Armchair Commentary

The Surging Popularity of Films Based on Young Adult Books

Films based on young adult novels are hot right now--so hot they're breaking box office records. While a cursory look suggests that young adults have a much larger discretionary income and more autonomy in spending it than ever before and that filmmakers are just capitalizing on that opportunity, the audiences filling the theaters for these young adult films represent a surprisingly diverse age demographic. Why? Because both young adult fiction and films have become much more popular with adults in in the past few years thanks in part to better writing, more universal themes, and cross-genre marketing. The result is a sharing of experience between young adults and adults that translates not only to money at the box office and bookstore, but to a common ground between generations that's filled with promise.

Do we hand the credit to J.K. Rowling and say it all started with the Harry Potter books and films? Or did it really start with films like The Lord of the Rings? How do children's stories like the Lorax and The Borrowers or comics like Tintin fit in to the equation? 

 

 

The Hunger Games is certainly the most recent example of how insanely popular a young adult film can be and the film's momentum from its record-breaking first couple of weekends doesn't seem likely to slow down anytime soon. Of course, the books of the Hunger Games Trilogy have also been hugely popular with both teens and adults for the last several years. The idea of a dystopian world where kids are dropped into the wilderness and pitted against one another in a fight for survival is nothing new (think William Golding's Lord of the Flies way back in 1954), but the powerful way this story is told, both on the page and screen, absolutely captivates both teens and adults.

 

  

The Twilight Series of novels by Stephenie Meyer were ravenously devoured by the target young adult female audience, but what was a bit more surprising was how appealing these romance novels about vampires, werewolves, and true love were to adult women. Likewise, the first Twilight film was madly popular with women of all ages, fueled by the popularity of the books and some serious hype about the contemporary fascination with vampires and the promise of a tale of first love like no other. New Moon was equally strong as Bella battled a broken heart and came face to face with the Volturi. Eclipse explored a love triangle between Bella, Edward, and Jacob which, if not completely believable in its presentation, was certainly compelling as was Bella's steadfast determination to give up virtually everything for true love. Filmmakers decided to break the final book into two films and Twilight Breaking Dawn Part One deals with the decidedly mature subject of childbirth gone extreme--suddenly what began as a young adult saga has matured into an adult story that's basically unsuitable for all but the oldest end of the young adult market.

 

 

Where does one begin with the eight iconic Harry Potter films that broke box office records and drew huge fans from every conceivable age group? Literally everyone was reading these books--kids, parents, and young adults alike--just as fast as they came off the presses. And how about the block-long lines of people that camped out to see the films at midnight on opening night? Harry Potter was truly a phenomenon unlike any other--one that brought together young and old in a powerful shared experience that created memories that will last a lifetime. 

 

 

 Hugo is another film that bridges the gap between the young adult and adult markets. It's a story of a young orphaned boy struggling to solve a mystery left by his father while simply surviving, but the story transcends the situation into a universally appealing message about hope. Five Oscar awards isn't too shabby for a young adult film!

 

 

Tolkien's classic Lord of the Rings Trilogy took on truly epic proportions in the three Lord of the Rings films that absolutely re-defined the role of animation in live-action films. A young adult book series to be sure, but the films are definitely now considered classics in the adult film genre.

 

 

 

The Secret World of Arrietty is a film based on Mary Norton's The Borrowers--a classic book that's captivated the imaginations of generations of young adults. Sure, the film is rated G and is great for kids, but like many of Miyazaki's best films, it's just as appealing to adults. 

 

 

 

The Adventures of Tintin is based on the classic comic by Herge, but again, the film transcends age barriers and appeals not only to kids and adults with fond childhood memories of Tintin comics, but animation fans of all ages.

 

 

 

 Dr. Seuss' The Lorax may look like a kid's film based on a kid's picture book, but it really deals with the very grown-up subject of environmental preservationism. Of course, the movie throws in a whole new sub-plot about young love as another lure to the young adult market. 

