Features | Page 20
AMERICAN SNIPER
BY ETHAN PARISIER
There are three types of people in this world: sheep, wolves, and sheepdogs, some people prefer to believe that evil doesn’t exist in the world, and if it ever darkened their doorstep, they wouldn’t know how to protect themselves. Those are the sheep. Then you’ve got predators, who use violence to prey on the weak. They’re the wolves. And then there are those blessed with the gift of aggression, an overpowering need to protect the flock. These men are the rare breed who live to confront the wolf. They are the sheepdog. – Wayne Kyle
A
midst the controversy over Clint
highlights his transformation into a more re-
in depth by Eastwood and the director makes
Eastwood’s next directorial piece af-
served and damaged person after returning
use of both their similarities and differences
ter his rather lackluster Jersey Boys,
from every one of his four tours in Iraq. Their
to create a yin and yang dynamic between
many critics, fans and followers of his films
chemistry on-screen is noticeable and helps
Mustafa and Chris. But most notably, East-
wondered whether his next film would meet
to increase the realism of the film, driving
wood’s depiction of the post-traumatic stress
their expectations. Well, American Sniper
the story through its emotional lulls and cre-
that Kyle experiences after his tours in Iraq
may be the best modern war film, providing an
scendos and making the film a suspenseful,
allows the audience to look inside the mind
emotional, raw depiction of the Iraq War and
hard-hitting drama.
of the scarred Kyle and the triggers of his
the physical and emotional toll that war takes on soldiers and their families.
In addition to the artful acting from the
stress. In order to show this to the audience,
leading cast, Clint Eastwood does a fantastic
Eastwood created visual and aural cues such
The film stars Bradley Cooper as the tit-
job of creating a suspenseful and emotional
as a barking dog, which precipitates an emo-
ular Chris Kyle, a Texas rodeo cowboy who
experience and makes American Sniper his
tionally fraught reaction from Chris. Overall,
becomes a Navy Seal sharp shooter in the
best work in the director’s chair. In the scenes
Clint Eastwood’s direction of American Snip-
wake of anti-American terrorist attacks and
taking place in the streets of Fallujah and oth-
er brought an ugly and almost eerie tone to
is deployed to Iraq, where he becomes the
er locations in Iraq, Eastwood creates enor-
the story of Chris Kyle, while creating more
deadliest sniper in U.S. history. Sienna Mill-
mous amounts of tension even with the film’s
respect for him and his exploits and conveying
er also makes her return to the big screen
minimal soundtrack. An example of this is in
his tale to audiences in a creative and artistic
as Taya Kyle, Chris’ wife and moral tentpole
the first scene of the film, where audiences
fashion.
throughout his emotionally scarring and mor-
find Kyle set up on a rooftop with his spotter,
Whether in the streets of Fallujah or on
ally testing journey from rodeo nobody to
overlooking a war torn street as American
the plains of Texas, American Sniper delivers
American hero. Both Cooper and Miller put
troops and vehicles move through. All seems
not only as a traditional war film, but also as a
up excellent performances, especially from
to be going to plan until Kyle spots a mother
deep and profound drama about the psycho-
Cooper as he displays Kyle’s slow transition
and child emerge from a house through his
logical effects of combat on individual soldiers
from a confident, untested rookie seal, to the
scope. The mother then reveals an anti-tank
and their families. Bradley Cooper gives an
emotionally scarred “legend” who is haunted
grenade from under her clothing and hands
outstanding performance as Chris Kyle, deliv-
by the events and horrors of war that he en-
it to the child. As the child begins to run to-
ering a vast range of emotions as he depicts
dures during his journey to military stardom.
wards a convoy full of marines, Kyle has to
“the legend’s” life and his ascension to mili-
The previous roles in Cooper’s career, such
make a crucial decision to shoot the child or
tary fame. Sienna Miller also puts up a great
as his role in Silver Linings Playbook, have not
not. “They will fry you if you are wrong,” says
display of her acting talent as she plays Chris’
tested the young actor’s range of emotion as
his spotter as Kyle sets up the shot. As ten-
loving, supportive and strong wife, Taya. To
much as American Sniper, where he performs
sion is at its highest, audiences are left at a
any viewer, American Sniper is a must-see, not
masterfully and proves that he may be one of
cliffhanger ending an extremely well-made
only as a phenomenal war film, but also as an
the best actors of his time. He paints the por-
scene by Eastwood. As the film progresses,
immersive and complex commentary on the
trait of the emotionally maimed Kyle with the
Kyle entangles himself in a somewhat intense
brutality and ugly nature of modern war and
finesse of a skilled artist. And Miller delivers
rivalry with an enemy sniper named Mustafa,
the side effects that many veterans endure
an emotional performance, conveying Taya’s
who eludes his scope and proves a formidable
for the rest of their lives.
