Professor X (Patrick Stewart), Magneto (Ian McKellen), Mystique (Rebecca Romijn), Storm (Halle Berry), Rogue (Anna Paquin), etc. The idea of "mutants" who have special powers that set them apart from humans resonated - as do most outsider, misfit tales. And let's face it, a lot of what the mutants could do was pretty cool. Professor X can read minds, Magneto can control anything made of metal, Mystique can shape-shift into anyone at any time, Wolverine is seemingly invulnerable and he has those pesky adamantine steel claws.

The Beast (Nicholas Hoult), Professor X (James McAvoy), and Wolverine (Hugh Jackman) in front of Cerebro

The second and third films of that first set were not quite as good, although X2 (2003) featured Alan Cumming as Nightcrawler, who was super-cool and fun to watch. What came as a real surprise after the rather dismal X3 (2006) was a really fun and decent reboot, X-Men: First Class, in 2011. All of the main characters were brought back in an origins story that told how Professor X (James McAvoy) and Mystique (Jennifer Lawrence) and Magneto (Michael Fassbender) and friends came to be. So what would be better than another story based on that timeline with that cast? Well, how about mixing both together, with Jackman's ever-popular Wolverine (who in the meantime had starred in two off-shoots of his own, 2009's X-Men Origins: Wolverine and 2013's The Wolverine) as an anchor?

Something that must have sounded crazy but brilliant (money-wise) on paper turned out to be crazy but fun to watch at the theater. For X-Men: Days of Future Past original X-Men director Bryan Singer came back, and it was great to see a lot of the old gang back together again, especially the recent internet-sensational bromance of Patrick Stewart and Ian McKellen. The story starts, like so many sci-fi/fantasy epics do these days, with a post-apocalyptic future. Creepy shape-shifting robots called Sentinels are flying around the world, charged with hunting down and killing off all the mutants. Professor X and a few key mutants (recognizable to comic book geeks, but unfortunately not really introduced properly to the rest of us) are holed up and trying to come up with a plan to stop this war on mutants before they all perish. It's a shame we don't really get to see who's who, because Ellen Page seems to have a fairly big job to do, being able to send Wolverine back in time, but only in the credits or online did I identify her as a mutant named Kitty Pryde. I did recognize Iceman (Shawn Ashmore), and his ice-making ability, from the earlier films.


Bolivar Trask (Peter Dinklage, above) learns a valuable lesson: don't mess with Mystique (Jennifer Lawrence)

But back to the plot. The assignment? Stop Mystique from killing Sentinel inventor Bolivar Trask (Peter Dinklage) in 1973, which seems to be the jump-start event of their current perilous situation. And who better to go back in time than Logan, or as we know him, Wolverine, with his whole invulnerable situation.

The X-Men and their movies have always had a sense of humor, so things get off to a good start by plonking the surly Wolverine in the middle of brightly-colored, toe-tapping '70s background soundtrack. I couldn't help but be instantly reminded of Austin Powers's similar journey in his Goldmember film, and wished that some of the time-bending humor was able to be sustained until the oh-so-serious  film finish. As usual, a lot of the exploding buildings and robots leave one on the cold (and bored) side, including an inexplicable and tedious CGI sequence of Michael Fassbender lifting and moving a baseball stadium. Doesn't (young) Magneto have better ways to terrorize? But there are some pretty wonderful things happening too, especially concerning a young and super-fast moving mutant (Evan Peters) enlisted by Wolverine to help break Magneto out of the Pentagon. I checked online later and learned he in named Quicksilver. All I know is his character was great and I'm sure will be back for the next one, X-Men: Apocalypse, which is due in 2016 and supposed to take place in the 1980s. Cue up the Prince, punk, and new wave soundtrack in 3, 2, 1 ...

Quicksilver (Evan Peters) steals every scene he is in, super-speed or not

Folks who lived through the '70s or love the decade will be rewarded with clever cultural reference points. The Kennedy assassination - did Magneto curve the bullet trajectory? Richard Nixon's White House. Mystique pulls off a mutant rescue-op in war-torn Saigon. Fans of the entire series will be happy to catch a glimpse of some of their favorite mutants (and villains) from earlier films. Peter Dinklage's villain was interesting - not your typical comic book mad scientist. Surely he's a bad guy for experimenting on mutants, but does he really want to wipe them all out? Or maybe rather to become one? Maybe a comic book fan could help answer that question.

Although I found it hard to connect with the dystopian future scenes, and I suspect, like most movie-goers, enjoyed the time travel to the past far more entertaining, X-Men: Days of Future Past did keep its focus primarily on the characters, the X-Men, and the appealing actors who portray them. And that's who we really all came to see, no matter what decade.

