“Best-dressed rebel in history …” The Hunger Games: Mockingjay – Part 1

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I will admit that Suzanne Collins’ The Hunger Games trilogy is just not exactly my cup of tea. My first exposure was the initial episode in the cinematic franchise, starring Jennifer Lawrence. My biggest issue, ultimately, may have been with the marketing, which likely didn’t do the movie (or its source material) any favors.

Y’see, I grew up in a small town, the daily paper of which now peppers its pages every fall with one image after another of young bow-hunting girls and their “prizes” – bloody deer carcasses. Lots of them. One sad image after another of a toothy kid, grinning madly, not as if they’d just won a science fair or a spelling bee, but because they killed some defenseless creature. And that bugs me. Are these kids the target audience for these movies? Or are people who find this kind of “sportsman”-proselytizing offensive the audience? I don’t know.

The reason I share this bit of soap-boxing is because the original film seemed oddly positioned at some strange Venn Diagram nexus where Harry Potter-philes and Twi-hards meet neurotic survivalists and Cabela’s frequent flyer-card holders. I wasn’t exactly sure the core demographic, and perhaps Hollywood was trying a bit too hard to appeal to all comers. I heard a lot of rhetoric that somehow Katniss Everdeen, “the girl on fire,” with her furrowed brow and propensity for zapping squirrels and people with her trusty bow and arrow was a great antidote to the Disney princess affliction that was miring our nation’s young women in a malaise of pink chiffon. Maybe. But are those the only two choices? Archery and violence or toddlers and tiaras? Sigh.

Well, I guess I played my hand a bit early on this one, eh?

Said marketing/positioning celebrated the games aspect of the narrative, while missing entirely the inherent social satire. Granted, the marketers likely chose the more sale-able commodity, but, for someone persnickety like yours truly, this approach has made it that much harder for me to warm up to this particular franchise. (Divergent is more my speed.)

Blessedly, The Hunger Games film series has evolved and moved past the gimmicky hook of watching teenagers slaughter each other before national audiences in an oppressed dystopian near-future. (Gee, why is it that I don’t get that these flicks are good wholesome family fun?!) This brings us to the third installment in the franchise (after The Hunger Games and Catching Fire), the awkwardly titled The Hunger Games: Mockingjay – Part 1.

Those of you ready to jump down my blogging throat in dismissal of my critique of the series’ omnipresent marketing framework? How’s about you read that title again: The Hunger Games: Mockingjay – Part 1. And convince me that the third book in this literary trilogy was not unnecessarily hacked into two parts to fill Lionsgate’s coffers with extra coin. Just sayin’. (No, I’m not the first to point this out, but it seems a fair critique on all fronts.)

This latest film continues the revolution that Katniss began fomenting in Panem (the future stand-in for an America run into the ground, no doubt by a lethal combo of Democrats and Republicans). Mockingjay spends the bulk of its running time underground, quite literally, as Katniss and her pals find themselves sequestered away in the mysterious District 13, a militarized sector that all had thought long-destroyed.

District 13 is the home of the Rebel Alliance (oops, wrong franchise) … the rebellion led by President Coin (Julianne Moore, a subtle-yet-steely breath of fresh gravitas) with the assistance of games-maker Plutarch (Philip Seymour Hoffman, sadly a bore in one of his final roles), weapon-smith Beetee (always sparkling Jeffrey Wright), and fashionista-cum-PR-wonk Effie Trinket (Elizabeth Banks, a standout as she curdles Effie’s cartoonish buffoonery into sharp social commentary). The saving grace of these films has always been in the casting (Woody Harrelson and Lenny Kravitz have both done some of their best work in the series), and this entry is no exception.

