Ender's Game: Well played

<span class="Apple-style-span" style="background-color: white; color: #5e5e5e; font-family: Arial, Helvetica, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><b><i>Ender's Game</i> </b></span></span></span></span></span></span><b>(2013) • <a href="http://trailers.apple.com/trailers/summit/endersgame/" style="color: #27a9c5; text-decoration: none;">View trailer</a></b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><b> </b><br /><b>Four stars. Rating: PG-13, for violence and dramatic intensity</b></span></span></span></span></span></span></span></span><br style="background-color: white; color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;" /><span class="Apple-style-span" style="background-color: white; color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span class="Apple-style-span" style="font-weight: normal;"><b>By <a href="http://www.blogger.com/profile/12885694730612878577" style="color: #27a9c5; text-decoration: none;">Derrick Bang</a> • </b></span>Originally published in <i><a href="http://www.davisenterprise.com/" style="color: #27a9c5; text-decoration: none;">The Davis Enterprise</a></i>, 11.1.13</b></span><br /><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><div class="MsoNormalCxSpFirst"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Celebrated sci-fi author Orson Scott Card was 26 when his first work, a novella titled “Ender’s Game,” was published in the August 1977 issue of <i>Analog</i>. In 1985, with much more ambitious plans for that tale’s young protagonist — and with the security of a rapidly blossoming literary career — Card expanded his debut effort into a novel that won both the Hugo and Nebula awards.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9g9X5vhu3pI7JFJlSqdfpLJitdw86oIUB6xgbXYAcLOsjzxjN2LMde4wPgcfeonEV-wkcy2Pc0RyPHWMSAymfryyYf_nUfl0nUHRf7SOOEKLYh89508YkfpGappOJAr6h9VMA-1o30Ho/s1600/Enders+Game+blog.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9g9X5vhu3pI7JFJlSqdfpLJitdw86oIUB6xgbXYAcLOsjzxjN2LMde4wPgcfeonEV-wkcy2Pc0RyPHWMSAymfryyYf_nUfl0nUHRf7SOOEKLYh89508YkfpGappOJAr6h9VMA-1o30Ho/s400/Enders+Game+blog.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">While Petra (Hailee Steinfeld) watches warily, the thuggish Bonzo (Moises Arias) angrily<br />warns Ender (Asa Butterfield) to stay out of his way. But Ender isn't one to remain on<br />the sidelines, which Petra senses immediately; things are destined to get quite ugly<br />between these two boys.</span></td></tr></tbody></table><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Today, the so-called “Ender series” encompasses — are you sitting down? — a dozen novels, a dozen short stories and roughly four dozen comic books (some adapting existing novels, some with entirely new material).<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Obviously, fans can’t get enough.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">More significantly, for our purposes, those same fans — and the general public — will thoroughly enjoy director/scripter Gavin Hood’s big-screen adaptation of the novel that started it all.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">The South African-born filmmaker is an impressively shrewd choice for this material, having burst onto the scene with 2005’s <i>Tsotsi</i>, which traces a week in the life of a young Johannesburg street thug who wrestles with his conscience after finding a baby in the back seat of a car he steals. The grim drama won that year’s Academy Award for Best Foreign Film, and Hood — a USC film school grad — went on to an eclectic career as a director, writer and actor.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Ender’s Game</i> also focuses strongly on the warring conscience of a boy, while contemplating several big-ticket philosophical issues that include state-sanctioned child abuse, planetary resource depletion and the novel’s most controversial theme: the notion of meeting a bully’s brutality with a savage response designed to prevent ALL subsequent attacks.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">The setting is a futuristic Earth, decades after our planet just barely repelled an invasion by an insectoid alien race dubbed the “Formics.” Expecting that these swarming monstrosities have returned to their home world in order to mount an even larger assault fleet, Earth’s united military force has pinned its hopes on a multi-national “Battle School” designed to train our best and brightest military tacticians:<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Carefully selected children.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Young minds are much more agile and adaptable; we know this in our own real world. It therefore stands to reason that young minds weaned on a diet of strategy-laced computer games might be nurtured into becoming the next Patton, Napoleon or Hannibal.