Insurgent (3D)

Insurgent (2015) by Robert Schwentke

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I must confess that I gave up on the books 200 pages into the second volume. It all turned too much into some sort of Twilight with Four becoming more important than Tris. I hate when that happens and I’m still in awe of Suzanne Collins and the way she developed Katniss Everdeen into a real person instead of just arm candy for Peeta.

insurgent1Given, Insurgent doesn’t quite give me the same feeling, but it disappointed on another level – a level it shares with the book, no doubt. The plot is… still no more convincing. It actually got a little weirder and wilder and not in a good way.

Okay, let’s get back to what happens for a second:

Tris (Shailene Woodley), her brother Caleb (Ansel Elgort) and Four (Theo James) hide out with the Amity but are out of luck as the Dauntless are still hot on their heels. They are being found out and are just barely able to escape – back into the city. Tris’ only thought is that of revenge on Jeanine (Kate Winslet), Four is tumbling into a Family reunion with his abandoning mother (Naomi Watts), and Caleb leaves the two to follow his own beliefs. They bring him back to Erudite where he and Tris meet again when Jeanine insurgent3threatens to kill people if Tris does not surrender. She does and is forced to use her divergent powers to open a secret box that promises to either make things even worse or bring salvation to those hunted.

It’s a fast-paced movie with a lot of action and little time to ponder what is actually happening. Which is probably a good thing because not all of it is making sense. I find the big reveal quite questionable, probably because I never understood the faction-system to begin with. Or rather, I didn’t be lieve in its functionality, neither as  political system or as plausible post-apocalyptic basis for a plot. Well, I shouldn’t have worried, it’s just a smoke Screen. But what is revealed instead doesn’t make it any better, unfortunately.

insurgent2The movie is not all bad. But most of its story just doesn’t work for me. What still does and will always work, of course, is Kate Winslet. I love her portrait of evil Jeanine and am only sad that it’s come to an end now. I’ll miss her – or maybe I won’t depending on whether I’ll watch Allegiant.

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The Hunger Games: Mockingjay – Part 1

The Hunger Games: Mockingjay – Part 1 by Francis Lawrence (2014)

mockingjay1.1The beginning of the end – but we’re already very familiar with this kind of thing, aren’t we? I mean the splitting of the last volume of a book series into two films. Potter had it, Twilight had it, and I don’t even want to know if Fifty Shades of Bad Entertainment will have it as well. But for Mockingjay, I feel it was the right decision, because part 1 is already amazing.

What happens?

Katniss Everdeen (Jennifer Lawrence) has been rescued from the arena of her second hunger mockingjay1.2games and brought to District 13 where the rebels have gathered to wage war against the capitol. Katniss’ home District 12 has been destroyed but Gale Hawthorne (Liam Hemsworth) has saved some people, including Katniss’ mother (Paula Malcomson) and sister Prim (Willow Shields).

District 13 is a military district that works from underground since it had almost been completely destroyed during the war. People there live on essentials. Katniss agrees to be the symbol of the rebellion – the Mockingjay – if the captured tributes, including Peeta Mellark (Josh Hutcherson), are rescued at the earliest opportunity and given immunity.

After a sucessful rescue, Peeta tries to kill Katniss – he’s been brainwashed.

mockingjay1.3What fascinated me most with this part of the series is the barren look. While I would have wished for a more plush trainee center in the first film, the sparse set in this film fits District 13 perfectly. And it’s not just the set, the clothes and make-up of the characters reflect the military status of the district. To see Jennifer Lawrence basically without make-up… it makes her acting that much more intense. And not just hers. Once again, Julianne Moore just takes my breath away with her acting. She’s perfect as Alma Coin, the leader of District 13. Her posture shows miliatry stiffness and strength but she’s also sympathetic.

I think my favorite scene – probably everybody’s favorite scene – is the one with the group of young people (among them Natalie Dormer as Cressida) at the lake. It’s a stark difference to the scenes in the underground facility, it’s more relaxed and peaceful than the setting of the forest in the hunger games, and then there’s the song that Katniss sings – and it’s perfect. Jennifer Lawrence has a throaty, raw voice and it fits the situation and the song perfectly.

If there was something in this movie I didn’t like, I don’t remember it anymore because there were so many good things to remember, most of all the great acting by everyone involved. Effie Trinket mockingjay1.4(Elizabeth Banks) without her make-up, stripped bare of her capitol attitude and desperate and vulnarable is such a beautiful thing. Philip Seymour Hoffman in his last role as Plutarch Heavensbee… The casting is just amazing in this series and it makes this movie in particular sparkle more from within, because the setting doesn’t.

