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"content": "\u003cp>Paul Thomas Anderson probably wouldn’t take kindly to being called a period filmmaker. And it’s true that one of our finest pulse-takers of the American predicament is so much more than that. Anderson’s movies track warped obsessives who come to define the particular times and places from which they get the tarnished American Dreams they pursue.\u003c/p>\n\u003cp>But he is period-perfect, in part because he knows the terrain. In the fabulous \u003cem>Boogie Nights\u003c/em>, set in the booming 1970s porn-film industry in the San Fernando Valley where he grew up, Anderson captured the feel of a Southern California blessedly devoid of the usual Rodeo Drive shoppers or psychics hawking horoscopes on the Venice boardwalk. For him, noir visits nobodies who look like Adam Sandler or William H. Macy in sunny suburbs of Los Angeles County. Or, as in his new comedy, at the beach in the early 1970s, in the strange interregnum between the hippie moment and the “me” decade.\u003c/p>\n\u003cp>http://youtu.be/OUZgOQ186-A\u003c/p>\n\u003cp>\u003cem>Inherent Vice\u003c/em> unfolds in a period so mangled and maligned by Monday-morning cultural quarterbacking, it may never emerge from self-parody. It needs an interpretive revisit from Anderson. But where \u003cem>Boogie Nights \u003c/em>was an exuberant homage to the loony vitality of a community of hacks convinced they were making art, \u003cem>Inherent Vice\u003c/em> addresses a time that vitality forgot. Based on a 2009 novel by Thomas Pynchon, the action — an endless round of one step forward, two steps back, and wilting in place — rambles along in one of the countless beach towns that spread along the coast of Los Angeles. Such places, Manhattan or Redondo or Huntington Beach, became a haven for a backwash of refugees from a counterculture that promised freedom and creativity, then collapsed into apathy, disillusion and paranoia.\u003c/p>\n\u003cp>Spinning his wheels in this weird vacuum, we find private investigator and round-the-clock stoner Doc Sportello, who’s not a big stretch for Joaquin Phoenix, a vision in mutton-chop whiskers and unfortunate hair. In his vacant fashion, Doc is looking for his vanished ex-girlfriend Shasta (Katherine Waterston, wistful and full of seductive cunning), who came to him for help after getting mixed up with a shady real estate developer (Eric Roberts).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Following her trail, Doc tangles with a huge cast of strange bedfellows played by big movie stars in funny garb. Ideology has imploded. Black nationalists keep murky company with suited-up FBI agents, who may or may not be in cahoots with the police, represented (“after a long day of civil rights violations”) by a very funny Josh Brolin in a sensationally horrid buzz cut. There will be heroin, for sure. There may or may not be a cartel called Golden Fang. Beyond that, is someone out to get Doc or is it all in his addled head, suspended between a permanent high, grief for lost love, and the billowing paranoia he shares with everyone he meets?\u003c/p>\n\u003cp>Anderson gets so much contextually right here: The dreadful threads in which orange prevails, the red vinyl couches and mauve rug wallpaper; the bizarre, made-up names like Japonica, Sortilege, Shasta; the Ouija boards, the quacks and “spiritual coaches” fleecing customers with nothing left to prop them up but the tattered remnants of Eastern religions. Jonny Greenwood’s score, along with a soundtrack heavy with Neil Young, match the mood of low-key confusion punctuated with despair.\u003c/p>\n\u003cp>That may be the problem. I love Anderson’s ambition, but it is awfully hard to make a movie about a culture adrift that doesn’t make its audience feel the same. \u003cem>Inherent Vice\u003c/em> runs a punishing 148 minutes, not enough of which are funny or sad enough to hold us. The action bends this way and that; there are far too many reaction shots of Doc staring out of his undeniably beautiful violet eyes or pulling on a toke.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Anderson tries to pull together the rambling dialogue and looping plot with a voice-over by Doc’s assistant (Joanna Newsom). But not every American tale has to approach epic, and as hard as it must have been to live through Doc’s nebulous moment, seeing it through from inside his head sometimes feels like forever. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+1970s%2C+Ugly+And+Adrift+In+%27Inherent+Vice%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Thomas Anderson probably wouldn’t take kindly to being called a period filmmaker. And it’s true that one of our finest pulse-takers of the American predicament is so much more than that. Anderson’s movies track warped obsessives who come to define the particular times and places from which they get the tarnished American Dreams they pursue.\u003c/p>\n\u003cp>But he is period-perfect, in part because he knows the terrain. In the fabulous \u003cem>Boogie Nights\u003c/em>, set in the booming 1970s porn-film industry in the San Fernando Valley where he grew up, Anderson captured the feel of a Southern California blessedly devoid of the usual Rodeo Drive shoppers or psychics hawking horoscopes on the Venice boardwalk. For him, noir visits nobodies who look like Adam Sandler or William H. Macy in sunny suburbs of Los Angeles County. Or, as in his new comedy, at the beach in the early 1970s, in the strange interregnum between the hippie moment and the “me” decade.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OUZgOQ186-A'\n title='//www.youtube.com/embed/OUZgOQ186-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Inherent Vice\u003c/em> unfolds in a period so mangled and maligned by Monday-morning cultural quarterbacking, it may never emerge from self-parody. It needs an interpretive revisit from Anderson. But where \u003cem>Boogie Nights \u003c/em>was an exuberant homage to the loony vitality of a community of hacks convinced they were making art, \u003cem>Inherent Vice\u003c/em> addresses a time that vitality forgot. Based on a 2009 novel by Thomas Pynchon, the action — an endless round of one step forward, two steps back, and wilting in place — rambles along in one of the countless beach towns that spread along the coast of Los Angeles. Such places, Manhattan or Redondo or Huntington Beach, became a haven for a backwash of refugees from a counterculture that promised freedom and creativity, then collapsed into apathy, disillusion and paranoia.\u003c/p>\n\u003cp>Spinning his wheels in this weird vacuum, we find private investigator and round-the-clock stoner Doc Sportello, who’s not a big stretch for Joaquin Phoenix, a vision in mutton-chop whiskers and unfortunate hair. In his vacant fashion, Doc is looking for his vanished ex-girlfriend Shasta (Katherine Waterston, wistful and full of seductive cunning), who came to him for help after getting mixed up with a shady real estate developer (Eric Roberts).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Following her trail, Doc tangles with a huge cast of strange bedfellows played by big movie stars in funny garb. Ideology has imploded. Black nationalists keep murky company with suited-up FBI agents, who may or may not be in cahoots with the police, represented (“after a long day of civil rights violations”) by a very funny Josh Brolin in a sensationally horrid buzz cut. There will be heroin, for sure. There may or may not be a cartel called Golden Fang. Beyond that, is someone out to get Doc or is it all in his addled head, suspended between a permanent high, grief for lost love, and the billowing paranoia he shares with everyone he meets?\u003c/p>\n\u003cp>Anderson gets so much contextually right here: The dreadful threads in which orange prevails, the red vinyl couches and mauve rug wallpaper; the bizarre, made-up names like Japonica, Sortilege, Shasta; the Ouija boards, the quacks and “spiritual coaches” fleecing customers with nothing left to prop them up but the tattered remnants of Eastern religions. Jonny Greenwood’s score, along with a soundtrack heavy with Neil Young, match the mood of low-key confusion punctuated with despair.\u003c/p>\n\u003cp>That may be the problem. I love Anderson’s ambition, but it is awfully hard to make a movie about a culture adrift that doesn’t make its audience feel the same. \u003cem>Inherent Vice\u003c/em> runs a punishing 148 minutes, not enough of which are funny or sad enough to hold us. The action bends this way and that; there are far too many reaction shots of Doc staring out of his undeniably beautiful violet eyes or pulling on a toke.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Anderson tries to pull together the rambling dialogue and looping plot with a voice-over by Doc’s assistant (Joanna Newsom). But not every American tale has to approach epic, and as hard as it must have been to live through Doc’s nebulous moment, seeing it through from inside his head sometimes feels like forever. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+1970s%2C+Ugly+And+Adrift+In+%27Inherent+Vice%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "An Updated 'Annie' And The Tradition Of Nontraditional Casting",
"headTitle": "An Updated ‘Annie’ And The Tradition Of Nontraditional Casting | KQED",
"content": "\u003cp>That lovable moppet with the red dress, the curly hair, the big dog, and the even bigger voice is back.\u003c/p>\n\u003cp>This time, though, Little Orphan Annie is back with a difference: Quvenzhane Wallis is playing an African-American orphan in an ethnically diverse, up-to-date world. And that got us thinking about other instances where producers have breathed fresh life into familiar shows by making them dance to a new beat.\u003c/p>\n\u003cp>http://youtu.be/F6lNi7cZ-Ho\u003c/p>\n\u003cp>In the late 1960s, after 1,500 performances, Broadway’s \u003cem>Hello Dolly!\u003c/em> was still arguably “glowin'” and “crowin'” but was no longer “goin’ strong.” Carol Channing had long since departed with a touring company. And her first three replacements on the Great White Way — Ginger Rogers, Bette Grable and Martha Raye — had been playing to ever-diminishing crowds. Newer shows like \u003cem>Man of La Mancha\u003c/em> and \u003cem>Cabaret\u003c/em> were making \u003cem>Dolly\u003c/em> seem old hat.\u003c/p>\n\u003cp>Then producer David Merrick figured out how to make \u003cem>Dolly \u003c/em>the freshest face on the block. He hired not just a new star, but a whole new cast. A whole new black cast, at the height of the civil rights movement — Pearl Bailey, Cab Calloway, even a youngster named Morgan Freeman making his Broadway debut — and suddenly, his tired old warhorse looked new again\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Merrick was clear about one thing: This bright cartoon of a show was still a celebration of Yonkers, not Harlem — African-American only in casting, not in sensibility. What you saw with Pearl Bailey was what you’d seen with Carol Channing, and that seemed to please audiences, who lined up around the block.\u003c/p>\n\u003cp>Recasting an established show with performers of color was not a new idea in 1967. Broadway had done it before, though usually working a few changes on the original to justify the casting. Producer Billy Rose, for instance, was envious when \u003cem>Porgy and Bess\u003c/em> became a huge success in the 1930s for one of his competitors. How could he get a piece of that action? Maybe by adapting the opera \u003cem>Carmen\u003c/em> for a black Broadway cast. He hired Oscar Hammerstein, fresh from writing lyrics for \u003cem>Oklahoma,\u003c/em> to move the story from 19th-century Spain to the segregated American South, where the leading lady — now named Carmen Jones — worked in a World War II parachute factory. Happily she still sang music by Georges Bizet.\u003c/p>\n\u003cp>\u003cem>Carmen Jones\u003c/em> qualified as a thoughtful reworking of its source material in terms of story. But not all producers have the patience for that. Some just update the orchestrations — a revival of \u003cem>Guys and Dolls \u003c/em>in the 1970s started out with Broadway brass, but quickly let you know that it was a disco era staging partly financed by Motown.\u003c/p>\n\u003cp>Didn’t take long for audiences to figure out that was not a good idea. Other revivals, though, have taken far greater liberties. Gilbert and Sullivan’s \u003cem>Mikado,\u003c/em> for instance, had sounded the same for 40 years. Then in the 1930s, an all-black \u003cem>Swing Mikado\u003c/em> and a mostly black \u003cem>Hot Mikado,\u003c/em> starring Bill “Bojangles” Robinson, started bopping to a different, swinging beat.\u003c/p>\n\u003cp>Call this a case of cultural bait and switch if you like, but note that it does not seriously alter the original. At least, not the way \u003cem>Romeo and Juliet\u003c/em> was altered when it was both musicalized and Hispanicized as \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>Leaving the script alone, but hiring actors of color to play roles that usually go to white performers — “nontraditional” casting — has long been a stage tradition, not just in musicals, but in straight plays too. That tradition put a 20-year-old kid named Orson Welles on the map when he first leapt from acting to directing, with a production that became known as his “voodoo” \u003cem>Macbeth\u003c/em>.\u003c/p>\n\u003cp>When Welles re-imagined Shakespeare’s Scottish tragedy in a Caribbean jungle, he envisioned a stage full of so many black characters, New York didn’t have enough professional black actors to play them. Didn’t matter — even with a largely amateur cast, the show electrified audiences and got raves from all but one of the city’s major critics. The one pan, though, by the \u003cem>Herald Tribune\u003c/em>‘s Percy Hammond, apparently distressed the cast, prompting one of the show’s African drummers to lay an elaborate voodoo curse on the reviewer. Welles reportedly found this amusing … until Hammond dropped dead of a heart attack 48 hours later.\u003c/p>\n\u003cp>Happier reviews — and happily, no deaths — have greeted non-Shakespearean examples of nontraditional casting, like James Earl Jones playing Big Daddy in \u003cem>Cat on a Hot Tin Roof\u003c/em> and Ruby Dee as the matriarch in an African-American \u003cem>Glass Menagerie\u003c/em>. And what works onstage has also worked on-screen. Rob Lowe and Jim Belushi were buddies in the film comedy \u003cem>About Last Night\u003c/em> in 1986.\u003c/p>\n\u003cp>Flash forward a couple of decades to this year, with Michael Ealy and Kevin Hart headlining an updated \u003cem>About Last Night\u003c/em>. The new one is set in Los Angeles and is a raucous good time, which the sweeter, sultrier Chicago-based original mostly was not. Diff’rent strokes as it were, and proof that Hollywood can work some interesting variations on the remake game. Which is certainly what’s happening in the updated \u003cem>Annie\u003c/em>.\u003c/p>\n\u003cp>The new version isn’t just pleasantly diverse in its casting; it’s been pretty thoroughly rethought — little things like including recycling in the orphanage cleanup number “A Hard Knock Life,” and bigger things like having Annie’s benefactor be not a disinterested Daddy Warbucks but a billionaire turned politician who’s been told by his campaign manager that the photogenic foster kid will bring him higher poll numbers.\u003c/p>\n\u003cp>In short, this is not just a matter of changing the racial makeup of a few characters. Yes, there is nontraditional casting, and no, the new \u003cem>Annie\u003c/em> is not a full-fledged rewrite, like \u003cem>The Wiz\u003c/em> was of \u003cem>The Wizard of Oz\u003c/em>. Instead, it occupies an intriguing middle ground, teasing new values from a show that had once traded mostly in nostalgia.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>What kind of new values? Well, specifically smart ones: The story now starts in a classroom and ends with the founding of a literacy center. How’s that for a declaration that the intent is to smarten things up? And by listing Jay Z as one of their producers, the filmmakers are also signaling that their smartening will not sound like warmed-over Broadway. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Updated+%27Annie%27+And+The+Tradition+Of+Nontraditional+Casting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "As an African-American Annie arrives on movie screens, critic Bob Mondello looks at other cross-cultural reinventions, from Pearl Bailey's Dolly to the Americanization of \u003cem>Carmen\u003c/em> as \u003cem>Carmen Jones.