Mockingjay -- Part 1 (a movie review (without the book) post)

So here we are at the third movie, and I'm still not reading the books. Which is not to say that I'm not enjoying the movies, I am. (Well, not the first one so much, but these last two have been quite good.) However, from what I've heard about the books, the reason I like the movies is because the focus has shifted from the love story to the politics, and it's the politics that I find interesting. Honestly, I don't care much for Peeta (who is like a puppy in a perpetual rain storm, all big eyes and whimpers) or Gale (with his constant angst about how Katniss likes Peeta better (and I would like Peeta better, too, if I had to deal with that, right up until I had to deal with Peeta)) and would have a difficult time with a book that obsessed over how the character couldn't make a choice between the two of them. But that's not the movie, so let's move on...

First, let's touch on Philip Seymour Hoffman. I've been a fan of his for a long time, probably owing to The Talented Mr. Ripley, though I first really took note of him in Twister. He gave a great performance in what was an otherwise horrible movie. It was enough to make me watch for him in other films. He was an actor that you could always count on for, at least, a good performance (or a great one, as seen in Capote). I was saddened by his loss. At any rate, initially, it was stated by Lionsgate that he would be digitally recreated for the completion of Mockingjay but, as it turns out, they scrapped that idea. Probably a wise choice, but I didn't know that when I was watching the movie and sat there being amazed at what I thought they'd done. Last word, he was great, as can be expected.

Jennifer Lawrence gave a performance equal to the one she gave in Catching Fire, which is no small thing since the movie hinges on her and her ability to be outraged by the actions of the capitol. The horror that Katniss feels over things like the white roses allows the audience to be outraged along with her. She's a talented actor already; it will be interesting to see where she goes.

The other standout performance was from Elizabeth Banks. She's been superb as Effie Trinket all along, but she really surpassed herself in this one. Effie, having been pulled out of her world and thrust into one which she doesn't understand, is completely out of sorts, and Banks pulls it off flawlessly while still being true to Effie in the process. I'd probably go see these movies just for Banks' performance.

The only complaint I might have about the movie is splitting it into two parts. I've come to a place where I'd rather have one long movie than have it split up. It's not just about the fact that I feel like I'm being milked by Hollywood when they do this, but it's just jarring to have the story stop like that, mid-arc. It's like hitting pause on something and never coming back to finish it. Well, not until months later (or a year in this case). Oh, that and the quinjet that they used. I mean, those VTOL jets they use in the movie look almost identical to the quinjets. Maybe one of the Avengers left one lying around somewhere.

These are really good movies, not quite great but, still, really good. After the shaky start of the first one, they have settled into a visually appealing, solid look for the world, a look which is split between something in the probably far future and a throwback to the turn of the 20th century. Backed by solid acting, this has become a tale, really, of what it's like to live as part of the 99% supporting the 1% in what they justify as a "symbiotic" relationship. I wonder if all parasites see themselves that way.

The Unexpected Virtue of Ignorance (or Birdman) (a movie review post)

Remember the 80s and how Michael Keaton was "the man"? My first Keaton movie was Mr. Mom; now, thinking about it, I want to see it again. He was perfect in the role as this rather disheveled husband shoved into being the stay at home dad. He had this persistent look of panic that was appropriate.

But then came Tim Burton's Batman, and the look shifted from "panic" to "vacant," which really wasn't appropriate for Batman. He failed completely to pull off a believable Bruce Wayne, the reason he was chosen for the role. Then after Batman... well... nothing. For a long time. Nothing "real," at any rate.

All of that to say that on a certain level I love this movie for the sole reason of having Michael Keaton as Riggan. It brings with it a certain amount of awesome. But he was also excellent in the role. He brought with him just the right amount of desperation to make you wonder wether Riggan is completely sane or not, something necessary for the film to work. In fact, it's this question that elevates the movie from just being about a washed up actor trying to revitalize his career to being a great magical realism story. Keaton was terrific.

In fact, all of the cast were great. Some of them in the ways they normally are, like Emma Stone and Amy Ryan, but a couple of them really stood out.

Zach Galifianakis did not do his normal eccentric weirdo; instead, he was a rather fretful lawyer too heavily invested in Riggan's show. He did a good job. A really good job. If he wasn't so physically distinctive, I might not have known who he was.

But the real surprise of the show was Edward Norton. I should point out that I am not a fan of Norton. At best, I find him annoying. Rarely do I find that he lives up to his own vaunted opinion of himself. Okay, never do I find that he lives up to his opinion of himself. Except this time. His first scene is priceless and I have to think intended as a bit of self-mockery. Whatever it was, it was genius. His portrayal of Mike, a character who can only really be human when he's onstage (not a good human, mind you, but that's the only place he becomes real), is amazing. I would actually love to see Norton pull a best supporting actor nomination for this.