This movie series is getting better with each movie, while with the books, I will always think that the first one is the best. It makes for a nice contrast – and I’m so gonna own these wonderful movies on dvd.

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Maleficent

Maleficent (2014) by Robert Stromberg

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Let’s talk about Angelina Jolie for a moment. I have my problems with reviewing any of her movies, to be honest, even though I’ve watched most of them at the movies. It’s just incredibly difficult for me to look beyond her iconic status and see her work outside of it. I’ve been a fan since February 2001 when I first saw the Tomb Raider-trailer and that’s probably also around the time she became this iconic figure so I’ve rarely seen her without it. But we all know that she is a talented, incredibly able and dedicated actress. And I want to stress this point because Maleficent is probably her most iconic role to date – and it could have been a disaster if anyone but Jolie had played it.maleficent1

What happens:

An old tale with a new twist – Maleficent is a fairy living in a kingdom with other fairies and magical creatures just next to a kingdom where envious men dream of conquering that neigboring world they don’t understand. When a king (Kenneth Cranham) finally tries, he and his army are defeated and it is Maleficent as protector of her kingdom who is responsible for the defeat and the humiliation the king suffers. As he lies dying, he promises the kingdom to the man that kills Maleficent.

Stefan (Michael Higgins, Sharlto Copley)  who has been Maleficent’s childhood friend and first love reconnects with her but then betrays her. But since he is unable to kill her he cuts off her wings and takes them to the king – and becomes king in return. Maleficent swears revenge and makes herself queen of the beforehand leaderless fairy kingdom – a dark queen. She curses Stefan’s first (and only) child, Aurora (Elle Fanning), to fall into a deep sleep on her sixteenth birthday from which she shall not awake unless it’s by true love’s kiss (since Maleficent does not believe in true love anymore because it’s what Stefan had vowed to her it’s a mute point that Aurora will never wake).

maleficent4Aurora is send away by her father to live with three fairies (Juno Temple, Imelda Staunton, Lesley Manville) who show such negligent care of the child that Maleficent feels the need to intervene just so that Aurora will live to see her sixteenth birthday. She unwillingly befriends the girl who thinks that Maleficent is her fairy godmother and as she grows attached to the girl she tries to take back the curse. She fails and has to watch as Aurora falls victim to it. She brings Phillip (Brenton Thwaites) to the castle – a young man who has met Aurora once and was enchanted by her – but his kiss does not wake Aurora. Only when Maleficent kisses the unconscious girl – grief-stricken over the fact that she couldn’t save her – Aurora wakes.

There’s loads of battle and awesomeness and Maleficent finally gets her wings back. In the end, Maleficent and Aurora unite the kingdom in what can best be described as a gay marriage ceremony (that’s open for interpretation and discussion). The Happy Ending.

Now, there have been a number of fairy tales lately who tried and failed at maleficent-poster2giving the old tales a feminist spin – Maleficent is not one of those. It’s also not a lighthearted, musical color-explosion that’s been ejaculated onto the screen. It’s not flashy, it’s not distastefully pointing fingers at mythical creatures in a ‘look how different they are’-kind of metaphorical way. It is what it is:

A tale about people. People who are flawed, who are cruel, who are obsessed, who are kind, who are trying so hard at being better. There is a wide range of human frailties at work here and most of them are displayed in Maleficent – the ‘villain’ of the tale – but they’re all displayed on the remarkable body of Angelina Jolie’s talent. She’s a playful fairy, a scary avenger, a violated woman, an action-hero, and a tender lover.

I don’t even have words for how magnificent Angelina Jolie is in this role. It’s the kind of role meets actor that you would wish for all of your favorite movies, the kind of combination of talents that comes along far too rarely. This is an epic movie, a movie that sets standards, a movie you will want to watch again and again because its pieces fit perfectly into a well-told story, a powerful drama, an exciting action movie, a love story that is rarely told in such a way (and yes, I’m talking about the love between Maleficent and Aurora and I’m not going to put a label on it). This is the movie you should watch if you were only going to watch one movie this year – you won’t regret it.

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Divergent

 

Divergent (2014) by Neil Burger

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Let me start by saying: I haven’t read the books (yet). They’re somewhere on that long list of want-to-read books I hope to get to in the future and watching the movie certainly pushed them up quite a bit.

