The Hunger Games Marathon

Yesterday I spent the entire day at the Megaplex for another movie marathon.  This time it was for The Hunger Games and it was so much fun!  I really love the books and movies in this series because I think Katniss Everdeen's hero's journey and Coriolanus Snow's radicalization are very compelling.  In The Hunger Games, Katniss (Jennifer Lawrence) is thrust into the spotlight when she volunteers as tribute from the impoverished District 12 after her sister Primrose (Willow Shields) is selected at the reaping.  Her survival skills in the game help her become the victor but an act of defiance with Peeta Mellark (Josh Hutcherson), the other tribute from District 12, sparks unrest and angers President Coriolanus Snow (Donald Sutherland).  In Catching Fire, Katniss is used as a pawn by the Head Gamemaker Plutarch Heavensbee (Philip Seymour Hoffman), the District 12 Mentor Haymitch Abernathy (Woody Harrelson), and the Victors Beetee Latier (Jeffrey Wright), Finnick Odair (Sam Claflin), and Johanna Mason (Jena Malone) in their plot against Snow during the Quarter Quell. In Mockingjay Part 1, Katniss is uneasy about her role as the symbol of the rebellion and reluctantly participates in the propaganda used to unite the districts but, in Mockingjay Part 2, she finally accepts her role and fights to end the tyranny of both President Snow and President Alma Coin (Julianne Moore).  In The Ballad of Songbirds & Snakes, a young Coriolanus Snow (Tom Blyth) is traumatized by the fact that his once powerful family has sunk into poverty and obscurity.  He sees a chance for advancement by becoming a mentor to Lucy Gray Baird (Rachel Zegler), the tribute from District 12, but he is forced to resort to deception, manipulation, fear, and ruthlessness in order to secure her victory and ultimately betrays her and his friend Sejanus Plinth (Josh Rivera) to restore his family to prosperity.  I watch these movies all of the time but I am so glad that I got to see them on the big screen again because the visuals are so vivid.  I love the worldbuilding, production design, and costumes, especially those worn by Katniss during the tribute parades and interviews with Caesar Flickerman (Stanley Tucci) as well as all of those worn by Effie Trinket (Elizabeth Banks).  I love all of the action sequences in the arena, particularly the cornucopia bloodbath in Catching Fire because the changing aspect ratio is so dynamic, and during the Battle for the Capitol in Mockingjay Part 2 because it is so tense.  Finally, I love the performances because I think every actor perfectly embodies their character (I was not happy when Woody Harrelson and Lenny Kravitz were cast but now I can't imagine anyone else as Haymitch and Cinna, respectively).  The large crowd was a lot of fun and, even though I didn't see anyone dressed up, they were very enthusiastic and I enjoyed interacting with everyone seated around me (which is very unusual for me).  Megaplex has several more movie marathons scheduled this year, including ones for Pirates of the Caribbean in February, Jurassic Park in April, and Harry Potter in August, and I highly recommend the experience.

Now:  I am now even more excited for the movie adaptation of Sunrise on the Reaping.

28 Years Later: The Bone Temple

I was incredibly hyped to see 28 Years Later: The Bone Temple with my nephew yesterday and, unbelievably, it lived up to my expectations!  After leaving the relative security of the island, Spike (Alfie Williams) is coerced into joining a Satanic gang led by the charismatic, but psychotic, Sir Lord Jimmy Crystal (Jack O'Connell) as they terrorize the survivors they encounter.  Meanwhile, Dr. Ian Kelson (Ralph Fiennes) continues memorializing victims of those infected by the rage virus in his ossuary known as the Bone Temple.  When Kelson encounters the Alpha leader of the infected, who he has nicknamed Samson (Chi Lewis-Parry) for his strength, he sedates him with a morphine dart from a blowgun which makes him docile enough to interact with.  Samson becomes addicted to the morphine and their growing connection allows Kelson to study him and realize that the rage virus might be cured.  He administers anti-psychotics to him but this experiment is interrupted when Kelly (Erin Kellyman), a member of Jimmy's gang, observes Kelson and mistakenly believes that he is Satan.  In order to keep control, Jimmy threatens Kelson into portraying Satan for his gang which results in an epic confrontation between the two of them.  This installment in the franchise is wild, chaotic, and incredibly gory (which is what I was expecting from the more meditative 28 Years Later) but it is also surprisingly emotional.  I loved the unusual friendship that develops between Kelson and Samson and I was particularly struck by the juxtaposition between Jimmy's psychosis and Samson's because this brilliantly expands on the theme that humanity is capable of savagery even without the virus.  Fiennes gives an absolutely fearless performance and one scene in particular (accompanied by Iron Maiden's "The Number of the Beast") must be seen on the big screen (trust me on this).  O'Connell is also an incredibly compelling villain and his scenes with Fiennes crackle with energy.  I loved this and I am now even more excited for the next movie in the trilogy!

Note:  The needle drops are fantastic!  In addition to his use of the aforementioned song by Iron Maiden, Kelson seems to be a big fan of Duran Duran!

