Greetings again from the darkness. I’m now even further removed from the target demographics than for the first two Hunger Games movies. Regardless, I have read all 3 books from Suzanne Collins’ trilogy and have seen all 3 movies based on her books. Oh, wait. There will be FOUR movies, not three, from her source material. Hello Lionsgate profits! By definition, The Hunger Games: Mockingjay Part 1 is a warm-up act … it’s setting the stage for the finale which will be released in one year.
So for this one we get a Hunger Games movie with no Hunger Games. In fact, there is very little combat action at all. Instead, we are witness to the strategic planning and “selling” of a war (think Wag the Dog), replete with short promo videos featuring Katniss (Jennifer Lawrence) as the Mockingjay … the rallying symbol of the rebels. There is a terrific scene featuring four great actors: Jennifer Lawrence, Julianne Moore (as President Coin), Jeffrey Wright (as Beetee) and the late Philip Seymour Hoffman (as Plutarch). Four great actors in harmony elevating a movie based on YA novels. Pretty cool.
With no actual Hunger Games, the color palette of the film is almost entirely grays and browns. Even Julianne Moore’s famous red tresses are toned down to a streaked gray. The bleak look reminds of the Metropolis (1927) set, and also makes President Snow’s (Donald Sutherland) vivid white wardrobe and beard stand in contrast to rest. Mr. Sutherland has another juicy scene flashing his devilish grin and twinkle. He’s another example of the perfect casting, which extends to Elizabeth Banks (Effie), Woody Harrelson (Haymitch), Stanley Tucci, and Mahershala Ali (as Boggs). You should expect much less Josh Hutcherson (Peeta) this time, but a little more Gale (Liam Hemsworth).
Jennifer Lawrence proves again that her recurring role as Katniss is underrated from an acting perspective. She is now best known as an Oscar winner, but that doesn’t affect the sincerity, emotion and tenacity that she exhibits here.
This ending of Part 1 feels a bit awkward, but the break comes at the right time considering how the book is written. If you are a fan of the franchise, just accept that you will be buying a ticket for this move as well as next year’s finale.
**NOTE: Fans of Face Offwill pick up a nod to that film
**NOTE: Philip Seymour Hoffman passed away with less than two weeks remaining in the filming schedule. He will appear in the finale, but his last few scenes were re-written to account for his absence. I will say it again next year, but his death leaves such a void for us movie lovers.
Greetings again from the darkness. If you aren’t an avid reader of John le Carre’ spy novels, perhaps you’ve seen movie versions such as Tinker Tailor Soldier Spy, The Constant Gardener, or The Russia House. If not, how about director Anton Corbijn’s previous film The Amercian(2010 with George Clooney)? The more you’ve read and seen these, the more you are prepared for this latest.
Mr. le Carre’ was actually part of MI5 and MI6 (British Intelligence) and uses his experiencefrom so many years ago to provide the type of post 9/11 anti-terrorism spy thriller that doesn’t focus on explosions and gun play, but rather the subtleties of communication when very smart people go up against other very smart people who may or may not share their goals. Secrets and misdirection abound. Traps are set, and sly maneuverings are pre-planned.
As if all that weren’t enough, how about yet another mesmerizing performance from the late Philip Seymour Hoffman? He is a master at the top of his craft here. Sure, maybe the German accent is a bit distracting at first, but it was necessary because movie audiences needed a constant reminder that he is not playing an American! I cannot explain how this chain-smoking, mumbling schlub can so dominate a scene and disappear into a character, but Hoffman most certainly does both.
In addition to a very cool script, excellent support work comes from Grigor Dobrygin as Issa, the central figure in Hoffman’s character’s work, Willem Dafoe as a somewhat shady banker, as well as Robin Wright, Daniel Bruhl, Nina Hoss, Homayoun Ershadi, and Rainer Bock. The only miscast is Rachel McAdams as rich girl turned terrorist sympathizer.
Parts of the score were excellent – the droning, ominous piano notes set the right mood. The composer was Herbert Gronemeyer, a German rock star (you’d never know from the score). This is a delicious, challenging look at international spies and how one never knows where they fall on the food chain … minnow, barracuda, shark.
**NOTE: Philip Seymour Hoffman was such an impressive talent, and after this, there are only a couple of projects remaining where you can see his final work: God’s Project(from Sundance Film Festival) and the last of “The Hunger Games” series. At some point, I will do a retrospective of his career, but not until his final works have been released.