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I’m intrigued by the concept of the story. But I’m also a little confused. Let’s look at the plot:

In a not too distant future in post-war Chicago, society is being sorted into five factions. When Beatrice Prior (Shailene Woodley) is tested for the special virtue that will decide which faction she might best fit in, she finds out that she’s divergent – she possesses multiple virtues which means she might not fit in anywhere.

Divergents are considered dangerous in the society she lives in and changes within the government lead to the systematic prosecution of divergents. Beatrice must learn to hide in her chosen faction to avoid detection. But hiding ceases to be an option when her parents’ faction becomes the target of a vicious attack.

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I guess it’s a little like getting into Hogwarts and being sorted into houses by virtue but then, of course, it’s not like the Harry Potter-series at all. There’s no magic, there’s technology. Nobody has a super power and having multiple virtues can actually paralyze the bearer.

As I said, the concept is certainly intriguing, but having only watched the movie, I feel that it was not able to convey the layers of the complex social system that lies beneath the story – at least I hope that something like this exists in the books.  Thus the movie left me a little restless to find out more – which is not bad in itself, it just makes the movie a bit dissatisfying.

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Something that cannot be said about the acting. To be sure, I watched the movie because of Kate Winslet. She is a singular reason that never fails to attract me and she’s amazing, and amazingly evil. I love her character, I love how she protrays her – and I love that I can usually trust Kate to star in watchable movies that rarely disappoint. The star of the movie, Shailene Woodley, doesn’t either. She’s vibrant, she’s a good actress, and it’s actually a little disconcerting how much she reminds me of a younger Kate Winslet. It was good to see Ashley Judd again – even in a rather small role, she certainly made an impression. The same goes for Zoe Kravitz and Mekhi Phifer.

I liked this movie, and not just because of the great casting choices. It’s interesting, smart, has great pacing. Beside the fact that I felt a little left out of the loop where background was concerned (I’m aware that the medium does not allow for delving into it too much or the pace would suffer), I feel that I could have done with less of the love story between Tris (Beatrice changes her name to Tris after chosing a new faction) and Four (Theo James). Some of the dialogue in these scenes was also rather corny. But apart from that it’s certainy watchable and I’m looking forward to reading the books and then (maybe) come back for the second film of the series.

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From my DVD collection: The Maltese Falcon

The Maltese Falcon (1941) by John Huston

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Humphrey Bogart, Mary Astor, Peter Lorre, and Sydney Greenstreet in John Huston’s adaptation of Dashiell Hammett’s novel of the same title. It certainly makes for good entertainment but there’s more to it than that:

Sam Spade (Bogart) gets hired by Brigid O’Shaughnessy (Astor) to find her sister who is seeing some shady character named Thursby. Spade’s partner Archer (Jerome Cowan) jumps in to shadow Thursby but by early morning themaltesefalcon2they both turn up dead. As it turns out, Spade was seeing Archer’s wife on the side and thus becomes the police’s no. 1 suspect. But Spade isn’t a killer, he’s clever enough to find out that the whole plot of the damsel in distress is a decoy and everything really revolves around a black statuette of a falcon which is supposed to be of great value. Several parties want it but it turns up on Spade’s doorstep in the hands of a dying man. Plot is spun and the main players – besides Spade and O’Shaughnessy there are Joel Cairo (Lorre) and Gutman (Greenstreet) – finally meet in Spade’s apartment where they’re waiting for the falcon to arrive via Sam’s assistant Effie (Lee Patrick). It turns out the statuette is a fake and the parties part ways. But Spade is not one to be played with – as his new lady love has yet to discover.

themaltesefalcon5This is not exactly film noir. Yes, the plot lends itself to the genre but the finesse of the later murder mysteries is missing here. This is a solid story, the men talk tough, the women lie through their teeth but there’s no playing in the shadows. Bogart’s Spade is almost too upfront a character who does the detective work the old fashioned way: by foot and brain. He’s certainly not fancy but, as Gutman assures him repeatedly, he is a character.

I love old movies, yes, but this one is a rare pearl. It is very fast paced, changes location often and the dialogue is just as fast-paced as the plot. You have to pay attention to what is being said or you miss a point, miss what is happening. The themaltesefalcon3acting is spot on and the direction brings everything together for a surprising but necessary end. Yes, it is a character study of Spade, but the other characters don’t have to hide behind this larger-than-life figure and the plot just helps everything along nicely. It is a truly magnificent film to watch, never boring, never not entertaining. Go, watch.

