Wednesday, March 28, 2012

The Hunger Games (Movie)


"It wasn't as good as the book."  How often do we hear that--or say it--after watching a movie based on a book.  Especially an uber-popular and/or well respected  book.  The time constraint inherent to film is generally the main culprit, as not every character and plot thread can be given it's proper due without turning the movie into a mini-series.  Other times it may be license was taken by the film makers, changing elements of the story or the characters, occasionally rendering them unrecognizable.

With the movie version of the super-smash hit novel The Hunger Games (perhaps you've heard of it), license is certainly taken and some elements were changed or omitted altogether.  But all were perfectly logical and even, perhaps, necessary to make Suzanne Collins' literary vision into a pretty great moving picture adaptation.

Even when an adaptation is good, it can still be somewhat disappointing to see the characters and environment you created in your head while reading the book don't match what the film makers had in mind.  For me, this was not at all the case with The Hunger Games.  Just about everything I saw on screen was pretty close to how I imagined it.  Being a latecomer to the book, I was probably subconsciously influenced by the movie trailer, but  the world Collins created in prose was so vivid I think any subliminal mumbo jumbo was secondary.  From the Great Depression-esque Appalachia of District 12, to the shimmering opulence of The Capitol and the colorful and creepy flamboyance of it's citizens, the look was perfect.  Even the the Peacekeepers in their late 1970's Logan's Run getups seemed right.

For those of you not up on your Hunger Games knowledge--let me first welcome you back from your sequestered hermitage away from the modern world--you can catch up on the plot (SELF-PROMOTION WARNING!) here.  Or, just go get the book.  It's a breakneck read.  I got through it in three or four days and I'm a notoriously slow reader.

Well, if you're too lazy for that, here it is in a nutshell:

A post-apocalyptic North America is now occupied with the country of Panem.  Panem is divided into twelve districts, all ruled by The Capitol, the opulent and ruthless seat of power.  As punishment for a prior (and failed) uprising by the districts, The Capitol forces each to submit two children between the ages of 12 and 18, one boy and one girl, as tribute every year.  The tributes are then thrown into a vast outdoor arena and forced to fight to the death until only one is left standing.  The rest of Panem is required to view The Games as a twisted Olympics style spectacle on live TV.

The protagonist is Katniss Everdeen, a 16 year old girl who lives in District 12 with her mother and 12 year old sister Prim.  After The Reaping, the yearly choosing of the tributes, Katniss finds herself as District 12's tribute along with her male counterpart Peeta Mellark.  Katniss and Peeta, coming from the poorest district, are at a disadvantage and have only their cunning and charisma to see them through the ordeal.

Credit for the above capsule to...myself.

I'm sure director Gary Ross and his crew wrestled over just how graphic to depict the violence in the movie.  I mean, we're talking about teenagers savagely hunting down and killing each other here.  Obviously they needed to keep things in PG-13 territory for the sake of the novels target audience, but at the same time the violence is what drives the story and is central to the point the author is trying to make.  While the movie does show some restraint by comparison, I thought Ross struck a good balance between showing the brutality necessary to not either become gratuitous or turn it into some bloodless video game, which would have sucked all the power out of it.  It was effective.  The cornucopia sequence in particular had me sufficiently unsettled as I watched the carnage unfold.  Reading about 17 and 18 year-olds taking out their barely teenage rivals is one thing, but to see it viscerally portrayed on screen takes it to another level.