Greetings again from the darkness. It’s quite clear I am not the target audience for Suzanne Collins’ literary trilogy or the corresponding movies that are packing in the teenagers and young adults. Still, I’ll admit to enjoying the first movie … and am even a bit more impressed by this second entry. Having a female heroine that is young, strong, smart, loyal, and emotionally grounded is not just unusual, but also quite a welcome change of pace.
Any uproar over missing/adapted elements from the source books can be chalked up to the young readers who haven’t yet come to understand that a 2 hour movie cannot possibly relay all the details and imagination held within the written page. In fact, co-screenwriters Simon Beaufoy (Slumdog Millionaire) and Michael deBrauyn (aka Michael Arndt of Toy Story 3 fame) do an excellent job of balancing the numerous elements contained within the story: a fascist government, the off-kilter romances, family bonds, and the early stages of a revolution/uprising. This sequel features a new and much better suited director in Francis Lawrence, known for I Am Legend.
What really makes this material click on screen is the performance of Jennifer Lawrence as Katniss. Her Mockingjay becomes the symbol of hope for the many districts intimidated by the iron fist rule of the President, played by the menacing Donald Sutherland. Ms. Lawrence is an absurdly talented actress and is one of the rare few who can convey a multitude of emotions through facial expressions alone. Despite Katniss’ sometimes prickly personality, the audience connects with her in a most positive manner.
In addition to Ms. Lawrence and Mr. Sutherland, returning to the fold are Josh Hutcherson as Peeta (still lacking even an ounce of screen presence), Woody Harrelson as Haymitch (giving a bit more effort this time around), Lenny Kravitz as Cinna, Paula Malcomson as Katniss’ mother (seen recently as Abby in “Ray Donovan“), Willow Shields as Prim, Liam Hemsworth as Gale (his most exciting scene is washing his hands), and of course the instant electricity and energy provided by Elizabeth Banks as Effie and Stanley Tucci as Caesar – two of the most colorful characters this side of 1970’s era Elton John.
New to this chapter are two of the finest actors working today: Philip Seymour Hoffman as game designer Plutarch Heavensbee, and Jeffrey Wright as “Volts” from the “nuts and volts” duo with Amanda Plummer. Jena Malone tries, but is miscast as Johanna, and Sam Claflin has a couple of worthy moments as Finnick. Two of the best additions are the frightening killer baboons and the Black Swan-style wedding dress. Both make eye-opening entries.
There is much to like about this series thus far, but of course, one must accept it for the genre it represents. And fair warning – see the two Hunger Games movies in order … or don’t bother. Regardless of your take on this franchise – may the odds be ever in your favor.
SEE THIS MOVIE IF: you have seen and enjoyed the first one OR you want to see some angry baboons take on a group who just escaped a fog bank that would make John Carpenter jealous.
Greetings again from the darkness. This is one of those little indie flicks that will probably get lost in the shuffle. Director and co-writer Yaron Zilberman delivers a twist to the familiar life lessons and substitute family story lines, and is wise enough to let his outstanding cast do what they do best.
It is by no means a great movie, but there are some terrific and wonderful moments thanks mostly to some top notch acting. Philip Seymour Hoffman, Catherine Keener, Mark Ivanik and Christopher Walken make up a famed string quartet who are approaching their 25th year together. All heck breaks loose within this group that thrives on precision when the patriarch (Walken) is diagnosed with Parkinson’s. This announcement is followed immediately by a battle of egos between the two violinists (Hoffman and Ivanek), a falling out between the married couple (Keener and Hoffman) when he has an affair, and a break in trust when Ivanek starts a relationship with the much younger daughter (Imogen Poots) of Keener and Hoffman. It’s kinda like Peyton Place with classical music.
If this sounds like a dysfunctional family, that’s a very accurate description. These four people are outstanding musicians who made the decision to forgo solo careers and build something even better with the quartet. It’s a life lesson that four people working in harmony are both much stronger and more fragile than any one person going it alone. The music is what drives these four despite their other issues. Watching them battle through the challenges is quite similar to any film based on familial shenanigans, but the actors are so good that a few moments really resonate.