\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>That lovable moppet with the red dress, the curly hair, the big dog, and the even bigger voice is back.\u003c/p>\n\u003cp>This time, though, Little Orphan Annie is back with a difference: Quvenzhane Wallis is playing an African-American orphan in an ethnically diverse, up-to-date world. And that got us thinking about other instances where producers have breathed fresh life into familiar shows by making them dance to a new beat.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/F6lNi7cZ-Ho'\n title='//www.youtube.com/embed/F6lNi7cZ-Ho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the late 1960s, after 1,500 performances, Broadway’s \u003cem>Hello Dolly!\u003c/em> was still arguably “glowin'” and “crowin'” but was no longer “goin’ strong.” Carol Channing had long since departed with a touring company. And her first three replacements on the Great White Way — Ginger Rogers, Bette Grable and Martha Raye — had been playing to ever-diminishing crowds. Newer shows like \u003cem>Man of La Mancha\u003c/em> and \u003cem>Cabaret\u003c/em> were making \u003cem>Dolly\u003c/em> seem old hat.\u003c/p>\n\u003cp>Then producer David Merrick figured out how to make \u003cem>Dolly \u003c/em>the freshest face on the block. He hired not just a new star, but a whole new cast. A whole new black cast, at the height of the civil rights movement — Pearl Bailey, Cab Calloway, even a youngster named Morgan Freeman making his Broadway debut — and suddenly, his tired old warhorse looked new again\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Merrick was clear about one thing: This bright cartoon of a show was still a celebration of Yonkers, not Harlem — African-American only in casting, not in sensibility. What you saw with Pearl Bailey was what you’d seen with Carol Channing, and that seemed to please audiences, who lined up around the block.\u003c/p>\n\u003cp>Recasting an established show with performers of color was not a new idea in 1967. Broadway had done it before, though usually working a few changes on the original to justify the casting. Producer Billy Rose, for instance, was envious when \u003cem>Porgy and Bess\u003c/em> became a huge success in the 1930s for one of his competitors. How could he get a piece of that action? Maybe by adapting the opera \u003cem>Carmen\u003c/em> for a black Broadway cast. He hired Oscar Hammerstein, fresh from writing lyrics for \u003cem>Oklahoma,\u003c/em> to move the story from 19th-century Spain to the segregated American South, where the leading lady — now named Carmen Jones — worked in a World War II parachute factory. Happily she still sang music by Georges Bizet.\u003c/p>\n\u003cp>\u003cem>Carmen Jones\u003c/em> qualified as a thoughtful reworking of its source material in terms of story. But not all producers have the patience for that. Some just update the orchestrations — a revival of \u003cem>Guys and Dolls \u003c/em>in the 1970s started out with Broadway brass, but quickly let you know that it was a disco era staging partly financed by Motown.\u003c/p>\n\u003cp>Didn’t take long for audiences to figure out that was not a good idea. Other revivals, though, have taken far greater liberties. Gilbert and Sullivan’s \u003cem>Mikado,\u003c/em> for instance, had sounded the same for 40 years. Then in the 1930s, an all-black \u003cem>Swing Mikado\u003c/em> and a mostly black \u003cem>Hot Mikado,\u003c/em> starring Bill “Bojangles” Robinson, started bopping to a different, swinging beat.\u003c/p>\n\u003cp>Call this a case of cultural bait and switch if you like, but note that it does not seriously alter the original. At least, not the way \u003cem>Romeo and Juliet\u003c/em> was altered when it was both musicalized and Hispanicized as \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>Leaving the script alone, but hiring actors of color to play roles that usually go to white performers — “nontraditional” casting — has long been a stage tradition, not just in musicals, but in straight plays too. That tradition put a 20-year-old kid named Orson Welles on the map when he first leapt from acting to directing, with a production that became known as his “voodoo” \u003cem>Macbeth\u003c/em>.\u003c/p>\n\u003cp>When Welles re-imagined Shakespeare’s Scottish tragedy in a Caribbean jungle, he envisioned a stage full of so many black characters, New York didn’t have enough professional black actors to play them. Didn’t matter — even with a largely amateur cast, the show electrified audiences and got raves from all but one of the city’s major critics. The one pan, though, by the \u003cem>Herald Tribune\u003c/em>‘s Percy Hammond, apparently distressed the cast, prompting one of the show’s African drummers to lay an elaborate voodoo curse on the reviewer. Welles reportedly found this amusing … until Hammond dropped dead of a heart attack 48 hours later.\u003c/p>\n\u003cp>Happier reviews — and happily, no deaths — have greeted non-Shakespearean examples of nontraditional casting, like James Earl Jones playing Big Daddy in \u003cem>Cat on a Hot Tin Roof\u003c/em> and Ruby Dee as the matriarch in an African-American \u003cem>Glass Menagerie\u003c/em>. And what works onstage has also worked on-screen. Rob Lowe and Jim Belushi were buddies in the film comedy \u003cem>About Last Night\u003c/em> in 1986.\u003c/p>\n\u003cp>Flash forward a couple of decades to this year, with Michael Ealy and Kevin Hart headlining an updated \u003cem>About Last Night\u003c/em>. The new one is set in Los Angeles and is a raucous good time, which the sweeter, sultrier Chicago-based original mostly was not. Diff’rent strokes as it were, and proof that Hollywood can work some interesting variations on the remake game. Which is certainly what’s happening in the updated \u003cem>Annie\u003c/em>.\u003c/p>\n\u003cp>The new version isn’t just pleasantly diverse in its casting; it’s been pretty thoroughly rethought — little things like including recycling in the orphanage cleanup number “A Hard Knock Life,” and bigger things like having Annie’s benefactor be not a disinterested Daddy Warbucks but a billionaire turned politician who’s been told by his campaign manager that the photogenic foster kid will bring him higher poll numbers.\u003c/p>\n\u003cp>In short, this is not just a matter of changing the racial makeup of a few characters. Yes, there is nontraditional casting, and no, the new \u003cem>Annie\u003c/em> is not a full-fledged rewrite, like \u003cem>The Wiz\u003c/em> was of \u003cem>The Wizard of Oz\u003c/em>. Instead, it occupies an intriguing middle ground, teasing new values from a show that had once traded mostly in nostalgia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What kind of new values? Well, specifically smart ones: The story now starts in a classroom and ends with the founding of a literacy center. How’s that for a declaration that the intent is to smarten things up? And by listing Jay Z as one of their producers, the filmmakers are also signaling that their smartening will not sound like warmed-over Broadway. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Updated+%27Annie%27+And+The+Tradition+Of+Nontraditional+Casting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Chris Rock has been on a tear — a widely shared \u003ca href=\"http://www.vulture.com/2014/11/chris-rock-frank-rich-in-conversation.html\" target=\"_blank\" rel=\"noopener\">interview\u003c/a> with Frank Rich in \u003cem>New York Magazine\u003c/em>, a widely shared guest \u003ca href=\"http://www.hollywoodreporter.com/news/top-five-filmmaker-chris-rock-753223\" target=\"_blank\" rel=\"noopener\">column\u003c/a> in \u003cem>The Hollywood Reporter\u003c/em>, interviews with Audie Cornish on \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/12/05/368723685/chris-rock-on-standup-sellouts-and-defining-success\" target=\"_blank\" rel=\"noopener\">All Things Considered\u003c/a>, Terry Gross on \u003ca href=\"http://www.npr.org/2014/12/08/368753758/chris-rock-on-finding-the-line-between-funny-and-too-far\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a> and Jesse Thorn on \u003ca href=\"http://www.maximumfun.org/bullseye/bullseye-jesse-thorn-chris-rock-john-cleese-scott-aukerman\" target=\"_blank\" rel=\"noopener\">Bullseye\u003c/a>. And those are just a few of the many conversations he’s had surrounding the release of his new film, \u003cem>Top Five\u003c/em>, which he wrote and directed.\u003c/p>\n\u003cp>http://youtu.be/jejCmmawzLY\u003c/p>\n\u003cp>In a lot of those discussions, Rock has had a lot to say about race in Hollywood, race in general, the atmosphere surrounding comedy, the intersection of some of these things with gender and class, and a whole lot of other pretty provocative things. So it might be that I went into the film primed to be more interested in what it had to say about the industry than in its central love story.\u003c/p>\n\u003cp>\u003cem>Top Five \u003c/em>follows a comic movie star, Andre Allen (Rock), as he spends a day being interviewed by Chelsea, a beautiful reporter from \u003cem>The New York Times\u003c/em>, played by Rosario Dawson. Early on, they have a fascinating and tense relationship, marked by distrust and the blend of false and real intimacy that develops as she interviews him for her story. Allen is about to marry a Bravo reality star (Gabrielle Union) in a splashy, highly publicized event, and he’s simultaneously promoting his first serious film, a drama about a slave rebellion.\u003c/p>\n\u003cp>The best parts of the film lie in its industry satire: its portrayal of the terrible rote interviews that take place at junkets, its sharp eye for the bad questions asked by lazy entertainment reporters, and little details like the satellite radio engineer — played by straight-up genius Brian Regan — who tries to goad Allen into being more painfully wacky while doing station promos. Rock is great at giving Andre’s frustration a genuinely pained edge, alternately funny and not, and that comes both from his performance and from his careful maintenance, as the director, of the balance in the film’s tone between goofy comedy and a comedic presentation of some of the same observed and thoughtful criticism he’s been offering in the press in recent weeks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along the way, there are quite a number of good performers in small roles, including but certainly not limited to Kevin Hart and J.B. Smoove as members of Andre’s team, Cedric the Entertainer as a guy he encounters at a particularly bad time, and few folks playing themselves with gusto in cameos. Gabrielle Union is both very funny and oddly sympathetic as a woman whose life has become a gross pageant she now believes it only makes sense to continue making.\u003c/p>\n\u003cp>What’s disappointing is that what begins as an unconventional relationship of uneasy respect between Andre and Chelsea eventually turns, as I kept hoping it wouldn’t, into a much more conventional and much less interesting road to possible romance. Her boyfriend is dispensed with by way of a hackneyed plot device, and the two of them then are given a thoroughly implausible reason to fight, and by the end, it felt like the movie Rock cared about more had been abandoned in favor of this story that doesn’t have nearly the same tension or attention to detail. Dawson is excellent, particularly in the early scenes: their chemistry is such that just the two of them talking would be a perfectly good movie, like \u003cem>Before Sunrise. \u003c/em>But something is gradually lost as she becomes a much more run-of-the-mill love interest with much less to say.\u003c/p>\n\u003cp>To be clear, Rock doesn’t have a special obligation to do social criticism in his movie just because he’s been doing it in the press; it’s more that the film gets all its energy from satire that’s strong in the beginning and loses steam as he goes. And the romance that’s ramped up to provide the movie with a direction in its final act is conventional and undercooked.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s fun to watch Chris Rock; it’s just fun. And there are parts of this film where it’s fun to watch him in exactly the ways he wants it to be. (I don’t happen to think the movie’s abundant super-raunchy jokes are as funny as it thinks they are, but opinions on that will vary.) But there is a story here about Andre’s tenuous professional and personal situation that I think I wanted to see more than I wanted to see a romance between these particular people. The movie makes for an enjoyable enough day in New York with good company, but by the end, it’s lagging. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Top+Five%27%3A+A+Good%2C+Not+Great%2C+Day+In+New+York+With+Chris+Rock&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chris Rock has been on a tear — a widely shared \u003ca href=\"http://www.vulture.com/2014/11/chris-rock-frank-rich-in-conversation.html\" target=\"_blank\" rel=\"noopener\">interview\u003c/a> with Frank Rich in \u003cem>New York Magazine\u003c/em>, a widely shared guest \u003ca href=\"http://www.hollywoodreporter.com/news/top-five-filmmaker-chris-rock-753223\" target=\"_blank\" rel=\"noopener\">column\u003c/a> in \u003cem>The Hollywood Reporter\u003c/em>, interviews with Audie Cornish on \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/12/05/368723685/chris-rock-on-standup-sellouts-and-defining-success\" target=\"_blank\" rel=\"noopener\">All Things Considered\u003c/a>, Terry Gross on \u003ca href=\"http://www.npr.org/2014/12/08/368753758/chris-rock-on-finding-the-line-between-funny-and-too-far\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a> and Jesse Thorn on \u003ca href=\"http://www.maximumfun.org/bullseye/bullseye-jesse-thorn-chris-rock-john-cleese-scott-aukerman\" target=\"_blank\" rel=\"noopener\">Bullseye\u003c/a>. And those are just a few of the many conversations he’s had surrounding the release of his new film, \u003cem>Top Five\u003c/em>, which he wrote and directed.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jejCmmawzLY'\n title='//www.youtube.com/embed/jejCmmawzLY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a lot of those discussions, Rock has had a lot to say about race in Hollywood, race in general, the atmosphere surrounding comedy, the intersection of some of these things with gender and class, and a whole lot of other pretty provocative things. So it might be that I went into the film primed to be more interested in what it had to say about the industry than in its central love story.\u003c/p>\n\u003cp>\u003cem>Top Five \u003c/em>follows a comic movie star, Andre Allen (Rock), as he spends a day being interviewed by Chelsea, a beautiful reporter from \u003cem>The New York Times\u003c/em>, played by Rosario Dawson. Early on, they have a fascinating and tense relationship, marked by distrust and the blend of false and real intimacy that develops as she interviews him for her story. Allen is about to marry a Bravo reality star (Gabrielle Union) in a splashy, highly publicized event, and he’s simultaneously promoting his first serious film, a drama about a slave rebellion.\u003c/p>\n\u003cp>The best parts of the film lie in its industry satire: its portrayal of the terrible rote interviews that take place at junkets, its sharp eye for the bad questions asked by lazy entertainment reporters, and little details like the satellite radio engineer — played by straight-up genius Brian Regan — who tries to goad Allen into being more painfully wacky while doing station promos. Rock is great at giving Andre’s frustration a genuinely pained edge, alternately funny and not, and that comes both from his performance and from his careful maintenance, as the director, of the balance in the film’s tone between goofy comedy and a comedic presentation of some of the same observed and thoughtful criticism he’s been offering in the press in recent weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along the way, there are quite a number of good performers in small roles, including but certainly not limited to Kevin Hart and J.B. Smoove as members of Andre’s team, Cedric the Entertainer as a guy he encounters at a particularly bad time, and few folks playing themselves with gusto in cameos. Gabrielle Union is both very funny and oddly sympathetic as a woman whose life has become a gross pageant she now believes it only makes sense to continue making.