Examining the life of a father, husband, and geek via the media he consumes. Coffee essential, but not mandatory
"There is another human defect which the Law of Natural Selection has yet to remedy: When people of today have full bellies, they are exactly like their ancestors of a million clears ago: very slow to acknowledge any awful trouble they may be in. Then is when they forget to keep a sharp lookout for sharks and whales."
Kurt Vonnegut, Galapagos
Hunger Games. That's all I ever hear about whenever the talk comes around to the new "it" in YA fiction. It's like the Twilight series, but good. It tackles all these great themes. It's got a kickass premise. Hollywood's banking on it being the next big thing, too, gearing up for the first film in a projected four-part series (never mind there are only three books - if Harry Potter and Twilight can do it...) adapted by Gary Ross (PLEASANTVILLE, SEABISCUIT) and starring Jennifer Lawrence (the awesome WINTER'S BONE and the out now X-MEN: FIRST CLASS). I'm admittedly not a huge reader of YA fiction, especially fiction that's specifically marketed as YA fiction - it seems like a silly label, often doing more harm than good by all too often equating "Young Adult" with "easy to read" and "franchise-able" (obviously this isn't always the case - I've read some excellent fiction geared toward younger readers - but next time you're at a bookstore take a look at the YA section and look at how much of it all seems the same, and not in a good way).
Point being, after being deluged with Hunger Games Mania, I picked up the trilogy and checked it out.
The books, comprised of The Hunger Games, Catching Fire, and Mockingjay and written by Suzanne Collins, take place in a future America where a war against the Capitol ends with the devastation of District 13 and the remaining 12 districts held at poverty level, their various industries feeding the rich Capitol who reminds them of their debt and defeat each year by holding the Hunger Games: a televised contest where two children from each district - one boy and one girl between the ages of 12 and 18 - are held captive in a massive outdoor arena, where they must fight to the death, with the winner receiving extra portions of food and goods for their district. Young, willful Katniss Everdeen volunteers to take the place of her young sister when her name is drawn for the next Hunger games, and the trilogy follows her adventures as she plays in the Hunger Games, becoming a symbol of rebellion in the process.
The concept of The Hunger Games is very reminiscent of Koushun Takami's novel Battle Royale (which if you've never read I highly recommend), which itself was made into a successful film and manga series in Japan. In the first book Collins sets up an interesting world, making sure the reality of the characters feels grounded. The books aren't afraid to shy away from the action, and the majority of the characters are vibrantly fleshed out, allowing them to live and breathe on their own without having to (too much) sacrifice for the story.
Unfortunately that doesn't go for Katniss herself, who all too often falls into her role just because - there's not a lot of thought in her actions, except to pine over solitary hunter Gale and simple baker Peeta, who is thrown into the Hunger Games with her. This isn't too apparent in the first book, but by books 2 and 3 I was left wondering what all the fuss over Katniss was about: she never had a real motive or desire to do anything, and often comes across as selfish and self absorbed, whereas the people around her - drunken mentor Haymich Abernathy, fellow contestant Finnick Odair, and my personal favorite person in the series, the brilliant fashion designer Cinna - all feel more fleshed out and genuine than Katniss ever does. With Katniss it's all broad strokes, surface level pining and anger, without any real substance for a reader to hold on to.
This lack of substance is evident in the issues the novels present as well. There's a lot that can be addressed in a story of revolution, of choosing to kill or save someone at the cost of your own life, or the life of those you love, of the chains that keep people in their place and what it means to rise up and break free. However, Collins never goes beyond the bare minimum to keep the story moving, which although makes for a brisk, fast-paced read, leaves little to ponder when all is said and done. This comes across the most in the final book Mockingjay, where who sections are glossed over with a quick sentence to keep things under a certain page length (I'm guessing here - no idea).
I understand a lot of people love these books, and I can see why: the story moves fast, there's a ton of action, and it has a real visual sense. I guess my disappointment comes from the fact that after a while it just feels like it's coasting on its good will, and gets lazy when it comes time to really question things that happen in the book.