concern about Chris’ absence and the toll that
yet inconspicuous adversary. The dynamic
the war has taken on him. Her performance
between these two snipers was played upon
Film | Page 22
BOR OFFICIPSAM
It’s A Hard-Knock Life for Criticized Annie By Christina Cho
T
BOR OFFICIPSAM
he peppy red head famously known
cal ideas of Gray’s 1924 comic strip by demon-
and changed from Miss Hannigan’s brother
as Annie is not just an orphan who
strating to her class how the New Deal helped
to Stacks’ betraying advisor. and America’s
luckily winds up living in a billionaire’s
put people back to work. Annie still wears red
favorite Molly is kept adorable but renamed
home. She had been first created in Harold
in practically every scene, but this time, she
Mia.
Gray’s popular comic strip as the mouthpiece
dresses like a typical kid in leggings and jean
Unfortunately, myopic and nitpicky review-
for America, airing Gray’s ultra-conserva-
jackets. Not only is she set free from her dress
ers have only criticized Quvenzhané Wallis’
tive views against policies like the New Deal.
collection, but she also is no longer limited to
heart-warming singing and Rose Byrne’s en-
Adaptations to the comic, the first of which
her signature red hair. In fact, a smooth tran-
ergetic dancing. Moreover, they neglected to
was released in 1938 by Paramount Pictures,
sition from the former white Annie to the
praise its excellent reshaping of the American
have all made minor changes to Annie’s ad-
new black Annie is carefully arranged. Some
classic and the fact that thousands of children
ventures, yet Annie has always been stuck to
characters like optimistic Annie, caring Grace,
adore the new Annie because of its relatabili-
her outdated, early 20th century self. That is,
cute Tessie, and bitter Pepper are kept the
ty and its music’s catchy beat. Critics have yet
until now, for a 2014 version of Annie has re-
same while others are modernized. Oliver
to realize that America finally has our grand-
cently been released with refreshing, modern
Warbucks is kept distant and work-orient-
parents’ favorite 1900’s classic turned into an
variations.
ed but renamed as Will Stacks; additionally,
unbelievably impressive go-to family movie
The new movie stays in sync with themes
he has been changed from a billionaire stock
for the younger generation, so don’t listen to
of the original story, but with a spunkier twist.
investor to a cellphone company billionaire.
the fallacious reviews. Go watch Annie with
Annie (played by Quvenzhané Wallis) stays a
Miss Hannigan is kept abusive and drunk but
your younger brother or sister because even
New York City orphan with a miraculous op-
changed to have a new soft side that saves
a millennial will find the movie’s 21st century
portunity to change her life, but this time, she
the day. Punjab is kept the “Magical Negro”
jokes and set pieces exciting.