The camerawork is worth noting, too. It has a continuous flow to it leaving you to feel as if you are moving along with the actors, possibly stopping to glance at things that grab your attention along the way. It's not always a smooth flow, lending to the feeling of walking with the actors. The change of character perspective is often accomplished by two of the characters running into each other and the camera following the new character when the two separate.

If you want something with a clear story and no unanswered questions, though, this is not your movie. There are pervasive questions about what is real and what is imagined, and the movie doesn't really answer those. Or even try to. It's the kind of film that will leave you questioning and wanting to see it again just to see if you missed anything. Or to see the Keaton/Norton scenes again. Or to figure out the jellyfish. That's the one I want to know, so, yeah, I'm going to need to see it again.

Exploring Personality: Part Ten -- "Because I said so!"

"...let go your conscious self and act on instinct." -- Ben Kenobi

Types 8, 9, and 1 make up the intuition triad of the Enneagram, also known as the body triad because of the tendency of people in this group to say things like, "I knew it in my gut." Reactions can be very instinctual, requiring little thought and ignoring emotions. Intuition isn't well understood by science. It's the brain making a "leap of logic" and, while some studies have shown that forcing people to do something like math intuitively generates more correct responses than people who are required to "logic it out," that does not mean that people who rely on intuition are always right. It's very dependent upon the individual. The motivating emotion for this triad is anger, but it manifests differently for each of the three types (unlike for the intellectual triad where their fear is almost always about decision-making).

The Boss

When you think of the stereotypical, emotionally-detached father-figure who expects and demands unquestioning loyalty and obedience, you are thinking of the type Eight. Eights want to be "in charge," hence the title of "The Boss." They are also know as the Challenger, because they frequently put themselves in positions of challenging authority. It's hard to be in charge when someone else is telling you what to do so they have a tendency to defy authority just for the sake of doing it. This is your true rebel without a cause.

However, this is not the loner rebel out doing his own thing. Eights are almost always extroverts and often charismatic. As such, they are frequently able to gather followers for whatever it is they're doing, leading a rebellion or not.

More than anything else, the Eight wants to be in charge of his own destiny. As such, he hates to have his authority questioned. Above all else, the Eight believes in his own "rightness," whether or not there is anything with which to back up his views. This is what makes him, in his own mind, more suited than all others to be the one in charge. Questioning his authority is equivalent to questioning your own loyalty to him but, even worse, you may cause him to question himself and his own qualifications for leadership. Eights are adept at burying their own doubts, though, and proceeding with confidence, one of the qualities that make people look up to them. No matter if his path is correct or not, he will tread it boldly.

In an effort to be in control of all things and not allow anyone to have power over them, Eights are emotionally unavailable. Love, especially, can give someone else power over them or make them appear weak, so they keep their emotions as bottled up as possible. This can lead them to reject others preemptively. It's better to cut people out when they are in control of the situation rather than to risk being hurt and losing control to someone else or in front of other people.

The typical response to any sort of threat, real or imagined, to the Eight's authority, which can include anything from an actual challenge to just making him look bad in some way, is anger. Anger is the first defense mechanism of the Eight. And the first offense mechanism. It is through anger that the Eight dominates his "foes."

At their best, Eights can fight the "good fight" and do a lot of good. They are willing to protect "their people," because they willingly give back the loyalty they receive. They can come to understand that they can't please everyone (not that they're trying to) and learn to take some amount of criticism without feeling threatened. Often, this state is achieved through surrendering themselves to some higher authority or ideal.

At their worst, they become dictators, believing completely in "might makes right." They use force and violence to inflict their will upon the ones under their power.

It should be noted that Eights are almost always men (just as Twos are almost always women). It's unclear whether this is because Eight behavior in women is culturally unacceptable and, thus, they are "broken" of it early on in life.

How I Miss You in 2014

Here we are at the 2014 edition of the

In truth, I don't really have a lot to add to what I said in 2012 and 2013. I don't have any new people/blogs to add to those lists, and I figure if you want to see who I talked about before, since they are still the same, you can click the links and go back and look.

However, I do want to highlight one blog in particular that I miss, because it's not coming back.

A few months ago, we lost Tina Downey of Life Is Good. She was having some health issues, but she didn't really let on as to how serious they were, so it came as quite a shock to pretty much everyone who knew her online, I think, when she died. We weren't expecting it, and we weren't prepared. Not that you can ever really be prepared for anyone's death other than your own. I listed Tina last year in my "blogs I would miss" section of this blogfest and, now that she's gone, I do miss her. I miss her joyous outlook that she held to despite her health problems. I miss her posts about what it was like to adjust to moving to the United States. I miss arguing with her about math. I miss her comments.

I think, considering her last post was within a week of her death, that she probably misses blogging. She had no intention to quit. It's too bad the world wide web is still only the world wide. I'm sure that once we figure out how to go beyond, we'll find that she's out there somewhere still blogging away, and we'll have tons of posts to catch up on.