Oh well...I have high hopes for Gary Ross and the movie adaptation. In the meantime, give me Battle Royale, or better yet: Lord of the Flies, which I had to read as a kid (making it a YA book in my mind), and to which The Hunger Games also owed a debt of gratitude in a way.
Well, no one did, and thank God, because what came out was a ridiculous dose of high energy, wit, and musicianship that was staggering considering so much that was popular at the moment could be learned in the span of a few moments. Here was a band unafraid to show they knew how to play, play well and intricate without sacrificing a keen sense of melody and fun, with a production that was up front and aggressive to the point of brashness. In a word, I loved it, and was even more impressed with their follow-up, Favourite Worst Nightmare, which took the musicianship and clever wordplay up to 11. It may have a bit much for folks who preferred the more pop-infused debut, but it was perfect for me. Things didn't get better for those folks on album #3, Humbug, produced by Josh Homme with the same loose, low-end rock energy evident in his own band, Queens of the Stone Age. "Foul!" cried the fans while I giggled away and enjoyed the sense of opening up and experimentation in sound the band was engaging in.
Which (finally) brings us up to date with Suck It and See, which manages to mix the looseness of Humbug with a softer, more inflective songwriting style frontman Alex Turner has been working on in both his side projects with the Arctic Monkeys. And if I miss the high energy and ultra tight, staccato rhythm of the earlier albums, there's an undeniable cohesiveness to Suck It and See that makes up for it, and enough going on musically to make you task notice of small tricks and flourishes you might have missed after the first and even second listens.
Opener "She's Thunderstorms" is deceptive: it feels weak for an opener, a slightly dreamy, melancholy pop song, ringing chords and reverb to spare. But by the third time through the album the song opened itself up to me: the harmonies in the chorus, the small chord changes that ratchet the tension of a line before just as quickly releasing it, and the lyrics, poetic and cutting without revealing too much of what the intent is. I'm not convinced it's a grate opener, but it's a great song.
From there things really start to pick up with "The Hellcat Spangled Shalalala" which moves from an Elvis Costello 80s R&B groove to a dripping wet modern chorus, with drummer Matt Helders playing everywhere, seemingly incapable of making a bad choice. If all the accolades go to Turner's vocal delivery and lyrics, Helders should be right behind him - he's one of the best drummers out there right now. He owns every second of single worthy songs like "Don't Sit Down 'Cause I've Moved Your Chair" and "Literary Pictures", which sounds most like their earlier albums.
But if there's a standout track on Suck It and See, it's "All My Own Stunts", which manages to cram everything I love about Arctic Monkeys into a compact 3:52. Heavy, distorted guitars locked in step with the bass and drums, great lyrics that sway in their mood (with background vocals by Homme to boot), moving from ominous to cautious to resigned, and some frantic soloing to boot. Paired with the next track, the Lou Reed feeling "Reckless Serenade", it's one of the best 1-2 punches the band have released.
I don't think Suck It and See is going to go down as my favorite Arctic Monkeys album anytime soon, but it's a damn fine record, and proof that the band doesn't care in the least about repeating past successes. I can always go back to the earlier stuff, and for right now I'm perfectly happy to follow along, enthralled with where they want to go next.
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Two in row...unbelievable! let's see if I can make it through the weekend. Next up is a cross-pollination post about a popular YA series that will also be up on Un:Bound. I may or may not make favorable comparisons to the series the below shot is taken from:
After years of being the "one that got away" in Stanley Kubrick's filmography, I finally sat down last night with the newly released Blu-ray of BARRY LYNDON, ready to get my 18th century costume drama on. The piece that managed to push me over the edge and take the plunge was the lengthy post/comment frenzy concerning the proper aspect ratio for the film over on Glenn Kenny's blog Some Came Running (although calling it a "blog" is a bit of a disservice; this is a blog - Some Came Running is an equal parts scathing/illuminating master class in every aspect of this behemoth we call FILM). This being my first exposure to the film, I was curious to see if I had any feelings regarding the 1.78 "full widescreen" presentation of the film versus the argued correct framing of 1.66. I also wanted to see why I was seemingly avoiding this film for so many years.