lives in the 21st century. Despite the change
bodyguard but renamed Nash. Rooster is
in time period, she still connects to the politi-
kept as a selfish character but renamed Guy
Film | Page 23
The British Invasion of the 21st Century Movie Industry: The Influx of Brits Who Were Nominated This Year By Maggie Brill
J
ust like the “British Invasion” that occurred in the mid-1960’s, a phenomenon which led to Beatlemania and the rise of several other famous British pop and rock bands, the movie industry
is experiencing a revolution of its own. When the Oscar’s Best Picture nominees were announced in mid-January, it shed light on the growing popularity of British actors and British films in 2014. This overwhelming trend can’t help but be noticed. Two out of the eight Best Picture nominees are British biographical films, The Theory of Everything and The Imitation Game. We also see this popularization in the TV industry, with shows like BBC’s Sherlock and Doctor Who. The Theory of Everything tells the life story of Stephen Hawking, played by Eddie Redmayne, concentrating on his scientific achievements as well as his personal struggles with his marriage and his disease. The film debuted at #7 in the Box Office after its widespread release, making almost $5 million its opening day. The film was nom-
BOR OFFICIPSAM etust, nusdae niet ut ut ea sit, nonsedipsant quoste del elenimus
inated for five Oscars, including Best Picture, Best Adapted Screenplay, Best Actor in a Leading Role, Eddie Redmayne, and Best Actress in a Leading Role, Felicity Jones. The Imitation Game focuses on the mathematician Alan Turing’s
these actors that is reflected in the Oscar nominations, it seems that
race to crack the enigma code during World War II, a feat which
America and the movie industry don’t mind this new trend. For exam-
would allow Western allies to decipher secret radio communications
ple, David Oyelowo, who delivered a powerful performance as Mar-
used by Nazi Germany. The film was nominated for eight Oscars in-
tin Luther King Jr. in Selma, has a distinctive British accent. So does
cluding Best Picture, Best Director, Best Adapted Screenplay, and
Rosamund Pike, who was nominated for Best Actress in a Leading Role
Best Original Score. It also produced two of the best performances
in Gone Girl.
of the year, by Benedict Cumberbatch, who was nominated for Best
The Imitation Game and The Theory of Everything are connected by
Performance by an Actor in a Leading Role, and Keira Knightley, for
the level of their success in Oscar nominations and by their biograph-
Best Performance by an Actress in a Supporting Role.
ical nature. Both of these films are based on books that depict critical
British actors have successfully assimilated into Hollywood’s film
advancements in science and mathematics with a backdrop of social
industry in not only English roles, but also American roles. Even
and personal issues that haunt the main characters. The new genre of
Amy Poehler, the co-host of the 2015 Golden Globes, couldn’t resist
British biopics is emerging as a force to be reckoned with, for the films
cracking a joke about the unusual number of British actors playing
are expected to take home several Oscars this year. British actors have
Americans this year. “I like when they talk like this. I can’t tell that they
been weaving their way into the movie industry for a while, and the suc-
are British when they are speaking in our movie parts,” she said in a
cess of these two films cements their welcome into Hollywood by both
sarcastic, over-annunciated voice. But, considering the success of
critics and fans.
Film | Page 24
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Film | Page 25
Marvel’s
Agent Carter By Zarina Iman
M
arvel’s new TV series, Agent
dangerous inventions to foreign criminals,
Carter, has promise to becom-
when in reality, the weapons have been
ing an exception to the ‘all spin-
stolen. Stark enlists the help of Carter and
offs are bad’ rule. Set in post WWll 1946,
his butler, Edwin Jarvis (James D’Arcy), to
the show focuses on Agent Peggy Carter
track down and collect his weapons before
(Hayley Atwell), following the events of
the S.S.R. does. Carter and Jarvis’ person-
Captain America: The First Avenger. With
alities are completely contrary to one an-
men returning from the war, Carter takes
other, yet they are the perfect pair. Both
a job at the S.S.R., Strategic Scientific Re-
are equally resourceful in their own right
serve, where she’s treated like an inno-
and their short but comedic exchanges are
cent secretary. Surrounded by coworkers
sure to entertain.
that doubt her abilities, and those who go
To heighten the 1940s vibe, the crea-
so far as to openly mock her, such as Ray
tors, Christopher Markus and Stephen
Krzeminski (Kyle Bornheimer) and Jack
McFeely, add glamor to the series. Their
Thompson (Chad Michael Murray), Cart-
controlled use of loud band music, old
er becomes dejected and depressed. To
slang, and occasionally putting Carter in
make matters worse the S.S.R.’s investiga-
dazzling clothes all makes the show that
tion of Carter’s old friend, Howard Stark
much more exciting.
