151MM March 2016 by 151MM

Year of the

Superhero Identity Distortion in Son of Saul +Géza Röhrig: Bio, Impression, and Interview 1

Table of Contents Vignette Michael White, British theatrical impresario and film producer of The Rocky Horror Picture Show and Monty Python and the Holy Grail, passes away on March 9th. Deadpool becomes highest grossing R rated movie ever. March-AMC Theaters buys Carmike Cinemas in a $1.1 B acquisition deal, becoming the world’s largest movie theater chain. Georgia governor vetoes bill legalizing discrimination against LGBT people in the name of religious freedom, partially due to pressure from Hollywood studios threatening to pull out production from the state if the bill was passed.

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Chiaroscuro Year of the Superhero Chiaroscuro Gates Bar No Heaven+Geza Rohrig: Bio, Impression, and Interview’ Establishing Shot April 2016

Hello!

Screening Room Deadpool Screening Room Zootopia Breaking the Fourth Wall Mr.Johnson Rosebud Watchmen Blooper Reel

You must be wondering what you have in your hands at the moment. Well, we’re pleased to say that it’s PHS’s fourth literary publication, in the form of a magazine that talks about all things film. There’s a lot to explain and limited layout space to explain it in, so let’s just say that we met at Columbia University in NYC a while ago, shared some ideas, and something sparked. Two months later, we published our first issue, which you can find on Issuu.com, and here we are, two weeks behind schedule, with issue no. 2! Keep an eye out for interest meetings, where we’ll explain in depth how all of this works, and tell you why 151MM might be for you. Make sure to check us out on social media, and share the news with as many people as you possibly can! There are so many people who have helped us to get to where we are, so here’s to them. We’re coming up with some sizeable plans for the future, but for now, just enjoy! Sincerely, 151MM

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GATES BAR NO HEAVEN Identity Distortion in Son of Saul

he motive for this review (if it may be called a review), is not so much to praise or to criticize this film, since all works of art about the Holocaust exude some degree of man’s savagery against his fellow man….No artist, no matter how insightful, can engage in narration that is reminiscent of the era, while the medium of the arthouse film may especially find difficulty in reproducing the past with full objectivity. Therefore, my decision has been to examine, under the assumption of no misinterpretation, the social system of the director’s recreated concentration camp. First there ought to be a discussion regarding the director; prior to Son of Saul, Hungarian László Nemes studied extensively under film greats like Béla Tarr, acting as assistant director in The Man from London (2007). With outstanding education as his directorial head start, his focal points, as well as means of expression when it comes to portraying an event, are easy to perceive: in Son of Saul, these include striving to reduce the use of conflict in advancing the plot, using an isolated character to express the continuity of his action and reaction, and a minimal use of cutting (the film is comprised mostly of longer shots). In reading We Wept without Tears during his work with Tarr, Nemes discovered the final fragments of thought that proved formative of his final creation: in a different vein from Schindler’s List (1993) and The Boy in Striped Pajamas (2008) which lionize human optimism and condemn the atrocity of genocide, his film is a discourse on what lurks beneath Auschwitz: death and despair. The director uses close-up tracking shots and sight simulation to portray Saul’s filthy toil, the glow of the incinerator, and the whispers in the barracks, all of which bring out the theme and display the singularity of Auschwitz’s never-ending night. The air of despair established by the director can be summed up as the distortion and destruction of the prisoner’s personal identity. Yet unlike most plot-based films, Nemes makes no attempt whatsoever to get an approval from the viewer. The dialogue, succinct to the point of near non-existence, elicits not atmospheric or external despair, but rather that of an internal, subjective kind. But let us hold this thought in order to discuss the means used to describe Saul’s disheartening surround-

ings, of which there are two facets: language, and a social system. In the film Nemes presents a multilingual environment of human creation. By amassing Jews of diverse cultures, the Nazis formed the Sonderkommandos, in which Saul is forced to work. It is difficult for the audience to feel for the characters’ despair vicariously due to Saul’s own partial numbness. To him, the pleas and wails of the prisoners in line for the crematorium are no more than simplistic details with obscure significance. Communication with the prison camp guards requires the presence of a translator, while bodily movements take the place of speech in each moment of crisis. After Saul saves a Greek Rabbi from a death by drowning, the response “Hungarian is such a beautiful language” is given by the German officer, in German, mocking not only Saul, but his entire kind. But is language manipulated for the sole purpose of isolating individual prisoners? I think not. To quote a Romanian philosopher Emil Cioran in A Short History of Decay, “It is

Title: Son of Saul Director: László Nemes Region: Hungary Cast: Géza Röhrig, Levente Molnár, Urs Rechn, Todd Charmont, Jerzy Walczak, Gergö Farkas, Balázs Farkas, Sándor Zsótér Genre: Drama, Thriller, War Release Date: 12.18.2015 Runtime: 107 min MPAA: R Rotten Tomatoes: 96% Box Office: 5.6 million (USD)