\u003c/p>\n\u003cp>What’s disappointing is that what begins as an unconventional relationship of uneasy respect between Andre and Chelsea eventually turns, as I kept hoping it wouldn’t, into a much more conventional and much less interesting road to possible romance. Her boyfriend is dispensed with by way of a hackneyed plot device, and the two of them then are given a thoroughly implausible reason to fight, and by the end, it felt like the movie Rock cared about more had been abandoned in favor of this story that doesn’t have nearly the same tension or attention to detail. Dawson is excellent, particularly in the early scenes: their chemistry is such that just the two of them talking would be a perfectly good movie, like \u003cem>Before Sunrise. \u003c/em>But something is gradually lost as she becomes a much more run-of-the-mill love interest with much less to say.\u003c/p>\n\u003cp>To be clear, Rock doesn’t have a special obligation to do social criticism in his movie just because he’s been doing it in the press; it’s more that the film gets all its energy from satire that’s strong in the beginning and loses steam as he goes. And the romance that’s ramped up to provide the movie with a direction in its final act is conventional and undercooked.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s fun to watch Chris Rock; it’s just fun. And there are parts of this film where it’s fun to watch him in exactly the ways he wants it to be. (I don’t happen to think the movie’s abundant super-raunchy jokes are as funny as it thinks they are, but opinions on that will vary.) But there is a story here about Andre’s tenuous professional and personal situation that I think I wanted to see more than I wanted to see a romance between these particular people. The movie makes for an enjoyable enough day in New York with good company, but by the end, it’s lagging. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Top+Five%27%3A+A+Good%2C+Not+Great%2C+Day+In+New+York+With+Chris+Rock&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Major studios once churned out scores of great-person biographical pictures. But now you rarely see them except during awards season. They’re prime Oscar bait. The new Stephen Hawking biopic, \u003cem>The Theory Of Everything,\u003c/em> is a perfect specimen. It’s a letdown, finally, but Eddie Redmayne is amazingly tough. He captures the fury inside Hawking’s twisted frame.\u003c/p>\n\u003cp>And then there’s \u003cem>The Imitation Game\u003c/em>, which Benedict Cumberbatch lifts far above the standard biopic formula. He’s award-caliber strange. He plays the proto-computer genius, World War II code breaker and gay martyr Alan Turing and has the perfect visage for it, with his alien reptile face and hemisphere-wide blue eyes. They could conceivably see patterns and possibilities the rest of us can’t glimpse. Human interactions are more of a challenge for Turing. Today, we might diagnose him with Asperger’s syndrome, but then he just seemed arrogant. Cumberbatch, as is his wont, gives this indifference to social niceties a comic spin in early scenes. Only later will it have a tragic dimension.\u003c/p>\n\u003cp>http://youtu.be/S5CjKEFb-sM\u003c/p>\n\u003cp>\u003cem>The Imitation Game\u003c/em> begins in the 1950s when a police detective summons the squirrelly Turing for questioning. He thinks Turing is a spy. But Turing’s secretiveness is, of course, the result of his homosexuality, considered almost as heinous back then. The bulk of the film is a flashback to the war when the British are having their heads handed to them by the Germans. The Nazis communicate via something called the Enigma machine. And no one is close to cracking the code it generates.\u003c/p>\n\u003cp>Cumberbatch is the one freaky touch in an otherwise conventional movie. But those conventions, in this case, work handsomely. Graham Moore’s script is smart and shapely, the direction, by Morten Tyldum, brisk. At Bletchley Park, Turing promptly alienates his colleagues, but then he finds an ally in Joan Clarke, played by Keira Knightley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’ve read most of the book on which \u003cem>The Imitation Game\u003c/em> is based, Andrew Hodges’s \u003cem>Alan Turing: The Enigma,\u003c/em> but the math was so far beyond me. I felt unworthy. The movie is nowhere near so complex. It streamlines the code breaking like mad and doesn’t throw enough credit to other Bletchley figures. But the gist is right. Turing spends months tinkering on a machine he calls Christopher, named for something we learn late in the film, something heartbreaking. Turing’s achievements and everything about Bletchley Park only came out three decades later. When Turing was tried for so-called deviance, no one knew he was a hero.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a final scene between Turing and Joan I doubt happened, but this is a biopic. Someone in the film needs to remind him of his worth at his lowest ebb. The film’s most disturbing irony is that Turing broke the world’s toughest code, but never cracked the code of behavior that would’ve given him the life he richly deserved. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Benedict+Cumberbatch+Lifts+Above+Biopic+Formula+In+%27Imitation+Game%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Major studios once churned out scores of great-person biographical pictures. But now you rarely see them except during awards season. They’re prime Oscar bait. The new Stephen Hawking biopic, \u003cem>The Theory Of Everything,\u003c/em> is a perfect specimen. It’s a letdown, finally, but Eddie Redmayne is amazingly tough. He captures the fury inside Hawking’s twisted frame.\u003c/p>\n\u003cp>And then there’s \u003cem>The Imitation Game\u003c/em>, which Benedict Cumberbatch lifts far above the standard biopic formula. He’s award-caliber strange. He plays the proto-computer genius, World War II code breaker and gay martyr Alan Turing and has the perfect visage for it, with his alien reptile face and hemisphere-wide blue eyes. They could conceivably see patterns and possibilities the rest of us can’t glimpse. Human interactions are more of a challenge for Turing. Today, we might diagnose him with Asperger’s syndrome, but then he just seemed arrogant. Cumberbatch, as is his wont, gives this indifference to social niceties a comic spin in early scenes. Only later will it have a tragic dimension.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/S5CjKEFb-sM'\n title='//www.youtube.com/embed/S5CjKEFb-sM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Imitation Game\u003c/em> begins in the 1950s when a police detective summons the squirrelly Turing for questioning. He thinks Turing is a spy. But Turing’s secretiveness is, of course, the result of his homosexuality, considered almost as heinous back then. The bulk of the film is a flashback to the war when the British are having their heads handed to them by the Germans. The Nazis communicate via something called the Enigma machine. And no one is close to cracking the code it generates.\u003c/p>\n\u003cp>Cumberbatch is the one freaky touch in an otherwise conventional movie. But those conventions, in this case, work handsomely. Graham Moore’s script is smart and shapely, the direction, by Morten Tyldum, brisk. At Bletchley Park, Turing promptly alienates his colleagues, but then he finds an ally in Joan Clarke, played by Keira Knightley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ve read most of the book on which \u003cem>The Imitation Game\u003c/em> is based, Andrew Hodges’s \u003cem>Alan Turing: The Enigma,\u003c/em> but the math was so far beyond me. I felt unworthy. The movie is nowhere near so complex. It streamlines the code breaking like mad and doesn’t throw enough credit to other Bletchley figures. But the gist is right. Turing spends months tinkering on a machine he calls Christopher, named for something we learn late in the film, something heartbreaking. Turing’s achievements and everything about Bletchley Park only came out three decades later. When Turing was tried for so-called deviance, no one knew he was a hero.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a final scene between Turing and Joan I doubt happened, but this is a biopic. Someone in the film needs to remind him of his worth at his lowest ebb. The film’s most disturbing irony is that Turing broke the world’s toughest code, but never cracked the code of behavior that would’ve given him the life he richly deserved. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Benedict+Cumberbatch+Lifts+Above+Biopic+Formula+In+%27Imitation+Game%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I know good movies from bad. But like even the most hardened movie buff, I have an Achilles heel: low-budget Christmas movies on Netflix.\u003c/p>\n\u003cp>Of course, a lot of people like good Christmas movies. \u003cem>Home Alone\u003c/em>. \u003cem>A Christmas Story\u003c/em>. \u003cem>Miracle on 34th Street\u003c/em>. That’s not what I’m talking about. I’m talking about the ones starring Kevin Sorbo or Dean Cain or that guy from \u003cem>Melrose Place\u003c/em>. The ones most people skip over without thinking twice. 100% pure cornball.\u003c/p>\n\u003cp>The sane part of me knows these are terrible movies, films with production values (and plots) on par with \u003ca href=\"https://www.youtube.com/watch?v=I0B2GZsNbwE\">Paul from the Diamond Center commercials\u003c/a>. But another part of me just friggin’ loves them. That so many exist leads me to believe (hope?) I’m not the only one who eats this slop up with a fork and spoon.\u003c/p>\n\u003cp>So, why? What is it about these movies? Over the past week, I streamed six made-for-TV holiday flicks and (in between bouts of extreme self-loathing) made a few conclusions about what these films have in common, how they draw suckers in.\u003c/p>\n\u003cp>Sharpen up your scalpels, we’re about to dissect the bad Christmas movie and find the features they have in common.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://youtu.be/GZdWSTQ3wCE\u003c/p>\n\u003ch3>LONELY PROTAGONIST\u003c/h3>\n\u003cp>The first and perhaps most obvious trait these flicks share is a lonely main character. Somebody with a lot of love to give, but nobody to give it to, or at least nobody who appreciates them. The main character (more often than not a woman) is nearly perfect, but with a few quirky faults like, say, a maddening inability to see this perfection.\u003c/p>\n\u003cp>This was true in \u003ca href=\"https://www.youtube.com/watch?v=GZdWSTQ3wCE\">\u003cem>12 Dates of Christmas\u003c/em>\u003c/a> starring Amy Smart as a career-savvy but unlucky-in-love woman who finds herself in a \u003cem>Groundhog Day\u003c/em>-like scenario in which she has to relive Christmas Eve over and over until she gets it right.\u003c/p>\n\u003cp>Successful movies (I use that term loosely) want the audience to relate. Because most people see themselves as unappreciated (God knows I do), it’s a vital ingredient of the Christmas movie plot.\u003c/p>\n\u003cfigure id=\"attachment_10202632\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/christmas-town-04.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/christmas-town-04.jpeg\" alt=\"Christmas Town\" width=\"640\" height=\"368\" class=\"size-full wp-image-10202632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/christmas-town-04.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/christmas-town-04-400x230.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Christmas Town\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>OLD-FASHIONED WINS\u003c/h3>\n\u003cp>If there’s one thing I’ve learned from watching made-for-TV Christmas movies, it’s that characters with old-fashioned values and mannerisms are always right.\u003c/p>\n\u003cp>What does that mean? Everything from the physical to the philosophical. People with the right values hold their hot chocolate with two hands. They talk (sagely) about the “meaning of Christmas.” And they realize that the guy who turned his back on a high-octane career to make furniture has the right idea. Oh, and they wear flannel.\u003c/p>\n\u003cp>If you’re feeling brave (like Navy SEAL level brave), check out \u003ca href=\"https://www.youtube.com/watch?v=46QwnxwSyzA\">\u003cem>Christmas Town\u003c/em>\u003c/a>, a movie about a realtor who moves to an unintentionally creepy town where everybody is ever so cheerful, for an example. It takes the “old-fashioned is best” idea and beats the viewer over the head with it. (Note to the film’s producers: feel free to use that quote on the DVD cover).\u003c/p>\n\u003cp>http://youtu.be/clyN4L6c90c\u003c/p>\n\u003ch3>MOVING ON\u003c/h3>\n\u003cp>It runs a bit contrary to the worship of all things nostalgic, but the idea of moving on is in just about every Christmas movie.\u003c/p>\n\u003cp>It can mean forgiving past slights, finally getting over your ex, coming to terms with the death of a loved one, whatever. \u003cem>All I Want for Christmas,\u003c/em> a doozy of a film about a boy who solicits a toy company to help find his mom a husband, is a prime example of stressing the importance of letting go of the past. Ditto for just about every other movie I watched.\u003c/p>\n\u003cp>http://youtu.be/kiFpiG_TKW0\u003c/p>\n\u003ch3>FAMILY\u003c/h3>\n\u003cp>In real estate, it’s location, location, location. In Christmas movies, it’s family, family, family. Never mind the fact that many people find their families a bit difficult to be around. In made-for-TV Christmas movies, the word “family” is always uttered with profound reverence.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=pl61RmX1eWE\">\u003cem>Coming Home for Christmas\u003c/em>\u003c/a>, two sisters have a falling out but come back together and make amends when their parents’ marriage hits the rocks. Watching the movie, I couldn’t help but think that the mom and dad really should get a divorce.\u003c/p>\n\u003cp>Someday I’m going to make my own Christmas movie.\u003c/p>\n\u003ch3>NO SURPRISES ALLOWED\u003c/h3>\n\u003cp>Save the twists for Hitchcock. In bad Christmas movies, the viewer should be able to predict what’s going to happen 30 minutes before it happens. Part of the fun is feeling a lot smarter than the clueless characters, oblivious to the fact that the perfect person lives right across the hall and doesn’t use hair gel.\u003c/p>\n\u003ch3>END ON CHRISTMAS EVE\u003c/h3>\n\u003cp>Few Christmas movies can resist fading to black as the main characters kiss on Christmas Eve. Why not end on Christmas day? Because on Christmas Eve, the best — one hopes — is yet to come. There’s excitement and possibility, even if we, the audience, know there’s no way Gail O’Grady’s character is going to be happy with that newspaper reporter. No. Way.\u003c/p>\n\u003cp>Add those things together – a lonely and under-appreciated protagonist, the slow realization that the old way of doing things is best, a theme about moving on, the mention of the word “family” every 37 seconds, a complete lack of suspense, and end it on Christmas Eve – and you’ll have yourself a made-for-TV Christmas movie worthy of Mario Lopez. One that I’ll watch, anyway.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Or maybe not. After watching six of these things in a little more than four days, I can safely say I don’t like bad Christmas movies nearly as much as I thought. It’s a realization worthy of any holiday movie. If only I’d come to it on Christmas Eve, surrounded by family, in a charming barn, after deciding to make a very important life change…\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I know good movies from bad. But like even the most hardened movie buff, I have an Achilles heel: low-budget Christmas movies on Netflix.\u003c/p>\n\u003cp>Of course, a lot of people like good Christmas movies. \u003cem>Home Alone\u003c/em>. \u003cem>A Christmas Story\u003c/em>. \u003cem>Miracle on 34th Street\u003c/em>. That’s not what I’m talking about. I’m talking about the ones starring Kevin Sorbo or Dean Cain or that guy from \u003cem>Melrose Place\u003c/em>. The ones most people skip over without thinking twice. 100% pure cornball.\u003c/p>\n\u003cp>The sane part of me knows these are terrible movies, films with production values (and plots) on par with \u003ca href=\"https://www.youtube.com/watch?v=I0B2GZsNbwE\">Paul from the Diamond Center commercials\u003c/a>. But another part of me just friggin’ loves them. That so many exist leads me to believe (hope?) I’m not the only one who eats this slop up with a fork and spoon.\u003c/p>\n\u003cp>So, why? What is it about these movies? Over the past week, I streamed six made-for-TV holiday flicks and (in between bouts of extreme self-loathing) made a few conclusions about what these films have in common, how they draw suckers in.\u003c/p>\n\u003cp>Sharpen up your scalpels, we’re about to dissect the bad Christmas movie and find the features they have in common.