(Dominic Cooper), could potentially dis-
Agent Carter provides the action and
miss all the efforts made by her, Stark, and
adventure that the Agents of S.H.I.E.L.D
Captain America throughout the war.
was missing. With only four episodes the
drastically
show cannot be deemed a huge success,
change when Stark secretly asks for her
Carter’s
circumstances
but it’s pretty safe to assume that it will be.
help in clearing his name. The S.S.R. believes that Stark is a traitor, selling his
Torecto del il ium laut quaes cores imagni ipid qui dem expedit voluptat. Loreres et volorib ea-
Film | Page 26
Film | Page 27
Cinderella Preview By Kaileen Germain
T
here were those of us who, as children, would plead to our parents to watch our favorite movie for “five more minutes” (which would then turn
into two hours). And for a lot of young girls, those mov-
with its several twists. In this version, Cinderella and the Prince meet prior to the fateful ball and the Fairy Godmother is a more important character than in previous versions, as she is initially disguised as an old beggar who watches over Cinderella before revealing herself as a magical being. And this movie expounds a lot more on
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girl with the glass shoe and the fairy godmother. And
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now, Cinderella, the classic fairy tale that we know and love, is coming back to the silver screen. The story follows the fortunes (and misfortunes) of Ella, whose merchant father remarries following the tragic death of her mother. Wanting to support her kindhearted father, Ella enlists the help of her new stepmother Lady Tremaine and her daughters Anastasia and Drizella and welcomes them into her home with open
the background of her life, all the way back to the time that her mother was alive. With Lily James from Downtown Abbey, Richard Madden from Game of Thrones, and renowned actress Helena Bonham Carter, this mov-
ies often featured Disney princesses that we idolized and admired. Often, that princess was Cinderella, the
the original story line of Cinderella; we can actually see
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ie is bound to be magical. The trailer features beautiful music and incredible effects, which only further builds the anticipation of the film. And kudos to the prop department for designing a glass slipper that won’t shatter into pieces when Cinderella wears it. This adaptation might be darker than Disney’s animated version, but it is guaranteed to be a lot of fun for the whole family. Cinderella stumbles into theaters March 13, 2015.
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arms. But when Ella’s father suddenly and unexpectedly passes away, she finds herself stuck with her new family, who are not who they at first appeared to be. Instead of the happily ever after she wanted, she instead received a family who practically treated her as a slave. Becoming nothing more than a servant girl covered in ashes and renamed Cinderella after working in cinders, Ella could have easily lost hope, just as many people would have done in her situation. But despite the cruelty inflicted upon her, Ella was determined to honor her mother’s dying words and to “have courage and be kind.” And then she meets a handsome and kind stranger in the woods. Not knowing that he is actually the prince of the kingdom and not a footservant, Ella finally feels she has met a kindred soul who understands her suffering. And her luck is just beginning when the palace sends out an open invitation for all maidens to attend a ball, raising Ella’s hopes of once again encountering the charming stranger. But like the evil woman she is, her stepmother forbids her from attending and rips apart Ella’s dress, given to her by her mother. But like all good fairy tales, help can always be found as a kind beggar woman steps forward and, with a pumpkin and a few mice, changes Cinderella’s life forever. For the most part, the new film follows Disney’s 1950 animated adaptation, but still finds ways to be original
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Film | Page 28
Harris the Host By Christina Cho
N
eil Patrick Harris has been a phenomenal
Torecto del il ium laut quaes cores imagni ipid qui dem expedit voluptat. Loreres et volorib ea-
In 1929, the Academy decided that Douglas
performer, host, and even author. As a per-
Fairbanks and William C. DeMille would emcee the
former, he has garnered two Golden Globe
first Oscars. Ever since, the Academy has exhausted
Awards nominations, four Primetime Emmy Awards
every possible combination of hosts to amuse audi-
nominations, four Teen Choice Awards nominations,
ences: one host, two hosts, three hosts, four hosts,
and three Satellite Award nominations for acting as
five hosts, six hosts, funny hosts, serious hosts,
Barney Stinson in the television series How I Met
young hosts, old hosts, you name it! Despite efforts,
Your Mother; the 2014 Tony Award for Best Actor
no host has ever been or will ever be guaranteed
in a Musical for acting as Hedwig in the Broadway
to be able to keep live viewers from 225 countries
show Hedwig and the Angry Inch; and an Emmy
glued to their screens for over three hours. In fact,
for his guest acting in the television show Glee. As
disappointing viewers is the very fear that keeps
a host, he has amused global audiences of the 61st
hosts from hosting again. According to moviefone,
and 65th Primetime Emmy Awards and the 63rd,
“the job requires a difficult and rare set of skills: a
65th, 66th, and 67th Tony Awards. As an author, he
host must entertain both the Hollywood big-shots
has released his popular autobiography Neil Patrick
in the auditorium and regular folks at home. They
Harris: Choose Your Own Autobiography. And to
can poke fun at the huge egos in the room, but
add to his long list of noteworthy achievements: this
can’t deflate them with too much snark, and they
February 22, Harris will host the 2015 Oscars!