As far as the cast is concerned, all the actors were spot on.  Jennifer Lawrence has the attractive, athletic, not-quite-tomboyish chops to play the feisty Katniss Everdeen.  She and Josh Hutcherson's Peeta Mellark didn't exactly burn up the screen, chemistry wise, but then she is a reluctant player in her and Peeta's Hunger Games strategy, so maybe that was somewhat by design.  Otherwise, Hutcherson did a fine job.  Stanely Tucci is exceptional as The Capitol's favorite emcee Caesar Flickerman, and I was happy to see one of the examples of artistic license taken by Ross and friends was to expand his role a bit from the book.  Donald Sutherland is positively reviling as the seemingly soft-spoken but obviously coal-hearted President Snow.  The book doesn't give Snow much page time (I'm sure he plays a much greater part in the two sequels, which I have not yet read), but in the movie he and Wes Bentley's head Gamesmaker, Seneca, are one of the logical and necessary elements to flesh out the personification of the wicked Capitol.  Better to invent or expand the role of characters in this way then spend a chunk of precious run time with exposition of why The Capitol is so evil.  This was much more interesting.  Woody Harrelson also nails Haymitch, Katniss and Peeta's alcohol soaked Hunger Games mentor.  Elizabeth Banks and Lenny Kravitz (yes, the Lenny Kravitz) round out the solid cast.

If I had any complaints, they would be these two.  First, more time should have been spent on the importance of Katniss' survivalist skills and why it made her such a skilled player.  This was a central element of the book that I thought the movie glossed over a little too quickly.  It was hinted at, but should have been brought into better focus.

Second, the movie made me sick.  I mean, literally, sick to my stomach.  Some might expect that reaction from a movie with rampant teen-on-teen violence, but that had nothing to do with it.  Ross makes extensive, extensive, use of hand-held cameras.  This is not a groundbreaking technique, and normally doesn't bother me at all, but let's just say if the closing credits hadn't started when they did, I may have been donating my pepperoni and mushroom pizza to row 14 of the theater floor.  Didn't bother my wife at all, but she can also do long division while riding the tilt-a-whirl on winding, treacherous mountain roads without so much as a rumbly in her tummbly.  Anyway, I didn't really notice it until the end, but if motion sickness is an issue, you may want to invest in some Dramamine beforehand.

Nausea aside, I was very pleased with my Hunger Games experience.  It was a thrilling, action packed ride that was faithful to the great source material from whence it came.


Monday, March 26, 2012

The Ox-Bow Incident In 102 Words Exactly



Director William Wellman's The Ox-Bow Incident resembles 12 Angry Men, if the 12 angry men were cowboys. Both star Henry Fonda, playing a similar character, though his cowboy is angrier than his angry man. The plot: cattle have been rustled off Kincaid's ranch, leaving Kincaid with a bullet in the head. The townsfolk round up a posse and track down the supposed culprets. A tense stand-off ensues between those wanting to string them up on the spot and those who demand they be tried. Starts off slow, but when it gets going, a taught morality play about the dangers of mob rule.

Wow.  Trailers sure have come a long way, haven't they (this last sentence doesn't count against the 102 words)?

And believe it or not, you can watch the actual movie on YouTube.  Technology!  Enjoy:


Saturday, March 24, 2012

What's In A Name?

So we have some moderately exciting news here at Critical Error (and by "we" I mean me by myself).  The moderately exciting news is that I have changed the name of the blog, ever so slightly, to Critical Errors.  As in plural.  The reason for that is the slightly more exciting part of the news.  In order to make finding and navigating to Critical Errors more user friendly, I finally procured a domain name.  No permutation of criticalerror.### was available that wasn't some goofy .biz or .info or other such nonsense.  So I simply added an "s".

From now on just type www.criticalerrors.net into your browser's address bar and you'll find yourself reading award winning criticism.  Or rather, criticism.

Tell your friends!

Thursday, March 22, 2012

The Hunger Games (Book)

So, the other day I happened to post on my personal Facebook page that I was reading The Hunger Games, which, just in case you're new in town from Mars, is just about the hottest book series since...what was that other one?  Twinight or something with Dracula and wolves...whatever.  Anyway, I posted that I was reading it and the next time I saw a couple of my buddies they gave me a hard time about reading a teenage girls book or something like that.  Well, truth be told, teenage girls, or at least teenagers in general, were the target audience of Suzanne Collins' trilogy.  But, that doesn't mean it isn't good.  Pixar makes cartoons and no one questions their brilliance.