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Les Misérables

Les Misérables (2012) by Tom Hooper

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Finally, Les Mis opened in Germany! Finally, I watched it!

You might think that this has been a livelong dream of mine, that I could think of nothing else while waiting for it to happen, that I was thrilled by the choices of actors – or devastated. But you would be wrong. I knew very little of Les Misßerables before, and I don’t feel that I know a lot more now. Sure, the plot is fairly clear now, some quotes that I may have heard before make sense – but I have never read the novel by Victor Hugo, I haven’t seen a version of the musical before now.

lesmis4And still, when people started talking about it on the blogosphere, I became intrigued and I wanted to see it – even more so when I heard that Helena Bonham Carter would be in it, singing once again as she had already done on Sweeney Todd the Demon Barber of Fleet Street. Anne Hathaway? Can she sing? Russell Crowe? Can HE sing? Hugh Jackman? Awesome, he can sing! The list of cast just got better and better and then I waited, patiently. Until yesterday:

The year is 1815, Jean Valjean (Hugh Jackman) has spent 19 years in prison, five for stealing a loaf of bread, 14 more because he tried to escape. Now he’s on parole and he’s given the chance to better himself. But he can’t do that while still wearing the stigma of a con – so, he makes his former self disappear and builds a new identity. One, that becomes mayor of some city and a respected businessman. At his factory works a young woman by the name of Fantine (Anne Hathaway) who is dismissed by Valjean’s foreman after finding out that she has an illegitimate child.

Fantine takes to the street while Valjean has to face his past in the figure of lesmis2Javert (Russell Crowe) who was a guard at prison and recognizes the man. Valjean finds Fantine and takes her to the hospital where she dies after Valjean promises her to find her daughter, Cosette, and care for her. He does but has to flee with the small girl (Isabelle Allen) because Javert is after him again. Nine years later in Paris, Valjean and Cosette (Amanda Seyfried) live in hiding. Cosette falls in love with a young revolutionist, Marius (Eddie Redmayne) and Javert once again enters their lives. Trying to escape they are caught up in the machinisms of a revolution and everybody has choices to make, debts to pay.

The story isn’t the greatest part of it, and I’m not even sure if it’s Hugo’s doing or simply the script of even the musical version, but there are certainly a few questions that are left unanswered, a little too many coincidences happening. But these probably shouldn’t even be mentioned in the light of a fantastic cast lesmis3giving a breathtaking performance. Yes, they can all sing and they do. And while they’re all really wonderful, it is Anne Hathaway who blows everyone else out of the water. Oscar-worthy performance? Abso-fucking-lutely (pardon my French, and the pun)! There are no words to discribe her intensity. She makes the audience feel lost with her, makes everyone want to reach out and protect her. She is the face that has been ruined, not by her own doing but by others judging her. She should have lived where others died but she doesn’t. She dies and the audience cries for her.

Luckily, they bring Anne Hathaway back for the grand finale because by then you have missed her – not because it had all turned boring and lame by now but simply because she was THAT good.

Whoelse was good? Well, you guessed it: Helena Bonham Carter. It doesn’t really matter what she does, she does it all fabulously. And the weight of not letting the whole show drudge into misery and sorrow lay heavy on her and Sacha Baron Cohen’s shoulders and they pulled it off and making it look effortlessly.

I’m mentioning these two actresses but I should mention everyone involved. lesmis9The cast was fabulous. I think I was most surprised by the role of Javert. It would have been easy to have him being the villain, somebody who doesn’t care. But Javert does care. He really believes that Valjean belongs in prison, that he’s a dangerous man. He also believes in the system, in the law, and that’s exactly why he must fail in the end – because the system fails him. He is confronted with the question of right and wrong and must admit to himself that he has been wrong all along, because he has put himself on the wrong side. I feel, that his is really the most complex of roles, more so than Valjean’s, because Valjean has the opportunity to redeem himself – Javert doesn’t. And Crowe is really great at protraying this.

There’s another interpretation that lends itself to these two characters, of course. It feels a little like a love story between the two men. None of them seems to have any other romantic linkages but one is always following the other, watching for him. Yes, there’s antagonism but there’s also honor and a sense of one coin with two sides. One is Valjean, the other Javert (their names are eerily similar with the prominant Vj/Jv sounds in them). It’s really a kind of symbioses that binds them, they cannot let go, they cannot carry on.

