The Order (2003) - starring Heath Ledger
If you’re looking for something with a sort of ‘divine order’ about it, this is a well made movie with a coherent story. Even the Pope has to make deals, in the practical world, and if there is such a thing as a sin eater in the world, someone who can offer forgiveness outside of the church, then there must be some line between earthly justice, and heavenly justice. Or some… one… will be forced to walk the divide.
The Hunger Games - Catching Fire - Trailer
The Hunger Games is a brilliant series. I loved the first film. I think it’s… Truman Show meets V for Vendetta. I am looking forward to seeing the new one. I just watched the first one today, on Netflix. I want to watch the new one right now.
The Hunger Games (2012) - In the lead up to the rise of Nazi Germany, many revolutionary messages, and subversive sentiments in general, were either excluded from films, changed from the filmmakers intentions, or else, under the direction of the censors in place, redacted to change the message to conform to the authoritarian intent. One such film was the notable ‘The Cabinet of Dr. Caligari’ which was originally intended to portray a man who discovers, in the climax of the film, that the Dr. Caligari of the title is the head of an insane asylum, while also being responsible for his hypnotic control of a somnambulist who has been committing murders in a sleepwalking state. However, this was changed for the final form of the film, which instead features a further ‘framing’ of the film, where the man who discovers Caligari as the nefarious doctor, is himself in a mental institution, who is in the end under the benevolent treatment of another Doctor, who looks exactly like Dr. Caligari, but, somehow, in a twist that is simply tacked on, he simply isn’t Dr. Caligari, but reveals he realizes now the patient under his care only “thinks I am Dr. Caligari. And now I know how to treat his illness.”
Now, compare this to the 2012 film ‘The Hunger Games’, which enters us into the post-revolutionary world, where everything has been put back together under a dystopia posing as a utopia, only we are in this world under the facet as ‘players in a game’. It is a crazy situation our youth has gotten themselves into, no doubt, ‘reaped’ from their lot among the producers, and forced into (somnambulistically, of course) killing each other, while the show of our lives, is in fact the reality in which we live, here framed as a film… So, the false frame leads us to believe we are being freed from the trapping of our fate as the forced-into-madman-status by being given the chance to participate in this media circus, simply by viewing the film. And so long as we are metaphysically prepared to fake love, sacrifice our lives, i.e. revoke our true freedom, then we, so long as the world behaves towards us idealistically as we know all cosmic governments do… we will receive the gift of our lives given back to us. Wonderful. The future can only get better. Right?
Also, isn’t it nice how Jennifer Lawrence is such a real person, too?
This is a great book.
The French Connection, The Last Picture Show, M.A.S.H., Harold and Maude—these are only a few of the iconic films made in the United States during the 1970s. Originally considered a “lost generation,” the 1970s are increasingly recognized as a crucial turning point in American filmmaking, and many films from the era have resurfaced from oblivion to become a reference for new directorial talents. The Last Great American Picture Show explores this pivotal era in American film history with a collection of essays by scholars and writers that firmly situates the decade as the time of the emergence of “New Hollywood.”
Sam Peckinpah, Arthur Penn, Peter Bogdanovich, Monte Hellman, Bob Rafelson, Hal Ashy, Robert Altman, and James Tobac: these legendary directors developed innovative techniques, gritty aesthetics, and a modern sensibility in American film. Here, contributors compellingly argue that the cinema of today’s major directors—Steven Spielberg, James Cameron, Quentin Tarantino, Ridley Scott, Robert Zemeckis—could not have come into existence without the groundbreaking works produced by the directors of the 1970s. A wholly engaging and long-overdue investigation of this important era in American film, The Last Great American Picture Show reveals how the films of the 1970s transformed the American social consciousness and influenced filmmaking worldwide.
Total Recall (2012)
All I can say about this one is the second half… fell a little off beat. It started out o.k. but they must have spent too much money and leapt without looking because things just kind of went south and fell flat. They wrote the check but when they tried to cash it, I hope they realized you need to pay a little bit more attention to what you wrote on it first.