Wednesday, October 30, 2013

Trailers: X-Men Days Of Future Past, 47 Ronin, The Hunger Games, Ender's Game, We Are What We Are

This looks so good, I am getting chills watching it. The painting behind the young Magneto at 1:08 (Michael Fassbender) is Eugene Delacroix's Liberty Leading the People, probably the most beloved painting in France as it commemorates the French Revolution (however, if you click on the link, you will see how the little boy holding up the gun in the air is actually on the left side of Lady Liberty in the original, so they have "mirror-imaged" that part and I am sure there is a good reason for it). There are only two, quick items we are going to discuss regarding this trailer and one of them is in the caption for the X-Men poster below.
The first item is individuality. As we see in the poster above, all the robots are exactly alike, they have no personality, no singular characteristics; why? That's what socialism values, everyone being exactly alike with no one being any different than anyone else (again, just like Seneg in World War Z who had no lines and no personality). The reason these robots would fight a "mutant threat" and are the villain in the newest film is because who is more individualitistic than a mutant (please remember, Teenage Mutant Ninja Turtles are being remade as well, starring Megan Fox)? The very definition of mutant involves something different, unexpected, unique and even irreplaceable. Who else is like Logan? Who else is like Storm, or Mystique? No one. That kind of intense individuality means two things: first, power, secondly suffering. Who has power like Magneto? Having that power means he is a threat, unless, of course, you are made of plastic, which leads us to the second point: suffering. Socialists want people to fear suffering so they will surrender all their freedom for the security the government promises so they won't have the threat of having to suffer; we saw this directly challenged in Beasts Of the Southern Wild with little Hushpuppy. At 1:49, "I don't want your suffering," and who does? No one wants to suffer, but it's one thing not wanting to suffer while still recognizing the "value" of human growth that comes from our suffering and thinking that suffering is inherently evil. Without the discipline of suffering that someone like Charles Xavier undergoes, he wouldn't posses the wisdom to teach other mutants the good path to take to responsively use their gifts, and wisdom, as Scripture tells us, is worth more than gold because--just as gold has to be refined in the fire before it gains value--so we must be refined in the fires of suffering before we gain that greatest of all gifts: wisdom. We generally don't associate wisdom with Logan: we think of strength, courage, intelligence, wit, sarcasm, but wisdom? Not really. We know Logan will always do the right thing, but we also know, even through the last film The Wolverine, that Logan was burdened by his gift of being a mutant and the claws and not reconciling what he is and what he can do increased Loga's suffering; of all the people to have to convince someone else that being a mutant is good, and that there is positive meaning to suffering, Logan is a surprising choice, but perhaps the only choice, not only because Logan has to take the final steps towards accepting his own life and destiny, but also articulate it in such a way that he can convince someone else to take the same path. This is the sign that this is going to be an incredible story!
The second item we are going to discuss is,... the 1970s. We know that Wolverine goes back to this decade because we have seen at least one photograph (pictured below) and those clothes cannot be mistaken for any other time. Why? Anti-Capitalist films such as The Conjuring, Dark Shadows, Argo, Rush and the upcoming American Hustle are all situated in the 1970s to mock individuality in America (I mean, Hugh Jackman is one of the sexiest men alive, and even he can't pull off looking good in 70s attire, who can?) and our clothes are one of the ways we express our individuality (please note how the robots above don't wear clothing, they are all just alike). This is probably the reason, however, that Xavier tells Logan to tell himself to hope again, but we will have to wait to find out more. Moving right along,...
We have all ready spoken at length on 47 Ronin starring Keanu Reeves, and the second trailer as been released which gives us a more definite sense of which side it's going to fall on, the same side as the rebellious Spartans of 300, see if you can catch the specific references:
Now, when something in a film reminds you of something you have seen in another film (Come and take it, there army is infinite and we are but 47) it's because it's meant to, the film makers intentionally want to invoke the other film, usually for one of two reasons, or both: first, because the film makers want to create an homage to a film they specifically liked or influenced them, creating a bond with the audience who catches the reference, like director Guy Ritchie using the theme song for Two Mules For Sister Sarah in Sherlock Holmes: A Game Of Shadows. Ritchie rewards the audience members who have seen that film and pick-up on the insight, so the person who knows the theme for Two Mules For Sister Sarah is playing is the "implied viewer" as opposed to the viewer who has no idea that something "more" is taking place in the scene, which leads us to the next point.
We can't deny that we see Reeves' character enduring a tremendous amount of suffering even just in the trailer; why? It's universally accepted that those who have suffered the most, have the most wisdom, and those who have the most wisdom make the best leaders, that's why socialist parties are always so poorly led, organized and corrupt.
Invoking something in another film let's the viewers know that the film they are watching is aware that there is a world outside the world of the film, or, the "boundaries" of the film are being extended to include the "real world" of the viewer and not just the world of the characters the viewer watches in the film. Why is this important? Because it validates the intuitive need viewers have to understand what is happening in the film, that what they watch on the screen is a reflection of something going on in their own lives, so, the more films you have seen (like 300), the more often you are going to be rewarded because you will be able to pick up on more and more of those references. And here is the final trailer for The Hunger Games Catching Fire:
The purpose of Catching Fire is for Katniss to destroy the arena in which The Hunger Games take place so there won't be anymore reapings and Games, rather like Truman in The Truman Show (Jim Carrey, Ed Harris). In essence, what Katniss and the film makers want, is the end of capitalism, because capitalism is so closely related to a "game," which brings us to this week's big opener, Ender's Game that I am quite excited about:
We have all ready seen a film wherein "thoughts" and dreams of two or more separate beings are mixing: Pacific Rim and "drift compatibility." This provides a great entrance into psychoanalysis: there are many "spring boards" for psychoanalysis, but anytime you see a character falling asleep, it's possible, that everything thereafter in the narrative is that character's dream. Dreams are the realm of the unconscious, so devices like "reflecting" (when a character looks into a mirror or we see them looking through a window) become a gate way into the character's deeper subconscious. I am going to see Ender's Game Friday--but it will probably be in the evening--Tweeting my initial reaction to the film Friday--and getting up the full post sometime later in the day on Saturday. Promise.
Some film news: Ben Kingsley has finally revealed, to some degree, his ultra-top secret Marvel film project: the real Mandarin will be revealing himself and accosting Killian and the pretend-Mandarin. In other film news, the cast of Olympus Has Fallen will be reuniting for London Has Fallen. The Walking Dead has been renewed for a fifth season. The first trailer for The Amazing Spider Man 2 will be attached to The Hobbit: The Desolation of Smaug.
Just because a film is going straight to DVD doesn't mean it isn't one we should ignore, especially when it involves cannibalism.
We have actually seen cannibalism at least one other place, in The Lone Ranger, when Tonto cooks a rabbit he then feeds to a pack of rabid rabbits that turn into monsters as they eat one of their own and in the villain of the same film who eats the organs of those he kills and in the people-eating giants from Jack the Giant Slayer and all the zombie films, such as Warm Bodies and World War Z,... We Are What We Are is just a bit more decisive about it.
Eat Your Art Out,
The Fine Art Diner