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(09/30/11 4:00am)
YESTERDAY, The Cavalier Daily ran an article titled "The Lion King: Hakuna matata?" which I had written in response to the questions, conflicts and controversies raised by Disney's persistent re-release of animated films, both in home-viewing formats and in theaters. Throughout that article, I intended not only to open up a more widespread discourse concerning the values and principles on display in these films, but also to draw attention to the controversies that surround some of them. Unfortunately, my sweeping survey through the movies and issues at hand came under attack for its brevity and its apparent lack of concrete examples. In response to these concerns, I will endeavor to flesh out my examination and hopefully to spur more thought and dialogue on the issues at hand.
(09/29/11 4:32am)
While Disney's 3D re-release of 1994's The Lion King has garnered acclaim from audiences and critics alike, it also raises serious questions as to the types of messages that animated films send to their target audience: the youngest generation of viewers. Like many other so-called "Disney classics," The Lion King delivers an array of stellar songs, quirky characters and vibrant visuals. However, much like 1941's Dumbo and 1955's The Lady and the Tramp, among others, the 1994 African epic also carries a host of minor controversies, largely on account of the way it treats African culture. A number of critics, in fact, have criticized the film's primarily white creators for making a lavishly broad display of the seemingly "exotic" aspects of the African world. Additionally, The Lion King seems to glorify an outdated societal structure in which the status quo must always emerge victorious. Regardless, the fact that these questions continue to emerge for a hefty handful of Disney films should give some concern to parents who profess to swear by the Walt Disney label. Controversies and concerns regarding the principles and values on display in animated films are not new. For example, Fantasia started a trend of controversial racial portrayals that lived on in movies such as 1941's Dumbo, 1946's Song of the South and 1953's Peter Pan, among others.
(09/22/11 6:11am)
With Straw Dogs, director Rod Lurie unleashes the latest in a string of unnecessary Hollywood remakes which transform classic films into cookie-cutter crowd-pleasers. This recent batch of so-called "reinterpretations" and "updates" offers nothing new or notable to the world of cinema. In fact, most of the past decade's remakes have done little more than waste A-list talent and reduce complex cinematic meditations to the level of shallow silliness. Sadly, Straw Dogs seems content to carry on this trend of toothless filmmaking.
(09/15/11 7:32pm)
In these times of economic uncertainty and political polarization, we need more films like Warrior, a superb celebration of the triumph of the American spirit. Director and writer Gavin O'Connor's gritty masterpiece operates as a complex character study, a fiery family drama and an exhilarating exploration of the world of mixed martial arts. From its initial snapshots of everyday urban life in Pittsburgh to its tear-filled final frames, the film proves capable of arousing virtually every brand of emotion imaginable. A modern-day epic, it dominates the big screen with unrivaled energy and stupendous strength.
(09/08/11 6:58am)
Based on its title, I expected director John Madden's new film The Debt to take the form of a searing study of the financial crisis faced by the United States. I anticipated interviews with controversial congressmen, and I anxiously awaited the on-screen arrivals of John Boehner, Nancy Pelosi, Michele Bachmann and the like. However, much to my surprise, Madden's film contains no talk of budget cuts, deficit spending or ceiling adjustments; instead, Madden's conception of debt is owed by those who breed death and destruction.
(09/06/11 5:05am)
IN SPITE of its allegedly inspirational and hopeful rhetoric, Evan Shields' Sept. 1 column "Hoos Included?" left me feeling uneasy. At a university that claims to champion individuality, it strikes me as strange that an article about so-called "inclusion" would categorize the complex individuals who make up our stellar student body by race, ethnicity, gender, sexual orientation or any such grouping.
(09/01/11 4:26am)
Beginners, the latest cinematic effort from director Mike Mills, warrants a stellar spot in the long line of recent Hollywood films that deal with societal stereotypes of LGBTQ individuals. In Beginners, veteran actor Christopher Plummer plays Hal, a terminally ill old man who becomes open about his long-repressed homosexuality only after the death of his wife. Although the film focuses primarily on the endeavors and exploits of Oliver (Ewan McGregor), Hal's indecisive and insipid son, Plummer manages to steal every scene in which he takes part - his performance radiates with warmth and profound softness, and Beginners becomes a poignant portrait of self-acceptance.
(08/25/11 5:31am)
With his adaptation of Kathryn Stockett's best-selling novel The Help, director Tate Taylor serves up the finest film of the summer. Few films manage to provoke both hysterical laughter and streams of tears in their audiences, but The Help succeeds swimmingly in blending uproarious comedy with overwhelming tragedy, often within a single scene. The resulting concoction of mixed genres and stirred emotions provides a savory treat that would make any one of the film's savvy housekeepers proud.
(02/03/11 6:38am)
On March 25, 2001, millions of movie lovers across America cringed as Ridley Scott's Gladiator walked away with the top prize at the 73rd Academy Awards. Winning the prestigious Best Picture statuette, Scott's epic joined the ranks of iconic films such as Gone with the Wind, The Godfather and Schindler's List. Unlike these films, however, Gladiator amounts to little more than a silly project full of dull performances and lackluster special effects. With the 10-year anniversary of Gladiator's victory fast approaching, here is a look back at the controversial Oscar-winner.
(01/20/11 6:26am)
From its ornate costumes and sets to its laundry list of aging English actors, The King's Speech has the look of a dull tale of rich royals and petty drama. But beneath its veneer of elaborate costumes and sweeping shots, director Tom Hooper's new film contains a compelling story of familial obstacles and personal triumph. Moreover, it boasts some of the best performances of this or any year.\nAt the start of The King's Speech, Prince Albert, the second son of King George V, attempts to stutter his way through a speech at the 1925 Empire Exhibition. Waves of tension and disappointment engulf the audience, as even Albert's wife, Elizabeth, seems to wilt in the face of her husband's humiliating delivery. In fact, much of the film's first act consists of Elizabeth's efforts to find an effective speech therapist for Albert, whose place in the royal family requires that he speak with confidence and fluidity. To attain this seemingly hopeless goal, Albert passes from one quack to the next. During one particularly comical scene, a therapist demands that the Duke fill his mouth with marbles, just as Demosthenes supposedly did thousands of years before. "Has it worked since then?" quips the superb Helena Bonham Carter in the role of the distraught Duchess of York.
(10/14/10 5:08am)
Why should I waste $10 dollars and 100 minutes on a film that is only "kind of" funny? Writers-directors Anna Boden and Ryan Fleck should have asked themselves this question before they embarked on It's Kind of a Funny Story.