The chamber music is a joy to listen to, though the plot devices are often quite familiar and predictable. Christopher Walken has a couple of scenes that are alone worth the price of admission. Ivanek expertly captures the ego-maniacal first violinist, and Keener is perfectly cast as the one who can’t help but wonder how her life turned out so. Mr. Hoffman may be up for an Oscar thanks to his performance in The Master, but it’s these “small” roles which I find so complimentary of his talent.
Kind of off topic, there is a scene featuring Wallace Shawn drinking wine as he converses with Walken. Wallace Shawn drinking wine will forever remind me of The Princess Brideand the lesson of going up against a Sicilian when death is involved! To summarize, the individual pieces here are much stronger than the overall film … just the opposite of a world class quartet.
**Note: that’s the real Nina Lee (world class cellist) who steals the scene near the end
SEE THIS MOVIE IF: you enjoy “little” films with great acting
SKIP THIS MOVIE IF: a soap opera disguised as top notch chamber music has you longing for the next Bond film
Greetings again from the darkness. Critics seem to love it, while movie goers seem to be left grasping for meaning. This is director Paul Thomas Anderson‘s sixth film, and could be either his best or worst, depending on your tastes. What is clear, however, is that all the hoopla over this being an expose’ of Scientology was for nothing. In fact, the cult/religion in the film plays second fiddle to a mentally unstable drifter who you will find no real interest in following (yet unable to take your eyes off).
On the plus side, there are three terrific performances in the film. Joaquin Phoenix delivers a frightening, off beat character named Freddie Quell. Freddie suffers from PTSD after WWII and is some kind of freaky genius when it comes to moonshine and hooch. We see him utilize missile fuel, paint thinner, photographic chemicals, coconuts and Lysol. Never accept a drink from Freddie. Philip Seymour Hoffman is pure charisma and power as Lancaster Dodd, the character supposedly modeled on L Ron Hubbard, the writer and (some would say) con man who developed Scientology through his Dianetics theories. Hoffman is fascinating to watch and totally believable as a guy who draws in the suckers. His staunchest follower is his ice queen wife played with quiet intensity by Amy Adams. This is quite a different role for her and she really delivers the goods.
Joaquin Phoenix deserves a few words. His physicality here approaches deformity and his sexual perversion is clear early on thanks to a beach scene. Phoenix looks emaciated, and somehow inverts his shoulders and wears a constant grimace that would make Michael Shannon proud. Much of his performance reminded me of a young Marlon Brando … high praise indeed. Many of director Anderson’s films deal with the surrogate father/son relationship, and Phoenix is at his best when desperately seeking acceptance from his would-be father figure, Lancaster Dodd.
Though Scientology is never mentioned, the “processing” demonstrated certainly fits right in with the early methods. Still, the weakness of the movie stems from the story. Following Freddie leaves a gaping hole in substance. There’s just not much to this broken man. On the other hand, we constantly want to know more about The Master, Lancaster Dodd.
Technically, it’s a stunning and beautiful movie with moments of cinematic greatness. From an entertainment perspective, some might find the second half downright boring and uninteresting. If not for the Oscar worthy performances and the stellar camera work and interesting camera angles, even more people probably would have walked out during the film. Jonny Greenwood is back (There Will Be Blood) with Anderson, and again delivers the perfect accompaniment. With some script work, this could have been a truly great film. Instead, we get just-missed greatness from a true auteur.
SEE THIS MOVIE IF: you want to see 3 Oscar worthy performances OR unusual filmmaking and story telling is worth a couple hours of your time … especially when presented by an auteur like Paul Thomas Anderson
SKIP THIS MOVIE IF: oddball characters and expert technical filmmaking are not enough to maintain your interest
Greetings again from the darkness. Political thrillers can be so juicy and filled with “gotcha” moments and “oh how could he/she” scenes. Inevitably, most come down to an “I believed in you” showdown and reckoning. This latest one based on the play Farragut North by Beau Willimon, gives George Clooney an opportunity to play out his political aspirations without opening himself to the real thing.
Clooney also directs and the smartest move he made was assembling an ensemble cast of some of the best actors working today. Clooney plays Pennsylvania Governor Mike Morris, who is one of two still-standing Democratic Presidential contenders on the verge of the Ohio primary. His Campaign Manager is grizzled campaign veteran Paul, played with staunch principals and a black-and-white rule book by Philip Seymour Hoffman. Their talented and idealistic Press Secretary Stephen is played by Ryan Gosling, who talks more in the first scene than he did in the entire movie Drive. Their opponent’s manager Tom Duffy is played by Paul Giamatti. Duffy oozes cynicism and seems to have misplaced the rule book that Paul holds so dearly.