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">(Needless to say, this rather disturbing notion — and the possibility that modern nations might be acting on it — is a helluva lot more timely today, than it was back in 1977. Among his many other talents, Card deserves credit for scary prescience.)<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><a name='more'></a><br /><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">We meet young Andrew “Ender” Wiggin (Asa Butterfield) during his early days at Battle School, where he has demonstrated a flair for besting older classmates in computer tablet battles. This does not make Ender popular with some of his more thuggish peers, although it does bring him to the attention of Col. Hyrum Graff (Harrison Ford) and Maj. Gwen Anderson (Viola Davis), always on the lookout for promising students.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Unfortunately, this focus makes Ender even more of a target, leading to a confrontation with one of the school bullies. Ender attempts to talk his way out of the beatdown; when that fails, he surprises everybody by lashing out viciously enough to hospitalize his older, taller tormentor.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Naturally, that makes Ender even <i>more</i> interesting to Graff.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">But the aftermath, recognizing what he has done, troubles Ender deeply. Allowed a brief visit home, believing he has been washed out of the program, Ender takes solace from his older sister, Valentine (Abigail Breslin), who knows full well what he’s going through, having once been a Battle School student herself. (Valentine’s saga is covered elsewhere in Card’s canon.)<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">In great contrast, Ender’s sociopathic older brother Peter (Jimmy Pinchak) delights in this apparent failure; indeed, Peter comes close to killing Ender ... which reveals precisely how the younger boy has learned to deal with bullies. Peter, as well, once was a Battle School student; he was expelled because of his uncontrolled violent rages.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Ender’s visible, guilt-ridden remorse has been the final test; it demonstrates the boy’s ability to empathize with an opponent, thus better understanding him. Graff swoops him back into the program, where Ender joins other children in a spaceflight to a huge orbiting military station designed primarily around its huge, zero-gravity “battle room.”<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">The children are divided into squadrons, with opposing teams meeting in the obstacle-laden battle room for a futuristic blend of paintball and quidditch. The hand-held “weapons” are paralyzers that temporarily freeze an opponent’s limb or torso; points are given for various anatomical hits, but a team wins immediately if able to maneuver one player through the enemy’s “goal.”<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Ender quickly excels at this game, displaying a facility for unorthodox strategies that cleverly — but ruthlessly — sacrifice other squad members in order to achieve that ultimate victory. This earns him the growing respect of new friends Bean (Aramis Knight) and Alai (Suraj Partha), while isolating him further from jealous tyrants such as Bonzo (Moises Arias), leader of the Salamander squad.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Ender’s effort to stand up to the cruel Bonzo has an upside: the growing respect of Petra (Hailee Steinfeld), also a member of the Salamanders.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">The battle room games continue, while — behind the scenes, unknown to the students — Graff nervously eyes a deep-space monitor that counts down the anticipated return of the Formic invaders.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Butterfield is perfect in the title role, his sallow complexion, sunken eyes and haunted gaze every inch the angst-ridden lad that Card created on the page. The young actor made a startlingly mature debut in 2008’s <i><a href="http://derrickbang.blogspot.com/2008/11/boy-in-striped-pajamas-grim-bedtime.html">The Boy in the Striped Pajamas</a></i>, and more recently touched our hearts as the title character in 2011’s <i><a href="http://derrickbang.blogspot.com/2011/11/hugo-true-sense-of-wonder.html">Hugo</a></i>. Butterfield is a richly expressive performer, and here he displays just the right blend of stubborn, defiant superiority and aching despair.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Ford delivers an equally intriguing performance, on the one hand making Graff a gruff, seasoned proponent of the “tough love” school: the sort of cheerfully grumpy bearing we’ve come to expect from the veteran actor. But Graff also has another side that isn’t nearly as attractive, and Ford is equally persuasive when this hardened commander reveals his increasingly desperate allegiance to the belief that the end justifies <i>any</i> means ... even those that irreparably damage his prize pupils.