 

Other notable young adult films:

I Am Number Four--A young adult fantasy in which an exile seeks to discover his own heritage and the powers hidden within himself while experiencing his first love.

The Golden Compass--An orphan girl sets out on a perilous journey in search of truth and a lost friend.

The Chronicles of Narnia Series--Adventures of good versus evil that culminate (thus far) in a personal war against the darkness within.

Alice in Wonderland--An adventure tale that celebrates the strength of one young woman.

What's Up Next?

Plenty more young adult novels are coming to the movies in the next year or so including J.R.R. Tolkein's The Hobbit, Lois Lowry's The Giver, Maggie Stiefvater's Shiver, Ally Carter's Heist Society, and Ray Bradbury's Fahrenheit 451. And I hear that Scott Westerfeld's Uglies is also in production!

So what's so important about the rise in popularity of young adult films? Authors of young adult fiction are selling more copies of their books than ever before and filmmakers are breaking records for money grossed at the theaters--that certainly helps the economy. But in my mind, an equally important result is that young adults and adults are finding a common ground through entertainment--their shared experiences reading these books and watching the films are forging a connection between generations and opening avenues of communication that might not otherwise exist. Does that mean that your teen is going to suddenly confide their deepest, darkest secrets and insecurities to you on the drive home from the theater? Or that your newly-on-his-own 20-something will call you up to solicit advice about his personal life? Probably not, but you never know where a conversation about Harry's complicated relationships with his classmates and teachers, Bella's struggle to choose between Edward and Jacob and then live with the far-reaching consequences of her decision, or Katniss' determination to survive without losing her own sense of humanity might lead.

 

--Tami Horiuchi

First Trailer: "The Girl With the Dragon Tattoo"

Watch it now!

'The Hunger Games' Movie: Haymitch is Cast!

We here at Armchair Commentary have been closely watching the casting of The Hunger Games, the movie adaptation of Suzanne Collins' bestseller (which is as addictive as Twilight but much more guiltless). We've been waiting for the last piece of the main cast to be announced, and today it's here: Woody Harrelson will play Haymitch Abernathy, mentor and former champion of the Hunger Games, who is simultaneously cranky, kind, and drunk throughout the book. (Robert Downey Jr. and Hugh Laurie had been mentioned in various fan polls as Haymitch possibilities)

So that rounds out most of the primary characters. Here's a rundown of who is who:

Katniss Everdeen (Jennifer Lawrence): The Oscar-nominated Lawrence (Winter's Bone, the upcoming X-Men: First Class) will play Katniss, who volunteers to take her sister's place in the Hunger Games, an annual fight-to-the-death tournament among teenagers in a dystopian future, organized by the oppressive government as a punishment for attempting a past uprising.

Gale Hawthorne (Liam Hemsworth): The star of The Last Song (with Miley Cyrus, also his offscreen ex) and brother of Thor Chris Hemsworth will play Katniss' best friend, who becomes part of her love triangle.

Peeta Mellark (Josh Hutcherson): Hutcherson (The Kids are All Right, Bridge to Terabithia) is the gentle baker who becomes Katniss' fellow District 12 representative in Hunger Games, as well as her love interest.

Effie Trinket (Elizabeth Banks): Banks plays Effie, the escort of the District 12 tributes, serving as publicist and spin doctor.

Seneca Crane (Wes Bentley): Bentley (American Beauty) will play the head Gamemaker, who designs the Hunger Games for maximum entertainment and bloody thrills.

Caesar Flickerman (Stanley Tucci): The smooth TV personality interviews Katniss and the other tributes on air, coaching the tributes to their most positive public image.

Primrose Everdeen (Willow Shields) and Mrs. Everdeen (Paula Malcomson): Playing Katniss' young sister Prim is Willow Shields, a newcomer, while Malcomson, who'll play their mother, has appeared in Caprica, Sons of Anarchy, and The Event.