Friday, March 01, 2013

of boobs and oscars

The internet is still buzzing about last Sunday's Oscars and host Seth MacFarlane's very un-PC sense of humor. After the fact, seeing the jokes in B&W, there is no denying that many were tasteless. But the majority of the outcry regards the jokes sexist or racist nature. I consider myself a feminist, and I watched the whole thing (OK I did nod off somewhere in the middle there for about twenty minutes), and I don't remember being outraged or offended. I even laughed, quite a few times. Bad feminist, or just not so touchy?

MacFarlane seemed happiest during the musical numbers, here with Channing Tatum and Charlize Theron, from Variety
On the sexist front, the main bone of contention seems to be his "We Saw Your Boobs" musical number, where MacFarlane sang through a list of famous actresses (many of them nominees that evening) who have appeared topless in the movies. It seems to have escaped many folks' notice that most of the actresses he mentioned in the song had pre-taped audience reaction shots. So they were not only in on, but willing to be a part of the joke. That they might even have a sense of humor about themselves. Does no one else watch the red carpet stuff? That was not Jennifer Lawrence or Charlize Theron live, people.

I suppose he could have done a short list (get it) of actors who have gone full-frontal, but isn't that sort of the teasing point of the song? Actresses are expected to strip on film. Their amazing acting abilities aside, there are not many who have not been asked to film a nude scene. Most comply. Is that right? Well, such a question certainly won't be answered by a silly song, but it makes this feminist curious — why isn't this question of expected female nudity on film being asked over and over again, instead of all the haranguing about MacFarlane. In an almost perfect illustration of how actresses are on display, Best Supporting Actress nominee (and later winner) Anne Hathaway showed up to the big show with a headlights-on number that challenged any viewer to look above her neck during her acceptance speech or any other time during the broadcast. She showed us her boobs and then some.


I think what bugs me most about the after-the-fact outrage is how naive some of it sounds. Jane Fonda, who presented the Best Director award with Michael Douglas near the tail end of the show, has publicly stated that MacFarlane's jokes contained, "Way too much stuff about women and bodies, as though that's what defines us." Ummm, Jane, this is Hollywood, the movies. Yes, women want to, and should be able to, have the opportunity to show that there is much going on inside of them, that we are smart and feeling beings, but it is also completely ridiculous to pretend that what one looks like is not 90% of the acting business. And that playing with one's looks, taking the body to extremes, as Anne Hathaway and many other male and female actors have done before her, is also very intriguing — to not just the public, but especially to the Academy at awards time.

As for MacFarlane's alleged racism, being a white girl I'm not in the best position to comment. The most inflammatory joke of the evening was probably his crack about Rihanna and Chris Brown, when he introduced Django Unchained with, "This is the story of a man fighting to get back his woman, who's been subjected to unthinkable violence. Or as Chris Brown and Rihanna call it, a date movie." It was inappropriate, tacky, and really had no place in an Oscar monologue — he should have considered his audience. Actually, it would have been just as poor a choice to make at the Grammy's or anywhere else. Boo. I'd like to hear Quentin Tarantino's take on it. But mostly, like most clunkers and tasteless remarks, I hope to never hear it again.

McFarlane was an odd choice to host, for sure. The Oscars have been trying to update themselves for years, to no avail. As long as the show continues to insist on televising countless technical awards that the majority of the viewing public could care less about, it will never be able to be hip or thrilling to watch. All of the parsing of MacFarlane's jokes doesn't seem to be serving anyone. Little Quvenzhané Wallis's family have had to hear over and over again how her name was used as a stale punch line, "To give you an idea of how young she is, it'll be 16 years until she's too old for [George] Clooney." Hopefully all of this negative attention will not tarnish how she or her family feels about her status as the youngest-ever Oscar nominee.

So many of MacFarlane's jokes seemed to be not just tasteless, but sort of old-fashioned. Did Don Rickles help him write them? But I doubt his career will be adversely affected. I do wonder — as damage control — is the Academy already looking to book Billy Crystal for next year?
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Friday, March 23, 2012

the hunger games — on film

I'm not a big fan of jittery camera work, which the film adaptation of The Hunger Games uses in abundance, but I have to admit that it suited the story perfectly. If you have managed to skip the books or all of the hype surrounding the movie, it features sixteen year-old Katniss Everdeen (Jennifer Lawrence), who lives with her mother and sister Prim in District 12 in the country of Panem, what remains of North America. After a civil war, only 12 of 13 districts have survived, and they are kept under the tight control of a vengeful Capitol, led by a vindictive President Snow. To punish the districts and keep them in line the Capitol each year holds the Hunger Games, which pits 24 children, 2 per district, in a fight to the death, much like Roman gladiatorial combat. In just a few deft scenes the film was able to depict District 12, where Katniss, her childhood friend Gale, and acquaintance Peeta all hale from, giving the audience the feeling of what Appalachia might be like in a dystopian future.

Katniss and Peeta are forced to train for the arena
"May the odds be ever in your favor."