8/Chiaroscuro

no nation we inhabit, but a language. Make no mistake; our native tongue is our fatherland.” A miniscule amount of conversation within the film perhaps reflects the Nazis’ use of language as not only a tool of oppression, but also one of “robbing others of their motives for speech”. In forming a connection with Cioran’s theory, we find that what is lost in this ban on the prisoners’ linguistic communication is an abstraction that exists in every soul, a form of ‘fatherland’, a form of self-recognition that transcends concepts of nationality. The creation of a quasi-social system by the German army on top of that only exacerbates the trauma, with serial numbers and bright red ‘X’s replacing the names of prisoners in the Sonderkommandos, methodically sending family members into the abyss of death. Previous status and work means naught, as all prisoners are powerless to refuse the work mandated by their overseers. The fact that some of these are also Jewish perverts their status of victim to that of accomplice, but they also lose their sense of individual worth, and aptitude for unique contribution. It’s hardly an exaggeration to describe such an effacement as outright destruction of one’s life, as Saul claims “we are already dead”. Saul’s seemingly frivolous and irresponsible pursuit--seeking a rabbi and giving his fallen ‘son’ a proper burial--can thus be understood. The film provides no clear answer as to whether the boy who survives the gas chambers only to be strangled by a German officer is, indeed, his son. Is it the motives behind his actions that are key to understanding Saul? What is it that drives Saul to bury the boy at all costs? The answer may lie in the boy’s final gasps and spasms, emitted on a mound of corpses--the last signs that he was still alive. In his “father’s” eyes, he shines brighter than the flames of the burning bodies. The child is a symbol of breaking free from hell, something more remarkable than anything. His demonstrated individual worth, the resilience of his life, is what fuels Saul’s crusade for a rabbi capable of performing a fitting burial. A being so special may not have his body numbered, ripped apart, and discarded like the others. A highly idealistic outlook imbued with paternal affection as such is easily accepted and internalized by the audience, but there remains more to be dissected. In a discussion’, the lead actor Géza Röhrig explained, “There is always a component of self interest to the actions of any character”. Much more exists behind Saul’s endangerment of himself and others than the urge to deliver the boy into God’s embrace. This requires us to consider the issue of the boy’s identity from another angle: What if the boy turned out to be someone other than Saul’s son? For one, fellow prisoner Abraham ceaselessly maintains, “You have no son. You failed the living for the dead.” If Saul’s mentality in the eternal darkness of Auschwitz is to be factored into the consideration, then burying the child out of self-interest would be an unpardonable act of selfishness--in the mass of bodies is hidden the possibility of self-transformation. Saul, who has been stripped away of nearly all personal value and identity, seems to

GÉZA RÖHRIG: BIO, IMPRESSION, AND INTERVIEW By Everett Shen

In March of this year, we had the opportunity to attend a Film Forum event at Princeton University’s Center for Human Values, for a screening of Son of Saul followed by an interview with the film’s Hungarian lead, Géza Röhrig. Naturally, we set out to find out as much about him as we could before we went.

retain only his name. His name, mentioned only four times throughout the film, represents his appraisal of self-worth, with two of the mentions of his name appearing when he “confesses” to be the boy’s father. A type of self-implication and satisfaction stemming from the child nurtures in Saul a sense of an inalienable, God-given blood relation. As inane as it may sound, by laying the boy in his grave, Saul seeks to complete the identity metamorphosis of becoming a father. The decision to be indifferent to the outcome of the prisoners is therefore a simple one, as Saul places his personal worth on the heavier side of his scale, even as the inmates’ lives may be on the other. Yet fate tragically decrees that Saul finds the rabbi to be an imposter, and misplaces the boy’s body. László Nemes’ directorial debut is an impressive one. His work innovation on the topic of the Holocaust, while reserving proper respect for the period’s grimness. Of other works of the genre, perhaps only Andrzej Żuławski’s The Third Part of the Night(1971) bears resemblance in terms of conception. Son of Saul decidedly doesn’t aim to please general audiences--only a diminutive amount of indicators is available for judging Saul’s mindset and actions within today’s parameters of values and moral standards. Without true insight and creativity, such artistic forms may easily seem dry and cramped. But as Son of Saul infuses fresh blood into the European filmscape, with well-rounded views and distinctive style, winning an Oscar along the way, it makes for worthwhile viewing. ’Géza Röhrig spoke in an interview at Princeton University’s Film Forum on March 28th, 2016(see Géza Röhrig: Bio, Impression, Interview)

Orphan, school dropout, punk rock musician, political activist, religious convert, illegal immigrant, poet, teacher, award-winning actor...A man can be said to have led an eventful life having experienced being any one of the above, yet Röhrig has been all of them. Born in Budapest, he spent the first four years of his life with his father(he disclosed in the interview that he’s never been able to confirm if it was his biological father), and moved to an orphanage when the man passed away. A Jewish family adopted him when he was 12, leading to his eventual conversion to an observer and devotee of Judaism. His relationship with his adopted grandfather, a Holocaust survivor, sparked his lifelong interest and study of the Holocaust. Röhrig was kicked out of high school for editing an anti-communist newspaper(Hungary had a communist regime at the time), and then proceeded to form the punk band Huckleberry, interrupted by the police nearly every time they had a concert. Eventually, he went to study in Poland, where he spent time in Auschwitz, forging his faith on the spiritual trip. He revealed that he then moved to and lived illegally in the US for 8 years, earning an MA and becoming a kindergartner teacher. The past number of years have been spent in poetry, and he’s published numerous collections dealing with the Holocaust and Auschwitz. It’s small wonder that although Röhrig has virtually no other screen credits other than from Son of Saul, it’s been said by director László Nemes that “Geza has been born to play this role. All roads led to this.” The man himself seemed to be from worlds away, wearing attire not so different from what he must have worn while shooting the film. In a relaxed discussion of beginnings, childhood, faith, Judaism, poetry, family, and the Holocaust, he attracted every ounce of attention in the room, despite being incredibly soft-spoken. His calling as a poet became steadily apparent, and he seemed perfectly at ease when verbalizing oases of meditative thought. He spoke the way only one who has been studying a subject for a lifetime could, and his speech, though heavily accented, carried substantial weight. Not a single sentence was given for the purpose of promoting the film, providing a contrasting image from the generic, toothy, Hollywood actor. In fact, it’d be difficult to imagine him speaking partially about the film in any way, so devoted was he to the truth and its perusal. His figure and countenance, integral parts of the movie, had greatly changed since his character transformation for the role, which had made him hollow and lifeless. He had one of those unforgettable faces belonging to another age, worn but compassionate, and brought to life by an expressive pair of eyes. With his charming urbanity, unhurried mannerisms, and unpredictable yet gracious bouts of humor, it was difficult to imagine a person more humble. He spoke about his role in the film unpretentiously while taking nothing for granted, earnestly and explicitly eschewing all credit that he felt was undue in any way.