Regarding the transfer and aspect ratio: maybe it comes from the almost severe widescreen presentations of two other recently viewed Kubrick films: A CLOCKWORK ORANGE and 2001, but something feels a little "off" about the film. It certainly didn't bother me to watch it, since I had nothing to compare it to, and perhaps if I hadn't read all the hullabaloo online I might never had noticed anything was potentially amiss. If you've see the film before and you're a fan, you should definitely check out the new version and see what your thoughts are. Besides that, I thought the transfer itself was mostly gorgeous. There are huge sections of the film that look like they were filmed this year, and it's a credit to Kubrick and cinematographer John Alcott (who also shot A CLOCKWORK ORANGE) that they can render a film timeless so effortlessly. Other sections appear soft and gauzy, though I think this is a purposeful effect stemming from Kubrick's attempt to at all times use natural lighting, often candles alone lighting a scene. So all in all, pretty stunning, which is par for the course in a Kubrick film.
The film itself is very good, although I can definitely see a disconnect for people who relish the starker, more haunting images found in films like THE SHINING, FULL METAL JACKET and A CLOCKWORK ORANGE. Although all his films exist in a very deliberately paced style, BARRY LYNDON, at just over three hours, almost presses its luck. "Almost" being the operative word, because the story of the rise and fall of Redmond Barry, Irish rouge and ladies' man, who wants nothing more than to stand on equal footing with the various lords and gentlemen he comes into contact with, is very engaging and, surprisingly, hilarious at times. Based on the novel by William James Thackery, the movie succeeds in the challenge of making you care for a hero who is basically despicable. You don't necessarily root for him, but you're not begrudging him his due, either.
A lot of credit goes to Ryan O'Neal, who at the time must have seemed an odd choice to lead a Kubrick film (although in hindsight no more so than Matthew Modine in FULL METAL JACKET), but he plays it just right, alternating between childish cad and virile ladykillers when the situation calls for it. It doesn't hurt that he's surrounded by a great supporting cast, including Patrick Magee as his mentor/partner in crime and Leon Vitali as the grown Lord Bullingdon, Barry's stepson and nemesis. He's a revolting character, but you can't hep but see he's in the right even as he's an utter prick the entire time he's on screen.
The film opened with a duel that serves to introduce Barry to the story, so it's fitting that it's a duel that ends his story, although not in the way you could ever guess. A witty epilogue explains how Barry Lyndon finally becomes equal to those whose acceptance he so desperately wanted (though would never put the effort in to actually earn), and while it's not my new favorite Kubrick, it's a wonderful must-see film for anyone whose only exposure to the director is through his more well-received films.
Regardless of aspect ratio.
That's right...because I've followed through on all my other promises (wink, nudge, run out the door before the first stone hits), I've decided to try getting back into the writing game by doing a post a day writing up a few posts a week for the rest of the Summer (which for our purposes will be June to August as opposed to having to adhere to any pesky solstice/equinox silliness) on all the unconsumed media I have lying around the house. That means quick hits on movies, television shows, books, comics, video games, and anything else I can find that I've bought and then promptly forgot about.
Anything related to the written word will also be posted up at Un:Bound, so please check them out as well for lots of SF&F fun from across the pond.
I don't anticipate the posts being too long, unless there's something I really want to dive into. These are meant to be fun little opinionated pieces, and won't stick to any format. I might throw in some personal reminisces along with any "critical" words concerning the item in question, and I'll always try to throw in some pics for those who appreciate bright, shiny things accompanying their words.
I'll also end each post with a preview/hint of the next day's topic (place your bets as to how long or accurate this will be). So check out the pic below for my first post, coming up tonight!
Examining the life of a Father, Husband, and Geek - whatever that means in 2014. Coffee essential, but not mandatory...
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