can’t be too inside-baseball. They may also have to take focus away from outside events, from talent strikes to wars and assassinations that threaten to darken the celebratory mood. Most of all, they have to think quickly on their feet.” Such pressure that piggybacks the excitement of hosting the Oscars is so extreme that it convinced Ellen DeGeneres, Julia Louis-Dreyfus, and Chris Rock to pass up the opportunity to host this year. After those three rejections, the Academy had turned to Harris who immediately jumped at the opportunity and shared, “It is truly an honor and a thrill to be asked to host this year’s Academy Awards. I grew up watching the Oscars and was always in such awe of some of the greats who hosted the show. To be asked to follow in the footsteps of Johnny Carson, Billy Crystal, Ellen DeGeneres, and everyone else who had the great fortune of hosting is a bucket list dream come true.” Undaunted, Harris will most definitely dazzle the world with the wit he showed in Spider-Man and will perform opening numbers like the ones he did in Hedwig and the An-
BOR OFFICIPSAM
gry Inch. Congratulations on this milestone, Harris!
Film | Page 29
BOR OFFICIPSAM etust, nusdae niet ut ut ea sit, nonsedipsant quoste del elenimus
How to Get Away with Murder
A Riveting Tale of Adventure
By Zarina Iman
S
honda Rhimes, producer of Grey’s Anatomy and Scandal, has
sincere student accepted off the waitlist, while Connor Walsh (Jack
again succeeded in creating one of the most gripping and dra-
Falahee) is a sarcastic narcissist. Michaela Pratt (Aja Naomi King) is an
matic shows on television. Written by Peter Nowalk, How to
ambitious scholar who looks up to Keating, and Asher Millstone (Matt
Get Away with Murder has a complex and unique plot with extreme-
McGorry) a know-it-all from a privileged background. Laurel Castillo
ly diverse characters. The record-breaking show stars Viola Davis
(Karla Souza) is a reserved optimist who is left questioning her values
as Annalise Keating, a powerful lawyer and criminal law professor at
after every case. Keating’s brilliant student interns are monitored
Middleton University in Philadelphia. As a renowned defense attorney
by her two colleagues, lawyer Bonnie Winterbottom (Liza Weil), and
with her own firm, Keating chooses her brightest students to work for
Frank Delfino (Charlie Webber), who deals with matters of discretion.
her. With no apparent insecurities, Keating and her fierce attitude are
This talented cast elevates the intense and surreal plot to a point of
both feared and admired by her students. However, as her personal
believability, making the show even more thrilling.
life with her husband, Sam (Tom Verica), and her professional life begin
How to Get Away with Murder brings its viewers into the lives of
to intertwine, Keating is faced with challenging predicaments that test
five unique law students and their esteemed mentor. Throughout the
her will and resilience.
show the group defends a variety of criminals whose cases each have
Each episode of How to Get Away with Murder is an intricate mix of
something interesting to offer. Shonda Rhimes uses cinematography,
flashbacks and flash-forwards. The first episode begins with a group
her cast, and the depth of each character to create a masterpiece.
of law students deciding what to do with the body of someone they
The irregular format of each episode creates an alluring sentiment of
presumably murdered. The show then cuts to a few months before
tension and chaos. The suspenseful plot is comprised of a perfectly
present day, where the viewers discover that the students are all en-
interwoven combination of adventure and emotion. Right now I feel
rolled in Keating’s class and will be the fortunate few who will eventu-
completely confident saying that How to Get Away with Murder is one
ally work for her. Keating’s students are from a range of backgrounds,
of the most engaging TV shows of this year.
each with his/her own story to tell. Wes Gibbins (Alfred Enoch) is a
Film | Page 30
Ida By Benjamin Ades
I
Ida, a frontrunner for this year’s Best Foreign Film category at the 87th Academy Awards, is arguably one of the most beautiful and uniquely done films of the year. The film has also been nominated for Best Cinematography at the Oscars, and rightly so; every gorgeous shot could stand on its own as a photograph. Through director Paweł Pawlikowski’s innovative and striking visual style, Ida is able to recreate the mood and atmosphere of 1960’s Poland. The film follows an orphaned young novice, Anna (Agata Trzebokowska).
throughout the film.