As remarkable as he was, we managed to hasten ahead following the interview, and squeeze in a couple of questions about his role in the film. Check it out! 151MM: We’re really interested in the casting process of the film. Could you talk about that a little bit? GR: The director didn’t want to have any familiar faces that were associated with other movies, so there was a lot of casting through the newspaper. Not [for] me, but others, They were looking for people from 30 to 40, so really, just from the street. And when it came to the roles that were somewhat bigger, they went to the countryside theaters, places where actors are generally coming(from). So except the doctor, no one’s really a known actor in this movie. 151MM: So it was through the newspaper that you came into contact? GR: No! My story is very different. I’m not an actor at all. He (the director) was studying at NYU, we met, I had a punk band, so he kind of knew I could perform, and he read my books, so he asked me to be in this movie, but not for the lead role. So he started to improvise, doing stuff on video, and kind of slowly but surely, behind my back, he and the casting director started to entertain themselves with the idea about me being Saul, and then they convinced the producers.

ESTABLISHING SHOT Hardcore Henry 04.08 Get ready to experience the thrill of being a superhero. In this first-person-shooter movie, you see through the eyes of the main character, Henry, who wakes up in a laboratory, just brought back from the dead, and embarks on a frantic journey. Try not to forget that youâ&#x20AC;&#x2122;re watching a movie, not playing a video game.

The Boss 04.08 The hilarious Melissa McCarthy is back again after the huge success of her previous comedy Spy. This time she portrays an industry titan who is sent to prison after being caught for insider trading. She quickly emerges again, ready to rebuild her empire, starting with selling brownies.

Demolition 04.08 Davis Mitchell, played by Jake Gyllenhaal, is a successful investment banker who struggles with the recent death of his wife and slowly pieces himself together again by destroying things, literally.

Mr.Right 04.15 Martha, played by Anna Kendrick, is intrigued by a mysterious man who turns out to be a professional assassin. As the truth gets unraveled, Martha has to decide whether to be embroiled in the madness or run away from her Mr.Right.

Barbershop:The Next Cut 04.15 It all starts out in the barbershop. Starring Ice Cube and Nicki Minaj, the comedy holds a cute plot: as their neighborhood takes a bad turn, friends have to work together to save not only their barbershop, but also the community.

Criminal 04.15 At first glance, Criminal looks like an exact replica of Self/ Less, and weirdly enough, Ryan Reynolds stars in both of Everybody Wants Some 04.15 them. Except this time, a CIA agent inAfter the success of Boyhood (2014), director Richard Linklater creates a throwback com- stead of a rich grandedy that focuses on a college baseball team in the 80s, delivering lots of nostalgic mo- pa gets the brain imments that will leave audience both old and young with a warm smile. plantation.

10 /Establishing Shot

151’s Choice The Jungle Book 04.15 Remember Mowgli and his friends Bagheera the panther and Baloo the bear? Being enthralled by the mysterious richness of the forest and wishing you could also grow up among wolves? Rudyard Kipling’s beloved story, The Jungle Book, returns to the big screen after the Walt Disney Studios’ 1967 animated version, bringing with it more suspense, excitement, and adventure.

Green Room 04.15 Jeremy Saulnier’s movies always give off dark and eerie chills. After the critically acclaimed Blue Ruin in 2013, he comes back with Green Room, telling the story of a punk rock band fighting for survival at a remote Oregon roadhouse.

The Huntsman: Winter’s War 04.22 Although the plot might turn out to be as vapid as the previous Snow White and the Huntsman from 2012, it’ll still be worth it to enjoy visually stunning scenes coated in elegance and appreciate the radiating womenpower exerted by Charlize Theron, Emily Blunt, and Jessica Chastain.

Born In China 04.22 Disneynature takes you on a grand journey into the mysterious wilds of China, following the stories of three different animals: the Panda, Golden Monkey, and Snow Leopard. Be prepared to be bombarded by overwhelming cuteness.

Mother’s day 04.29 Celebrate Mother’s Day by bringing your mom to the movies! Director of Valentine’s Day and New Year Eve’s, Gary Marshall creates yet another star-packed movie of intersecting stories with different moms.