This blogfest has been brought to you by Andrew Leon (that's me), Alex Cavanaugh, and Matthew MacNish. You can find the other participants on the list below:

Gone Girl (a movie review (without the book) post)

Well... Here we are at the beginning of the Oscar Run. That's my new term for the beginning of what is kind of Oscar season. Technically, there is no "Oscar season;" however, it's also true that most of the movies that are nominated for best picture come out in November and December. At any rate, we went to see our first of the potential nominees.

First, I have not read the book. My wife has, but she was careful not to tell me anything about it other than read to me the "cool girl" speech. Still, I knew that there was a twist (because everyone is always talking about Twist in this one) even if I didn't know what it was. It didn't catch me. Maybe, it's because I knew there was one and was just anticipating or, maybe, it's because of how the movie starts, which is what I suspect. And I'd love to talk about it, but I don't actually want to spoil it for anyone else. So I'll just say it like this:

When you have a character alone and that character is reacting to something in a particular way, since there are no other characters around to witness the reaction, the audience is inclined to trust that the reaction is genuine.

I think that's what "ruined" the twist for me, because I had already accepted one particular reaction from one of the characters as genuine, so I wasn't able to go down the path that the director wanted me to go so as to be surprised by the truth.

My wife tells me that I would have been fooled by the book. Now, we'll never know.

Okay, all of that aside, I did really enjoy the movie. Ben Affleck is excellent. It's a rather subdued role, but he played it really well. He's a guy who isn't happy in his marriage, has financial issues, and... well, I don't want to tip anything off. Affleck is very adept, though, at switching his charm on and off, and he uses it well in this movie. Mostly, he's a disheveled mess, but he has those flashes of charisma that seemingly come out of nowhere and are instantly gone.

Rosamund Pike was an excellent choice for Amy Dunne. She has that rather cold, detached demeanor that worked really well in this role.

Beyond the two leads, I liked Tyler Perry as Tanner Bolt. A lot. I'm not really familiar with Perry beyond knowing his name, so it was good to see him in something. I don't know if his portrayal of Bolt is anything like the character in the book, but I really enjoyed him on screen.

And, you know, it's good to see Neil Patrick Harris in anything, though I don't think there was anything remarkable about this role for him other than to be reminded that he is capable of more than just being Barney, which is to same Awesome.

I won't be surprised if Gone Girl gets nominated (they seem to have slim pickings this year from what I can tell from the early lists), but it's not going to win. ]Yeah, yeah. I know last year my pick didn't even get a nomination, but I still stand by it.] It's a good, solid movie. Interesting. If you haven't read the book, you are likely to get caught up in trying to figure out what's really going on. And there's a lot in it to keep you talking about it for a few days. It's definitely worth seeing, though it's not a movie you really need to see in the theater.

Exploring Personality: Part Nine -- "I want it all!" (an IWM post)

"I want the world. I want the whole world... Give it to me now." -- Veruca Salt

Enneagram types 5, 6, and 7 make up the intellectual triad of the Enneagram. These types are data based. They are information gatherers. They tend to react to situations from a more rational viewpoint, especially when compared to the emotional triad (types 2, 3, and 4). Where other types, when asked why they did something, may say, "I don't know," the intellectuals can almost always tell you exactly why they made the decision they made and hand you the numbers to back it up. Their emotional center is fear; gathering information and making informed decisions is a way of combating that fear. The intellectuals are also attracted to ideas and ideals; relationships are less important and can sometimes be a means of achieving other objectives.

The Epicure

Also known as the Enthusiast, the Seven is best known for her pursuit of pleasure. Her enthusiastic pursuit of pleasure, because Sevens rarely get involved in activities without throwing themselves in all the way. However, this can sometimes resemble throwing yourself into the deep end of the pool without knowing how to swim.

The Enthusiast is the more common name given to Sevens, but I prefer Epicure. So here's a brief history lesson:
Epicurus, the Greek philosopher, believed that the pursuit of pleasure was the greatest good. That's a bit misleading, though, because he defined "pleasure," basically, as the absence of pain and fear. He really wasn't promoting the kind of hedonism the idea is attached to these days. Epicurus believed in a sparse and tranquil life, not the kind of behavior we associate with Sevens, today. BUT! The motivation that drives Sevens in their pursuit of pleasurable experiences is, actually, to get away from negative experiences. That's an important distinction.

Of course, it's a distinction that Sevens are not always conscious of as the knowledge of their avoidant behavior is in-and-of itself a painful thing to confront.