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Too much is at stake to behave otherwise.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Davis is the yin to Graff’s yang; Anderson is a much more compassionate psychologist who worries deeply about what is being done to these impressionable young minds. She’s also greatly concerned about the degree to which Ender’s downtime activity — a solo, puzzle-laden computer challenge — has been “invaded” by images of his sister and Formic opponents. Davis’ increasingly defiant objections to Graff’s methods, however, become a bit too shrill: not the best showcase for an actress better known for the graceful subtlety of her performances.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Steinfeld, still coasting on her Oscar-nominated work in the 2010 remake of <i><a href="http://derrickbang.blogspot.com/2010/12/true-grit-larger-than-life.html">True Grit</a></i>, is plucky and sympathetic as Petra, Ender’s staunchest ally. That said, her performance shows little depth; she doesn’t dig deep into her role, the way Butterfield so thoroughly inhabits Ender.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">In fairness, Hood’s script more correctly deserves the blame for this. In the filmmaker’s desire to focus on the bond between Ender and Valentine — thus granting Breslin a better showcase for <i>her</i> acting chops — he short-shrifts Petra, Bean and Alai, all of whom play a much larger, and more emotionally crucial, role in Card’s novel.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">It’s not necessarily a bad artistic choice on Hood’s part; he obviously struggled to compress the massive tapestry of Card’s novel into a 114-minute film. But those who vividly remember the book's handling of Petra, Bean and Alai are apt to be somewhat disappointed here.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">A heavily tattooed Ben Kingsley is striking as the half-Maori instructor who takes over when Ender graduates to Command School, and Nonso Anozie makes a strong impression in his brief role as a boot camp-style sergeant. Arias, as well, ensures that we’ll not soon forget the petulantly vicious Bonzo: quite a switch from the goofy free spirit this young actor played earlier this year, in <i><a href="http://derrickbang.blogspot.com/2013/06/the-kings-of-summer-this-film-rules.html">The Kings of Summer</a></i>.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Characters and performances aside, however, every fan of this novel will want to know how well the battle room skirmishes have been visualized. The news is good: Visual effects supervisor and his company, Digital Domain, have done a slick job. The zero-gravity environment is cleverly, persuasively constructed, and several of Ender’s best campaigns — most notably his squad’s odds-against battle with <i>two</i>opposing teams — leap faithfully off the page.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">On the other hand, some quieter scenes — such as Harrison Ford’s zero-g “swim” within a spaceship cabin — suffer slightly when compared to the far superior (and very recent) work in <i><a href="http://derrickbang.blogspot.com/2013/10/gravity-grim-survival-drama.html">Gravity</a></i>.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Hood builds his film to an exciting, breathtaking finale, although an epilogue of sorts — also faithful to Card’s novel — gets too philosophically preachy for my taste, and even works against what we’ve seen to this point. Card could better establish the groundwork for this unexpected twist; Hood's film, of necessity short-changing such back-story, sends viewers out on a note that is intended to be upbeat, but instead feels dour and anticlimactic (while clearly setting up a potential sequel).<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles></xml><![endif]--> <!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style><![endif]--> <!--StartFragment--> <!--EndFragment--><br /><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Still, the ride is crisp, energetic and well played up to that point. <i>Ender’s Game</i> also raises intriguing questions, as is intended; this is thoughtful sci-fi, designed to encourage debate while entertaining. It succeeds on both counts.</span><span style="font-family: Times New Roman;"><o:p></o:p></span></span></div>

2013 Abigail Breslin Asa Butterfield Ben Kingsley Four Star Films Hailee Steinfeld Harrison Ford Moises Arias Sci-Fi Viola Davis Ender's Game: Well played

Ender's Game (2013) • View trailer Four stars. Rating: PG-13, for violence and dramatic intensityBy Derrick Bang • Originally published in The Davis Enterprise, 11.1.13Celebrated sci-fi author Orson Scott Card was 26 when his first work, a novella ti…

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The Kings of Summer: This film rules!