Keanu 04.29 Key and Peele pick up the torch of Smosh and Gabriel Iglesias, becoming yet another Youtube icon to produce a feature length movie. The dynamic duo embarks on a dangerous rescue mission for the cutest little kitten in the world, Keanu (Is that pronounced Kuh-AY-nu?). Written and designed by Sarah Hou

Establishing Shot/ 11

f you used social media a year ago, which you did, you probably saw(though you may not recall) a 2-minute video clip containing CGI test footage showing up in your feed. The heavily desaturated action scene of ultraviolence may have imbued you with hopeful anticipation, and most certainly left you feeling weird and tingly. Eventually, mischievous figments of a viral ad campaign began to float around, and it wasn’t long before the trailer came out, leaving the internet aflame in its wake. As the release date neared, all signs must have pointed to one thing: This wasn’t a superhero movie like any seen thus far. That’s what the marketing campaign managers tried to sell, at least. But when February the 12th finally arrived, was a one-of-akind Marvel experience truly delivered? The Matrix-esque bullet-time opening credits scene is a somewhat exaggerated though generally accurate preview of what the rest of the film will feel like: chock-full of mostly funny easter-eggs, while trying seriously too hard to prove itself uniquely smart. For the most part, this is understandable and non-detractory from the overall quality, but once the point has been made, sometimes it becomes too much. Luckily, if the first couple minutes or so leaves you gagging slightly on its humorous excess, the first actual action sequence more than makes up for it. Before the plot starts jumping around in time and space--probably spending the longest time in medias res for a Marvel movie, ever--we’re treated to a well-executed scene that’s ridiculously NSFW (adapted from the 2014 test footage mentioned above, which was an early litmus test for audience response used by Fox to determine if a Deadpool movie would be worthwhile). Unlike many of its contemporaries, Deadpool’s fight scenes rely on fast-paced choreography and inherent comedic value to deliver gusto, rather than over the top visual effects. But despite skilfully balancing strong comedic elements with intense violence that gives the film its well-deserved R-rating, the screenplay fails to escape from the arcane, drawn-out cultural references seen in Guardians of the Galaxy. It’s too often in the film that a character delivers a line that ex-

tS Review by Everet

hen

hausts their lung-capacity, and takes several moments to sink in. When a joke banks on its nostalgic or pop culture undertones to deliver effect, you begin to wonder if it was worth trying in the first place. Unfortunately, there are still important aspects of Deadpool from the comic books that we don’t get to see much of, namely his insanity. In the comics, Deadpool’s trademark inconsistency and frivolity derive from his constantly regenerating cells coming from the Weapon X program, which render him mentally unstable. While Reynold’s character is delightfully puerile, it seems that such was the case even before the program, and we don’t see the operation’s effects manifested. For one, I doubt that the comic version of Deadpool would have been so vindictive in his pursuit of vengeance. Writing a review of a beloved character with such a rich comic background feels like grazing the tip of on an immense iceberg, but based on what I know, Deadpool’s madness should have been addressed in the movie nonetheless. For a film that’s trying to poke fun at the conventional superhero, Deadpool contains plenty of cliches. Following the stereotypical experiment gone wrong(really? A serum?), the entire story arc is pretty formulaic. But Deadpool’s has a similar plotline just so that it can better satirize the other denizens of the Marvel cinematic universe, right? Not really. Near the end, a ‘heroes are subjective’ argument is attempted, but doesn’t receive much support from prior scenes, and falls pretty much flat. So for now, saucy slurs and an incalculable spilling of blood are the only distinction from other Marvel movies that we have. Not that I’m complaining. Of course, no review of this movie would be complete without giving reference to its dialogue, where the soul of the comics is present and most alive. And don’t forget the fourth wall breaks, which were completely absent from 2009’s X-Men Origins: Wolverine (along with every other defining feature of Deadpool, for that matter). The jokes of Deadpool really just wipe the floor with the lame quips of Age of Ultron, and demonstrate the character’s irreverent personality without overpowering the action. Case in point: when Colossus, a metallic, and wonderfully animated, member of the X-Men, men-

tions turning Deadpool over to Professor Xavier, the prisoner responds, “McAvoy or Stewart? These timelines are confusing.” He’s referencing the two actors who have up to this point portrayed the psychic head honcho of the X-Men, who, by the way, get mentioned but have a measly presence throughout the film, kinda like Tony Stark in Captain America: The Winter Soldier. Given Deadpool’s success though, I’m sure we’ll see the day when audiences’ favorite comic book misfit gets his very own Civil War. Hopefully then we’ll see him team up with Marvel’s mutant task-force in full-blown crusades. But that actually has me a little worried. In response to a question asked about the film’s low budget, Ryan Reynolds, who plays Deadpool, replied, “we don’t have the kind of money that most superhero movies do, but that’s great, actually. Necessity is the mother of invention, and that’s why we get to make the movie we want to make.” I agree. And he’s not kidding about that budget--even X-Men Origins: Wolverine’s production costs were thrice as high. I’m afraid that as more sequels are produced with higher budgets, studios will seek to protect their investments by messing around with things. Hopefully, they’ll be prudent enough to recognize that Deadpool’s unorthodox style and spirit are what made it so successful in the first place. Meanwhile, quick shout out to Ed Skrein, who plays Ajax, the Weapon X program scientist who performs torture on Deadpool prior to his transformation. He probably ranks as one of Marvel’s best antagonists since Thor’s Loki, although that’s not saying much, given the MCU’s general weakness in the villain department. But with his smug yet insecure demeanor, Ajax truly brings out the best(or worst) in Deadpool. But let’s break down some figures. Deadpool has shattered numerous box office records, already the highest grossing R-rated film ever. It’s become the best performing film directed by a feature film debut director(Tim Miller), and it’s snatched the The Force Awakens’ glory of having the most successful opening weekend…... even if it was only in Russia. Whatever. So that begs the question: what’s the secret to the spandexed sinner’s popularity, be it in the comics, or on the silver screen? In a word, consequences. Or lack thereof, rather. When your average geek cosplays as their favorite comic book assassin to troll Comic-Con goers, he/she does so knowing (or hoping) that there

