151mm june 2016
DESCRIPTION
151 MM is Princeton's high-school student created film magazine.TRANSCRIPT
June 2016
Festina Lente in
The Empire State
Meet theSuperheroes:Batman & Superman v Themselves
+ Not Just a Kid from Brooklyn
Summer Previews +Local Events
of Contents
ChiaroscuroFestina Lente in the Empire State
Establishing Shot+Local EventsSummer 2016
ChiaroscuroMeet the Superheroes
Screening Room Star Wars: The Force Awakens
Breaking the Fourth Wall Mr.Baxter
TableControversial Hong Kong film Ten Years, consisting of 5 vignettes and depicting a dystopian future of Hong Kong in Communist government control wins Best Film Award at HK Film Awards amidst rising tensions between Hong Kong and mainland China.
I, Daniel Blake wins Palme d’Or, the first place prize at the Cannes Film Festival, making Ken Loach one of few filmmakers to have have been given award twice. It’s Only the End of the World wins Grand Prix, becoming the highest placing Ca-nadian feature film to date. Dean, Junction 48, and Do Not Resist take top awards from the Tribeca Film Festival.
Sony announces Oscar-nominat-ed biopic Ali (2001), starring Will Smith, to return to theaters in lim-ited release to honor late boxing leg-end.
Marvel’s new film Dr.Strange faces harsh criticism for replacing “the Ancient One”, a Tibetan in the com-ics, with Game of Thrones actress Tilda Swinton. Co-writer Robert Cargill explains that the choice was largely an effort to prevent angering the Chinese government, removing the “Ancient One’s” backstory to avoid raising sympathy for the Tibet-an Independence movement.
Vignette
7
1410
15
3
Editors In Chief
Copy Editing
Staff
Contributors
Graphic Design
Advisor
Special Thanks
Everett Shen Siyu (Sarah)Hou
Brian Lu
Teddy Tenzilinger Alan WoEmily Erlichson Frank Lou
Thomas Martin Miles BardzilowskyCharles Lu Brian Lu
Cynthia Ma
Mr.Sullivan
Mr.BaxterMrs.Bedford (Princeton University)Firework Cleanup Squad
Princeton High School 151 Moore St, Princeton
Nj 08540
2 /Table of Contents
About the Artist
Cynthia Ma, ‘16
Cynthia Ma is pretty
cool. She’s a student by
day, magical girl by night.
Rumor has it, she is re-
lated to Genghis Khan.
Festina Lent e in the Empire StateWriting: Sarah Hou and Everett ShenLayout:Sarah Hou Title Page Designed by Cynthia Ma
3 /Chiaroscuro
It’s been portrayed as a place of both immense opportunity and extreme decadence. It’s the multi-sto-
ried playground of lovers, socialites, gangsters, and alien invaders all alike. It’s both Gotham and Metropolis, both a
suffocating mental prison and an alluring heaven on earth. The city is always an irreplacable cast member in the films where it’s depicted, one that’s a bustling hive by day, a crawling underworld by night, and a bohemian international
village always. The city’s remarkable turnaround since the 1970’s has made casting it the easiest way of chronicling
the vicissitudes of America without getting the entire nation involved, making it an extremely resilient universal sol-
vent, fully flexing to filmmakers’ tastes and needs. Some of cinema’s most unforgettable characters are inconceivable and utterly uncompelling when removed from its great backdrop, and the asphalt pavements, having soaked up an
immeasurable volume of tears and blood, are a profound testament.
Following that line of thought to see where it led, the editors of 151MM took a trip to NYC during Spring
Break of 2016, and took in sights, sounds, and smells, while searching for traces of film in a day of wandering. Here’s what we found!
The Museum of the Moving Image
Despite its modest size, Astoria’s Museum of
the Moving Image is the country’s only muse-
um dedicated to the “art, history, technique,
and technology of the moving image in all its
forms”, and has the nation’s largest and most
comprehensive collection of artifacts relating
to them. Its exhibits are constantly changing,
and feature everything from old cameras to
the mask that actor Peter Mayhew used to play
Chewbacca, to Batman lunch boxes and retro
gaming consoles (the museum’s name means
video games are also in its realm of focus). The
museum’s two beautiful screening rooms are
capable of playing all formats from 16mm to
70mm, and showcase over 400 films annual-ly. MoMI is attached to the historic Kaufman
Astoria Studios, and is the 6th highest rated
museum in the New York area on Yelp.