The film begins with the set-up so we get a feel for just how strong or weak of character each of these men are. Morris (Clooney) is obviously an Obama-type idealist who claims his religion is the US Consitution. He says this while gently poking fun at his opponent’s Christian beliefs. We see just how talented Stephen (Gosling) character is at handling the words that his candidate speaks and we see Paul (PSH) in full back room politico maneuvering.
The film has two huge points where the mood swings. The first is a contrived, definite no-no meeting between the ambitious Stephen and the shrewd Duffy. The second is a sequence between Stephen and a 20 year old campaign intern named Molly (Evan Rachel Wood), who also happens to be the daughter of the Chairman of the DNC. These two events turn the film from political thriller to melodramatic Hollywood fare. That doesn’t make it less of a movie, it’s just different than it began.
Cat and mouse games ensue and we see just who is the master manipulator amongst a group of professionals. This is one of those films where the individual pieces are actually more interesting than the whole pie. There are two really excellent exchanges between Gosling and Hoffman. Ms. Wood steals her scenes with ease. Jeffrey Wright nails his brief time as a desperate Senator negotiating the best deal possible. Giamatti’s last scene with Gosling is a work of art. The only thing missing is a confrontation between Giamatti and Hoffman. THAT alone would be worth the price of admission. We also get a glimpse of the give-and-take gamesmanship between the campaign (Gosling) and the media (Marisa Tomei).
You might be surprised that Clooney actually minimizes the political meanderings, though he does get in a few jabs at the Republicans. This is more character drama … how far can your ideals and morals carry you. What is your breaking point? Where is the line between realist and idealist? Is it betrayal if you act for the right reason? The final shot of film is superb. Et tu, Brute.
SEE THIS MOVIE IF: you don’t mind a mixture of political drama and traditional Hollywood melodrama, especially when performed by a group of top notch actors OR you are convinced that only Republicans do bad things
SKIP THIS MOVIE IF: you only want a full-fledged political expose’ around running for political office OR you still believe that politicians and idealists are above reproach.
Greetings again from the darkness. While reading “Moneyball: The Art of Winning an Unfair Game” by Michael Lewis, I never once considered what it might look like as a movie. And I am the kind of guy who looks at a mailbox and wonders if a movie about a mailman might be interesting (Costner proved me wrong). If you are a baseball fan, you should see this movie. If you are not a baseball fan, the movie works very well as a metaphor for any business maverick who takes a risk and analyzes their company or industry from an entirely new perspective. The game of baseball was over a hundred years old when Oakland A’s GM Billy Beane and friends turned the institution on its ear.
Mr. Lewis spent most of the 2002 season with the Oakland team and had full access to GM Billy Beane, Asst GM Paul DePodesta, and their process in putting together a team that would contend for the American League title … all under the severe handicap of ridiculous salary constraints placed by team owners.
In this movie, Brad Pitt is spot on as Beane – the cocky, tobacco spitting former jock trying desperately to put his stamp on the institution of baseball. Due to some lawsuit of which I know nothing, the DePodesta role is renamed Peter Brand and is played by Jonah Hill, who looks absolutely nothing like Mr. DePodesta (who played baseball at Harvard). Despite this, Mr. Hill does an terrific job of becoming the statistical whiz who can analyze data and place value on players … a skill he is obsessed with even 10 years later.
Watching Beane trying to communicate the point of change to the old school scouts is simply priceless and painful. Years of scouting based on body type and girlfriend ranking is replaced by statistical data spit out by Brand’s computer. The real fun comes when the team’s field Manager, Art Howe (Philip Seymour Hoffman), flashes his bah-humbug attitude, bucks Beane’s system and continues coaching old school … from the gut. It’s not until Beane takes away all other options that Howe is forced to follow the new plan.
Baseball fans know that Bill James is the godfather of sabermetrics in baseball. I was happy to see him receive props in the movie. For years his formulas and calculations were ignored and scoffed at by owners, managers and scouts. Thanks to the A’s success, ALL teams now utilize some form of sabermetrics combined with old fashioned scouting. Every measurable event in a game is tracked and results are analyzed. Many fans say it has sucked the joy out of the game. Others say it has provided opportunities for players previously ignored. I prefer to look at it as the same in any industry … everyone looks for a competitive advantage. Never ignore a tool or approach that can make your company more profitable or your team more competitive.