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There is so much in the story, there’s so much in the songs, there are emotions and thoughts. I will watch it again and listen to the soundtrack and maybe even read the novel – hopefully it will all make sense at some point, or at least the things that I found a little lacking in the plot. It was the only thing that lacked anything really, as this was a brilliant movie. Now go see, if you haven’t already.

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As part of an obsession: What to Expect When You’re Expecting

What to Expect When You’re Expecting (2012) by Kirk Jones

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I remember watching the trailer and thinking: no way I’m going to watch that. I’m not sure if it was the way it was presented in said trailer or whether I didn’t pay enough attention to it but I was convinced that this was a movie about becoming a dad… somehow the ‘dude group’ got stuck in my mind as the main focal point and that was certainly no movie I wanted to watch.

Another problematic expectation for this movie was certainly that it was going whattoexpect2to be heteronormative to a fault – and at least on that account it delivered. But let’s look at what’s happening:

People are having babies. In this movie, there are five different couples in Atlanta who are expecting something small. Some rather unexpectedly, others after having tried for awhile, one couple is adopting. The different ways to deal with this are shown sometimes comically, sometimes tragically, even satirically.

Of course, most people know that there’s a book of same title out there, trying to prepare future parents for the big step of having off-spring. And I guess, it’s a helpful book – not having children or wanting children, I’m no expert on self-help books for expectant couples.

The storylines interweave in this movie, the couples are at different points in their lives, it’s all more about the comical element than representation of truth. It also tries to convey that pregnancies are diverse just as the women who are pregnant are diverse.

whattoexpect1It’s a little hard to talk about the different storylines of the film because there are several and all cast quite brilliantly. Of course, my focus was on Anna Kendrick as the young woman who got pregnant from a one-night-stand but miscarries. She probably has the most dramatic story-line and really builds a relatable character in a short amount of time. The ending to the relationship to Marco (Chace Crawford) is a little forced it seems. The movie is so adamant in creating a happy ending for all the stories that reasoning flies out the window in this one and we don’t really understand why Kendrick’s character Rose has a change of heart when she told him before that seeing him was too painful.

Maybe it is because the movie tries to tell too many stories and to do them all justice. But it is not the only problem this movie has. While the acting is excellent all around and the funny parts are really funny, some of Hollywood’s biggest problematic chlicées are reinforced. For once, people of color are rare. Jennifer Lopez and Rodrigo Santoro play a latino couple and while all the white people in the movie are capable of having children of their own, these two are the couple who adopt. I guess that’s the heteronormative equivalent of having the only woman of color in a movie play the gay/bisexual character. Another one: Chris Rock plays one of the dads in the ‘dude group,’ the wisest, most whattoexpect5informed, cool dad – but also the one with the most kids, planning on more. African-Americans having a lot of children while his white buddies all stop at 1.9? Seriously? Of course, one can talk of satire in his case, as most of his role seems to build on it. Still, when you look at the set-up of the film you can’t help but feel that the people of color are pushed to the sidelines, especially with the multiple birthing-scenes all intertwining while the adoption scene is set apart. It would have been nicer if the adoption had been interwoven as well, showing that adoption isn’t something ‘less’ or something ‘other’ than having a baby in the ‘traditional’ way if you want.

Which also brings us back to the problem of heteronormativity. No queer characters, not even lesbian moms. I’m not sure where the book stands on that but the movie lacks on that aspect. Straight couples having babies – or not, or unwillingly, or predictably. Because there is realy something predictable how it is set up for just the right audience – white, straight folks.

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I already said that the acting was excellent but let’s elaborate a little. I was probably most impressed with Elizabeth Banks. And I don’t know where I know her from or why I haven’t paid much attention to her before but she is a really good actress. Someone who delivers lines in the best comical way. Anna Kendrick, of course, is amazing. In a movie that is funny and droll, she’s the one who has to pull out the big dramatic guns and she’s amazing at it. Jennifer Lopez – I think she is underestimated in whatever she does. She’s a brilliant performer and has grown as an actress. As a woman who is that successful, she’s criticized left and right but is always giving her best and you can see it in this movie where she shows a lot of depth and inside. And then, there’s Rebel Wilson and her role is really small but she’s just great. I loved the interaction between her and Elizabeth Banks’ character, the only real sense of – if not friendship then – camaderie between women that you get throughout the movie. And maybe that is its biggest mistake – it puts too much emphases on men connecting through fatherhood but isolates the pregnant woman… just a thought.