The rest of the tributes, including Glimmer and Foxface, have been cast with relative unknowns. You can find the full gallery of who's officially in at EW.com. What do you think of the cast so far? And who do you think should play the flamboyant costume designer, Cinna? --Ellen

Breaking News: Jennifer Lawrence Lands "Hunger Games" Lead

It's the hottest casting call since Twilight and The Girl With the Dragon Tattoo: The movie adaptation of Suzanne Collins' The Hunger Games, the bestselling young-adult trilogy, has cast its lead, according to The Wrap: Jennifer Lawrence (far left), the Oscar-nominated Winter's Bone star, who will also play a younger Mystique in the upcoming X-Men: First Class movie.

She wins the role over reported contenders (and fellow Oscar nominees) Hailee Steinfeld of True Grit (center) and Abigail Breslin of Little Miss Sunshine (near left). A number of other actresses, including Chloe Moretz, Saoirse Ronan, Emma Roberts, and Emily Browning were also reportedly under consideration.

The film will be directed by Gary Ross (Seabiscuit, Pleasantville) and written by Billy Ray (Shattered Glass).

Now comes the male lead of Peeta: The front-runner is rumored to be Alex Pettyfer (Beastly, I Am Number Four); EW.com recently held a readers' poll on who they preferred to play the main characters; they picked Gaspard Ulliel (Hannibal Rising) for Gale, Katniss' best friend/potential love interest; Hunter Parrish (Weeds) as Peeta (Parrish is also reportedly in contention); Hugh Laurie as Hunger Games mentor Haymitch; and Kristin Chenoweth as perky Games escort Effie.

Who would you cast and what do you think of Lawrence? While she physically doesn't look as much like Katniss as Steinfeld or some of the other contenders, there's no question she can act, and I'm curious to see what she does with it. Her chemistry with whoever they cast as Gale and Peeta will likely make or break this movie. --Ellen

The Best Movie Music of 2010

Film scores generally fall into two categories: the bad ones you don’t remember and the great ones that are impeccably crafted to heighten your overall experience, becoming as crucial as script, direction, and performances. A third class is music that stands out from a lesser film and draws attention to itself, good or bad. Film music in 2010 gave us an unusually rich sampling of the kind that you may not have noticed because it was so perfectly tuned to the movie. There were also a few notable scores that distinguished themselves from some otherwise undistinguished material.

The Oscar nominated scores are pretty squarely in the so-good-you-don’t-notice category, but they deserve plenty of notice as standalone pieces of contemporary composition by artists in full. My winning pick is Hans Zimmer for his eerily affecting and innovative contribution to Christopher Nolan’s Inception. Zimmer is a longtime pro whose collaboration with Nolan and composer colleague James Newton Howard were also integral to the outstanding dramatic impact of Batman Begins and The Dark Knight. Zimmer's moody, alternately subdued and dominant themes in Inception are thrilling echoes of the film's emotional intensity and ingeniously executed action. (Do some Internet snooping for the fascinating link between one of Zimmer's recurring cues and Edith Piaf's recording of "Non, je ne Regrette Rien," which is a key plot device.)

The rest of the nominees are all strong runners-up, especially the dark, techno-flavored partnership Trent Reznor and Atticus Ross provided for The Social Network. The score impacts what could have been a thoroughly mundane story in the hands of talents lesser than director David Fincher and screenwriter Aaron Sorkin. It is unexpected and often jarring as a compliment to the film's striking visual style. A.R. Rahchman's score for 127 Hours takes a similarly daring approach to the anachronistic way Danny Boyle presents his story of courage, boredom, terror, and triumph. "Liberation," the piece which accompanies the film's gruesome money sequence is an excellent example of how expertly music can heighten mood with its extension of dramatic sensitivity. Rahman and Boyle are as in sync as they were two years ago when they both won Oscars for their respective roles in Slumdog Millionaire.

