Monday, 30 November 2015

Hunger Games - Mocking Jay part 2



I think it would be fair to deduce that this whole Hunger Games thing could’ve been a super drag without the presence of one Jennifer Lawrence as Katniss. There are moments in this film, and throughout the saga, that suffer a bit from subpar writing, yet Lawrence makes any dialogue, no matter how mundane, sparkle. She’s an actress who just slices through the screen and smacks your face with her every gaze and word.


This one picks up exactly where the last one left off, with Katniss getting her neck tended to after a brainwashed Peeta (Josh Hutcherson) tried to choke her out. Peeta is in a really bad place thanks to evildoer President Snow (Donald Sutherland), and he’s as reliable as a friend who dropped some really bad acid. He’s prone to spells where he wants to kill Katniss, which makes things all the more difficult as she leads Peeta and a squad of rebels on a mission to wipe out Snow for good.
Peeta is on the mission despite his altered state thanks to Rebellion President Alma Coin (Julianne Moore), who wants the squad to film him and Katniss for propaganda purposes. Katniss is instructed not to engage the enemy and simply film videos to inspire the rebel troops, but we all know circumstances will call for her to raise the bow and arrow and be anything but Cupid-like.




Part 1 was a more laid-back affair, while this chapter amps the action up, especially in the second half. There’s an underground sequence where Katniss and friends must battle mutants that look a little like the cave creatures from The Descent. It’s during this sequence that returning director Francis Lawrence really lets us know that Part 2 will easily be the darkest and nastiest in the whole franchise. It actually pushes the PG-13 rating to its very limit.


In addition to the surprisingly high body count, Part 2 hits hard with its “don’t trust the government!” message. While we already knew President Snow is quite the scumbag, this film adds another surprising villain to the mix. Yes, all of you readers of the book knew what was going to happen, but my ignorant, non-HG-reading ass got taken by surprise when I saw which way things were going.


This is the last screen performance of Philip Seymour Hoffman, who didn’t quite finish his role as Plutarch Heavensbee, but did enough for editors to put something convincing together. Plutarch actually takes his exit via a letter to Katniss in a surprisingly poignant move. Hoffman, even in his few scenes, commands the screen like no other. It’s such a lousy thing that he isn’t with us anymore.


The most improved Hunger Games franchise performance award goes to Sutherland, who took Snow from a preening goofball in the first chapter to something deliciously villainous by the last film. Like Hoffman, Sutherland only has a few scenes, but they’re powerful ones. Snow’s last two encounters with Katniss are bone-chilling.



Hutcherson does good work as twitchy Peeta, but Liam Hemsworth is bit humdrum as Gale Hawthorne, the other man after Katniss’s affections. The Hawthorne character winds up being more or less useless and disposable by the final chapter. I question whether or not the character was at all necessary.


Jena Malone has a couple of good scenes as crotchety Johanna Mason, one of them with an impressive baldhead courtesy of special effects. (She apparently used a stunt head.) Her character’s hair seems to grow back awfully fast, though.


So that’s it for now with The Hunger Games, although I’m sure somebody’s working hard to come up with a way to continue the franchise, just as they did with the Harry Potter universe for the upcoming Fantastic Beasts and Where to Find Them. You can’t keep a multi-billion dollar franchise down.


I ultimately wound up liking this Hunger Games phenomenon after a crap start, but I am happy to see Lawrence totally free to do other things, like David O’Russell’s soon-to-be-released Joy. She’s only 25, and she’s just getting started.

Credit goes to BOB GRIM
https://www.newsreview.com/reno/games-over/content?oid=19145891

Thursday, 19 November 2015

Hotel Transylvania 2 3D - THE GUARDIAN review



There’s irony in the fact that animation, a medium where literally anything is possible, is so frequently stale and predictable. Animation in mainstream Hollywood features, that is. Recent financial successes such as Minions, Home and Big Hero 6 are frequently cute, but they set up their aesthetic in the first scene and usually stay enslaved to it. Even Pixar’s Inside Out, certainly a notch above the competition, is more about colour and design than movement and unpredictability.
Hotel Transylvania (2012) showed what can happen when a fairly typical “what if?” script got in the hands of an animation director with a more inspired vision, in this case Genndy Tartakovsky. No better or worse an animation script than Megamind, Penguins of Madagascar or Rio, Hotel Transylvania was the first cartoon movie to hit theatres in ages that captured the antic, frantic sugar rush of Woody Woodpecker, Tom & Jerry or Bugs Bunny.
More than that, the simple story of a crusty father (Adam Sandler voicing Dracula) running a resort with his classic monster pals (a mummy, Frankenstein’s monster, a wolfman, etc) took the macabre but not really scary environment, stretched it out like a rubber band and snapped it off the walls. It was computer generated, but owed more to the exaggerated, simple drawings of Gerald McBoing-Boing than the now dated look of, say, A Bug’s Life. (In its not-quite use of the Universal Monsters, it was also a masterclass for intrepid entertainment lawyers.)