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Back to tv: Once Upon a Time

(The purple stuff is not the Gay Menace it’s magic – okay, even I noticed the contradiction in that statement…)

A tv show about fairy tales, I thought, this is either a very bad or a very good idea. I am still not sure which it is but I am watching every week now. The premise goes as follows:

The Evil Queen (Lana Parrilla) hates Snow White (Ginnifer Goodwin) and wants to destroy her happiness with Prince Charming (Josh Dallas) – actually she wants to destroy everybody’s happy ending. So she curses her enemies to live in a land without magic where she reigns. But the Charmings are having a baby and by prophecy this baby is to rid everyone of the curse – in 28 years. They put her in a magic wardrobe and Emma – thus the Charming’s off-spring’s name – is transported to our world, somewhere in Maine. Not far from that small town that magically appeared shortly after by the name of Storybrooke where all the characters from our favorite fairy tales are now living.

28 years pass – only in Storybrooke they don’t really pass because time has stopped – and Henry (Jared Gilmore) appears at Emma Swan’s (Jennifer Morrison) door, telling her that he is her son and that she has to safe everyone in Storybrooke from the Evil Queen, his adoptive mother, Regina Mills. Emma comes to Storybrooke and as she decides to stay, the clocks in Storybrooke start ticking again.

The story is told in flashbacks that bring us back to Fairytale Land and the story that is taking place in Storybrooke. We get to know the characters and who they were in a magical world and who they have – unknowingly – become.

The concept is actually quite fascinating, especially from a feminist perspective: most of the main players are women because fairy tales are so often concerned with them. The love/hate relationship between Regina and Snow White/Mary Margaret is as much at the core of it as the antagonism between Regina and Emma – who, after all, lay claims to the same boy as son – and the love between Snow and Charmin’ who in Storybrooke are a school teacher and a man in a coma (don’t worry he wakes only to learn that he has married the wrong girl).

With a lot of characters there come a lot of stories to be told. The show does not exclusively tell classic fairy tales either but dips into Wonderland, Neverland and also brings Victor Frankenstein (David Anders) to the (operating) table.

While the story as conducted story is quite fascinating, the handling of characters is sometimes disappointing. It seems that the two villains are treated differently by the writer’s on the ground of gender, while Regina gets the cold shoulder treatment, Rumplestiltskin (Robert Carlyle) is forgiven his misdeeds because he is loved by someone. The writer’s also like to throw love-interests at Emma Swan, white male love interests while a lot of fans would rather see her with the Evil Queen, Regina, because these two have actual chemistry.

There are a lot of ships sailing under the Ouat (Once Upon a Time) banner, there are very few characters who are not in some way linked to each other and the fans love making up new ships (some of them not even romantic). One thing is sure: the fans are invested – and I count myself among them. Though my ship is the Red Beauty (that’s Ruby/Red Riding Hood and Belle/Beauty to you).

If you find the time, have a look. If for nothing else, the retelling and changing of fairy tales we’ve grown up with, is fascinating. And there’s room for plenty interpretation.

The Thing About Batman…

The Dark Knight Rises (2012) by Christopher Nolan

So, I watched The Dark Knight Rises on Saturday. It’s actually a little weird to say that because after the last Batman-movie I promised myself to never watch another one of those. Why?

The thing about Batman is… that I really don’t like him. As a character. Bruce Wayne is altogether too serious and too snobby to be really likable. I like to compare him with Tony Stark because they are both insanely rich and orphans but Stark is sarcastic, has a wicked sense of humour, while Batman takes everything to heart, is obsessed with saving people. It seems he has to ultimately fail because he will never be able to save his parents. Of course, this comes from someone who is no expert on comic books at all.

Let’s talk a little about the movie then. It was long, and it was also good. What I take from the franchise under Christopher Nolan’s supervision is that everybody is just a person. Nobody has superpowers, some are freakishly disfigured but by some miracle still alive – and are incredibly angry. People are hurting. Our hero is hurting, too, but he still finds it in him to want to make the life of others better.

Gotham seems to be a pit really… this city seems way beyond saving.  And maybe this is another thing about the whole Batman-franchise that I do not like: the dreariness, the bleakness, the darkness. Gotham City is depressing, like some 1930s film noir New York or Chicago, it has too many shadows and in every single one of them lurks an even darker shadow that sometimes wants your money, sometimes your life.