Right before taking her vows to become a nun, she
Pawlikowski’s past as a documentary
meets her only living relative, her aunt Wanda (Agneta Kulesza), who informs her that Anna is in fact Jewish. Both women go on a journey to discover their Jewish heritage together and the death of their family. Although set during Poland’s Communist rule and mod-
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ernization era, the film does not have a strong focus on the historical forces at work; rather, the story Pawlikowski tells us is about the personal conflicts and choices the protagonists encounter. The movie explores the issue of identity and the meaning of nationality, religion, gender and political affiliation. Anna is shaken up after learning that she is not really who she thinks she is. She draws a stark contrast with her aunt, who served as a judge with a high communist rank and sent many people to their death during the Stalinist era. Anna is innocent and incapable of committing such evils, and in this way they are also profoundly different. Their differences are reflected in their clothing too; Anna will almost always be wearing light gray, a religious habit, while her aunt frequently wears dark black clothing
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filmmaker is evident in his meticulous use of authentic locations and his visual style. He filmed Ida in black and white with a 4:3 aspect ratio, narrow framing, and almost completely static shots. The fact that we see the characters constrained by some type of frame such as a door, a window or a gate, and mostly at the edge of it and not in full view, has the visual impact of describing fractured lives and broken dreams. We never see the
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complete story or fully grasp what is going
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heads and in the background a building or
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on. Pawlikowski shows the very tops of their some piece of furniture. He uses empty space and jump cuts to tell a story. Instead of providing every piece of information to the audience he tells a story by creating gaps visually and through editing. The movie suggests more than it shows.
Film | Page 31
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His visual choices further underscore the contradictions of the time period, such as jazz clubs in Communist Poland, but also serve as a tool to demonstrate the rhythm of the film and visually manifest the constantly changing emotions of the characters. One example is a scene in which Anna is divided between her wishes to become a nun and her desires to live a normal secular life. Pawlikowski and his director of photography Lukasz Zal show this fork in her life by using a tight telephoto shot that is cut diagonally by a wall in the foreground; the audience sees her disappear and reappear as she moves back and forth between the line, deciding which direction to take in her life. This shot along with others like it attempt to convey certain meanings visually rather than through exposition. There are various silent sequences in the film where we learn more information about the young novice or her aunt without being told about it through dialogue. Amazingly, this is Lukasz Zal’s
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first feature film as Director of Photography, who was forced to step in when the original Director of Photography fell sick on the first day of shooting. Pawlikowski attempted to contact several other talented cinematographers in Poland, but all were busy except for young Lukasz Zal, who had only worked as a camera operator before this film. He was merely twenty-nine at the time of filming. The movie is a tour de force, captivating the audience with its bold cinematography and its brilliant, subtle acting. Novice actor Agata Trzebokowska, who plays Anna, had never acted in a film prior to Ida, and most likely will not act again in the future. Pawlikowski found her in a café and liked the way she looked and chose Agata even after auditioning hundreds of professional actresses for the part. Pawlikowski has reached the very pinnacle of filmmaking in Ida. Every aspect of the film is perfect; nothing falls short of the viewer’s expectations, especially the film’s ability to create powerful, iconic unforgettable images.
Film | Page 32
Foxcatcher By Seth Younger
I
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f you combined the chilling tone of the movie Black Swan with the
the tense relationship between John DuPont and his mother. After
sports aspects of the movie Coach Carter and put the creation of
the first day at the Olympics, he loses his match and goes to his ho-
these two movies on corticosteroids, then you may get something
tel room, banging his head on glass, eventually binge-eating, and later
that surmounts to the movie Foxcatcher. This movie recounts the
puking it all up. Interestingly, Dave comes and helps his brother. After
frightening story of the Shultz Brothers, who were Olympic wrestlers.