For the six of you that don't what The Hunger Games are all about, here's the gist.  A post-apocalyptic North America is now occupied with the country of Panem.  Panem is divided into twelve districts, all ruled by The Capitol, the opulent and ruthless seat of power.  As punishment for a prior (and failed) uprising by the districts, The Capitol forces each to submit two children between the ages of 12 and 18, one boy and one girl, as tribute every year.  The tributes are then thrown into a vast outdoor arena and forced to fight to the death until only one is left standing.  The rest of Panem is required to view The Games as a twisted Olympics style spectacle on live TV.

The protagonist is Katniss Everdeen, a 16 year old girl who lives in District 12 with her mother and 12 year old sister Prim.  After The Reaping, the yearly choosing of the tributes, Katniss finds herself as District 12's tribute along with her male counterpart Peeta Mellark.  Katniss and Peeta, coming from the poorest district, are at a disadvantage and have only their cunning and charisma to see them through the ordeal.

I've never read anything Collins has written before, and besides the interesting story she has to tell, I enjoyed her plain spoken prose.  I've been reading Jack London's White Fang recently also.  London can expend two pages describing how frozen a lake is...and make it interesting.  That's not Collinins' style.  Moving the story forward is her bag, and as such the book moves at a blistering pace.  And apologies to all those who are cursing my name for equating Jack London with The Hunger Games.

A few other thoughts:

  • Reading this book you can't help but think of our own nation's obsession with televised spectacles.  Whether it's sports, reality TV, or even the 24-hour news channels.  I'm sure this is no accident, though I didn't pick up any direct parallels to our modern times, but they are certainly there in the general sense.
  • Along those same lines, The Capitol's obsession with fashion, superficial beauty, and cosmetic alterations seems somehow familiar.  Hmmmm, where would I have seen something like that before?
  • It also reminded me a lot of Orson Scott Card's Ender's Game.  There's something interesting, and I suppose a bit disturbing, about the idea of children being thrust into position where they are expected to fight and kill and survive on their own.  It's nothing new--Lord of the Flies immediately comes to mind--and I cant' exactly put my figure on what it is, but it's makes for an entirely different story than if adults were involved.  I supposed it has something to do with the vulnerability of children, but also the ways they can surprise you with their ability to adapt and survive.
So yes, it is supposedly a book for kids, and no it ain't literature, but it's a darn good read full of action, adventure, thrills, and, yes even a little romance, and its a lot of fun.  Uh, that is if teenagers fighting to the death while the grownups watch and place bets can be fun.  Maybe, fun is the wrong word.  Nah, it's not.

And if you really live under a rock, The Hunger Games movie will be released on Friday.  Here's the trailer.


Wednesday, March 21, 2012

Southland


When LAPD cop show Southland first premiered on NBC a few years ago, I was excited.  It's not exactly that TV is lacking in the cop show department, but this one seemed to be at least partially devoted to a perspective we haven't seen on TV for a while, the patrol officer.  Most cop shows these days revolve around detectives and special details tracking down drug dealers and sex criminals.  Either that or they're specially gifted and usually oddball profilers or psychics or something.  But the police that you and I are most likely to have had any contact with, the patrol cop, hasn't been featured on TV for a long time, at least that I can remember.  Adam-12 anybody?

For the most part, I haven't been disappointed.  In its initial run on NBC Southland split its time between a training officer and his trainee, a few other patrol officer characters, and a host of detectives.  There were a few too many characters and story lines, and it felt a little bloated.  But the stuff with the patrol officers felt mostly authentic, at least as authentic as Hollywood can probably get.

The first two seasons were cut short by the writers strike and NBC actually dropped it from its lineup after the first season and TNT picked it up.  With the move to basic cable, the cast was reduced, which was a good thing.  For the past two seasons, TNT has been running 10 episodes a season focusing on about six central characters, four patrol officers and two detectives.