won’t be severe repercussions, because Deadpool is all about operating free from social mores--which is why, of course, he works so well with characters like Spiderman and Cable in the comics. The very concept of Deadpool, given his indestructibility, defies the point of having responsibilities. One need not fear, while flipping through his comics, to see him painfully injured or killed. In fact, readers wish for it to happen. Who cares, when he could literally have his head bashed to a pulp, and still be able to come back with a reinvigorated hunger for chimichangas? Deadpool is so overpowered that there’s really no sensibility in having him conquer his flaws, or in giving him archenemies to fight to the death with. Tight spots he get into exist purely for satire--In that respect, he’s quite similar to One Punch Man’s Saitama. It’s such features that allow for the stellar story arcs in Deadpool Kills the Marvel Universe, and Deadpool Kills Deadpool, in which Deadpool questions existence and purge creation itself. Watching Superman grunting to save Metropolis is captivating enough, but sometimes all we really want to see is Deadpool eviscerating literature’s most iconic characters(Deadpool Killustrated), to fill that gaping abyss of existential dread. In the film’s latter half, there’s no more audience concern left remaining, and each bullet Deadpool takes is somewhat of a laughing matter. But anyways, back to the question that was asked originally. Was a one-of-akind Marvel experience truly delivered? The short answer would be….. kind of. More specifically, I’d say Deadpool spectacularly breaks visual, cultural, and stylistic mold, but fails to distinguish itself thematically from other films in the MCU. It definitely has its moments though, and just the fact that serious combat and slaughter takes place between the protagonist and actual bleeding humans, rather than some sort of faceless alien/robot army, is enough to make it stand out. Though Disney Chairman Bob Iger has tried to publicly assure that the studio has “no plans” to make R-rated Marvel films following the success of Deadpool, given Hollywood’s fickle willpower to resist box office gold mines, it’s not a far cry to speculate that the merc-with-a-mouth will reinvent the cinematic future of the comic book superhero.

Title: Deadpool Director: Tim Miller Cast: Ryan Reynolds, Morena Baccarin, Gina Carano, T.J. Miller, Ed Skrein, Brianna Hildebrand, Stefan Kapicic, Leslie Uggams Genre: Action, Adventure, Comedy Release date: 2.12.2016 Runtime: 108 min MPAA: RW Rotten Tomatoes: 84% Box Office: 619.3 million USD

fter Let It Go became a household song in 2014 with the release of Frozen, Walt Disney Animation Studios has struck out again, bringing out its second biggest release of all time (behind Frozen), Zootopia. As you can probably derive from the title, the movie is about animals. Set in a world where, thanks to evolution, animals are stripped of their savage nature and are able to thrive in relative harmony, the story centers on Judy Hopps (Ginnifer Goodwin), a rabbit who comes to the city with a big dream but learns about reality the hard way in the seemingly hearty and convivial society as she embarks on a journey with fox Nick Wilde (Jason Bateman). Since its release on March 4th, the animated feature has hopped into both people’s hearts and the $800 million box office bracket, garnering an impressive 98% fresh rating on Rotten Tomatoes. In fact, Zootopia’s commercial success and appeal to both critics and viewers shouldn’t come off as a surprise. Take a quick glance at recent well performing animated movies and you will see a trend emerging. From Inside Out in 2015 to Kung Fu Panda 3 in 2016, studios seem to have figured out the golden ingredient for luscious box office numbers: bombardment of the audience with cute and adorable looking characters. Afterall, who would be able to resist a fluffy and clumsy baby Po that smiles with watery puppy eyes, let alone a whole village of them? The fact that out of the plethora of positive commentaries many resort to denoting the characters’ lovable looks suggests that consideration for other aspects are easily overlooked when there is overwhelming visual appeal. The filmmakers at Walt Disney Animation Studios, taking advantage of this trend, certainly did not fail to deliver stunningly designed sets and characters in Zootopia. Disregarding all else, an animated feature is worth the ticket if it depicts a world visually alluring enough that at the end of the movie, the viewers long to live in it. Zootopia does exactly that. The design of its metropolis is so delicately struc-

“No matter what

type of animal you are, change starts with you. ”

tured that one would genuinely think animals live a better life than humans. The initial scene of Judy’s arrival by train is perhaps one of the most remarkable parts of the movie. The long shot of the grandiose urban jungle paired with Shakira’s catchy “Try Everything” is imbued with vivacity and elan, immediately instilling a sense of ambitious excitement in the audience for the upcoming adventure. Furthermore, the movements and facial expressions of each character are animated with such meticulous vividness that the the viewers are able to surpass the anthropomorphic nature of the movie and relate to Judy and others as if they were humans. Title: Zootopia Directors: Byron Howard, Rich Moore, Jared Bush Cast: Ginnifer Goodwin, Jason Bateman, Idris Elba Genre: Action, Adventure Release date: 03.04.2016 Runtime: 108 min MPAA: PG-13 Rotten Tomatoes: 99% Box Office: 799.7 million USD