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GZdWSTQ3wCE'\n title='//www.youtube.com/embed/GZdWSTQ3wCE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>LONELY PROTAGONIST\u003c/h3>\n\u003cp>The first and perhaps most obvious trait these flicks share is a lonely main character. Somebody with a lot of love to give, but nobody to give it to, or at least nobody who appreciates them. The main character (more often than not a woman) is nearly perfect, but with a few quirky faults like, say, a maddening inability to see this perfection.\u003c/p>\n\u003cp>This was true in \u003ca href=\"https://www.youtube.com/watch?v=GZdWSTQ3wCE\">\u003cem>12 Dates of Christmas\u003c/em>\u003c/a> starring Amy Smart as a career-savvy but unlucky-in-love woman who finds herself in a \u003cem>Groundhog Day\u003c/em>-like scenario in which she has to relive Christmas Eve over and over until she gets it right.\u003c/p>\n\u003cp>Successful movies (I use that term loosely) want the audience to relate. Because most people see themselves as unappreciated (God knows I do), it’s a vital ingredient of the Christmas movie plot.\u003c/p>\n\u003cfigure id=\"attachment_10202632\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/christmas-town-04.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/christmas-town-04.jpeg\" alt=\"Christmas Town\" width=\"640\" height=\"368\" class=\"size-full wp-image-10202632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/christmas-town-04.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/christmas-town-04-400x230.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Christmas Town\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>OLD-FASHIONED WINS\u003c/h3>\n\u003cp>If there’s one thing I’ve learned from watching made-for-TV Christmas movies, it’s that characters with old-fashioned values and mannerisms are always right.\u003c/p>\n\u003cp>What does that mean? Everything from the physical to the philosophical. People with the right values hold their hot chocolate with two hands. They talk (sagely) about the “meaning of Christmas.” And they realize that the guy who turned his back on a high-octane career to make furniture has the right idea. Oh, and they wear flannel.\u003c/p>\n\u003cp>If you’re feeling brave (like Navy SEAL level brave), check out \u003ca href=\"https://www.youtube.com/watch?v=46QwnxwSyzA\">\u003cem>Christmas Town\u003c/em>\u003c/a>, a movie about a realtor who moves to an unintentionally creepy town where everybody is ever so cheerful, for an example. It takes the “old-fashioned is best” idea and beats the viewer over the head with it. (Note to the film’s producers: feel free to use that quote on the DVD cover).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/clyN4L6c90c'\n title='//www.youtube.com/embed/clyN4L6c90c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>MOVING ON\u003c/h3>\n\u003cp>It runs a bit contrary to the worship of all things nostalgic, but the idea of moving on is in just about every Christmas movie.\u003c/p>\n\u003cp>It can mean forgiving past slights, finally getting over your ex, coming to terms with the death of a loved one, whatever. \u003cem>All I Want for Christmas,\u003c/em> a doozy of a film about a boy who solicits a toy company to help find his mom a husband, is a prime example of stressing the importance of letting go of the past. Ditto for just about every other movie I watched.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kiFpiG_TKW0'\n title='//www.youtube.com/embed/kiFpiG_TKW0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>FAMILY\u003c/h3>\n\u003cp>In real estate, it’s location, location, location. In Christmas movies, it’s family, family, family. Never mind the fact that many people find their families a bit difficult to be around. In made-for-TV Christmas movies, the word “family” is always uttered with profound reverence.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=pl61RmX1eWE\">\u003cem>Coming Home for Christmas\u003c/em>\u003c/a>, two sisters have a falling out but come back together and make amends when their parents’ marriage hits the rocks. Watching the movie, I couldn’t help but think that the mom and dad really should get a divorce.\u003c/p>\n\u003cp>Someday I’m going to make my own Christmas movie.\u003c/p>\n\u003ch3>NO SURPRISES ALLOWED\u003c/h3>\n\u003cp>Save the twists for Hitchcock. In bad Christmas movies, the viewer should be able to predict what’s going to happen 30 minutes before it happens. Part of the fun is feeling a lot smarter than the clueless characters, oblivious to the fact that the perfect person lives right across the hall and doesn’t use hair gel.\u003c/p>\n\u003ch3>END ON CHRISTMAS EVE\u003c/h3>\n\u003cp>Few Christmas movies can resist fading to black as the main characters kiss on Christmas Eve. Why not end on Christmas day? Because on Christmas Eve, the best — one hopes — is yet to come. There’s excitement and possibility, even if we, the audience, know there’s no way Gail O’Grady’s character is going to be happy with that newspaper reporter. No. Way.\u003c/p>\n\u003cp>Add those things together – a lonely and under-appreciated protagonist, the slow realization that the old way of doing things is best, a theme about moving on, the mention of the word “family” every 37 seconds, a complete lack of suspense, and end it on Christmas Eve – and you’ll have yourself a made-for-TV Christmas movie worthy of Mario Lopez. One that I’ll watch, anyway.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Or maybe not. After watching six of these things in a little more than four days, I can safely say I don’t like bad Christmas movies nearly as much as I thought. It’s a realization worthy of any holiday movie. If only I’d come to it on Christmas Eve, surrounded by family, in a charming barn, after deciding to make a very important life change…\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-last-unicorn/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>The Last Unicorn\u003c/h4>\n\u003cdiv class=\"event-desc\">Film screens with author Q&A.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Dec. 6-10\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Bay Area Theaters\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-last-unicorn/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>I’ve only watched \u003cem>The Last Unicorn\u003c/em> on a small television screen. Specifically, when my mother rented a VCR and a couple of video tapes, a few years after the 1982 film premiered. We lived in a rural area with access to only one TV station and could rarely afford a trip into “town” to see movies on the big screen. In those days, long before instant streaming, renting \u003cem>The Last Unicorn\u003c/em> on VHS was a huge, unexpected treat.\u003c/p>\n\u003cp>Three decades later, the movie is still my favorite animated fantasy film. And I, and its many fans, are in for another treat: \u003cem>The Last Unicorn\u003c/em>, based on Peter S. Beagle’s award-winning 1968 novel, is currently on a national screening tour, with several stops scheduled around the Bay Area in the coming weeks.\u003c/p>\n\u003cp>Beagle, who has authored dozens of books and short stories since his first fantasy novel \u003cem>A Fine and Private Place\u003c/em> debuted in 1960, also wrote the screenplay for \u003cem>The Last Unicorn\u003c/em>, keeping his vision for the animated version aligned with the novel. An Oakland resident, Beagle will answer questions and sign books for fans at each screening.\u003c/p>\n\u003cp>To myself and many other kids who came of age in the 1980s, \u003cem>The Last Unicorn\u003c/em> made fantasy worlds accessible. I still remember the soundtrack by the mellow AM rock band America as groovy, yet solemn. I remember the animation as a little dark and psychedelic, like nothing I’d seen before. And at around 10 or 11 years old, I remember feeling twinges of fear and frustration for the unicorn, voiced by Mia Farrow—first when she received misinformation on the whereabouts of other unicorns from the tripped out, riddle-loving butterfly at the start of her journey, and again when she was imprisoned in a traveling circus. And I was especially freaked out when the harpy Celaeno screeched and squawked and ate Mommy Fortuna’s (Angela Lansbury) face off near the escaped Midnight Carnival train.\u003c/p>\n\u003cp>I remember the tragedy and triumph. And a drunk skeleton. And a cat that seemed like it was maybe drunk, too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The fearful, melancholy unicorn is repeatedly mistaken for nothing more than a lovely white mare as she makes her way to a castle where it is believed that a fiery red bull has driven the last of her kind into the sea. “Man no longer knows what it’s looking at,” she cries as she realizes that everyone, everywhere believes that unicorns only live in fairy tales.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=r6HcGJxtXN8&w=560&h=315]\u003c/p>\n\u003cp>Along with help from a young, sweet and awkward man, Schmendrick the Magician (Alan Arkin) and a former bandit, Molly Grue (Tammy Grimes), the unicorn arrives at the castle of King Haggard (Christopher Lee), gets sort of accidentally turned into a pale young maiden, is courted by a poetry writing Prince Lir (Jeff Bridges) and is harassed by a wino skeleton who, despite her transformation into a human, recognizes her as a unicorn and tries to out her to the king.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yes, there’s plenty of darkness in the film, while forces of both good and evil clash over what each wants with the unicorn, or Lady Amalthea, as she’s called after Schmendrick’s magic disguises her as human. There’s also post-1970s mystical-trippy animation, Freedom-rock era tunes, a star-studded line up… and a reminder that it doesn’t hurt to believe in a little magic from time to time.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-last-unicorn/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>The Last Unicorn\u003c/h4>\n\u003cdiv class=\"event-desc\">Film screens with author Q&A.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Dec. 6-10\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Various Bay Area Theaters\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-last-unicorn/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>I’ve only watched \u003cem>The Last Unicorn\u003c/em> on a small television screen. Specifically, when my mother rented a VCR and a couple of video tapes, a few years after the 1982 film premiered. We lived in a rural area with access to only one TV station and could rarely afford a trip into “town” to see movies on the big screen. In those days, long before instant streaming, renting \u003cem>The Last Unicorn\u003c/em> on VHS was a huge, unexpected treat.\u003c/p>\n\u003cp>Three decades later, the movie is still my favorite animated fantasy film. And I, and its many fans, are in for another treat: \u003cem>The Last Unicorn\u003c/em>, based on Peter S. Beagle’s award-winning 1968 novel, is currently on a national screening tour, with several stops scheduled around the Bay Area in the coming weeks.\u003c/p>\n\u003cp>Beagle, who has authored dozens of books and short stories since his first fantasy novel \u003cem>A Fine and Private Place\u003c/em> debuted in 1960, also wrote the screenplay for \u003cem>The Last Unicorn\u003c/em>, keeping his vision for the animated version aligned with the novel. An Oakland resident, Beagle will answer questions and sign books for fans at each screening.\u003c/p>\n\u003cp>To myself and many other kids who came of age in the 1980s, \u003cem>The Last Unicorn\u003c/em> made fantasy worlds accessible. I still remember the soundtrack by the mellow AM rock band America as groovy, yet solemn. I remember the animation as a little dark and psychedelic, like nothing I’d seen before. And at around 10 or 11 years old, I remember feeling twinges of fear and frustration for the unicorn, voiced by Mia Farrow—first when she received misinformation on the whereabouts of other unicorns from the tripped out, riddle-loving butterfly at the start of her journey, and again when she was imprisoned in a traveling circus. And I was especially freaked out when the harpy Celaeno screeched and squawked and ate Mommy Fortuna’s (Angela Lansbury) face off near the escaped Midnight Carnival train.\u003c/p>\n\u003cp>I remember the tragedy and triumph. And a drunk skeleton. And a cat that seemed like it was maybe drunk, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The fearful, melancholy unicorn is repeatedly mistaken for nothing more than a lovely white mare as she makes her way to a castle where it is believed that a fiery red bull has driven the last of her kind into the sea. “Man no longer knows what it’s looking at,” she cries as she realizes that everyone, everywhere believes that unicorns only live in fairy tales.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r6HcGJxtXN8'\n title='//www.youtube.com/embed/r6HcGJxtXN8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Along with help from a young, sweet and awkward man, Schmendrick the Magician (Alan Arkin) and a former bandit, Molly Grue (Tammy Grimes), the unicorn arrives at the castle of King Haggard (Christopher Lee), gets sort of accidentally turned into a pale young maiden, is courted by a poetry writing Prince Lir (Jeff Bridges) and is harassed by a wino skeleton who, despite her transformation into a human, recognizes her as a unicorn and tries to out her to the king.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yes, there’s plenty of darkness in the film, while forces of both good and evil clash over what each wants with the unicorn, or Lady Amalthea, as she’s called after Schmendrick’s magic disguises her as human. There’s also post-1970s mystical-trippy animation, Freedom-rock era tunes, a star-studded line up… and a reminder that it doesn’t hurt to believe in a little magic from time to time.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Forgotten Footage Illuminates San Francisco's 'Lost Landscapes'",
"headTitle": "Forgotten Footage Illuminates San Francisco’s ‘Lost Landscapes’ | KQED",
"content": "\u003cp>It’s somewhat hard to imagine that in the same week that \u003cem>The Hunger Games: Mockingjay, Part 1\u003c/em> is dominating box office sales a presentation of scratchy found film footage of old freeways, street cars, and city streets with no sound track could pack the 1,400 seat Castro Theater.\u003c/p>\n\u003cp>But after eight years, Rick Prelinger’s \u003cstrong>Lost Landscapes of San Francisco\u003c/strong> is as popular as ever. This Thursday night’s show sold out in just 20 hours and a second show has been added for December 19 at the Internet Archive. (Ticket-less fans wishing to catch the Castro screening can try their luck in the walk-up line the night of the show. Go early.)\u003c/p>\n\u003cp>Prelinger is an archivist constantly on the prowl for “ephemeral film” — home movies, industrial and educational clips, and other interesting celluloid and video relics. Each year he gathers the best of this raw visual documentation of San Francisco’s past into a new edition of \u003cstrong>Lost Landscapes\u003c/strong>. Rather than present the clips with music or narration, he conducts the evening like a home movie night for the entire city and invites the audience to yell out memories, facts, or other responses as the images roll by.\u003c/p>\n\u003cfigure id=\"attachment_10179590\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10179590 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-800x574.jpg\" alt=\"The corner of Haight-Ashbury in 1966. \" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-400x287.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-1180x847.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy.jpg 1491w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The corner of Haight-Ashbury in 1966. \u003ccite>(Courtesy of the Prelinger Archives.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People may boo, for example, at a clip showing the ugly Embarcadero Freeway obscuring the Ferry Building. But footage shot from a street car running up Market Street in the ’20s as people crisscross the traffic like dancers draws cheers. You can see last year’s \u003ca href=\"https://archive.org/details/lostlandscapes8\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Lost Landscapes 8\u003c/strong> online\u003c/a> in its entirety — but it’s nowhere near as fun as the live event.\u003c/p>\n\u003cp>I chatted with Rick Prelinger by email about why people like this kind of footage, what’s new in this year’s edition, and what can be learned from \u003cstrong>Lost Landscapes\u003c/strong>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Why do you think the event remains so popular?