Mark eventually leaves wrestling and the Pennsylvania DuPont estate,
and their experiences with John DuPont, a wrestling coach and famed
his brother, who has remained there, is shot by John DuPont, and his
member of the legendary American DuPont family. The opening scene
mother dies, both of whom entrain the depth of John’s insanity.
gives background about the DuPont family through old family clips of
Based on a real tragedy, Foxcatcher leaves you very frightened.
their training horses then proceeds to document the dim life of Mark
Although some movies may show glimpses of human happiness and
Shultz, revealing slight tensions between him and his brother, Dave
strife, this movie is very dark and tense throughout. Bennet Miller has
Shultz, a coach at the University of Oklahoma. The movie takes a turn
adeptly crafted Foxcatcher with masterful scenes and dialogue, giving
when Mark Shultz gets a call from John DuPont who wants him to
the audience the feeling of being there with the characters every sec-
come down to his Estate to train Mark to participate in the Olympics.
ond. However, it is obvious that Channing Tatum will rack up the Oscar
However, Dave Schultz is immediately doubtful and suspicious as to
for best actor along with Steve Carell for supporting actor.
why this man wants his brother to come down. As Mark is settling in to his new role, the movie reveals the dark side of John DuPont.
Overall, the movie is phenomenal and works to convey what is intended to show, a gut-wrenching story without fluff, and it did so mas-
There are scenes wherein Mark is sexually abused, forced to do co-
terfully. Roger Ebert once said, “We live in a box of space and time.
caine, and later calls John his father. John asks Mark assemble a bunch
Movies are windows in its walls. They allow us to enter other minds,
of men to form a wrestling team to train in his Pennsylvania estate.
not simply in the sense of identifying with the characters, although that
However, after repeated abuses, John reveals that Mark needs his
is an important part of it, but by seeing the world as another person
brother Dave Shultz with him, threatening Mark’s career if he doesn’t
sees it.” This is the effect I believe Foxcatcher has and what makes it
show. After his brother comes down, the movie slows and focuses on
such a phenomenal movie.
Film | Page 33
The Grand Budapest Hotel by Sam Heller
T
he Grand Budapest Hotel is the 8th film Wes Anderson has directed and is arguably his best one. It contains brilliant writing, hilarious visual gags, and a classic plot-
line that he managed to make original. This film takes place in the 1930s and centers around an old-fashioned hotel that is brimming with guests. Most of its guests are not there to enjoy the mountain-top view the Grand Budapest Hotel offers but rather to see its Hotel Manager, Mr. Gustave, who is played by Ralph Fiennes (the Harry Potter series). The character of Mr. Gustave is poetic, witty, and sleeping with the most of the elderly women visitors. When one of these guests dies, Mr. Gustave travels with his newest lobby boy, Zero, to see her. Upon arrival at her estate, Mr. Gustave, not her four children, is promised the woman’s most expensive painting in her will. On account of this, the family frames Mr. Gustave for the woman’s murder. This story is told through the eyes of Zero, the young lobby
9 Oscars. Almost every line uttered
the outside and that the background
boy, who eventually becomes owner of the hotel. While Mr.
by the characters is brilliant, from
looks like a bad drawing. Wes Ander-
Gustave is one of Wes Anderson’s greatest creations, Zero
Mr. Gustave trying to remain poetic
son tries to stray away from using a
lacks the layers of emotions that his boss has. Zero, played
in all that he says through the film
computer for special effects and ul-
by Tony Revolorio (The Perfect Game), and is a taciturn char-
to Zero stating firmly and angrily to
timately uses them for under a min-
acter who shows loyalty to both his boss and his wife Agatha.
his boss to stop flirting with his wife.
ute throughout The Grand Budapest
His speechlessness furthers his characterization, making him a
This film will probably not make you
Hotel. This isn’t laziness or a lack of
fine character, but not nearly as multi-faceted as Mr. Gustave.
laugh as much as an average R-rated
knowledge in computers on his part,
The character who Wes Anderson really gave up on, however,
comedy such as The Hangover or 21
but rather a statement. Wes Ander-
was Agatha, who is a main character that is one-dimensional.