The Choral

Last night my nephew and I went to see The Choral and it should come as no surprise to anyone that I thoroughly enjoyed a British period drama (my favorite genre of movie) set during World War I (a historical period that fascinates me) about the power of art to heal (one of my favorite themes) starring Ralph Fiennes (one of my favorite actors).  Bernard Duxbury (Roger Allam), an alderman in the Yorkshire town of Ramsden, hopes to revive the Choral Society but many of their members, including their choirmaster, are now at the front.  The committee reluctantly appoints Dr. Henry Guthrie (Fiennes), despite his unpatriotic love of German composers, as the new choirmaster, opens membership to anyone willing to sing no matter their social class, and decides to perform The Dream of Gerontius by Edward Elgar (Simon Russell Beale).  Complications ensue but, when Elgar objects to the changes made to his composition in order to include a wounded soldier who has recently returned home, they lose hope.  However, it is the power of the music that ultimately overcomes all obstacles.  This is a slow and gentle movie (my nephew likened to something that would be shown on PBS) but it is ultimately very heartwarming with an incredibly poignant final scene that mirrors the theme of Elgar's oratorio.  I loved how the impact of the war on everyone in the town is portrayed and I was especially struck by two different scenes at the train station in which soldiers go off to war with much fanfare and cheering followed by the more somber arrival of soldiers coming home with devastating injuries.  I also loved a montage showing the various members of the choral society practicing in different locations around town because it shows the unifying influence of the music.  Fiennes gives an incredible performance because he is able to show so many conflicting emotions on his face at the same time, particularly a scene where he simultaneously receives permission from Elgar and news of the probable death of his lover, and I also really enjoyed Amara Okerete as a Salvation Army volunteer who performs a solo because her voice is so angelic (all of the scenes featuring music are outstanding).  Finally, the production design is absolutely beautiful and the costumes are very authentic.  I loved this and recommend it to fans of period dramas.

Is This Thing On?

Last night I went to the Broadway to see Is This Thing On? and, even though it is very predictable, there was enough humor and pathos to keep me invested.  Alex Novak (Will Arnett) is a middle-aged man who has recently separated from his wife Tess (Laura Dern) after years of growing apart and is now struggling with how to co-parent his sons Felix (Blake Kane) and Jude (Calvin Knegten) and maintain relationships with the couple's shared friends Balls (Bradley Cooper), Christine (Andra Day), Stephen (Sean Hayes), and Geoffrey (Scott Icenogle).  After an especially tense evening with Tess and their friends, he decides to get a drink but, when he doesn't have the money to pay the cover charge at a comedy club, he puts his name down for open mic night in order to get in free.  He uses his divorce as inspiration for his routine and, because he gets a few laughs, he soon has the confidence to perform regularly and finds catharsis and a new lease on life.  Meanwhile, Tess begins coaching volleyball after retiring from playing on the national team years ago to have a family.  Complications ensue when Alex and Tess start to see each other in a different light after years of taking each other for granted.  I enjoyed the dynamic handheld camerawork, particularly during the comedy routines, and the naturalistic sound design, especially in a scene at a birthday party between Alex and Balls, because they really add to the authenticity of the narrative.  The performances from both Arnett and Dern are incredibly poignant and I loved their interactions as a couple who have lost themselves but somehow find their way back to each other (they have tremendous chemistry) because they feel so honest.  I also loved Cooper as the goofy best friend because he is a perfect foil to Arnett.  Finally, I found this to be very heartwarming but it is also quite funny, especially when Alex and Tess try to hide that they are breaking up from their friends in an early scene and then conceal that they are back together in a later one.  I enjoyed this charming take on navigating a divorce and would definitely recommend it.

Note:  When I first saw the trailer, the plot reminded me of how the comedian John Bishop got his start (which I heard him talk about on The Graham Norton Show).  It turns out that the character of Alex is loosely based on his experiences and that he is also an executive producer.

Father Mother Sister Brother

I am a huge fan of Jim Jarmusch as a director and Adam Driver as an actor (their first collaboration, Paterson, is one of my very favorite comfort watches) so I was excited to see Father Mother Sister Brother at the Broadway with my nephew last night.  I thoroughly enjoyed this gentle exploration of complicated family relationships.  Siblings Jeff (Driver) and Emily (Mayim Bialik) travel to visit their eccentric and reclusive father (Tom Waits) because they believe he is lonely and are worried about how he is supporting himself after the death of their mother.  It is revealed that Jeff has been secretly helping his father financially, perhaps to the detriment of his own marriage which is now over, but his father's situation may not be what it seems.  Sisters Timothea (Cate Blanchett) and Lileth (Vicky Krieps) arrive for their annual visit to have afternoon tea with their mother (Charlotte Rampling).  Their interactions, which appear overly polite and genteel on the surface, are fraught with tension because they are all hiding the true circumstances of their lives.  Twins Skye (Indya Moore) and Billy (Luka Sabbat) reunite after the mysterious death of their parents to go though their apartment and are surprised by some of their belongings.  All three narratives in this anthology have a similar theme about loving a family member without really knowing them but there are also quite a few recurring motifs that connect them (I was especially struck by all of the long awkward silences because I think that this is something most people have experienced with family members).  Jarmusch is known for his observational storytelling and this might be his most subtle (and most affecting) film yet.  I particularly loved the changing landscape outside of father's window, the overhead views of mother's flawless tea table, and the use of mirrors in the twins's apartment because these perfectly composed shots show the audience, rather than tell them, that things are not necessarily how they appear.  I also loved all of the performances because every actor uses minute changes in body language and facial expressions to convey what their character is feeling instead of dialogue and I found this to be riveting (Blanchett is absolutely heartbreaking when Timothea tries to compose herself in a bathroom mirror).  This might not be for everyone but I loved it and recommend it to fans of the director.