\u003c/strong>\u003c/p>\n\u003cp>This is a historically conscious city. I’d like to think we collectively are meta-nostalgic and interested in history as a means of coming to terms with the future, and I bet that the current pace of change makes some of us think that way.\u003c/p>\n\u003cp>Also, people like the interactive format. As they have for thousands of years, people love to aggregate into big groups to share common experiences. Movies as we have known them don’t always offer enough of that.\u003c/p>\n\u003cp>\u003cstrong>What do you hope people will take away from the evening?\u003c/strong>\u003c/p>\n\u003cp>I think it builds public consciousness, not only of the importance of history in understanding the local and coming to terms with change, but of how personal history can be. People often tell me they didn’t attach much importance to their home movies until they saw how home movies can speak to a broad community beyond the specific family pictured.\u003c/p>\n\u003cp>I would hope that people reference these images in their mind when thinking about the kind of city they’d like to live in, and don’t simply revert to received ideas like “new is bad” and “the city is ruined.” The reality is much more complex. I also do these urban history shows in Detroit and now in Oakland and I hope they contribute to a sense that complexity is OK and interesting.\u003c/p>\n\u003cp>\u003cstrong>What are you most excited about showing this year?\u003c/strong>\u003c/p>\n\u003cp>This year will be almost 85 percent new footage. Viewers can expect amazing footage of the bridges under construction that has never been seen before, including Bay Bridge images that seem uncanny when compared with the partially disassembled bridge we see today.\u003c/p>\n\u003cp>There is also footage of the Golden Gate Bridge shot by citizens who unaccountably gained access to the span while it was being built — footage of construction at a personal level, quite amazing.\u003c/p>\n\u003cp>Also stay tuned for a swampy, half-built Treasure Island, astonishingly beautiful color footage of downtown in 1938, North Beach in the go-go 1970s, ROTC drills in the Marina, families in the newly built Avenues, Miss Tall San Francisco 1970, a fall 1971 anti-war march, sheep grazing in Golden Gate Park in 1938, the early days of the hippie Haight, newly discovered footage of Playland-at-the-Beach, color footage of the 1930s shipwrecks off Land’s End, and much more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Lost Landscapes of San Francisco 9\u003c/strong> is December 6, 2014 at the Castro Theater in San Francisco. For \u003ca href=\"http://longnow.org/seminars/02014/dec/04/lost-landscapes-san-francisco-9/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit longnow.org; For \u003ca href=\"http://blog.archive.org/2014/11/11/lost-landscapes-of-san-francisco-fundraiser-benefitting-internet-archive-friday-december-19-2014/\">information about the December 19 benefit screening\u003c/a>, visit archive.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s somewhat hard to imagine that in the same week that \u003cem>The Hunger Games: Mockingjay, Part 1\u003c/em> is dominating box office sales a presentation of scratchy found film footage of old freeways, street cars, and city streets with no sound track could pack the 1,400 seat Castro Theater.\u003c/p>\n\u003cp>But after eight years, Rick Prelinger’s \u003cstrong>Lost Landscapes of San Francisco\u003c/strong> is as popular as ever. This Thursday night’s show sold out in just 20 hours and a second show has been added for December 19 at the Internet Archive. (Ticket-less fans wishing to catch the Castro screening can try their luck in the walk-up line the night of the show. Go early.)\u003c/p>\n\u003cp>Prelinger is an archivist constantly on the prowl for “ephemeral film” — home movies, industrial and educational clips, and other interesting celluloid and video relics. Each year he gathers the best of this raw visual documentation of San Francisco’s past into a new edition of \u003cstrong>Lost Landscapes\u003c/strong>. Rather than present the clips with music or narration, he conducts the evening like a home movie night for the entire city and invites the audience to yell out memories, facts, or other responses as the images roll by.\u003c/p>\n\u003cfigure id=\"attachment_10179590\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10179590 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-800x574.jpg\" alt=\"The corner of Haight-Ashbury in 1966. \" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-400x287.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-1180x847.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy.jpg 1491w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The corner of Haight-Ashbury in 1966. \u003ccite>(Courtesy of the Prelinger Archives.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People may boo, for example, at a clip showing the ugly Embarcadero Freeway obscuring the Ferry Building. But footage shot from a street car running up Market Street in the ’20s as people crisscross the traffic like dancers draws cheers. You can see last year’s \u003ca href=\"https://archive.org/details/lostlandscapes8\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Lost Landscapes 8\u003c/strong> online\u003c/a> in its entirety — but it’s nowhere near as fun as the live event.\u003c/p>\n\u003cp>I chatted with Rick Prelinger by email about why people like this kind of footage, what’s new in this year’s edition, and what can be learned from \u003cstrong>Lost Landscapes\u003c/strong>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Why do you think the event remains so popular?\u003c/strong>\u003c/p>\n\u003cp>This is a historically conscious city. I’d like to think we collectively are meta-nostalgic and interested in history as a means of coming to terms with the future, and I bet that the current pace of change makes some of us think that way.\u003c/p>\n\u003cp>Also, people like the interactive format. As they have for thousands of years, people love to aggregate into big groups to share common experiences. Movies as we have known them don’t always offer enough of that.\u003c/p>\n\u003cp>\u003cstrong>What do you hope people will take away from the evening?\u003c/strong>\u003c/p>\n\u003cp>I think it builds public consciousness, not only of the importance of history in understanding the local and coming to terms with change, but of how personal history can be. People often tell me they didn’t attach much importance to their home movies until they saw how home movies can speak to a broad community beyond the specific family pictured.\u003c/p>\n\u003cp>I would hope that people reference these images in their mind when thinking about the kind of city they’d like to live in, and don’t simply revert to received ideas like “new is bad” and “the city is ruined.” The reality is much more complex. I also do these urban history shows in Detroit and now in Oakland and I hope they contribute to a sense that complexity is OK and interesting.\u003c/p>\n\u003cp>\u003cstrong>What are you most excited about showing this year?\u003c/strong>\u003c/p>\n\u003cp>This year will be almost 85 percent new footage. Viewers can expect amazing footage of the bridges under construction that has never been seen before, including Bay Bridge images that seem uncanny when compared with the partially disassembled bridge we see today.\u003c/p>\n\u003cp>There is also footage of the Golden Gate Bridge shot by citizens who unaccountably gained access to the span while it was being built — footage of construction at a personal level, quite amazing.\u003c/p>\n\u003cp>Also stay tuned for a swampy, half-built Treasure Island, astonishingly beautiful color footage of downtown in 1938, North Beach in the go-go 1970s, ROTC drills in the Marina, families in the newly built Avenues, Miss Tall San Francisco 1970, a fall 1971 anti-war march, sheep grazing in Golden Gate Park in 1938, the early days of the hippie Haight, newly discovered footage of Playland-at-the-Beach, color footage of the 1930s shipwrecks off Land’s End, and much more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Lost Landscapes of San Francisco 9\u003c/strong> is December 6, 2014 at the Castro Theater in San Francisco. For \u003ca href=\"http://longnow.org/seminars/02014/dec/04/lost-landscapes-san-francisco-9/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit longnow.org; For \u003ca href=\"http://blog.archive.org/2014/11/11/lost-landscapes-of-san-francisco-fundraiser-benefitting-internet-archive-friday-december-19-2014/\">information about the December 19 benefit screening\u003c/a>, visit archive.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "5 to Watch: Flickering Solstice Shadows",
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"content": "\u003cp>It occurs to me that the celebration of major holidays, and the boisterously satisfying gathering of family and friends, isn’t about denying our existential plight and inevitable fate but grabbing it by the throat and laughing in its face. An element of relishing the joys of this season is shaking our fists at the darkness and renewing our vows to spread light and justice ever wider. (A thousand poets — and sitcom writers and greeting-card wits — have said it better, but you get my drift.) From a movie-going standpoint, we aren’t bamboozled or satisfied by gooey fairy tales this time of year, but ask instead that bad behavior be acknowledged — then rectified, punished and/or redeemed. Here’s a compendium of December picks in which (almost) everyone ultimately emerges a better person.\u003c/p>\n\u003cfigure id=\"attachment_10179862\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/polvo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/polvo.jpg\" alt=\"Still from <i>Polvo</i>\" width=\"640\" height=\"360\" class=\"size-full wp-image-10179862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/polvo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/polvo-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>Polvo\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The Other Cinema spotlights its Mission District ‘hood on Dec. 6 with deeply personal work by three Latina filmmakers united as La Caca Colectiva (we won’t translate.) Dolissa Medina returns to her adopted city from Berlin to present the world premiere of \u003cem>The Crow Furnace\u003c/em>, a poignant collage film mourning the displacement of longtime San Franciscans. Vero Majano revisits the Los Siete murder case via rare footage of the Mission in the ‘70s, and Angela Reginato screens her moving memoir \u003cem>Polvo\u003c/em>. ‘Tis the season to contemplate endings, beginnings and the mixed blessings of memory. For \u003ca href=\"http://www.othercinema.com/calendar/index.html\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit othercinema.com. I’d be remiss if I didn’t also direct you to Yerba Buena Center for the Arts for their survey of four new films from south of the border, \u003ca href=\"http://www.ybca.org/new-waves-mexican-cinema\" target=\"_blank\" rel=\"noopener\">\u003cstrong>New Waves in Mexican Cinema\u003c/strong>\u003c/a>, playing Dec. 4-21. \u003c/p>\n\u003cfigure id=\"attachment_10179863\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/kingleargodard.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/kingleargodard.jpg\" alt=\"Still from King Lear\" width=\"640\" height=\"427\" class=\"size-full wp-image-10179863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/kingleargodard.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/kingleargodard-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>King Lear\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Tom Luddy, longtime co-director of the Telluride Film Festival, is one of those guys whose extensive behind-the-scenes contributions to contemporary film — from introducing filmmakers from different continents to each other to making a call to open a key door for a talented unknown — are completely invisible to the public. Luddy downplays his influence and rarely makes personal appearances, but he returns to the Pacific Film Archive, which he headed many, many moons ago, on Dec. 12 to introduce Jean-Luc Godard’s modern-day riff on \u003cstrong>\u003cem>King Lear\u003c/em>\u003c/strong> (1987). Familial betrayal may provide the hook, but Godard’s astonishing and audacious marriages of image and sound are the reward. For \u003ca href=\"http://www.bampfa.berkeley.edu/film/FN20909\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\u003cfigure id=\"attachment_10179864\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/homealone.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/homealone.jpg\" alt=\"Home Alone at SF Symphony\" width=\"640\" height=\"359\" class=\"size-full wp-image-10179864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/homealone.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/homealone-400x224.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Home Alone\u003c/i> at SF Symphony\u003c/figcaption>\u003c/figure>\n\u003cp>Home invasion is no laughing matter, unless your abode is equipped with an eight-year-old aiming his creative faculties and innate destructive streak against the inept intruders. The Christmastime classic \u003cem>Home Alone\u003c/em> (1990) screens Dec. 12 and 13 at Davies Hall with the SF Symphony performing John Williams’ rousing score and local children’s choruses singing the carols. Relive those heady days before Macauley Culkin became a staple of the tabloids (and subsequently mounted a comeback), the gifted John Hughes died and the eminently likable Chris Columbus went totally soft and sentimental. For \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2014-2015/Home-Alone-Film-with-the-San-Francisco-Symphony.aspx\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit sfsymphony.org.\u003c/p>\n\u003cfigure id=\"attachment_10179865\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/ohenry.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/ohenry.jpg\" alt=\"Still from O. Henry\" width=\"640\" height=\"480\" class=\"size-full wp-image-10179865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/ohenry.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/ohenry-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>O. Henry’s Full House\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>One tried-and-true method for washing away the sins of the year just ending, and getting in the mood for another 12 months of vicarious malevolence, is with \u003cstrong>Noir City Xmas\u003c/strong>. Everyone’s favorite double-breasted impresario, Eddie Muller, takes the occasion to remind us that the annual January wingding of down-on-their-luck dames and luckless mugs is just around the corner (of the bar) by digging a double bill of seasonal treats out of the vault. This year’s show unspools Dec. 17 at the Castro and includes \u003cem>O. Henry’s Full House\u003c/em> (1952), a little-seen anthology film of the author’s pinpoint short stories, including “The Gift of the Magi,” and Val Lewton’s \u003cem>The Curse of the Cat People\u003c/em> (1944), the moody saga of a young girl with an imaginary friend. If you’re seeking something a tad more child-friendly at San Francisco’s movie palace, \u003cem>The Muppet Christmas Carol\u003c/em> screens on Dec. 21. For \u003ca href=\"http://www.noircity.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit noircity.com.\u003c/p>\n\u003cfigure id=\"attachment_10179866\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/wizardofoz.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/wizardofoz.jpg\" alt=\"The Wizard of Oz\" width=\"640\" height=\"466\" class=\"size-full wp-image-10179866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/wizardofoz.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/wizardofoz-400x291.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Wizard of Oz\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Nobody would call \u003cem>The Wizard of Oz\u003c/em> (1939) kid-friendly, would they? It’s a freak-show nightmare of exile, disorientation, flying monkeys and talking lions. Who spiked Frank L. Baum’s eggnog, anyway? I jest, of course, for there’s no more transporting, exhilarating film to pull back, then ring down, the curtain after this strange, distressing year. The Paramount Theatre in Oakland beckons on Dec. 26. For \u003ca href=\"http://www.paramounttheatre.com/film.html\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit paramounttheatre.