Jump Street, but it is far better than
son wants to make it clear that it is
She is given a small part in the movie yet it seems that the film
these types of films in many ways..
the quality of the story that matters,
attempts to make her one of the protagonists. She only exists
This film also contains many genres
not the quality of the effects.
in the Grand Budapest Hotel as a baker and love interest for
within itself, including comedy, ac-
Overall, this film was great and is
Zero and does not get many lines that reveal her true self, like
tion, mystery, period piece, and ad-
one of the best films that came out
Mr. Gustave gets. While Saoirse Ronan (Atonement) does an
venture. Wes Anderson is known for
in 2014. It has a surprisingly clever
okay job playing the part she is given, she is overshadowed by
doing this, which is what makes his
plotline and was a pleasure to watch.
Ralph Fiennes in every scene the two share, which is most of
movies so great.
While it may have done a bad job
her scenes. What this film lacks in characterization, however, is quickly made up by its plot and writing.
Wes Anderson is also known for
characterizing some of its charac-
his odd special effects. While watch-
ters, the film is still worth a viewing
The writing is amazing and is able to transform the film into a
ing this movie, you might notice that
and will be two great hours of your
comedy that can be taken seriously enough to be nominated for
the hotel looks extremely fake on
life.
Film | Page 34
Selma By Zarina Iman
S
elma, written by Paul Webb and directed by Ava DuVernay, tells the story of the events leading up to and surrounding the three Selma to Montgomery marches that called for the voting rights
of all African Americans in Alabama. Though the film is one of the first to focus on Dr. Martin Luther King (David Oyelowo), Selma is not a biopic. The film does not focus on all of the key parts of Dr. King’s life, but instead revolves around the voting rights movement and all those involved. Selma begins with Dr. King and his wife, Coretta Scott King (Carmen Ejogo) in Oslo, where he accepts his Nobel Peace Prize. The film then cuts to a shot of four young girls descening the stairs of their church. The peaceful scene is briskly interrupted by a tremendous blast, followed by silence. The debris and a young girl’s legs gradually fly through the air. The next image we see is a large pile of rubble covering the girls, as small flakes of cloth and dirt flutter to the ground. This re-enactment of the 1963 16th Street Baptist Church bombing clearly establishes the context of the confrontations to come. The viewers are then shown Annie Lee Cooper (Oprah Winfrey), a working-class black woman, who is attempting to become a registered voter in Alabama. She fills out a form and then is called to a booth where a registrar must determine if she is eligible to vote. The racist white clerk asks her difficult questions about the state and government to determine if she should be allowed to vote. Cooper, who has prepared, is able to answer the questions, except the clerk’s final trick question that is impossible to answer. The clerk then happily denies her the right to vote. Before the actual marches we are brought to meeting between Dr.
King and President Lyndon B. John-
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son, who passed the Civil Rights Act, making the segregation of public facilities illegal. Dr. King asserts that loopholes allow racist politicians to disenfranchise black voters, even when
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they hold the right to vote. Johnson dismisses Dr. King and tells him that he has larger problems to deal with. For the remainder of the film, Selma focuses on the three marches from Selma to the Montgomery’s capitol building. Knowing that the local government or people will oppose the march and will fight the protesters, Dr. King plans to nonviolently march in front of as many reporters and cameras as possible. The outcome of the first two protest are as Dr. King predicted, and the second march results in an astonishing re-enactment
Film | Page 35
of Bloody Sunday, March 7, 1965. The camera
We realize that it was only a mere 50 years
movement of the marches give viewers a pro-
ago that black people had to fight for the right
tester’s perspective, as if they were a part of
to vote and that if Dr. King were still alive he
the events unfolding before them. The cam-
would be 86, around the age of our grandpar-
era lingers on different marchers, showing the fear in their faces. By reducing movement, the camera establishes the chaos and destruction of the scene in a genuine way. David Oyelowo humanizes Dr. King in his amazing performance. He captured the great leader’s commanding persona, as well as his sincere interactions with close friends and family. Oyelowo conveys how Dr. King reacts in different situations, when he is not giving speeches and in public. David Oyelowo in convincing beyond belief, and he truly deserves all his nominations and then some. Selma takes on even more relevance because it coincided with the deaths of Michael Brown and Eric Garner, demonstrating that the message of the film is still relevant today.
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ents. Selma is inspiring. It is not only a tells the tale of one of the most important chapters of the civil rights movement, but it shows how with unity and persistence the marchers from Selma to Montgomery were able to overcome adversity and obtain the right to vote.