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font-size: 13px; line-height: 18px;"><b><i>The Kings of Summer</i> </b></span></span></span></span></span></span></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b>(2013) • <a href="http://trailers.apple.com/trailers/independent/thekingsofsummer/" style="color: #27a9c5; text-decoration: none;">View trailer</a></b></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b> </b></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><br /></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b>Four stars. Rating: R, and rather harshly, for occasional profanity and teen drinking</b></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><br /></span></span></span></span></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span class="Apple-style-span" style="font-weight: normal;"><b>By <a href="http://www.blogger.com/profile/12885694730612878577" style="color: #27a9c5; text-decoration: none;">Derrick Bang</a></b></span></b></span></span></span></span></span><br /><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span> <!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles></xml><![endif]--> <!--[if gte mso 10]><style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style><![endif]--> <!--StartFragment--> <br /><div class="MsoNormalCxSpFirst"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This is why I love my job.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;"><span style="font-weight: normal;">The Kings of Summer</span></i><span style="font-weight: normal;"> marks an impressive feature debut for director Joran Vogt-Roberts and writer Chris Galletta, the latter with nothing more to his credit than a brief 2005 stint as a production staff member for <i style="mso-bidi-font-style: normal;">The Late Show with David Letterman</i>. Vogt-Roberts’ résumé includes several shorts and a lot of TV series work, the latter suggesting the hilariously snarky mind set on ample display in this film.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc89O-rvb3zr5Y9Urt9U7yn2jt_AWDR57SCvkvk1_7chfWFeK5BSGLNfro_5HcVbRnVAQzYSlFLaUtZsgZnGBKLccUC7aIc3-8foP6JHIcsSIoFDM4in9Odq4SQ3IKHy7bl8V7vP4N1-8/s1600/Kings+of+Summer+blog.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc89O-rvb3zr5Y9Urt9U7yn2jt_AWDR57SCvkvk1_7chfWFeK5BSGLNfro_5HcVbRnVAQzYSlFLaUtZsgZnGBKLccUC7aIc3-8foP6JHIcsSIoFDM4in9Odq4SQ3IKHy7bl8V7vP4N1-8/s400/Kings+of+Summer+blog.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Having more or less completed their new home away from home, our three young<br />renegades — from left, Joe (Nick Robinson), Patrick (Gabriel Basso) and Biaggio (Moises<br />Arias) — contemplate the next challenge: putting food on the table. That'll prove far<br />more difficult than anticipated, since they've no experience with traps, lures, bare-handed<br />fishing or any other woodsian skills.</span></td></tr></tbody></table><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Actually, calling this picture “impressive” isn’t nearly strong enough. It’s a sure-fire audience pleaser: one of those so-called “little films” — like <i style="mso-bidi-font-style: normal;">Little Miss Sunshine</i> or <i style="mso-bidi-font-style: normal;">Juno</i> — guaranteed to take off like a rocket, once word gets out. This year’s enthusiastic Sundance Festival audience certainly thought so, granting a nomination for the Grand Jury Prize (not won, alas).<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As a collaborative team, Vogt-Roberts and Galletta demonstrate a striking degree of creative synch; the latter’s dialogue sounds <i style="mso-bidi-font-style: normal;">just right</i>coming from the naturalistic ensemble cast, granting a level of verisimilitude that makes these characters feel like the folks next door.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Allowing, that is, for a left-of-center gaggle of eccentrics commonly found in films by Wes Anderson or the Coen Brothers. But I mean that in the gentlest way: However funny the lines, however warped some of the emotional behavior by sidebar adults, this is — first and foremost — an intimate coming-of-age saga.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In the truest sense of the old cliché, we laugh <i style="mso-bidi-font-style: normal;">with</i> our young protagonists, not at them.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The contemporary setting is a smallish town in Northeast Ohio, the sort of all-American community that typifies such narratives. Best friends Joe (Nick Robinson) and Patrick (Gabriel Basso) are strongly bonded, in part, by their inability to cope with utterly impossible parents.