John Powell's score for the animated feature How to Train Your Dragon is much better than it needs to be by maintaining integrity to tradition in its soaring, sweeping themes. It sometimes lilts with Celtic influence and sometimes drifts into the whimsy that captured the movie's delightfully entertaining reach to such a wide, enthusiastic audience. And Alexadre Desplat, one of the most prolific and adept film composers working today gave The King's Speech a big part of its audience appeal, adding to the poingnance of the story without pandering to its sentimentality.

Desplat is also in contention for the Film Composer of the Year award from the International Film Music Critics Association based on his work in The King's Speech and in Roman Polanski's deliciously quirky thriller, The Ghost Writer. Though Polanski's film was shockingly shut out of Oscar contention in any category, Desplat's score could easily have had a real shot at winning and is arguably more interesting and more essential to an artistic whole than his work in The King's Speech. Using signature tinkles of piano and a light touch in orchestration motifs, Desplat's music in The Ghost Writer has a playful mystery that archly reflects the mischievous tone of Polanski's matchless technique. (Desplat's busy year of composing also produced scores for Harry Potter and the Deathly Hallows: Part 1 and Stephen Frears' little-seen comic romance, Tamara Drewe.)

More of the year's best movie music includes some other glaring Oscar omissions for Academy rule violations. Carter Burwell, who has risen among the greatest and most productive American film composers was deemed ineligible to compete for two of the three scores he wrote in 2010. Burwell has scored all but one of the Coen brothers' films, and his exclusion for the beautiful, evocative work that made True Grit so great has outraged many. His lovely, sorrowful compositions that run counter to the themes traditionally heard in westerns are based on 19th century Protestant hymns, and therefore "diluted by the use of tracked themes or other preexisting music," according to a story in Variety. Burwell's music is original as can be, and gives True Grit a large part of its affecting splendor. The Academy's second slap came when it excluded his score for The Kids Are All Right, which was "diminished in impact by the predominant use of songs," according to its rule book. Hogwash.

Michael Brook's haunting, ethereal score for The Fighter was subject to the same spurious decree for the inclusion of too many period pop songs. A third composer who ran afoul of the Academy's statutes was Clint Mansell, whose classically tinged and spooky accompaniment to Darren Aronofsky's Black Swan echoed aspects of Tchaikovsky's "Swan Lake," but was hardly an adaptation and was easily among the top scores of the year based on the merits of its own dramatic resonance.

A final few of the best of 2010 include the taut, edgy compositions from old timers Howard Shore for Edge of Darkness, James Newton Howard for Salt and The Tourist, and Elliot Goldenthal for Julie Taymor's eccentrically handsome interpretation of The Tempest. In the category of scores that rise well above the movie's that gave them life, the French techno-dance duo Daft Punk was a good enough reason to make Tron: Legacy an experiment that was not an utter failure. And to follow the rule of if you you can't say anything nice, don't say anything at all, I'll also make mention of The Wolfman. Anthony Hopkins, Benicio Del Toro, Emily Blunt, and the audiences who wasted their time with the loony remake may wish to forget, but the talented composer Danny Elfman can still honorably keep the memory alive with music that was biting and brutal, even though the movie should have been euthanized.--Ted Fry

Play It Again: The Best Movie Remakes

The Coen brothers have remade the 1969 John Wayne classic True Grit, and critics, while admiring the Coens' version, have also mused on whether it was necessary to remake a perfectly serviceable film. After all, Wayne won a Best Actor Oscar for his work in the original.

But Hollywood loves a sure thing, including movies that have been a success before. And sometimes, the remake is good--even better than the original. Here, some of our favorite remakes (in a later post, we'll share some of our least favorite):

1. The Dark Knight -- This chilling, creepy 2008 telling of the Batman legend may not technically be a remake of the 1989 Batman starring Michael Keaton, since Batman TV series, films, and animated features have been legion since the 1960s. But after several sequels, it was thought that the Warner Bros. franchise had run out of gas. Enter director Christopher Nolan and stars Christian Bale and especially Heath Ledger, whose portrayal of the Joker earned him a posthumous Oscar. Whatever doesn't kill you only...makes you...stranger.