I have a bit of a background in law enforcement, and am able to pick apart cop shows pretty well.  But Southland does a pretty terrific job and gets a lot of things right about the day to day police work, at least on the patrol side.  A lot of the details would go unnoticed by the general viewing public (how and where an officer parks his car on a traffic stop, radio traffic, clearing a room, contact/cover, etc.), but it gives the show an authenticity most cop shows lack.  Though it does drive me insane they stand directly in front of a door every time they knock!

The show is at it's best when it takes a day-in-the-life approach to its characters, rather than following a storyline arc.  With patrol officers working for LAPD its just one call after another after another after another, and the show does a good job of finding a rhythm and conveying just how exhausting police work can be even when you're not chasing people through back alleys or trying to wrestle a 300 pounder with excited delirium to the ground.  But since this is LA, there is plenty of that stuff too and Southland does a great job with it's action sequences.

The acting on the show is great, bringing to life a bevy of multi-dimensional characters.  The best is the gruff and flawed John Cooper played by Michael Cudlitz, probably best known as Sgt. Bull Randleman in Band of Brothers.  Regina King is near as great as no-nonsense but not cold hearted Detective Lydia Adams.  Even pretty boy Ben McKenzie from The OC is good as the rookie Ben Sherman.  Shawn Hatosy looks baby-faced, but can burn with intensity as Sammy Bryant.  Also, Southland has apparently become a comeback destination for 80's castoffs.  They got C. Thomas Howell and Lou Diamond Phillips!  They play fairly minor characters, but they play them well.  Who'd a thought, Soul Man and Richie Valens!  Though to the best of my recollection C. Thomas does not drink any deer blood, which is sort of disappointing.

The fourth season has just concluded on TNT, but if you enjoy gritty police drama that's a little bit different, I would definitely check out Southland.  It's not perfect, but definitely worth the effort.

Here's a brief sample:


5 Things...That Make Lawrence of Arabia the Consummate Epic


Even before I had ever seen it, whenever I thought of an epic movie Lawrence of Arabia was the first thing that came to mind.  Of course, this was in the olden days when the word epic was used to describe something sweeping and heroic, not a frat party or that burrito you just ate.  Even from just the view clips and snippets I had seen--mostly in Oscar show montages and such--it looked like a vast movie.  Wide desert panoramas, exotic costumes, British people, and TWO VHS tapes!  When I finally did see it several years ago, it did not disappoint.  Not only did it check off all the items from the What Makes an Epic Movie checklist (it has an overture and an intermission!  How much more epic can you be?), it is undoubtedly one of the finest examples of film-making ever.  Here are my five things that make David Lean's Lawrence of Arabia the consummate epic.

1.  War!

Wars are bad.  We know this.  However, as much as they are the realm of tragedy, suffering, and destruction, they are also an arena for bravery, courage, and the testing of ones mettle in ways nothing else could.  LoA--which is how we would all refer to it if it was released these days--has all of these in scads. We in the modern era are used to our movie battles being very gritty and realistic, so movie battles of a bygone era look pretty dated and cheesy for the most part.  A smitten soldier heaves his weapon skyward then clutches his chest where presumably the bullet entered only we can't know for sure because his death is completely bloodless.  For all we know it may have been a cardiac episode that did him in.  For the most part the battles in Lawrence of Arabia hold up pretty well.  There are still quite a few melodramatic rifle heaving deaths, but there is also a level of grit and decidedly unglamourous destruction not often seen in movies of the era.  Plus, in these days of CGI soldiers, its pretty cool to see a hundred or more real people riding real camels across the desert at high speed.  And where did they find all those camels!?  Legions of camels!  Camels!