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Joe’s father, Frank (Nick Offerman), hasn’t yet recovered from his wife’s untimely death, years earlier. He has become bitter, condescending and imperious: a combination that doesn’t blend well with a teenage son’s instinctive rebelliousness. Joe’s favorite method of revenge, when sufficiently annoyed, is to summon the local law — personified by the competent Capt. Davis (Mary Lynn Rajskub) and her absolutely useless rookie companion (Thomas Middleditch) — on some trumped-up accusation.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Frank responds to such hijinks the way he deals with everybody: angry sarcasm delivered by Offerman with a relentlessly straight face ... which, of course, makes every bile-fueled line that much funnier. (And they’re pretty funny to begin with.)<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Joe’s older sister, Heather (Alison Brie), fled the tension-laced home awhile back, although she still visits. That speaks well of the young woman; her choice of male companions, however, does not. Colin (Eugene Cordero) is a misfit who’s as oblivious to social cues, as he is to the fact that Frank constantly winds him up.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In this case, we can hardly blame Frank; Colin’s <i style="mso-bidi-font-style: normal;">much</i> too easy a target. Which Heather is aware of, and Brie’s face is an amusing study in conflict: clearly annoyed by her loutish father, but equally embarrassed by her clueless boyfriend.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><a name='more'></a><br /> <div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Elsewhere, Patrick spends each waking moment smothered by nerdy, overprotective parents — Megan Mullally and Marc Evan Jackson — whose every word and action induces cringes ... both from their son, and from us. Their behavior is beyond ghastly; it’s awkwardly inappropriate to a degree that defies description. <o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">No surprise, then, that Patrick sports an remarkable case of hives; Basso skulks from one room to the next, his body laced with tension, his face eternally set in an anticipatory wince, knowing that he’ll momentarily flinch from some new parental transgression.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The true magnitude of Joe and Patrick’s suffering can be measured by the degree to which they regard high school as a comfort zone ... because we all know how horrible <i style="mso-bidi-font-style: normal;">that</i> environment can be.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">School has an additional benefit for Joe: closer proximity to Kelly (Erin Moriarty, in a thoughtful, amiable performance), a lively, free-spirited girl he has tracked for awhile. Better yet, it appears that her current relationship might be heading south, leaving her available. Best of all, she seems to enjoy Joe’s company.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">But he’s not allowed the opportunity to contemplate this situation. Stung by one too many dismissive acts by his father, Joe decides to run away from home ... albeit not in the usual way. Joe has a plan, and he wants Patrick on board; the latter resists only until <i style="mso-bidi-font-style: normal;">his</i> next parental humiliation, at which point he’s all in.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Joe’s grand scheme: to build a home — not a fort, not a tree-house, but an entire multi-room dwelling — in the middle of the dense, nearby woods. A place they can call their own, and where they can call their own shots, unencumbered by parental baggage. Set their own schedule. Hunt and cook their own food.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The very notion is ironic, because — as we’ve already seen, in the film’s opening moments — Joe can’t even construct a bird house.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">But that’s a minor detail; enthusiasm and hard work should be sufficient compensation. (In theory.) As the actual “house” rises, it’s a mirthful blend of found materials, stolen bric-a-brac and a couple hundred bucks’ worth of stuff from Home Depot. Production designer Tyler B. Robinson obviously had a great time sorting it all out, and the result looks precisely what unskilled teens might erect.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Patrick is mildly surprised, as this ambitious project begins, to discover that they’ve been joined by a mascot of sorts: Biaggio (Moises Arias), their high school’s token “weird kid.”<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“I’m afraid to tell him to leave,” Joe confesses, responding to Patrick’s quite reasonable question. “I don’t know what he’s capable of.”