2. His Girl Friday -- Howard Hawks' splendid 1940 screwball comedy actually had several lives before the dizzyingly paced one starring Rosalind Russell and Cary Grant. It started as a play by Ben Hecht, and was made into several films as The Front Page, notably in 1931 by Lewis Milestone. Interestingly, though His Girl Friday approaches perfection, it was remade at least twice afterward, too; once as a TV film and again in 1974 by Billy Wilder with Walter Matthau and Jack Lemmon. But nothing can surpass the sparks generated between Russell and Grant.

3. Scarface -- The 1983 Al Pacino gangster film has become a legend since its release, and much of its tough, in-your-face dialogue and glorified violence has inspired legions of hip-hop artists and others. But fewer people know the Howard Hawks-directed version from 1932, starring Paul Muni. It's a worthy film in its way (and its unflinching violence barely skirted the Motion Picture Production Code). Yet it's Pacino's cool-as-diamonds portrayal that lifts Scarface from its genre.

4. Ocean's Eleven -- Eyebrows rose when director Steven Soderbergh announced he'd be remaking the quintessential Rat Pack film from 1960. But it turns out Soderbergh pulled off the perfect caper. His Ocean's Eleven made a star at long last of George Clooney, who sidled up to his costars including Don Cheadle, Brad Pitt, and Julia Roberts like he was having the time of his life. And so did audiences.

5. Sling Blade -- Billy Bob Thornton wrote both the 1996 version, which won a Best Screenplay Oscar and wide acclaim, as well as the short film that preceeded it in 1994, Some Folks Call It a Sling Blade. The first film was directed by George Hickenlooper (who died earlier this year of an apparent accidental overdose), and focuses only on the extremely creepy "exit" interview that Karl Childers gives before leaving the "nervous hospital." The viewer is captivated but left with an open-ended feeling of dread. The 1996 Sling Blade builds out the story of Karl after his release, showing his humanity and conscience, making it an altogether different experinece.

6. Buffy the Vampire Slayer (TV series) -- Kristy Swanson's career never really recovered from starring in the lame 1992 film version. But the 1997 Joss Whedon TV series made stars out of Sarah Michelle Gellar, Michelle Trachtenberg, Alyson Hannigan, James Marsters, David Boreanaz, Eliza Dushku, and Emma Caulfield. The key to TV Buffy's success was the writing and the strong character development. Whedon and his team of writers were not afraid to face the dark side, or to take big risks with plots. After all, Buffied died not once, but twice. And saved the world. A lot.

7. Heaven Can Wait -- It's not that there's anything wrong with the original, Here Comes Mr. Jordan (1941). It's just that 1978's Heaven Can Wait starred the hottest couple of the day, Warren Beatty (never more appealing) and Julie Christie (feisty and delicious). The viewer can't help but want to see them together--in this life and the next.

What are your favorite movie remakes?

--A.T. Hurley

 

 

 

Air-Guitar Picks and Pans: Movies About Rock Bands

I was a teenage Runaway wannabe. Growing up, I copied Cherie Currie's shaggy feathered hair and dreamed of having a band like The Runaways. But, as usual, reality spoils the fantasy and if I’d sneered “Hello daddy, hello, mom!” my parents would have told me to quit being a goofball and go clean my room. So, as The Runaways --the biopic on the long-overlooked ‘70s teen rocker chicks--opens in selected theaters this week, I’m hoping Hollywood won’t break my still-adolescent heart. Can Dakota Fanning hold a torch to the real Cherie? Is Kristen Stewart too one-dimensional as Twilight’s Bella to be a decent Joan Jett? We’ll soon see. Until then, here’s a look at a few faux rockers who didn’t disappoint – and some that barely struck a chord.