But then there are also things I like about Batman: Everybody is wonderfully three-dimensional. The character development within the franchise is great. The villains are evil because they actually do evil – not like some wannabes who never get their act on (right, Loki?). And then there are some who are not even evil but merely… criminals. Like Catwoman/Selina Kyle in this new installment. And let me tell you – she is glorious. But then she always was. Think Eartha Kitt, think Michelle Pfeiffer, okay, don’t think Halle Berry… Anne Hathaway owns the catsuit and she looks mighty fine in it. She was the reason I watched the movie and I am not even a little disappointed – she can act and she does and she looks good doing it. The one regret I have about her – she and Bruce/Christian Bale had zero chemistry… it happens and maybe it shouldn’t be forced…

Marion Cotillard’s role as Miranda certainly was surprising but it was also very well acted. At first I thought she was wasted as love interest but I had another thing coming and it was gooooood. I guess it is not really surprising that I found the women of the movie more compelling than the males. Though I must say: Blake (or Robin)… Joseph Gordon-Levitt has becomes such a capable actor. And why not continue with only him and have a Robin-movie. This is actually something I would like to watch – despite my misgivings about Gotham City. And I guess I don’t have to mention the awesomeness that were both Michael Caine and Morgan Freeman, right? I mean with those two it’s a given.

So, yeah, it was a good movie. It sure had its lengths but I liked the various topics within the movie about whether the Dent-Act is still valuable even if Dent was not the hero they made him into. And also the socialist component, the question if people like Wayne (rich people) have any purpose…

And then there was this and it made a good movie into a great one:

Snow White and the Evil Queen

Snow White and the Huntsman (2012) by Rupert Sanders

I am not sure what Hollywood’s current fascination with fairy tales is all about. Two Snow White-movies and Little Red Riding Hood, not to mention other mythical creatures that haunt us since Bram Stoker… I would like to blame it all on Stephenie Meyer but I guess that would be too easy.

And the premise (or the trailer) of this one was quite good: Snow White as independent amazon-like figure who will fight the evil queen with a sword – and looks awesome in chain mail. Who didn’t want to see it after the first glimpse of the trailer. And then, of course, tumblr was all aglow with bits and pieces of interviews with the female leads – who flirted shamelessly (with each other). After that the rest of the world (or was it only the lesbian world?) was enchanted and rushed to the movie theaters.

So did I. And as mostly everybody else I was disappointed. It actually has me believe that Hollywood should just produce trailers and leave the actual story to our imaginations. Then we can use platforms like these to talk about our various versions of a movie and not complain about an actual production – because let’s face it: that happens more and more often.

I don’t want to go into the details of why I think Hollywood produces so many bad movies right now, let’s discuss instead why Snow White and the Huntsman is one of them.

Fairy tales do not easily adept to feminism, that is a basic truth, as mostly these stories were there to scare women off. Not just off seeking a different aim in life than marriage (because marriage obviously makes a princess out of any girl) but off seeking an independent sexuality. And I am not talking only lesbianism here as you might think, I am also talking about women wanting to experience an orgasm… women were there to fulfil male sexuality not establish an own sexuality. Women who tried that were deemed witches (not just in fairy tales but in medieval Europe as well). This is what the beginning of Snow White and the Huntsman tells us as well. Ravenna (Charlize Theron), the evil queen, gets married to Snow White’s dad (Noah Huntley) and poisons him in their wedding night. But the poison does not kill him, Ravenna does as she plunges a knife into the man.

Let’s talk about the obvious symbolism of this act. Wedding night constitutes the first time man penetrates woman. Ravenna turns it around (literally as she flips her new husband over and straddles him) and penetrates him instead – with a knife to his chest. She explains this to be her feminist manifesto against the injustice of women having to be beautiful while man only having to have a penis.

Of course, there is some truth behind her reasoning. But it is so obviously done as if to say: look, we make women in fairy tales feminist and strong women now, we are not sexist, men do understand woman’s need for independence (the makers and shakers of the film are mostly male). Yeah, well, and no! Especially since they make the evil queen not just a feminist, they make her a lesbian – and quite deliberately so. You think I am delusional?