<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Arias isn’t merely funny; he’s a revelation. The younger actor has taken everything he learned during five years on television’s <i style="mso-bidi-font-style: normal;">Hannah Montana</i>, and channeled it into the sort of career-making performance from which fat contracts are spawned. His line deliveries are impeccably timed, and — like Offerman’s Frank — Arias’ expression always is dead serious. But there’s a difference: Frank is impassively patronizing, whereas Biaggio is simply <i style="mso-bidi-font-style: normal;">sincere</i>.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">He’s like a lost puppy, desperately wanting to belong; neither Patrick nor Joe could be cruel enough to cast him out. And, so, they become a trio.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Although the subsequent bonding has a euphoric, “boys of summer” spirit that can’t help making all of us feel wistful about our own teenhoods, Vogt-Roberts and Galletta have more serious issues in mind. All three teens have been emotionally stunted by their home environments; however droll and never-entirely-successful this attempt at independence, they’re now in a position to help each other achieve adulthood. Of a sort.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">And while Biaggio’s unexpected arrival proves cathartic in a beneficial way — his crazed and increasingly wild antics notwithstanding — the same can’t be said of Joe’s eventual decision to let Kelly in on the secret. Because everybody knows that an all-guy dynamic, particularly one this precarious, can be destroyed by the presence of a woman.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Robinson — a veteran of another tween TV series, <i style="mso-bidi-font-style: normal;">Melissa & Joey</i> — is spot-on as our lead protagonist: the guy who drives the action and makes his two companions believe in unspecified possibilities. Joe has no end-game in mind; a moment’s rational thought would reveal that this situation can’t possibly endure. But Robinson grants his performance a deft blend of earnestness and fatalism, and his persuasiveness leaps off the screen; we want to be there, right at his side.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Basso, with a string of credits going back six years, is equally persuasive as the best-friend follower. As a telling scene between the two fathers eventually reveals, Joe has been the instigator of numerous previous, ah, “escapades” involving both boys. This best-bud dynamic is intriguing because it’s counter-intuitive: Basso is the more imposing of the two actors, with the height and weight that ordinarily would make <i style="mso-bidi-font-style: normal;">him</i> a leader. But Patrick is a psychiatrist’s manual of insecurities — all persuasively displayed on Basso’s expressive face — and thus looks to Joe for guidance.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Until and unless he can find it elsewhere.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Although the core scenario and various character dynamics are engaging enough on their own, Galletta’s killer dialogue sweetens the pot even further. His lines are to die for, and Vogt-Roberts ensures that each is delivered to maximum potential. Your natural desire to watch this film again will help reveal some choice exchanges that’ll probably get buried the first time, because people will be laughing so hard at the <i style="mso-bidi-font-style: normal;">previous</i> lines.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ryan Miller’s underscore adds a note of poignance at key moments, but I’m less enthralled by the hard rock tunes inserted by the likes of Youth Lagoon, Thin Lizzy and MGMT ... not because they’re inappropriate, but because they’re much too loud, and overwhelm the film’s mostly gentle tone. Sound mixers Ryan Putz and Marlowe Taylor could have done better.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">But that’s small stuff. <i style="mso-bidi-font-style: normal;">The Kings of Summer</i> is a revelation: equal parts shrewdly perceptive, unexpectedly poignant and continuously uproarious. That’s not easy to sustain for 93 minutes, but Vogt-Roberts and Galletta pull it off: right up to the absolutely perfect final scene.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I can’t wait to see what these guys do next.</span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><o:p></o:p></span></span></div><!--EndFragment-->

2013 Alison Brie Erin Moriarty Four Star Films Gabriel Basso Indie Comedy Marc Evan Jackson Mary Lynn Rajskub Megan Mullally Moises Arias Nick Offerman Nick Robinson The Kings of Summer: This film rules!

The Kings of Summer (2013) • View trailer Four stars. Rating: R, and rather harshly, for occasional profanity and teen drinkingBy Derrick Bang 0 false 18 pt 18 pt 0 0 false false false /* Style Definitio…

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