Katniss is thrown for a loop when her younger sister Prim, only 12 years old, is chosen, and volunteers to be the female contestant for district 12 in her sister's place. She is rushed through a series of hasty goodbyes and a whirlwind exposure to the excesses of food and fashion that the Capitol enjoys, all the time being filmed constantly. Seeing the Capitol depicted onscreen, with all of its inhabitants' garish costumes and make-up was a huge contrast to the blood and guts arena. The casting was perfect down the line, with Jennifer Lawrence a standout as Katniss. Josh Hutcherson, who is frequently called on to play a bratty (Zathura: A Space Adventure), even obnoxious (Journey 2: The Mysterious Island) teen, was convincing as the sweeter, gentler Peeta, who knows that without Katniss he has no chance of winning in the arena.

I was wondering if the book's critiques of reality television and warfare would be able to survive such a hyped film — would the audience be guilty of being hungry for the Hunger Games? But the film was never exploitive of what the kids were put through. The fast-paced editing definitely sped past some of the deaths, but I don't think longer shots would have deepened their impact. On the reality television side, Stanley Tucci, was the perfect, oily host, Caesar Flickerman, who framed the contest in pre-Games touchy-feely interviews with the contestants and play-by-play, or death-by-death, coverage once the Games had begun.

Katniss watches Peeta yuk it up in his interview with Caesar Flickerman
Although hardly seen, Donald Sutherland was menacing as the white rose-fancying President Snow. It may seem strange to some viewers how meekly the citizens of Panem take the fate of their children, and how those 24 teens immediately fall into the kill-or-be-killed gameplay rather than banding together to fight The Man. Caesar Flickerman introduces the 74th Hunger Games — after almost three quarters of a century, most of the fight seems to have gone out of the people — at least until Katniss lights a spark that will burn in the future.

By being herself, as stylist Cinna (Lenny Kravitz) advises her, combined with a bit of showbiz that mentor Haymitch (Woody Harrelson, perfectly cast as drunken past Hunger Games champion) coaches her to employ, she shows compassion for some of her fellow contestants and flouts the rules at crucial junctures in the Games, much to the dismay of the controlling President Snow. Kravitz, sporting Cinna's trademark gold eyeliner, only had a few scenes with Lawrence, but he managed to make their relationship seem as close and true as the characters in the book. He made me wonder if author Suzanne Collins had taken the story in a slightly different direction, Cinna might have blown the Peeta/Gale/Katniss love triangle to bits and Katniss could have run off with him.

Cinna wishes Katniss luck before she enters the arena
But the main focus of the film is the arena, the Hunger Games, and they were as brutal as they were in the book, maybe more so, as the audience had to watch the bodies fall. The film actually helped make some of the other tributes, if not more relatable, at least more identifiable, as the book is told solely from Katniss's point of view. The film also took us behind-the-scenes in the Capitol's control room, showing us how many of the trials the kids suffered in the field originated there — something Katniss suspects in the book, but is too busy running from threats, trying to survive to give it much thought.

The movie clocked in at over two hours and 20 minutes, but it was fast-paced and exciting all the way. As much as I knew what was coming, after recently reading the books, it still was suspenseful and edge-of-seat scary at times. It was interesting to see how certain stand-out scenes were translated to the screen — the "tracker jacker" wasps, Katniss's alliance with District 11's young Rue, the fabulous, burning gowns designed by Cinna that helped make Katniss "the girl on fire."

Former District 12 champion Haymitch gives Katniss some support and advice before she heads off to the Hunger Games
I saw The Hunger Games in IMAX, with a full crowd, evenly mixed of adults and teens, many of us not chaperones. The filmakers were pretty smart to release it during spring break, when kids home from college could attend the screenings in packs, like the gaggle of teenage girls seated in the row behind me. I was more than a little freaked out to see some folks walking out after the film with young kids in tow. I have taken my eight year old to a few PG-13 movies myself — Percy Jackson and the Olympians and the latest Tom Cruise Mission Impossible movie. But The Hunger Games doesn't have just a few scary scenes, or some shoot-em up chases. It features violence against children. That is the content of the whole film. It's not just a fantasy, but a deep, dark story set in a world not so incredibly different from our own. I wouldn't recommend my daughter seeing this one until she was thirteen, or mature enough to have read the books.

As much as The Hunger Games isn't really about which of two guys a girl should end up with, old Twilight habits die hard, as an audible and collective teenage girl sigh could be heard throughout the cinema (followed by quite a few adult giggles) when poor childhood friend Gale (Liam Hemsworth) watched Katniss kiss Peeta on the jumbo television screen back home. As much as both Peeta and Gale (and Cinna) think Katniss is hot stuff, The Hunger Games is not a love story, but the story of a young girl, a hero, coming of age. It's great to see a brave and resourceful and female hero, and in IMAX. The Hunger Games may be controversial, but in a good way. It gets people thinking and talking.
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