Image caption: During
our visit, the museum
was showcasing a spe-
cial exhibit titled To the Moon and Beyond,
a fascinating collection
of letters and concept
sketches that led to
the creation of Stan-
ley Kubrick’s 2001: A Space Odyssey. In-
credible to see the
amount of rendering
and research going
into a single film!
Taxi Driver (1976)Columbus Circle
Breakfast at Tiffany’s (1961)Fifth Avenue and 57th Street
Captain America (2011)Times Square
Birdman (2014)700 8th Avenue
The Godfather (1972)Radio City Hall
4 /Chiaroscuro
IFC
If you’re visiting NYU, stopping by this iconic art cinema is a must. When its
five screens aren’t running their customary schedule of foreign and domestic independent films, they rotate between showing classics on the weekend, short films before every feature, and cult movies on Fridays and Saturdays at midnight, named “Waverly Midnights”. The theater hosts the highly praised Doc NYC fes-
tival during November, providing a platform for the flourishing documentary scene. Don’t forget to stop by the concessions stand for organic popcorn with
real, natural butter! (We’ve tried it, it’s good).
Film Society of Lincoln
Center
The society’s physical nuclei are
located in the center’s Walter
Reade Theater and Elinor Bunin
Munroe Film Center on W. 65th
Street. The organization itself was
founded in 1969, and has evolved
into a living, breathing cultural
treasure for people of all walks of
life, one of New York’s most es-
sential. It was here that countless
directors, including Martin Scors-
ese, Jean-Luc Godard, François
Truffaut, and Spike Lee, have
made their name in America. The
center is home to the 17 day
New York Film Festival (NYFF),
and a myriad of other festivals, all
hosted in its state-of-the-art am-
phitheaters, studios, and screen-
ing rooms.
Image caption: French director Arnaud Desplechin’s My Golden Days was showing when we went in, so we stayed to watch! A
melancholic but radiant take on the process of maturation!
Image caption: While we were there, we caught a screening of April and the Extraordinary World, a French animation about a girl and her
cat set in a dystopian steampunk Paris. Charming and exotic!
Home Alone 2 (1992)The Plaza Hotel
Sex and the Ciry (2008)405 Park Avenue
Scarface (1983)Roosevelt Island Tramway
North by Northwest (1959)Grand Central Terminal
The Avengers (2012)100 Park Avenue
5 /Chiaroscuro
Tribeca Film Festival A coveted swatch of real estate to the south of Canal Street (as suggested by its
name “Triangle Below Canal”), TriBeCa is perhaps one of the more artsy neighborhoods in
Manhattan, boasting warehouses full of industrial history converted to lofts, galleries, and
performance spaces and homes to artists such as Jay-Z, Taylor Swift, and Gwyneth Paltrow.
In 2002, Robert De Niro, Jane Rosenthal, and Craig Hatkoff founded Tribeca Film Festival to celebrate New York City as a major filmmaking center, and as its mission states, to “en-
able the international film community and the general public to experience the power of film by redefining the film festival experience”. It has certainly not disappointed. Besides recognizing a variety of independent films including documentaries, narrative features and short films, the fest also features studio premiers, panel discussions, movie screenings, and music concerts. It now assumes a quint-
essential role in revitalizing lower Manhattan and regenerating TriBeCa’s economy, drawing
an estimated three million people and generating $600 million annually.
The festival, currently in its 15th year, was held from April 13 to 24. For the first time in its history, there were separate U.S. and international narrative competition categories.
The Founders Award for Best Narrative Feature went to the coming-of-age comedy Dean,
about a young illustrator (Demetri Martin) who stares blankly at the future, while dealing
with his love interest (Gillian Interest), his father, and his father’s (Kevin Kline) love interest.