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It occurs to me that the celebration of major holidays, and the boisterously satisfying gathering of family and friends, isn’t about denying our existential plight and inevitable fate but grabbing it by the throat and laughing in its face. An element of relishing the joys of this season is shaking our fists at the darkness and renewing our vows to spread light and justice ever wider. (A thousand poets — and sitcom writers and greeting-card wits — have said it better, but you get my drift.) From a movie-going standpoint, we aren’t bamboozled or satisfied by gooey fairy tales this time of year, but ask instead that bad behavior be acknowledged — then rectified, punished and/or redeemed. Here’s a compendium of December picks in which (almost) everyone ultimately emerges a better person.\u003c/p>\n\u003cfigure id=\"attachment_10179862\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/polvo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/polvo.jpg\" alt=\"Still from <i>Polvo</i>\" width=\"640\" height=\"360\" class=\"size-full wp-image-10179862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/polvo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/polvo-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>Polvo\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The Other Cinema spotlights its Mission District ‘hood on Dec. 6 with deeply personal work by three Latina filmmakers united as La Caca Colectiva (we won’t translate.) Dolissa Medina returns to her adopted city from Berlin to present the world premiere of \u003cem>The Crow Furnace\u003c/em>, a poignant collage film mourning the displacement of longtime San Franciscans. Vero Majano revisits the Los Siete murder case via rare footage of the Mission in the ‘70s, and Angela Reginato screens her moving memoir \u003cem>Polvo\u003c/em>. ‘Tis the season to contemplate endings, beginnings and the mixed blessings of memory. For \u003ca href=\"http://www.othercinema.com/calendar/index.html\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit othercinema.com. I’d be remiss if I didn’t also direct you to Yerba Buena Center for the Arts for their survey of four new films from south of the border, \u003ca href=\"http://www.ybca.org/new-waves-mexican-cinema\" target=\"_blank\" rel=\"noopener\">\u003cstrong>New Waves in Mexican Cinema\u003c/strong>\u003c/a>, playing Dec. 4-21. \u003c/p>\n\u003cfigure id=\"attachment_10179863\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/kingleargodard.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/kingleargodard.jpg\" alt=\"Still from King Lear\" width=\"640\" height=\"427\" class=\"size-full wp-image-10179863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/kingleargodard.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/kingleargodard-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>King Lear\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Tom Luddy, longtime co-director of the Telluride Film Festival, is one of those guys whose extensive behind-the-scenes contributions to contemporary film — from introducing filmmakers from different continents to each other to making a call to open a key door for a talented unknown — are completely invisible to the public. Luddy downplays his influence and rarely makes personal appearances, but he returns to the Pacific Film Archive, which he headed many, many moons ago, on Dec. 12 to introduce Jean-Luc Godard’s modern-day riff on \u003cstrong>\u003cem>King Lear\u003c/em>\u003c/strong> (1987). Familial betrayal may provide the hook, but Godard’s astonishing and audacious marriages of image and sound are the reward. For \u003ca href=\"http://www.bampfa.berkeley.edu/film/FN20909\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\u003cfigure id=\"attachment_10179864\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/homealone.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/homealone.jpg\" alt=\"Home Alone at SF Symphony\" width=\"640\" height=\"359\" class=\"size-full wp-image-10179864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/homealone.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/homealone-400x224.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Home Alone\u003c/i> at SF Symphony\u003c/figcaption>\u003c/figure>\n\u003cp>Home invasion is no laughing matter, unless your abode is equipped with an eight-year-old aiming his creative faculties and innate destructive streak against the inept intruders. The Christmastime classic \u003cem>Home Alone\u003c/em> (1990) screens Dec. 12 and 13 at Davies Hall with the SF Symphony performing John Williams’ rousing score and local children’s choruses singing the carols. Relive those heady days before Macauley Culkin became a staple of the tabloids (and subsequently mounted a comeback), the gifted John Hughes died and the eminently likable Chris Columbus went totally soft and sentimental. For \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2014-2015/Home-Alone-Film-with-the-San-Francisco-Symphony.aspx\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit sfsymphony.org.\u003c/p>\n\u003cfigure id=\"attachment_10179865\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/ohenry.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/ohenry.jpg\" alt=\"Still from O. Henry\" width=\"640\" height=\"480\" class=\"size-full wp-image-10179865\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/ohenry.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/ohenry-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from \u003ci>O. Henry’s Full House\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>One tried-and-true method for washing away the sins of the year just ending, and getting in the mood for another 12 months of vicarious malevolence, is with \u003cstrong>Noir City Xmas\u003c/strong>. Everyone’s favorite double-breasted impresario, Eddie Muller, takes the occasion to remind us that the annual January wingding of down-on-their-luck dames and luckless mugs is just around the corner (of the bar) by digging a double bill of seasonal treats out of the vault. This year’s show unspools Dec. 17 at the Castro and includes \u003cem>O. Henry’s Full House\u003c/em> (1952), a little-seen anthology film of the author’s pinpoint short stories, including “The Gift of the Magi,” and Val Lewton’s \u003cem>The Curse of the Cat People\u003c/em> (1944), the moody saga of a young girl with an imaginary friend. If you’re seeking something a tad more child-friendly at San Francisco’s movie palace, \u003cem>The Muppet Christmas Carol\u003c/em> screens on Dec. 21. For \u003ca href=\"http://www.noircity.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit noircity.com.\u003c/p>\n\u003cfigure id=\"attachment_10179866\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/wizardofoz.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/wizardofoz.jpg\" alt=\"The Wizard of Oz\" width=\"640\" height=\"466\" class=\"size-full wp-image-10179866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/wizardofoz.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/wizardofoz-400x291.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Wizard of Oz\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Nobody would call \u003cem>The Wizard of Oz\u003c/em> (1939) kid-friendly, would they? It’s a freak-show nightmare of exile, disorientation, flying monkeys and talking lions. Who spiked Frank L. Baum’s eggnog, anyway? I jest, of course, for there’s no more transporting, exhilarating film to pull back, then ring down, the curtain after this strange, distressing year. The Paramount Theatre in Oakland beckons on Dec. 26. For \u003ca href=\"http://www.paramounttheatre.com/film.html\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit paramounttheatre.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Hang on to your (Santa) hats, because practically all the studio movies plowing through the multiplex pipeline until the end of the year are gargantuan, louder than life and awwww-inspiring. Sounds a lot like summer, doesn’t it? That’s not a coincidence, for the holiday film-going season (synced up with school vacations) is the second-biggest turnstile-spinner of the year. You might think it wouldn’t take all that much to prod Americans into abandoning their families and shopping lists for the movie theater — a solid story, compelling characters — yet Hollywood’s big brains are convinced the best approach is larger-than-life extravaganzas. Alas, as often happens with the biggest, most garishly wrapped presents, anticipation is followed by disappointment. With that cautionary note in mind, here’s a preview of the season’s big releases.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/the-hunger-games-mockingjay-movie-background-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/the-hunger-games-mockingjay-movie-background-1-400x537.jpg\" alt=\"the-hunger-games-mockingjay-movie-background-1\" width=\"400\" height=\"537\" class=\"alignleft size-thumbnail wp-image-10149246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/the-hunger-games-mockingjay-movie-background-1-400x537.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/the-hunger-games-mockingjay-movie-background-1-446x600.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/the-hunger-games-mockingjay-movie-background-1.jpg 798w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>In the same way that the first summer blockbusters used to debut Memorial Day weekend and now roll out in early May, the parade of high-profile holiday movies begins before the Thanksgiving Day balloons and floats. \u003cem>The Hunger Games: Mockingjay, Part 1\u003c/em>, the latest chapter in Jennifer Lawrence’s movie-star odyssey (and the last performance by Philip Seymour Hoffman, sadly), opens Nov. 21. Of interest to non-teenagers primarily for the cunning skill with which the filmmakers and marketers have buried the series’ subversive impulses in order to peddle political rebellion as a vicarious opiate for the masses.\u003c/p>\n\u003cp>Far be it from me to divulge the nefarious ecological and anti-terrorist messages embedded in the animated adventure \u003cem>The Penguins of Madagascar\u003c/em> (opening Nov. 26), but rest assured that Hollywood’s deviants will stop at nothing to infect your children’s minds with tales of teamwork, bravery and the triumph of good over evil. Consider yourself warned.\u003c/p>\n\u003cfigure id=\"attachment_10149247\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/wild.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/wild.jpg\" alt=\"Wild\" width=\"640\" height=\"418\" class=\"size-full wp-image-10149247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wild.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wild-400x261.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Wild\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Once and perhaps still touted as a player in the Oscar tournament, \u003cem>Wild\u003c/em> (opening Dec. 5, adapted by Nick Hornby from Cheryl Strayed’s memoir and directed by \u003cem>Dallas Buyers Club\u003c/em>’s Jean-Marc Vallee) places Reese Witherspoon all alone on the Pacific Crest Trail. Out of shape and unprepared, grieving her mother and her misspent 20s, our heroine embarks on a dubious and unexpectedly boring quest (fragmented with flashbacks of her mother, wrenchingly played by Laura Dern) that never gains traction, let alone ascends any heights.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/exodus.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/exodus.jpg\" alt=\"exodus\" width=\"400\" height=\"593\" class=\"alignleft size-full wp-image-10149275\">\u003c/a>\u003c/p>\n\u003cp>Swap your hiking boots for sandals and mosey to ancient Egypt for Ridley Scott’s 3-D Bible story, \u003cem>Exodus: Gods and Kings\u003c/em> (Dec. 12). Of all the actors on the planet, Christian “Batman” Bale, widely admired for his powerful and persuasive way with a well-crafted speech, plays Moses. The timeless tale of slavery, inherited privilege and godly wrath wouldn’t be the same without a visual special effect or two, or as I like to put it, “Come for the parting of the Red Sea, stay for the Ten Plagues.”\u003c/p>\n\u003cfigure id=\"attachment_10149276\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/takefive.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/takefive.jpg\" alt=\"Take Five\" width=\"640\" height=\"427\" class=\"size-full wp-image-10149276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/takefive.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/takefive-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Take Five\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris Rock provides inspired counter-programming to Scott and Bale’s solemn history lesson with \u003cem>Top Five\u003c/em> (also Dec. 12), a rapid-fire and possibly autobiographical comedy about a comic who wants to be taken seriously. I predict that Rock will hit box-office pay dirt because so many lines will be drowned out by laughter that moviegoers will need to see \u003cem>Top Five\u003c/em> twice.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/thehobbit.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/thehobbit.jpg\" alt=\"thehobbit\" width=\"400\" height=\"593\" class=\"alignleft size-full wp-image-10149277\">\u003c/a>\u003c/p>\n\u003cp>Start clearing your calendar from here on, and I’m not talking about holiday parties and Christmas reunions. Peter Jackson, a man of hearty appetites, launches the solstice smorgasbord in earnest with yet another fantastical hunk of J.R.R. Tolkien, \u003cem>The Hobbit: The Battle of the Five Armies\u003c/em> (Dec. 17). I’ve successfully avoided the previous installments and can offer no guidance, not that fans of the author or the filmmaker give one whit what anyone — least of all a critic — says.\u003c/p>\n\u003cfigure id=\"attachment_10149278\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/annie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/annie.jpg\" alt=\"Annie\" width=\"640\" height=\"470\" class=\"size-full wp-image-10149278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/annie.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/annie-400x293.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Annie\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Cuteness is an essential ingredient of the holiday season, and you’ll get your RSD (required seasonal dosage) and more from \u003cem>Annie\u003c/em> (Dec. 19), starring \u003ca href=\"http://www.imdb.com/name/nm4832920/?ref_=tt_cl_t2\">Quvenzhané Wallis\u003c/a> (\u003cem>Beasts of the Southern Wild\u003c/em>) and Jamie Foxx. I’m curious to see just how cynically (or superficially) the filmmakers treat the fantasy of the 1% caring about those less fortunate. \u003cem>Annie\u003c/em> is as close as we get to Dickens at the movies this year. “God bless us, everyone,” indeed.\u003c/p>\n\u003cfigure id=\"attachment_10149281\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/nightat1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/nightat1.jpg\" alt=\"Night at the Museum: Secret of the Tomb\" width=\"640\" height=\"369\" class=\"size-full wp-image-10149281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/nightat1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/nightat1-400x230.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Night at the Museum: Secret of the Tomb\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>I feel compelled to inform moviegoers with a lingering Ben Stiller compulsion that another \u003cem>Night at the Museum\u003c/em> sequel (\u003cem>Secret of the Tomb\u003c/em>) opens Dec. 19. If you are immune from that affliction, well, this film marks Robin Williams’ last screen appearance if you’d like to offer a silent prayer while walking past the marquee.\u003c/p>\n\u003cp>James Caan wasn’t a great actor but he gave some memorable performances. Just as Christian Bale won’t make us forget Charlton Heston, Mark Wahlberg won’t erase Caan’s agonized portrayal of a literature professor with a gambling problem in the 1974 drama \u003ci>The Gambler\u003c/i>. The remake, directed by Rupert Wyatt, opens Dec. 19.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/selma.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/selma.jpg\" alt=\"selma\" width=\"400\" height=\"625\" class=\"alignleft size-full wp-image-10149284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/selma.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/selma-384x600.jpg 384w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Christmas Day brings a spate of films designed especially to lure families out of their houses. The most important and hopefully worthwhile is \u003cem>Selma\u003c/em>, the amazing saga of the Civil Rights Movement with rising British actor David Oyelowo as Dr. Martin Luther King, Jr. and a strong cast of supporting actors. If we’re lucky, director Ava DuVernay will trust the innate power, glory and emotion of the historical struggle to carry her film without resorting to a sentimental, manipulative score.