• The Doors:  In this 1991 film by director Oliver Stone, a svelte Val Kilmer plays the late Jim Morrison  and bears an eerie resemblance to the singer, who died in 1971. Say what you will about Stone's heavy-handed treatment of the '60s in some of his films, this one holds a few surprises, such as Crispin Glover as the best Andy Warhol ever.

• Sid and Nancy:  Gary Oldman is the goofily, drugged-out Sex Pistols bassist Sid Vicious in this 1986 film directed by Alex Cox. Chloe Webb gives a memorable performance as Sid’s screeching girlfriend Nancy Spungeon (best quote: “I look like @$#*$) Stevie Nicks!”). The tragic tale of the ill-fated lovers is marked by ethereal cinematography – and it’s also worth watching for a glimpse of a pre-plastic surgery Courtney Love as one of Nancy’s punker pals.

• Buddy Holly Story:  Long before Gary Busey’s stint on Celebrity Rehab With Dr. Drew, he received a Best Actor nomination for this 1978 tale of rocker Buddy Holly.  Holly’s blooming career was cut short in a tragic plane crash that also took the lives of fellow stars Ritchie Valens and J.P. “The Big Bopper” Richardson in 1959. Valens was later memorialized by Lou Diamond Phillips in 1987’s La Bamba.

• Hysteria: The Def Leppard Story: My friend Jim owns a DVD of this made-for-VH1 movie. “It’s pretty bad,” he said, popping it into the DVD player. So I braced myself for the worst. No, this tale of the UK's metal rockers is GREAT-bad in the same way that Showgirls is GREAT-bad. Why it hasn't become a cult classic is beyond me.

• Control:  As a major Joy Division fan, I thought Sam Riley did a brilliant job as Ian Curtis, lead singer of the influential British band who took his own life in 1980. I was cynical at first, but director Anton Corbjin won me over quickly by staying remarkably true to his subject. 

• Ray: Jamie Foxx took home an Oscar for his electrifying performance as Ray Charles in this 2004 biopic which chronicles the life and struggles of the blind singer/pianist. I'd always thought of Foxx as just this funny guy from TV, but he's earned his stripes as an actor – even going so far as to wear prosthetic eyelids in order to relate to his blind character.

   

  Here are a few more biopics worth noting that overlap the country, R&B and rock boundaries. For a music lover, that's a great thing.

  • Jacksons: An American Dream: After the death of Michael Jackson, this 1992 TV miniseries can now be considered a time capsule of sorts. It's interesting to watch family patriarch Joe (played Lawrence-Hilton Jacobs AKA Freddy “Boom Boom’ Washington to us Welcome Back, Kotter kids) in light of his actions since his son's death. With Angela Bassett as mom  Katherine and Billy Dee Williams as Berry Gordy.
  •  Walk the Line: Reese Witherspoon won the Academy Award for Best Actress for her portrayal of June Carter Cash in this 2005 film about the life of singer Johnny Cash (played by Joaquin Phoenix – before he got weird).
  • Coal Miner’s Daughter: Michael Apted directed Sissy Spacek in her Oscar-winning role in this 1980 tearjerker bio of country singer Loretta Lynn.
  •  What We Do Is Secret – As a longtime Germs fan, I couldn’t wait to see this movie. I was sorry when I finally watched the DVD. Shane West (E.R.’s Dr. Ray Barnett) growls and thrashes his way through this otherwise boring mess as late singer Darby Crash. It's difficult  to  tell what's on Bijou Phillip’s head (maltese? bichon frise?) as she mangles her role as bassist Lorna Doom.

  --Francine Ruley

   

Christopher Walken Poetry Corner: Lady Gaga's "Poker Face"

Now there's two names you never expected to see in one sentence. Here's Christopher Walken performing Lady Gaga's "Poker Face" as a poetry reading on a BBC talk show. Truly two great tastes that taste great together. --Ellen