Unfortunately, Jennifer Lawrence and her bag of actorly tricks are starting to show some wear and tear with Mockingjay. The film is two hours of treading water before the big blowout with movie number four, and Lawrence suffers for it. (As do sidekicks Liam Hemsworth as Gale and Josh Hutcherson as Peeta.) Lawrence, saddled with what appears to be an Elvira wig from a bad Halloween costume, glares and pouts, glowers and mopes, without a heckuva lot to do. There’s a lot of talking and talking and talking about various political machinations, most of which bored me silly, and, by the time, Lawrence loses her sh*t in the third act because Peeta is in some grave peril (yet again), I found myself giggling and not one whit concerned for any of these thinly drawn characters.

Here is the interesting concept that Mockingjay (Part 1!) presents, however: wars are won and lost not by bravery or valor or even violence, but by public relations. The sly-est and most engaging moments in the film are when the forces of good and bad start to blur in their relentless uses of videographic propaganda (kinda like our fall election). The first two films laid this groundwork with jack-o-lantern-headed reality TV pundit Caesar Flickerman (a truly unhinged Stanley Tucci) and his broadcast of the super-violent Hunger Games as both public diversion and punitive restraint (boob tube as carrot and stick). This latest entry shows how that machine is employed in times of great social unrest, echoing eerily some of the latest trials and tribulations affecting race relations in present-day America.

For a series so superficially savvy about the strategic implications of marketing and PR on societal oppression, you’d think The Hunger Games’ real-world advertising campaigns wouldn’t seem so tone-deaf. At one point, Effie hisses with glee at Katniss, “You are going to be the best-dressed rebel in HISTORY!” Banks as Effie clearly gets the irony of that line and zings it to the rafters. But, then, I remembered seeing a Katniss Barbie doll (dressed in the same chic skin-tight jump suit) at Wal-Mart earlier this Black Friday “sell, sell, sell!” week, and I realized how hollow that irony actually was. Talk about winning the battle and losing the war…

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Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view. In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

Countdown: Bangerz

From my wonderful publisher Open Books

Just 10 days left until the official launch of ReelRoyReviews, a book of film, music, and theatre reviews, by Roy Sexton!

Some nice early reviews from Roy’s readers…

  • Zach London: “I thoroughly enjoy your reviews. They are short, well-written, and insightful. For movies I have already seen, your reviews articulate things that my subconscious brain recognized but my conscious brain did not. Congratulations on this accomplishment!”
  • Michael Lesich: “I’ve been a fan of Roy’s movie reviews for some time. Armed with a sharp tongue, a quick wit, and an absolute love of movies and theater, Roy brings a passionate and independent voice to movie reviews. Whether you love-em-or-hate-em, Roy’s reviews are never dull. I’m just an average guy, but when I see a new movie, I often check out Roy’s review to get a sense of whether they are worth spending my hard-earned money and scarce time to see them. Grab the popcorn, a giant soda, and a pair of 3D glasses, and get ready to enjoy this book!”
  • Mary Shaull: “Roy Sexton is a brilliant, talented observer of film and life. He can say in a few words exactly what the rest of us wish we could say. He does it for us in this delightful book. Write on, Roy!”

Here’s a snippet of Roy’s review of Miley Cyrus’ Bangerz: “Lord, I’m tired of all the Miley-hatin’. She’s a cute gremlin of a girl trying to distance herself from a smothering Disney-funded-life, for which she should probably feel very grateful. But who can blame her for trying to express her own personality outside the pervasive marketing bubble of the Mouse House?”

Learn more about REEL ROY REVIEWS, VOL 1: KEEPIN’ IT REAL by Roy Sexton at http://www.open-bks.com/library/moderns/reel-roy-reviews/about-book.html. Book can also be ordered at Amazon here.

Twerking, tongue all a-twangle: Miley Cyrus’ Bangerz

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[Image Source: Wikipedia]

Lord, I’m tired of all the Miley-hatin’. She’s a cute gremlin of a girl trying to distance herself from a smothering Disney-funded-life, for which she should probably feel very grateful. But who can blame her for trying to express her own personality outside the pervasive marketing bubble of the Mouse House?