\u003c/p>\n\u003cp>I hold no such hope for the soundtrack of Angelina Jolie’s adaptation of Laura Hillenbrand’s bestseller \u003cem>Unbroken\u003c/em>, the relentlessly inspiring saga of Olympic runner, World War II bombardier and prisoner of war Louis Zamperini. I’m not sure what is gained by continued adoration before the shrine of The Greatest Generation ™, unless Americans’ bottomless capacity for hero worship helps us ignore our screw-ups in subsequent wars (declared and otherwise) around the world since 1945.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/intowoods.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/intowoods.jpg\" alt=\"intowoods\" width=\"400\" height=\"592\" class=\"alignleft size-full wp-image-10149286\">\u003c/a>\u003c/p>\n\u003cp>If it’s escapism you want, without nagging sociopolitical and petro-global echoes, Dec. 25 also brings \u003cem>Into the Woods\u003c/em>, Stephen Sondheim and James Lapine’s musical medley of Brothers Grimm fairy tales. As rendered by director Rob Marshall (\u003cem>Chicago\u003c/em>), with a cast led by Meryl Streep and Johnny Depp, this could be transporting and exhilarating or tediously pretentious. I am, as we say in the biz, cautiously optimistic.\u003c/p>\n\u003cp>A pair of portraits of artists also await our unwrapping. \u003cem>Mr. Turner\u003c/em>, the latest collaboration between ace British filmmaker Mike Leigh (\u003cem>Topsy Turvy\u003c/em>) and Timothy Spall (who won Best Actor at Cannes) imagines the creative prime of 19th-century painter J.M.W. Turner. The application of oil on canvas wouldn’t seem to lend itself to moving pictures — marvelous exceptions like \u003cem>Vincent and Theo\u003c/em> and \u003cem>La Belle Noiseuse\u003c/em> notwithstanding — but \u003cem>Mr. Turner\u003c/em> is more concerned with the visionary role of the artist in society than with the creative process itself.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/bigeyesposter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/bigeyesposter.jpg\" alt=\"bigeyesposter\" width=\"400\" height=\"593\" class=\"alignleft size-full wp-image-10149296\">\u003c/a>\u003c/p>\n\u003cp>Tim Burton’s many fans will be pleased to have him home for Christmas with \u003cem>Big Eyes\u003c/em>, starring Amy Adams and Christoph Waltz as painters Margaret and Walter Keane. Their domestic drama may well offer a more coherent and impactful articulation of female empowerment than the aforementioned \u003cem>Wild\u003c/em>, That is, if Burton can remain more focused on the characters than the production design.\u003c/p>\n\u003cp>If adolescent diversion is required on a trip to the family homestead, either to alleviate the tension of “quality time” or to regress with old high school buddies, Seth Rogen and James Franco have a buddy flick just for you. \u003cem>The Interview\u003c/em> imagines the duo as goofy TV “journalists” pegged by the CIA to assassinate North Korea’s Kim Jong-un. The plot makes more sense under the influence of cannabis — duh! — which, we hear, is not against the law in some states.\u003c/p>\n\u003cfigure id=\"attachment_10149289\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/vice.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/vice.jpg\" alt=\"Inherent Vice\" width=\"640\" height=\"367\" class=\"size-full wp-image-10149289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/vice.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/vice-400x229.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Inherent Vice\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>If we expand our focus beyond the studio releases, several acclaimed or anticipated films open before the end of the year in New York and Los Angeles but not until January hereabouts. Paul Thomas Anderson’s most recent homage to 1970s L.A., \u003cem>Inherent Vice\u003c/em>, is adapted from Thomas Pynchon’s novel and features Joaquin Phoenix. The brilliant Dardennes Brothers’ latest socially conscious drama, \u003cem>Two Days, One Night\u003c/em>, imagines Marion Cotillard as a factory worker reliant on the kindness of her co-workers. Ordinary people also propel the gripping \u003cem>Leviathan\u003c/em>, in which a Russian family challenges the authority of their self-serving mayor. Corruption and integrity are likewise at the heart of \u003cem>A Most Violent Year\u003c/em>, J.C. Chandor’s taut drama about a stubbornly honest businessman in New York in 1981.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Perhaps it’s a good idea to hold thoughtful, reality-based films until after the holidays. It’s hard enough as it is, after all, to embrace the notion of peace on earth, good will to men.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hang on to your (Santa) hats, because practically all the studio movies plowing through the multiplex pipeline until the end of the year are gargantuan, louder than life and awwww-inspiring. Sounds a lot like summer, doesn’t it? That’s not a coincidence, for the holiday film-going season (synced up with school vacations) is the second-biggest turnstile-spinner of the year. You might think it wouldn’t take all that much to prod Americans into abandoning their families and shopping lists for the movie theater — a solid story, compelling characters — yet Hollywood’s big brains are convinced the best approach is larger-than-life extravaganzas. Alas, as often happens with the biggest, most garishly wrapped presents, anticipation is followed by disappointment. With that cautionary note in mind, here’s a preview of the season’s big releases.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/the-hunger-games-mockingjay-movie-background-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/the-hunger-games-mockingjay-movie-background-1-400x537.jpg\" alt=\"the-hunger-games-mockingjay-movie-background-1\" width=\"400\" height=\"537\" class=\"alignleft size-thumbnail wp-image-10149246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/the-hunger-games-mockingjay-movie-background-1-400x537.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/the-hunger-games-mockingjay-movie-background-1-446x600.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/the-hunger-games-mockingjay-movie-background-1.jpg 798w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>In the same way that the first summer blockbusters used to debut Memorial Day weekend and now roll out in early May, the parade of high-profile holiday movies begins before the Thanksgiving Day balloons and floats. \u003cem>The Hunger Games: Mockingjay, Part 1\u003c/em>, the latest chapter in Jennifer Lawrence’s movie-star odyssey (and the last performance by Philip Seymour Hoffman, sadly), opens Nov. 21. Of interest to non-teenagers primarily for the cunning skill with which the filmmakers and marketers have buried the series’ subversive impulses in order to peddle political rebellion as a vicarious opiate for the masses.\u003c/p>\n\u003cp>Far be it from me to divulge the nefarious ecological and anti-terrorist messages embedded in the animated adventure \u003cem>The Penguins of Madagascar\u003c/em> (opening Nov. 26), but rest assured that Hollywood’s deviants will stop at nothing to infect your children’s minds with tales of teamwork, bravery and the triumph of good over evil. Consider yourself warned.\u003c/p>\n\u003cfigure id=\"attachment_10149247\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/wild.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/wild.jpg\" alt=\"Wild\" width=\"640\" height=\"418\" class=\"size-full wp-image-10149247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wild.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/wild-400x261.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Wild\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Once and perhaps still touted as a player in the Oscar tournament, \u003cem>Wild\u003c/em> (opening Dec. 5, adapted by Nick Hornby from Cheryl Strayed’s memoir and directed by \u003cem>Dallas Buyers Club\u003c/em>’s Jean-Marc Vallee) places Reese Witherspoon all alone on the Pacific Crest Trail. Out of shape and unprepared, grieving her mother and her misspent 20s, our heroine embarks on a dubious and unexpectedly boring quest (fragmented with flashbacks of her mother, wrenchingly played by Laura Dern) that never gains traction, let alone ascends any heights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/exodus.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/exodus.jpg\" alt=\"exodus\" width=\"400\" height=\"593\" class=\"alignleft size-full wp-image-10149275\">\u003c/a>\u003c/p>\n\u003cp>Swap your hiking boots for sandals and mosey to ancient Egypt for Ridley Scott’s 3-D Bible story, \u003cem>Exodus: Gods and Kings\u003c/em> (Dec. 12). Of all the actors on the planet, Christian “Batman” Bale, widely admired for his powerful and persuasive way with a well-crafted speech, plays Moses. The timeless tale of slavery, inherited privilege and godly wrath wouldn’t be the same without a visual special effect or two, or as I like to put it, “Come for the parting of the Red Sea, stay for the Ten Plagues.”\u003c/p>\n\u003cfigure id=\"attachment_10149276\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/takefive.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/takefive.jpg\" alt=\"Take Five\" width=\"640\" height=\"427\" class=\"size-full wp-image-10149276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/takefive.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/takefive-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Take Five\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris Rock provides inspired counter-programming to Scott and Bale’s solemn history lesson with \u003cem>Top Five\u003c/em> (also Dec. 12), a rapid-fire and possibly autobiographical comedy about a comic who wants to be taken seriously. I predict that Rock will hit box-office pay dirt because so many lines will be drowned out by laughter that moviegoers will need to see \u003cem>Top Five\u003c/em> twice.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/thehobbit.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/thehobbit.jpg\" alt=\"thehobbit\" width=\"400\" height=\"593\" class=\"alignleft size-full wp-image-10149277\">\u003c/a>\u003c/p>\n\u003cp>Start clearing your calendar from here on, and I’m not talking about holiday parties and Christmas reunions. Peter Jackson, a man of hearty appetites, launches the solstice smorgasbord in earnest with yet another fantastical hunk of J.R.R. Tolkien, \u003cem>The Hobbit: The Battle of the Five Armies\u003c/em> (Dec. 17). I’ve successfully avoided the previous installments and can offer no guidance, not that fans of the author or the filmmaker give one whit what anyone — least of all a critic — says.\u003c/p>\n\u003cfigure id=\"attachment_10149278\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/annie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/annie.jpg\" alt=\"Annie\" width=\"640\" height=\"470\" class=\"size-full wp-image-10149278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/annie.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/annie-400x293.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Annie\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Cuteness is an essential ingredient of the holiday season, and you’ll get your RSD (required seasonal dosage) and more from \u003cem>Annie\u003c/em> (Dec. 19), starring \u003ca href=\"http://www.imdb.com/name/nm4832920/?ref_=tt_cl_t2\">Quvenzhané Wallis\u003c/a> (\u003cem>Beasts of the Southern Wild\u003c/em>) and Jamie Foxx. I’m curious to see just how cynically (or superficially) the filmmakers treat the fantasy of the 1% caring about those less fortunate. \u003cem>Annie\u003c/em> is as close as we get to Dickens at the movies this year. “God bless us, everyone,” indeed.\u003c/p>\n\u003cfigure id=\"attachment_10149281\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/nightat1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/nightat1.jpg\" alt=\"Night at the Museum: Secret of the Tomb\" width=\"640\" height=\"369\" class=\"size-full wp-image-10149281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/nightat1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/nightat1-400x230.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cem>Night at the Museum: Secret of the Tomb\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>I feel compelled to inform moviegoers with a lingering Ben Stiller compulsion that another \u003cem>Night at the Museum\u003c/em> sequel (\u003cem>Secret of the Tomb\u003c/em>) opens Dec. 19. If you are immune from that affliction, well, this film marks Robin Williams’ last screen appearance if you’d like to offer a silent prayer while walking past the marquee.\u003c/p>\n\u003cp>James Caan wasn’t a great actor but he gave some memorable performances. Just as Christian Bale won’t make us forget Charlton Heston, Mark Wahlberg won’t erase Caan’s agonized portrayal of a literature professor with a gambling problem in the 1974 drama \u003ci>The Gambler\u003c/i>. The remake, directed by Rupert Wyatt, opens Dec. 19.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/selma.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/selma.jpg\" alt=\"selma\" width=\"400\" height=\"625\" class=\"alignleft size-full wp-image-10149284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/selma.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/selma-384x600.jpg 384w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Christmas Day brings a spate of films designed especially to lure families out of their houses. The most important and hopefully worthwhile is \u003cem>Selma\u003c/em>, the amazing saga of the Civil Rights Movement with rising British actor David Oyelowo as Dr. Martin Luther King, Jr. and a strong cast of supporting actors. If we’re lucky, director Ava DuVernay will trust the innate power, glory and emotion of the historical struggle to carry her film without resorting to a sentimental, manipulative score.\u003c/p>\n\u003cp>I hold no such hope for the soundtrack of Angelina Jolie’s adaptation of Laura Hillenbrand’s bestseller \u003cem>Unbroken\u003c/em>, the relentlessly inspiring saga of Olympic runner, World War II bombardier and prisoner of war Louis Zamperini. I’m not sure what is gained by continued adoration before the shrine of The Greatest Generation ™, unless Americans’ bottomless capacity for hero worship helps us ignore our screw-ups in subsequent wars (declared and otherwise) around the world since 1945.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/intowoods.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/intowoods.jpg\" alt=\"intowoods\" width=\"400\" height=\"592\" class=\"alignleft size-full wp-image-10149286\">\u003c/a>\u003c/p>\n\u003cp>If it’s escapism you want, without nagging sociopolitical and petro-global echoes, Dec. 25 also brings \u003cem>Into the Woods\u003c/em>, Stephen Sondheim and James Lapine’s musical medley of Brothers Grimm fairy tales. As rendered by director Rob Marshall (\u003cem>Chicago\u003c/em>), with a cast led by Meryl Streep and Johnny Depp, this could be transporting and exhilarating or tediously pretentious. I am, as we say in the biz, cautiously optimistic.\u003c/p>\n\u003cp>A pair of portraits of artists also await our unwrapping. \u003cem>Mr. Turner\u003c/em>, the latest collaboration between ace British filmmaker Mike Leigh (\u003cem>Topsy Turvy\u003c/em>) and Timothy Spall (who won Best Actor at Cannes) imagines the creative prime of 19th-century painter J.M.W. Turner. The application of oil on canvas wouldn’t seem to lend itself to moving pictures — marvelous exceptions like \u003cem>Vincent and Theo\u003c/em> and \u003cem>La Belle Noiseuse\u003c/em> notwithstanding — but \u003cem>Mr. Turner\u003c/em> is more concerned with the visionary role of the artist in society than with the creative process itself.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/bigeyesposter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/bigeyesposter.jpg\" alt=\"bigeyesposter\" width=\"400\" height=\"593\" class=\"alignleft size-full wp-image-10149296\">\u003c/a>\u003c/p>\n\u003cp>Tim Burton’s many fans will be pleased to have him home for Christmas with \u003cem>Big Eyes\u003c/em>, starring Amy Adams and Christoph Waltz as painters Margaret and Walter Keane. Their domestic drama may well offer a more coherent and impactful articulation of female empowerment than the aforementioned \u003cem>Wild\u003c/em>, That is, if Burton can remain more focused on the characters than the production design.\u003c/p>\n\u003cp>If adolescent diversion is required on a trip to the family homestead, either to alleviate the tension of “quality time” or to regress with old high school buddies, Seth Rogen and James Franco have a buddy flick just for you. \u003cem>The Interview\u003c/em> imagines the duo as goofy TV “journalists” pegged by the CIA to assassinate North Korea’s Kim Jong-un. The plot makes more sense under the influence of cannabis — duh! — which, we hear, is not against the law in some states.\u003c/p>\n\u003cfigure id=\"attachment_10149289\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/vice.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/vice.jpg\" alt=\"Inherent Vice\" width=\"640\" height=\"367\" class=\"size-full wp-image-10149289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/vice.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/vice-400x229.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Inherent Vice\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>If we expand our focus beyond the studio releases, several acclaimed or anticipated films open before the end of the year in New York and Los Angeles but not until January hereabouts. Paul Thomas Anderson’s most recent homage to 1970s L.A., \u003cem>Inherent Vice\u003c/em>, is adapted from Thomas Pynchon’s novel and features Joaquin Phoenix. The brilliant Dardennes Brothers’ latest socially conscious drama, \u003cem>Two Days, One Night\u003c/em>, imagines Marion Cotillard as a factory worker reliant on the kindness of her co-workers. Ordinary people also propel the gripping \u003cem>Leviathan\u003c/em>, in which a Russian family challenges the authority of their self-serving mayor. Corruption and integrity are likewise at the heart of \u003cem>A Most Violent Year\u003c/em>, J.C. Chandor’s taut drama about a stubbornly honest businessman in New York in 1981.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps it’s a good idea to hold thoughtful, reality-based films until after the holidays. It’s hard enough as it is, after all, to embrace the notion of peace on earth, good will to men.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "It's Getting Serious In Panem As 'Mockingjay' Goes Dark",