Hotel Transylvania’s refreshing visual aspect could run from blobby to zippy in the same chase sequence. Add in the “spooktacular” setting, with round dinner tables transforming into cute, flying ghosts, and there was more than enough for it to rise above its standard plotting and not infrequent flatulence jokes. Unfortunately, what squeaked across the finish line last time falls short here. We’re left with flat, annoying characters and a rote storyline that’s too high of a hurdle even for Tartakovsky’s visual dynamism.
The bulk of the picture is mired in typical sitcom-dad antics. With Dracula’s daughter Mavis (voiced by Selena Gomez) now a young mother with her dummkopf human husband Johnny (Andy Samberg), she’s worried about raising her child in Transylvania. Dracula and his band of buddies (voiced by Steve Buscemi, Kevin James, David Spade and others) conspire in a series of elaborate tricks to convince her not to move to California. It ends in a messy chase and Mel Brooks doing his 2000-year-old-man voice as Dracula’s father.
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There are a few amusing gags about “mixed marriages” in Hotel Transylvania 2, but the script by Sandler and Robert Smigel (the genius behind Triumph, the Insult Comic Dog) is surprisingly tame, with lots of selfie jokes that won’t be funny in a few years. Actually, they aren’t funny now. Every beat is predictable and even the most dazzled kids might wonder why father and daughter won’t just talk about their obvious feelings. Compared to the nuanced story of Inside Out, it’s absolutely infuriating.
By the end of this 89-minute film, I was absolutely on the edge of my seat. Not due to suspense, but due to my utter disdain for the infantile plotting.
Tartakovsky, whose earlier work includes the shows Dexter’s Laboratory, Samurai Jack, Star Wars: Clone Wars (not the visually inferior Star Wars: TheClone Wars) and the gorgeous, practically Bakshi-esque 10-minute prologue to the not-so-hot Paul Bettany film Priest, is currently developing an original property called Can You Imagine? for the same studio that’s releasing Hotel Transylvania 2. If you are catching a whiff of one for them, one for me mixed in with this sequel’s wolfsbane, you aren’t alone.


thanks to THEGUARDIAN
http://www.theguardian.com/film/2015/sep/24/hotel-transylvania-2-review-flat-annoying-and-lacking-in-bite

Thursday, 5 November 2015

Imagination is the sign of Intelligence




Without a struggle, there can be no progress.
 - Frederick Douglass

Mistakes are the portals of discovery.
 - James Joyce

Learn from yesterday, live for today, hope for tomorrow. The important thing is not to stop questioning.
 - Albert Einstein

Hope is a waking dream.
 - Aristotle

A good decision is based on knowledge and not on numbers.
 - Plato



The opinion which other people have of you is their problem, not yours.
 - Elisabeth Kubler-Ross

An essential aspect of creativity is not being afraid to fail.
 - Edwin Land

The true sign of intelligence is not knowledge but imagination.
 - Albert Einstein

Wednesday, 4 November 2015

English Literature in Cinemas - A Small Sample


Who am I?






Who am I?
   I don't want to find
Where do I go?
   I don't want to come
How do I live?
   I don't want to exist
How do I die?
    I don't want to lost
How do I get peace?
    I don't want to be calm
How do I get hunger?
    I don't want food
How do I get love?
     I don't want you
How do I get you?
    I don't want to move along with you....


B.Sangavi, Coimbatore

Tuesday, 3 November 2015

GOOSEBUMPS - A MOCKING HORROR




I suppose you could consider the Goosebumps movie as a piece of metafiction. It speculates what might happen if every monster ever invented by the American children’s author R.L. Stine in his popularGoosebumps series came to life at the same time. Crack open the book covers and the abominable snowman, a giant preying mantis, a posse of murderous ceramic gnomes and many, many zombies are all let loose. Literally. Well, perhaps not literally, but at least physically thanks to the animators at Sony.

In truth, the concept – and the story woven by screenwriters Scott Alexander, Larry Karaszewski and Darren Lemke to justify it – is more interesting than the rather predictable attack-of-the-killer-monsters that follows, but with its strong premise, an interesting third-act twist and the inimitable Jack Black in the role of Stine, Goosebumps has some satisfying entertainment on offer.

The story begins when our pleasant teenage hero Zach (Dylan Minnette) arrives in Madison, Del., from New York accompanied by his recently widowed mother who is taking up a new job as vice-principal at the local high school. He soon meets the girl next door, Hannah (Odeya Rush), who seems nice and takes him on a little stroll around an abandoned amusement park in the woods, but her suspiciously secretive father catches them talking and warns Zach off the property.

When Zach hears an ensuing father-daughter shouting match terminated by Hannah’s screams, he calls the cops, who arrive at the house to find the noise only came from the movie that a very annoyed and apparently solitary Mr. Stine was watching. Convinced that he really did meet Hannah and that she is hidden in the house somewhere, Zach and his new pal, the nerdy Champ (Ryan Lee), break in, setting in motion the events that will lead to opening up Mr. Stine’s locked manuscripts.
One-on-one, the monsters are engaging – one of the early sequences features an amusing brawl in the kitchen with the garden gnomes – but things become much less clever once Slappy, the eerily independent ventriloquist’s dummy, shows up and corrals all the other monsters into a lynch mob in a bid to get vengeance on their creator for keeping them locked up. Mr. Stine, Hannah, the boys and the monsters all eventually converge at the school dance where there are many scenes of stampeding crowds making it through doors just in time to slam them in the faces of various pursuing monsters.




Still, director Rob Letterman and the screenwriters have another trick or two up their sleeves plus a few romantic subplots including the not entirely predictable hook-up between Zach and Hannah while Black’s reliable presence as the increasingly less grumpy Mr. Stine anchors the film. This is horror intended for the prepubescent set; it gently mocks the traditions of the genre – giant preying mantis rips roof off high school – while never getting too frightening.

THANKS TO ROTTENTOMMOTOES.COM