Most importantly, it captures the effect war can have on people, both the individual and the group.  Lawrence is at first an idealist, bold and arrogant, looking to be the savior of the Arab people and guide them to post-war independence, free of the influence of the West.  But as the war progresses and he begins to realize the true intentions of those he considered allies, he becomes disillusioned.  He continues to fight, but he also transforms into something much different than what he was at the start.  His fuel for the battle is less his desire to free a people then to satisfy his own vanity and thirst for vengeance.  By the time he realizes what he has become, it's too late and the damage has been done.

On a broader view, the movie portrays the war as the unsentimental reality that it was.  The British would gladly accept the assistance of the Prince Feisal's little army, but pay only lip service to the idea of carving any sort of independent Arabia out of a defeated Ottoman Turk empire.  And what exactly are Prince Feisals' motivations to begin with?  The final minutes of the movie are a stark reminder that wars are generally fought for the interests of nations first, everything else second.  There are exceptions of course, and while the freeing of oppressed people can be a byproduct of war, especially in the case of WWI that was certainly a secondary objective if an objective at all.

2.  Sand!

Director David Lean and his cinematographer really really like sand dunes.  But that's okay.  There is shot after shot of beautiful, sweeping desert landscapes that convey the vastness of the desert and smallness of the men and their camels trying to cross it.   I would love to have seen Lawrence of Arabia in one of those old movie theaters with the ginormous screens.  The desert vistas must have looked absolutely--wait for it--EPIC on those screens.

3.  Characters!

Lawrence of Arabia is filled with colorful, larger than life characters, ably played by tremendous actors.  Of course, there is Peter O'Toole as Lawrence, who perfectly captures the arrogant and flamboyant mystique of the erstwhile leader of the Arab army.  The worldly Prince Feisal is played by Obi-Wan--I mean Alec Guinness, who is decidedly un-Jedi like in his political maneuvering.  Omar Sharif and Anthony Quinn are fantastic as rival tribal leaders who make up the bulk of Lawrence's shaky alliance of Arab clans.  Plus all the other British guys as various generals and soldiers are wonderful as well.  Never underestimate other British guys.  They make any movie seem more important and epic.  Must be the accents.

4.  Politics!

The first time I saw this movie was during the Iraq War, after "Mission Accomplished" and at the height of the sectarian violence.  Watching the final scenes of this movie in that context was an interesting and eye-opening experience.  Without being too spoilerish--as if I should even care about spoilers when talking about a movie released 50 years ago--the more things change, the more they stay the same.  Or as The Wire's Slim Charles would aptly say, "The Games the same, just got more fierce."

5.  Score!

Sometimes I think folks over look how important a movies score is.  It's like we take it for granted.  Well, it's not like we do take it for granted, we do take it for granted.  We just assume it will always be there, comforting us, exciting us, prompting how we should feel.  But a good score makes a huge impact.  Lawrence of Arabia's score by Maurice Jarre is a perfect example of this.  I could yammer on a little more about it, but instead just watch, listen and enjoy.


Lawrence of Arabia richly deserves its esteem as one of the greatest films of all time.  The scope and spectacle make it something to behold. From the starkness of the landscapes to the complexity of the men who inhabit it, it is by all accounts an epic of epic proportions.


Thursday, March 8, 2012

Excuse the mess

Doing some renovating, so please excuse the mess.  Not that anyone would actually see this post if I didn't force feed it to them via Facebook or email.

Friday, March 2, 2012

Captain Blood In 102 Words Exactly

Every movie involving pirates and/or the high seas owes a debt of gratitude to Errol Flynn's Captain Blood.  That's a lot of movies, since Captain Blood was released during the Great Depression (1935 to be exact).  It's the spiritual godfather to recent flicks set on the seven seas, and it's influence can be seen crystal clear in the likes of Pirates of the Caribbean and Peter Weir's Master and CommanderLegendary director Michael Curtiz (he is a legend, google him) directed a rousing swashbuckling adventure, full of the high adventure, romance, and melodrama you'd want in an 80 year old buccaneer tale.