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"content": "\u003cp>When producers were laying track for the \u003cem>Hunger Games\u003c/em> series years ago, they couldn’t have foreseen how discomforting author Suzanne Collins’s descriptions of a war-torn authoritarian state would look on the big screen in 2014. In \u003cem>The Hunger Games: Mockingjay – Part One\u003c/em>, Jennifer Lawrence witnesses and/or learns of: towns reduced to rubble, refugee camps next to mass graves, public executions of innocents with burlap sacks over their heads, law enforcement gunning down protesters in the street, and a military bombing a hospital filled with civilians. All of these images have resonance in real events of this year, generations before Collins predicted civilization would devolve into a regime that maintains control over its citizens with televised death matches.\u003c/p>\n\u003cp>The series has always evoked real geopolitics, but the earlier films offset those with self-parody: an abundance of purple hair and oily camera-ready suits, an outlandish imperial march composed by Arcade Fire. This playfulness is absent from \u003cem>Mockingjay\u003c/em>, which is laser-focused on the land of Panem quashing dissent by any means necessary. It’s not that the film is “too dark for kids” — that would drastically underestimate teenagers’ capabilities for darkness. It’s that this degree of nastiness doesn’t square with the empty-calories action scenes of the first two films, where nothing that happened in the Hunger Games arenas (look out! Wild monkeys!) seemed to impact the overall story.\u003c/p>\n\u003cp>http://youtu.be/3PkkHsuMrho\u003c/p>\n\u003cp>But maybe it’s a good thing to be more serious this time, even if the progression wasn’t gradual. “A little on-the-nose, but, of course, so is war,” remarks the dearly departed Philip Seymour Hoffman, playing an architect of the Panem resistance movement. He’s referring to a tweak he’s made to a rally song, but he could also be discussing \u003cem>Mockingjay\u003c/em> itself, how a mass appeal sci-fi franchise chooses its war imagery. In a film about the role that visual communication plays in public opinion, the on-the-nose approach is at once intriguing and exhausting. Strange to think this series used to be about archery in the wilderness.\u003c/p>\n\u003cp>That, anyway, is where fiery revolutionary Katniss Everdeen (Lawrence) was at the conclusion of the previous film, 2013’s \u003cem>Catching Fire\u003c/em>. Rejecting society’s pressure to kill her friends for amusement a second time, Katniss instead shot a hole in the sky, through which she has been whisked away to the super-secret underground rebel stronghold District 13. In the first two films Katniss was a pawn of Panem’s dastardly, white-bearded President Snow (Donald Sutherland, forever sneering). Sadly, she’s still a pawn, but of a nobler president, the benevolent but still white-haired District 13 leader Alma Coin (Julianne Moore, a hair too robotic). Coin needs Katniss to be her “Mockingjay,” a symbol around which to mobilize the citizens of Panem: a warrior who’s no-nonsense, yet down-to-earth. In short, she needs Katniss to be Jennifer Lawrence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Until now, the biggest strength of the \u003cem>Hunger Games\u003c/em> series has been the careful construction of Panem, a dystopia-lover’s utopia. All the details from the first two entries were rich in cinematic absurdity, like the party where the rich gladly vomit up their food, or the gaudy stage sets that accompany Stanley Tucci’s gleeful talk show host as he conducts cloying interviews with Games candidates. Having to trade such an expansive setting for a drafty underground bunker (District 13 must be sharing the lease with the Zion rebels from the \u003cem>Matrix\u003c/em> sequels) is the weakest part of \u003cem>Mockingjay\u003c/em>, along with Katniss’s friend-and-maybe-more Gale (Liam Hemsworth) and his mopey “I have feelings, too!” jealousy.\u003c/p>\n\u003cp>There’s also no escaping the fact that this film, co-written by Collins and two others, is a stopgap designed to string audiences along one year more than the source material requires. The artificial division of a narrative for the sole purpose of making money should not normally be cause for a creative success. But somehow, chopping up \u003cem>Mockingjay\u003c/em>, a practice that has become the norm with final installments of YA series adaptations, created some happy accidents. With less material than in \u003cem>Catching Fire\u003c/em>, director Francis Lawrence is free to be contemplative, edit sequences patiently instead of frantically, and linger over small visual details like a speck of blood on Snow’s cheek after his groomer cuts his face shaving. And Jennifer Lawrence has the freedom to interact with each of her allies in more subtle ways: practiced patience with Elizabeth Banks’s fallen fashion maven Effie; steely distrust with Woody Harrelson’s rakish mentor Haymitch; sheer annoyance with her cat.\u003c/p>\n\u003cp>Josh Hutcherson, a bit wooden in the other films, is also doing something fascinating as Peeta, Katniss’s on-camera boyfriend who was captured by Panem’s Capitol at the conclusion of \u003cem>Catching Fire\u003c/em>. For much of \u003cem>Mockingjay\u003c/em>,\u003cem> \u003c/em>we see him only via the Capitol’s authorized interviews saying questionable things about the revolution. Like Katniss, we can only guess at his current state of mind. Hutcherson’s strong, subtle performance lets us read any number of possibilities in his face and minimal line readings. That’s until the very end, when he turns chilling.\u003c/p>\n\u003cp>If any of this felt like Hobbiting — defined as the practice of throwing useless, fan-serving footage onscreen to bloat up a blockbuster franchise — there’d be a problem. But \u003cem>Mockingjay\u003c/em> doesn’t have that vibe, because it follows one unmistakable theme from beginning to end: an information war. Instead of physically dueling, Katniss and the Capitol fling propaganda films like projectile bombs.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The chess match of public opinion is a colder, more calculated game than the testing of wilderness survival skills. Katniss, reluctant viral video star, hilariously fumbles her lines when she’s in front of a green screen leading the CGI army from a Ridley Scott movie. But she draws tears when a tattooed documentarian (\u003cem>Game of Thrones\u003c/em>‘s Natalie Dormer, who could have stepped out of a Copenhagen artist’s co-op) films her examining the rubble of her childhood home. It’s the latter footage, the on-the-nose war stuff, that drives Panem to rebel rather than change the channel to \u003cem>Where Are My Pants?\u003c/em>. Collins and the Lawrences have crossed the uncanny valley separating imagined dystopia from actual horrors, but they’re also delivering a life lesson in cinema to teens: Things are stronger when they look \u003cem>real\u003c/em>. Think about that when the Capitol beams out the next all-CGI superhero movie. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+Getting+Serious+In+Panem+As+%27Mockingjay%27+Goes+Dark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When producers were laying track for the \u003cem>Hunger Games\u003c/em> series years ago, they couldn’t have foreseen how discomforting author Suzanne Collins’s descriptions of a war-torn authoritarian state would look on the big screen in 2014. In \u003cem>The Hunger Games: Mockingjay – Part One\u003c/em>, Jennifer Lawrence witnesses and/or learns of: towns reduced to rubble, refugee camps next to mass graves, public executions of innocents with burlap sacks over their heads, law enforcement gunning down protesters in the street, and a military bombing a hospital filled with civilians. All of these images have resonance in real events of this year, generations before Collins predicted civilization would devolve into a regime that maintains control over its citizens with televised death matches.\u003c/p>\n\u003cp>The series has always evoked real geopolitics, but the earlier films offset those with self-parody: an abundance of purple hair and oily camera-ready suits, an outlandish imperial march composed by Arcade Fire. This playfulness is absent from \u003cem>Mockingjay\u003c/em>, which is laser-focused on the land of Panem quashing dissent by any means necessary. It’s not that the film is “too dark for kids” — that would drastically underestimate teenagers’ capabilities for darkness. It’s that this degree of nastiness doesn’t square with the empty-calories action scenes of the first two films, where nothing that happened in the Hunger Games arenas (look out! Wild monkeys!) seemed to impact the overall story.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3PkkHsuMrho'\n title='//www.youtube.com/embed/3PkkHsuMrho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But maybe it’s a good thing to be more serious this time, even if the progression wasn’t gradual. “A little on-the-nose, but, of course, so is war,” remarks the dearly departed Philip Seymour Hoffman, playing an architect of the Panem resistance movement. He’s referring to a tweak he’s made to a rally song, but he could also be discussing \u003cem>Mockingjay\u003c/em> itself, how a mass appeal sci-fi franchise chooses its war imagery. In a film about the role that visual communication plays in public opinion, the on-the-nose approach is at once intriguing and exhausting. Strange to think this series used to be about archery in the wilderness.\u003c/p>\n\u003cp>That, anyway, is where fiery revolutionary Katniss Everdeen (Lawrence) was at the conclusion of the previous film, 2013’s \u003cem>Catching Fire\u003c/em>. Rejecting society’s pressure to kill her friends for amusement a second time, Katniss instead shot a hole in the sky, through which she has been whisked away to the super-secret underground rebel stronghold District 13. In the first two films Katniss was a pawn of Panem’s dastardly, white-bearded President Snow (Donald Sutherland, forever sneering). Sadly, she’s still a pawn, but of a nobler president, the benevolent but still white-haired District 13 leader Alma Coin (Julianne Moore, a hair too robotic). Coin needs Katniss to be her “Mockingjay,” a symbol around which to mobilize the citizens of Panem: a warrior who’s no-nonsense, yet down-to-earth. In short, she needs Katniss to be Jennifer Lawrence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Until now, the biggest strength of the \u003cem>Hunger Games\u003c/em> series has been the careful construction of Panem, a dystopia-lover’s utopia. All the details from the first two entries were rich in cinematic absurdity, like the party where the rich gladly vomit up their food, or the gaudy stage sets that accompany Stanley Tucci’s gleeful talk show host as he conducts cloying interviews with Games candidates. Having to trade such an expansive setting for a drafty underground bunker (District 13 must be sharing the lease with the Zion rebels from the \u003cem>Matrix\u003c/em> sequels) is the weakest part of \u003cem>Mockingjay\u003c/em>, along with Katniss’s friend-and-maybe-more Gale (Liam Hemsworth) and his mopey “I have feelings, too!” jealousy.\u003c/p>\n\u003cp>There’s also no escaping the fact that this film, co-written by Collins and two others, is a stopgap designed to string audiences along one year more than the source material requires. The artificial division of a narrative for the sole purpose of making money should not normally be cause for a creative success. But somehow, chopping up \u003cem>Mockingjay\u003c/em>, a practice that has become the norm with final installments of YA series adaptations, created some happy accidents. With less material than in \u003cem>Catching Fire\u003c/em>, director Francis Lawrence is free to be contemplative, edit sequences patiently instead of frantically, and linger over small visual details like a speck of blood on Snow’s cheek after his groomer cuts his face shaving. And Jennifer Lawrence has the freedom to interact with each of her allies in more subtle ways: practiced patience with Elizabeth Banks’s fallen fashion maven Effie; steely distrust with Woody Harrelson’s rakish mentor Haymitch; sheer annoyance with her cat.\u003c/p>\n\u003cp>Josh Hutcherson, a bit wooden in the other films, is also doing something fascinating as Peeta, Katniss’s on-camera boyfriend who was captured by Panem’s Capitol at the conclusion of \u003cem>Catching Fire\u003c/em>. For much of \u003cem>Mockingjay\u003c/em>,\u003cem> \u003c/em>we see him only via the Capitol’s authorized interviews saying questionable things about the revolution. Like Katniss, we can only guess at his current state of mind. Hutcherson’s strong, subtle performance lets us read any number of possibilities in his face and minimal line readings. That’s until the very end, when he turns chilling.\u003c/p>\n\u003cp>If any of this felt like Hobbiting — defined as the practice of throwing useless, fan-serving footage onscreen to bloat up a blockbuster franchise — there’d be a problem. But \u003cem>Mockingjay\u003c/em> doesn’t have that vibe, because it follows one unmistakable theme from beginning to end: an information war. Instead of physically dueling, Katniss and the Capitol fling propaganda films like projectile bombs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The chess match of public opinion is a colder, more calculated game than the testing of wilderness survival skills. Katniss, reluctant viral video star, hilariously fumbles her lines when she’s in front of a green screen leading the CGI army from a Ridley Scott movie. But she draws tears when a tattooed documentarian (\u003cem>Game of Thrones\u003c/em>‘s Natalie Dormer, who could have stepped out of a Copenhagen artist’s co-op) films her examining the rubble of her childhood home. It’s the latter footage, the on-the-nose war stuff, that drives Panem to rebel rather than change the channel to \u003cem>Where Are My Pants?\u003c/em>. Collins and the Lawrences have crossed the uncanny valley separating imagined dystopia from actual horrors, but they’re also delivering a life lesson in cinema to teens: Things are stronger when they look \u003cem>real\u003c/em>. Think about that when the Capitol beams out the next all-CGI superhero movie. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+Getting+Serious+In+Panem+As+%27Mockingjay%27+Goes+Dark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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