On that note, the movie’s success has just as much to do with its applicability to the real world as with its pleasant visuals, garnering appreciation from both adults and children with its multi-layered significance. The animal charmer keeps children engaged with a twisting plot and conveys a universal theme of pursuing one’s dreams. However, when looked at with a more mature perspective, the film addresses real-world sociopolitical issues such as prejudice, racism, and gender discrimination. One can easily parse the parallels between prejudice in Zootopia and many prevailing biases in our civilization. The latent tension between predators and prey reflects the marginalization of certain groups of people in our society. And the discrimination that Judy experiences as other animals regard her as the “dumb and cute bunny” reflects the unequal treatment of different genders in the real world. Thus, perhaps the movie’s most notable aspect is its nuance in exploring topics which even live-action movies are often hesitant to shed light on. To prevent its not-so-subtle real life applications from dominating the film’s focus and making it heavy handed, witty filmmakers keep adult viewers busy with references - nod to Godfather - and appropriate mature humor. So at the end of the day one may observe the phenomenon of parents cracking up instead of dozing off in front of a children’s movie. Designed by Sarah Hou

Breaking the Fourth Wall with

Mr.Johnson

How many movies do you watch on a monthly basis?

Honestly I don’t know...Coaching makes me very busy so I don’t get a lot of time at night. Eventually I get to the movies that I want to see. If a marvel or DC movie comes out in the movie theater I always go to see it within the first two or three days...It’s something totally different at home because I have a lot of work.

Can you name any recently released movies you particularly liked and tell us why you enjoyed them? Well, Deadpool was the last comic movie that I saw. I thought Deadpool was awesome. You can’t really make it PG. To do Deadpool justice it can’t be in PG. I thought Ryan Reynolds made [the role] as violently comical as it could be.

Favorite superhero and why?

My favorite superhero is Shazam, DC Captain Marvel...He has been my favorite for a long time. Growing up as a kid, I watched Billy Batson (Shazam) go from a kid to a grown man superhero.

In your opinion, to what extent have superhero movies stayed true to their originals? They do a decent job, but they do add some more flare, or a little twist, to it. They do change some things because sometimes it makes for a better movie on the screen. I know one of the things that I didn’t like. I was very disappointed in the last Iron Man, when they [altered] The Mandarin...I was sitting in the movie theater at the end with Coach Everette. At the end of the movie we were just sitting there like…did that really just happen? You took one of the meanest, toughest villains, and made him a comedy act. There was so much potential in the Mandarin and the strength of the Rings…[so] I was a little upset about that.

Do you think that superhero movies have been produced more with the intent of pleasing their comic fan bases or the general public? It’s not realistic to say that if these movies flop, they are going to keep making these movies. I think it’s because of the fan bases that they keep making movies because they know that people are still going to come. The good thing about comics is that they’re multi-generational. Batman isn’t just cool to me, but my kids love Batman... So it’s both, but at the end of the day, their goal is to make money. They try to find a formula that works.

What was the real OG superhero film?

If you go back to the real original superhero, [if] you go back to the westerns, you look at Zorro, you look at Lone Ranger. These were real life mortal men who had larger than life personalities on the big screen because of what they stood for. You look at how they take up the fight for what’s right...Lone Ranger was the masked hero that was always coming in and saving the day, working with law enforcement to help people. [So] when you’re talking about the original masked vigilante type, the Lone Ranger might have set the standard.

Favorite sports movies? Is there any movie that you would recommend for your athletes who seek motivation? Creed was outstanding. Mr.Gargione and I actually went to the movies together to see it, and I thought it was right behind Rocky. I could [also] be biased and go with Vision Quest, one of the more popular wrestling movies. It came out back in the day, so outside the wrestling genre, a lot of people might not know about it.

PHS Physical Education Teacher and Coach

You watch those movies, and even if you’re not an athlete, you feel like you want to start training for something.

The highly anticipated Batman vs. Superman is coming out. Do you predict that its popularity/box office will surpass that of Deadpool?

Yes. I mean not everyone knows about Deadpool, but I could like to think that even if you’re not a comic book geek like myself, you’ve heard of Batman or Superman. There are a lot of people who have no idea who Deadpool is, which is why there were people who brought their kids to see Deadpool, thinking it was another PG-friendly Marvel movie. Then you’re in there with a six year old, and you’re like dude, this is not that movie.

Phase 3 of the MCU and the entire DC cinematic universe are about to be launched. What do you think will be the most significant comic book film event of the next few years? Listen, I already told you [that] Shazam, Captain Marvel, is my favorite superhero and he is on that list, so I am super stoked to see that come out. If I’m not mistaken, they casted The Rock as Black Adam, which is going to be awesome...I’m interested in seeing what’ll happen with Civil War, whether Captain America gets off, sticking to the comics, or if Thanos comes and Captain America gives his life to bring everybody back together to fight Thanos. I’m [also] looking forward to see if they’re going to have Deadpool kill the whole Marvel universe. It would be really cool, but I know that it’s probably unrealistic because they don’t have the license for every character.

Can you tell us one comic book superhero who deserves a second chance at getting a movie? You have to give Green Lantern a second chance. It’s not that Ryan Reynolds did a bad job portraying Hal Jordan, the problem was just a weak script, just like when Ben Affleck played Daredevil for the first time.