Being a long time Texas Ranger fan, I must mention some of the ties to this story. The Rangers current manager, Ron Washington (portrayed by Brent Jennings), was an infield coach on those Oakland A’s and gets a few scenes. Grady Fuson was the Head Scout for the A’s and later came to the Rangers as co-GM or Asst GM (depending who you ask) but had a very limited stay. Mike Venafro was a relief pitcher for the A’s who gets traded in 2002 so they can pick up a more valued reliever to take his spot (Rincon). It should also be noted that current Rangers GM Jon Daniels and his talented staff have a place for sabermetrics and their formula has worked.
The director of the movie is Bennett Miller, who was responsible for the excellent Capote, which also starred Phillip Seymour Hoffman. Bennett’s DP here is Wally Pfister, who works frequently with the great Christopher Nolan. Pfister’s camera work is superb. The amazing writing team of Steve Zaillian and Aaron Sorkin provide a script with sharp dialogue and just enough baseball lingo so that everyone can follow. Supporting actors include: Chris Pratt (“Parks & Recreation”) as Scott Hatteberg, poster child for sabermetrics; Robin Wright as Beane’s ex-wife; and fantastic writer/director Spike Jonze (came0) as Wright’s zenned-out new husband and the polar opposite of Beane.
I need to make a point about the performance of Jonah Hill. His movies Superbad and Get Him to the Greek are not my type of movies so I was never a big fan. That changed when I saw Cyrus last year. During the Q&A after this screening, Mr. Hill pointed out that Cyrus was the bridge that allowed him to be cast in this movie … his bridge to drama. He went on to state that his acting heroes are Dustin Hoffman and Bill Murray because they have had successful careers in both comedy and drama. I can honestly say that it is easy to see Jonah Hill having a Bill Murray type career, especially since he has now lost so much weight – a significant weight loss after the filming of Moneyball. He is no longer the funny fat guy. He is a talented actor.
SEE THIS MOVIE IF: you are drawn to movies about visionaries OR you are a baseball fan and/or business person
SKIP THIS MOVIE IF: you are looking for over-the-top action sequences or a pure baseball flick
Greetings again from the darkness. We all recognize the genius of Philip Seymour Hoffman the actor. This gives us one more example of his immense talent, but also puts his eye as a first time director on display. Not surprisingly, the result is a terrific “little” film.
Based on the play by Bob Glaudini, three of the four main characters reprise their role from the stage production. Mr. Hoffman as Jack, John Ortiz as Clyde and Daphne Rubin-Vega as Clyde’s wife, Lucy. The newcomer is the fantastic Amy Ryan (“The Office”, “Gone Baby Gone”)as Connie. Jack and Clyde are good friends and work together as limo drivers. Lucy and Connie work together for some odd funeral home specialist who markets a type of program that I never quite understood.
All that really matters is that Clyde and Lucy arrange to have Connie and Jack meet. The apparent reason is that neither of them have any friends or social skills and therefore, must be the perfect match! What we then learn is that all four of these people are fractured. Scene after scene shows off the power of friendship and/or the frailty of on-the-job relationship therapy brought about by cheating, holding grudges and keeping secrets.
For the most part, the film has the feel of a stage production and moves very slowly as these type of people would. There are moments where individual weakness gives way to outbursts of emotions – and not all in a positive way. What is clear is that they each want the best for each other, but have no real feel for what’s best for themselves.
I thought the film made some excellent points, but I was a bit disappointed in the hookah scene. That was the only scene that went too far and my guess is it worked better on stage. On the bright side, there are some tender, poignant moments and the acting is truly superb throughout the film. It is obvious that these four actors care very much for the story and these characters. The soundtrack is a bit unusual, but fits very well with these characters. One reggae song, “The Rivers of Babylon” plays a vital role in the film’s lone light-hearted moment.
SEE THIS MOVIE IF: exceptional, nuanaced acting is your cup of tea OR you are a fan of Philip Seymour Hoffman
SKIP THIS MOVIE IF: low budget indies tend to bore you OR watching Philip Seymour Hoffman learn to swim could give you nightmares