So, during the wedding night, Ravenna penetrates her husband – put in here one of the early sexolgists, and you have the typical penis envy scenario. She keeps a beautiful young girl (Kristen Stewart) prisoner in a tower, not killing her (and if you wondered what her brother [Sam Spruell] has to do with the story at all, why not see him as her male alter ego so that she can watch Snow White…), she sucks the life out of young women with a kiss (yes, I know, they finally refrained from executing the kiss but what do you think it stands for? CPR?) – this takes us back to 19th century “lesbian” literature that protrays lesbians as sucking the life out of young (and straight) women using a higher social standing (hello, queen) to seduce them (the vampire myth is linked to this, as well). The queen wants the heart of the fairest of them all – do I really have to point to the symbolism of the heart? Ravenna coaxes Snow White into sharing her first kiss with her – in the guise of a man but still… why not just plunge a knife into her (also note that Ravenna never actually kisses the king but she kisses his daughter – what does that tell us?)? And finally: Snow White’s last words to the evil queen – ‘I can’t give you my heart’ – in a movie that is so forceful with it’s many symbols… I guess, this last line seals the deal.

So, here we have another dead lesbian, a witch, an evil woman. Sure, they try to build a little story around her vanity and her strangely symbiotic relationship with her brother but that is more confusing than anything else. Just because your mother tells you that your beauty is your only worth, does not make it right to suck the life out of female citenzry and land.

But let’s come to our damsel in distress who is also more of a fake feminist and more of a virginal (and Christian) standard. The girl has been in a tower for a decade, no one knows she’s alive and no one (especially not the audience) knows why she’s still alive. Maybe so that the queen’s brother has someone to peep at other than his sister (that guy creeped me out). Her beauty does not just stem from her lovely red lips, the black hair and the white skin, it is mostly an inner beauty (here they went all out with the beauty-comes-from-within-message that Hollywood sells so well…). Albeit the fact that she has spent the last ten year in a prison cell, she is in pretty good shape when it comes to escaping the castle (I especially like the sliding into the… medieval canalization thingy). Make no mistake, she’s a feisty one but she is also not quite the amazon princess the trailer makes her out to be. ‘Cause her main fighting skill is a move the Huntsman (Chris Hemsworth) shows her early in the film and, of course, it is the way she finally kills the queen (this is foreshadowing waving at you).

Don’t get me wrong, Kristen Stewart sells this girl well and, I guess, compared to Bella Swan every girl is a feminist but still, the message does not sail. Why? Snow White is a virgin, stays a virgin to her death, is awakened by true love’s kiss (from the Huntsman), and, as far as we know, stays a virgin until she is crowned (I must say, though, that this crowning scene had me a little confused – and not just because of the head-nodding at the very end – but she is wearing red and she and her huntsman have a little bit of an eye-shagging accross the entire room… this could mean that they have been intimate, but the fact that she is crowned and not married at the end of the movie could also mean that she will be one of those “virgin queens” history has invented as another means to suppress woman’s sexuality).

On the whole the movie overdoes it’s showy feminism when it is about beauty but forgets about setting female sexuality free. It also mixes too many mythical tropes. I mean, we knew there would be dwarfs (because, hello! it’s Snow White!), but then there were fairys, and then there was a shiny white stag (if it had started speaking at one point, I would have left the theater), there was witchcraft and then there was Snow White, reciting a Holy Father in front of her fire place while holding voodoo dolls (or something). And this already freaked me out after half an hour. It was just overdone.

And don’t get me wrong, the movie was visully stunning, it looked gooooood. But other than that… and this is especially sad when you look at the acting. I mean, KStew was great, she really was, but even Charlize Theron, who I consider a very good actress, overacted. At some point in the movie I stopped thinking of her as evil queen and thought of her as the drama queen…

There are still so many thoughts in my head about this movie: what they did well, they overdid (like slowmo… why did they need it 1.5 hours into the film to tell us that, yes, Snow White is the heroine?!), what they screwed up, they really screwed up (that whole brother figure was a disaster!), and then they put a quasi-amazon village into the film and neither did these women help Snow White hone her fighting skills nor did they show much resistance against a handful of guys raiding their village in search for Snow White… the only good thing about that was Rachel Stirling as the amazon queen (or whatever you want to call her) – I actually sat in the the theater and said: is that Rachel? (the guy next to me probably wondered if I was talking to him, who Rachel was and why he always had to sit next to crazy folk at the movies…).

So, there you have it. Another movie which could have been great but wasn’t…