Which Avenger is each of the gym teachers?

Let’s start with Sutcliffe. He would be a Captain America-esque character. Goduto would be Falcon. Salazar would be like Tony Stark. I think Wilkinson would be Antman [laugh]... Ms. Jones would probably be Black Widow. Kelsey would be Wasp. I would probably have to be the Hulk. I would say Capuano would probably be Hawkeye. Severson would be Scarlet Witch. If I genderbend, Severance would almost be a female Captain America.

One last question: DC or Marvel?

That’s a tough question man. I’m split in half. If I had to...ugh man...My feelings are hurt right now. Well, here’s the thing. In the cinematic universe, Marvel has got it. In the animated universe, it’s DC all day. With the animated]movies that they come out with, like Flashpoint [Paradox], DC owns them. DC also had it on TV cartoons, but now that they’ve taken Justice League and Young Justice off, and Marvel has gotten Guardians of the Galaxy and the Spiderman web series going, they’re pretty much even. I think DC is ahead of the game on TV too in terms of live action… Supergirl, Flash, Gotham, and Arrow are all outstanding. So Marvel has DC outnumbered in the movies and DC has Marvel outnumbered on live action television. And you know what? I would love to see more black superhero movies. If you look at Black Panther, he’s a prince, a millionaire, like the black equivalent of Tony Stark and Batman, but richer and smarter. I want to see John Stewart! Will you please make a new Green Lantern and put John Stewart in it?

Interview by Everett Shen and Sarah Hou

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Review: Watchmen

Less Punching, more Wholesome Pondering on the State of the World By Everett Shen

aise your hand if you were tricked into watching this film thinking it was a superhero movie. Same here. 2009’s Watchmen transgressed comic book movie boundaries before they were even defined (in subsequent films such as ‘12’s The Avengers and the Captain America series). So, going in, you probably shouldn’t be expecting massive explosions or dubious villains, since the viewing experience is distinctly more brain than brawn. But once you get over the initial disappointment of the discovery and settle down in resignation, Watchmen is 3 hours(or more, depending on the cut you see) of enthralling mental stimulation, prompting a psychological journey through multiple layers of cynicism, nihilism, and moral defeatism. It’s always hard to apportion credit for plot quality when it comes to comic book movies, but Watchmen probably takes the cake for the greatest difficulty in that regard. Nearly everything in the movie is based on British author Alan Moore’s 12-installment comic book series written from 1986 to 1987. Moore received immense critical acclaim for his work, winning a Hugo Award in 1988, and had his comic listed as one of Time Magazine’s top 100 novels of the 20th century. The film version capitalizes on the original’s excellence, big time. In fact, reading the comic is like watching the movie all over again. It’s probably one of the wordiest comic book films to date, and I estimate that half of its lines, and quite certainly every single line of narrative and reflective significance, are taken verbatim from the original dialogue. It can become jarring, and sometimes it seriously seems like whoever wrote the screenplay didn’t know where to curtail and adapt. Seriously, who on earth thought it was a good idea to include Rorschach’s Great clown Pagliacci joke in the narration, and then follow it up with, “Good joke. Everybody laugh. Roll on snare drum. Curtains”? But besides a few exceptionally cringeworthy moments, once you get used to it, the film has a good selection of dialogue, and is a prime example of comic book speech making it to the silver screen. What is practically poetry is delivered as daily conversation, and the ensemble cast makes the lines intensely human. I can’t imagine a version of Watchmen with comparatively dissimilar dialogue that would still be thematically recognizable. Discourse and monologues are what give the film its immense rewatch value, along with its impeccable grit. I was more surprised to find out how alike the comic and the movie were in terms of shot design and editing(or panel progression, if you’re talking about the

Title: Watchmen Director: Zack Snyder Cast: Jackie Earle Haley, Patrick Wilson, Carla Gugino, Malin Akerman, Jeffrey Dean Morgan, Billy Crudup, Matthew William Goode, Laura Mennell, Matt Frewer, Stephen McHattie Genre: Action, Mystery, Sci-fi Release Date: 3.6.2009 Runtime: 162 min MPAA: R Rotten Tomatoes: 65% Box Office: 107.5 million (USD)

comic). The first few scenes were pretty much carbon copies of the original, featuring the same chronology, juxtaposition, and even zooming in and out. Not a bad choice though, as the comic is surprisingly cinematic in and of itself, and auteur director Zack Snyder’s style, filled to the brim with slow motion and CGI(think 300, or Man of Steel, both of which he directed), infuses the freeze frames with life, while maintaining a comic book feel. Watchmen can easily be argued as the most ambitious comic book film ever, largely due to the fact that it attempts to carry over nearly every single detail of the original series. As a result, it’s part neo-noir, part love story, part comeback film, part origin story, part political commentary, part historical parody, etc…. I’m sure there’s more. The film’s massive semi copy and pasting operation is also probably what makes it one of the most controversial movies ever in terms of critical reaction. The film has a mediocre 65% on Rotten Tomatoes, but a range of ratings with reviews at both extremes. Praise has been centered on the reverential adaptation, while criticism exists for the same reasons, along with rushed scene development, and too much content crammed into one film. Personally, I’d add inappropriate choice of soundtrack to the fray, something that often overpowers the action and exudes hubris. I think that the song selection is reflective of the film’s array of disjointed stylistic elements. Tyler Bates’ hypnotic score is a totally different story though. Big kudos there. Overall however, the virtual all-inclusion of original content is much more of a highlight than a blemish. I think it only adds nutrition, and I’d much prefer it over a two or three part cash-grab with unnecessary added elements. Watchmen’s narrative complexity is absolutely stunniWng, with multiple well-executed cases of parallel action, drawn-out flashbacks, gravelly voiceover, and more. Visual design is also just fabulous, with instantly iconic scenes rivalling the CGI effects of today. Let’s just say that the entire experience is like that of a decked out buffet, though the dish selection is at times questionable.