The last time I felt this over-protective of a pampered, overpaid pop princess was was when Britney shaved her noggin and started hitting people over the head with umbrellas (ellas, ellas, ellas, ay!). Wow, I LOVED that period of Britney’s career!

And the first time I felt this way was when Madonna released the underrated Erotica album and overrated Sex book (and completely bat-sh*t movie Body of Evidence) to much over-heated media alarm during my sophomore year of college. Yeah, Britney and Madonna survived quite well (thank you very much) without my nerdish big brotherly over-worry…and I suspect Miley will too.

I don’t typically review music albums here (though I buy a lot of them). However, I have zero interest in the current slate of Oscar-bait Fall films. I do not want to watch Gravity‘s Sandra Bullock moon around, quite literally, as an astronaut divorced from her George Clooney-piloted shuttle (really?!?! who cast that one?!!?).  Nor do I want to suffer through Captain Phillip‘s Tom Hanks besieged by nautical pirates straight from central casting. (Now, if Johnny Depp’s fey, bejeweled Jack Sparrow made an appearance in either film, I might check them out, but no…)

SO, with that said, you, dear reader, are getting a micro-review of Miley Cyrus’ unfortunately titled CD (or whatever the download generation calls them) Bangerz. And, you know what? It’s freaking fantastic.

Why did Miley feel the need to twerk, tongue all a-twangle, in nude-colored underwear on MTV last month? ‘Cause no states, neither red nor blue, would set her free of her godawfully tangled Hannah Montana wig and the Disney-fied alter ego that it represented.

But you know what (again)? Ain’t nobody talkin’ ’bout Hannah now… so good on ya’, Miley!

How about the album? Hey, it’s a pop album, so it’s going to be a catch-all-of-crazy … and a darn infectious one. There are beautifully melodic offerings like album opener “Adore You” and monster hit “Wrecking Ball” (naked Miley video notwithstanding).

However, the real winners are when Miley lets her freak flag FLY – nothing like a liberal progressive redneck who doesn’t give one rat’s a$$ what any of us think, putting together an album on sale at both Target and Wal-Mart … with varying bonus tracks for retail!

What the heck does that preceding sentence mean? Check out “4X4,” Miley’s ode to monster trucks, with a special appearance by singer/rapper Nelly, that sounds like the track Jessica Simpson should have contributed to The Dukes of Hazzard soundtrack. Or “FU” (title self-explanatory) that sounds like a bizarro mash-up of The Scissor Sisters and The Sherman Brothers and that pretty much tells ex-fiance Liam Hemsworth that (without question) Cyrus is over him … and, for that matter, over all swaggering dudes by the sound of it.

Of course “We Can’t Stop” (which alongside fellow Hollywood-progeny Robin Thicke’s “Parallel Lines” was an inescapable 2013 summer anthem) is zanily fantastic. But the album standout is (unfortunately) a bonus track “On My Own.” This is Miley’s big pop anthem, a hybrid of the best stripper-pole-Britney-Spears and persecuted-dance-pop-Michael-Jackson. I can’t get enough of that song.

There are many other great tracks: the Pharrell Williams-produced “#getitright” (I hate that hashtag gimmick and I hate boudoir come-on songs, but darn if this one isn’t catchy) or uber-pissed-off stomper “Do My Thang” or delightfully subversive “Someone Else” (which has Madonna-esque fun interpolating 1 Corinthians 13:4 … you know, that whole “Love is patient, love is kind” claptrap).

It’s a fun album and possibly a great one. Who cares what Miley had to do to get our attention! It worked. It made me buy the CD, and I’ve been listening to it all week.

And one more thing… As much as I love Annie Lennox, Sinead O’Connnor, Kelly Clarkson, and all the other pop divas who have thrown acid in Miley’s face, all of their critiques come off as sour grapes. This next generation-post-feminist-icon-in-the-making is “doing her own thang” and telling all of us to go take a flying leap … as we line up eagerly in the check-out line to buy her special edition CD … with bonus tracks!