Because even boredom (often especially boredom) is a painful experience for Sevens, they tend to be spontaneous. Or what looks like spontaneous from the outside. The truth is that a Seven's mind is always working and planning and looking ahead to the future and what kinds of things they can do to occupy themselves. This is why they are in the thinking triad. They tirelessly collect data, often becoming instant experts on subjects, so that they can better formulate their plans for the future. To everyone else, this looks like a person who, while in the middle of doing some often highly anticipated event, suddenly wants to take off and do the next thing: spontaneous. But for the Seven, who has planned all of it out in her head in exquisite detail, it's not spontaneous at all. In fact, a Seven can frequently have a very negative response to spontaneous ideas from other people if they don't fit into the plans she's already made. Sevens also respond poorly to being told "no" about pretty much anything they've developed in their minds, whatever the reason. At that point, the person saying "no" becomes one of those negative aspects of life to be avoided.

Sevens are "life of the party" kind of people and are most often extroverts, delighting in being the center of attention. They promote fun experiences for everyone around them and are frequently leading the charge to some new activity. As such, they have a problem with follow through. As soon as an activity becomes repetitive or routine, they are ready to move on to the next thing. Because they are such good planners, though, they can be highly efficient at getting routine work out of the way. Or of coming up with inventive ways of getting around it. However, they can find it soul-killing when stuck in situations where are they are forced to do uninteresting, repetitive labor.

Sevens are especially prone to addictive behaviors of all sorts, especially when "stuck" in situations from which they feel they have no escape. Rather then face their own negative emotions, they can become critical and abusive toward those around them, highlighting others' negative qualities. When allowed to freely express their wide range of passions, though, they can become experts in many different areas and become an unemptying fountain of ideas.

It should be noted that Sevens make up a fairly small portion of people, one of the smallest personality types. It should also be noted that Sevens are much more frequently men.

Ozma of Oz (a book review post)

Because The Woggle-Bug Book, is not included as one of the Oz books, Ozma of Oz is considered the third book in the series. Despite the fact that the book is not really about Ozma (introduced in The Marvelous Land of Oz), it gets her name. She doesn't even show up until more than 1/3 into it and hardly takes center-stage after that. The title, though, is probably the greatest weakness of the book. So far, I'm enjoying each of these more than the previous one. Being only three books in, though, that's not saying much.

In a broad, cultural sense, Ozma of Oz may be the most significant of the Oz books. It introduces the character Tiktok, who is considered by many to be the first use of a robot in literature. An actual mechanical person with a mechanical brain. He's a clockwork, as the name implies, and you have to wind him up, but, unlike the Tin Man, he is completely manufactured and his knowledge was "programmed." Of course, we don't really know what that means, but it doesn't really matter. Within the structure of the book, he is just another of Baum's interesting and entertaining characters, winding down at inopportune times.

My favorite of the new characters in this book is the Princess Langwidere. The princess owns only one dress, a white one, because it goes with all of her heads, all the 30 of them. Rather than change clothes to make herself attractive, she changes heads. The white dress is because it goes with whatever head she chooses to wear. This, of course, rather confuses her subjects, because they can't figure out why she looks different every time they see her. Each head also has its own personality so, although she retains her memories, some heads are more likable than others, and she can feel bad in one head about what she did while wearing another. This whole idea is a great concept, and I wish I'd thought of it.

I should mention that this book features the return, by popular demand, of both Dorothy and the Cowardly Lion.

Now, rather than talk anymore about the story, clever as it is, I want to discuss some social issues and commentary that are worth noting.

There are no men in these books. Not really. The only real example of a man that you get is that of the Wizard in the first book, and he's a fraud. Although the Tin Man used to be a man, he is no longer. All that's left is a rather vain and pompous facsimile. Fortunately, he's also genuinely caring, or he would be insufferable. The other male personas among the main characters are just that: personas. They don't represent actual people but ideas. Then there are the soldiers in Ozma of Oz, who are rather comedic as they are all but one officers. The lone private is only there so that the others have someone to give orders to. He's also the only one who doesn't run away from danger, although the officers were supposedly chosen for their bravery.

All of the important characters in the books are women, and most of them are positive examples of powerful women, Princess Langwidere being a prominent exception. She was more interested in admiring her various heads in the mirror rather than ruling the kingdom which she was responsible for. Considering that these were written before women had the right to vote, I think this is an important aspect of the Oz books to acknowledge.

That said, we do run across Jinjur, who had been a general in the previous Oz book, who is now married and settled down. Dorothy is amazed by the change but, as Jinjur says, "I've married a man who owns nine cows and now I am happy and contented and willing to lead a quiet life and mind my own business." So, despite the fact that Baum supports the independence and power of women, there does still seem to be the underlying belief that all a woman needs is to find the right man to marry and she will settle down and give up all that other stuff. It does seem, though, that Jinjur wears the pants in her marriage; her husband is indoors nursing the black eye that she gave him for not following directions. I think, though, all things considered, we can forgive Baum this one slip. At least in these first three books, Oz gives us a powerful representation of what independent women can do.