Rosebud/ 17

Oscars host Chris Rock delivered a smashing performance, pummeling the Academy Awards’ notorious racial bias …by bashing on Asian people? During the show, Rock invited three frightened-looking children of Asian heritage onstage, supposedly as accountants of the firm PricewaterhouseCoopers, hired to tally Oscar votes. The episode was followed by an invitation to the audience to tweet about the joke on their phones, which were “also made by these kids”. A social media storm naturally ensued, with critics condemning the show for playing on Asian stereotypes, while failing to address inclusion beyond black-and-white.

Of course, plenty of conversation should be reserved for the plot itself, which immediately distinguishes itself with its dysfunctional crime-fighting group, its lack of a true antagonist, and a game changing climax(as opposed a buildup to an obligatory final battle). But there’s more. Films depicting the battering and bruising of the American spirit are often the best, or at least personal favorites. Just think of The Godfather series, or Citizen Kane. Films taking place in the Cold or Vietnam Wars are even better, since the settings alone defy conventionality and entail moral ambiguity. The film features the now ubiquitous motif of vigilantism, but what really sets it apart is its exploration of psychological responses to societal decay and war. It seems that each main character is the personification of a response to imminent destruction. Rorschach is the dogmatic pursuant of justice, refusing to abandon his beliefs in despair. Nite Owl(sic) and Silk Spectre are the oft-ridiculed optimists who choose to carry on in life despite deteriorating conditions. The Comedian is the face of nihilism, seeing through the inherent savagery of mankind, and thus choosing to live in complete liberation. Ozymandias is the utilitarianist who overcoming obstacles imposed by morality, seeking the ultimate solution to the world’s problems. I believe that Dr. Manhattan is more of a symbol than a character. His godly presence, which inspires a sense of obsoletion, represents the ever-looming threat of nuclear destruction during the Cold War. His inception makes every other inhabitant on earth question their beliefs and the worthwhileness of their actions and self-restraint. Normal life becomes mere show, while in anticipation of the end. All of which was such a relevant topic for 2009 American audiences, am i right? That, along with the fact that a Watchmen movie was quite ahead of its time, didn’t exactly help the movie’s performance at the box office. The film had a sizeable opening, but saw one of the largest declines in attendance over a period of time in comic book film history. At a time when Ironman had just been released and was considered groundbreaking, the general public was just warming up to the notion of epic superhero movies, and had little appetite for the likes of Watchmen. Man had just discovered fire, and hadn’t yet warmed up to the idea of fine dining. But now, and even then, the film’s ideas have their application. Any reflection of the state of our modern existence(elec-

In a publicity move, Henry Cavill, who portrays Superman in Batman v Superman: Dawn of Justice, wandered around Times Square in March wearing a Superman T-shirt, without being recognized by any passersby, despite appearing everywhere on advertising billboards surrounding the square. His reported motive was to debunk the idea that Clark Kent, Superman’s alter ego, would need anything more than a pair of glasses to become invisible. Ever consider the possibility that New Yorkers are just really busy?

tions, terrorist groups, WWIII--should I go on?) will reveal numerous problems, along with the healthy now and then renunciation of all faith in America and the world. For sure, anybody who goes through the thought process will probably experience a roller coaster of emotions that, when blown up ten times, matches the ethos of the Watchmen. To quote the film, “if you begin to feel an intense and crushing feeling of terror at the concept, don’t be alarmed. That indicates only that you are still sane.” Sadly the film is probably a one time gem in the cinemascape. It’s a miracle that the movie even happened, having gone through two decades of developmental hell and turnover, while possessing an obscure cast, abstruse themes, and an original creator who opposed an adaptation and declined to write a screenplay. An already developed recipe for box office success nowadays makes such projects too much of a gamble for DC and Marvel. Other films of the genre attempting to shine in similar ways, such as 2010’s Kickass, have come and gone, with varying degrees of success, without rivalling Watchmen. This year’s Suicide Squad seems promising enough, but don’t expect it to digress too far from formula. Snyder’s new film, Batman Vs. Superman, coming out in March, will attempt another take on vigilantism, but the trailer seems to suggest the same old cliches of truth, hope, and justice. Ugh….

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How unpopular is Batman v. Superman? Well, itâ&#x20AC;&#x2122;s enough to get fans to launch multiple online petitions to request the removal of director Zack Snyder from the following Justice League films, with some demanding his removal from the DCEU entirely. But with Warner Bros placing the fate of its superhero gamble onto Snyderâ&#x20AC;&#x2122;s shoulders, and part one of the series beginning production this month, their cries have been met with little success.

Before epic space warfare can commence, the Star Wars crew may have to first face a few aerial battles on Earth: Episode VIII, to be released on Dec. 15, 2017, began production in Croatia last month, while the unsavory memory of local residents using drones to capture illegal images over sets of Episode VII still lingered in the minds of the producers. The solution? A drone army, equipped to intercept uninvited fliers.

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