In his directorial debut, Martin took home the triple screen credits of writing, directing, and
acting. Best International Narrative Feature went to Israeli drama Junction 48, which also
won the Audience Award at Berlin Film Festival, depicting a young protagonist’s usage of
rap to confront a family tragedy in the shadow of the 1948 Palestine War. The film stars Tamer Nafar, who also co-wrote the screenplay incorporating his own experience as a
rapper growing up in Israel. Best Documentary Feature went to Do Not Resist, a study of
police militarization, shot over two years and 11 states by director Craig Atkinson (USA).
Next year’s Tribeca film festival will be begin on April 12th and end the 23rd.
Dean
The Founders Award for Best
Narrative Feature
Junction 48
Best International Narrative
Feature
Do Not Resist
Best Documentary Feature
6 /Chiaroscuro
Batman and Superman v. Themselves Over the Years By Everett Shen
Meet the Heroes8 Peppy Character Analyses of Hollywood’s Long-Standing Love Interests
Remember the Superman who preached nothing but truth and justice to boys and girls, and the Bat who operated in the shadows while on the police’s blacklist? Back when times were simple? Well now the Son of Krypton is the one facing international indictments for collateral damage and operating without a check, while the Caped Crusader is vowing to take him down in order to make the world a safer place. Times have changed irrevocably. Let’s take a look at that change.
Christopher ReeveAppearances: Superman (1978), Superman II (1980), Superman III (1983), Superman IV: The Quest For Peace (1987)
Bet you didn’t know that Mario Puzo wrote the screenplay for this one. Not surprising, seeing as how the only thing this Superman has in common with
Michael Corleone is that his father is played by Marlon Brando. Welcome to pre-9/11 NYC--ahem, I mean Metropolis--and say hello to the original hands-
on-hips Man of Steel, back in a time where people still crawled over each other to buy newspapers, and briefs over pants were perfectly acceptable.
Forget the Superhuman Registration Act. This was a world where the public doesn’t seem remotely surprised or frightened about the fact that there’s
a laser shooting alien saving the world. The police adore him, and he’s a man of the people. What can they do but love him, when he proudly includes
‘the American way’ in his list of reasons of why he’s here? He’s a Kryptonian with a taste for showy exploits (picks up a crime boat and leaves it in
the parking lot of the city court), and there’s truly no job too small--you’re telling me he has the time to save Lois Lane and kittens stuck in trees,
but he’s too busy to intervene in Nicaragua or Iran? With a supporting cast of archetypes and a general populace where everyone speaks with the
same congenial accent, Superman is truly the model citizen, and unintentionally yet visibly makes the rest of America pale in comparison. Sure, he
has no reservations whatsoever about using his powers for personal benefit, but he’ll make your heart break anyways, first as you see him mature
from a homespun, coming of age Kansas farm boy to a grinning optimist with a recurrently inconsistent personality, and eventually a mortal learning the
consequences of giving up his powers, and then as you witness the series’ downward spiral in parts III and IV. Modern day Hollywood really ought to pay him
gratitude. Without him, who else would the ‘morally gray’ Starlords and Deadpools of the world have to satirize?
Adam WestAppearances (excluding TV): Batman: The Movie (1966)Where to begin with this one? You know something’s wrong when Gotham begins to looks like the set from The Truman Show. And for a milder Gotham, there’s a milder Caped Crusader (what?! He doesn’t even have chiseled abs!). As you sit through this 2 hour PSA (which is somehow still hilariously politically incorrect), you’ll realize that despite the overwhelming presence of not one, not two, but 4 punny co-conspiring sideshow ruffians (whose evil plan is surprisingly genius), the real villains in this film are alcoholism, hooliganism, and tobacco. In this paragon of the Silver Age of Comics, a time when moral regulation of the medium ran rampant, and fan power wasn’t really a thing, watch as the persona of the Dark Knight as we know it is violently defenestrated, and Bruce Wayne operates in broad daylight, while police halt to salute, senior citizens nod their approval, and bikini girls wave in excitement. To fight crime, he utilizes his (“bat” prefixed gadget name goes here), his array of three word devices ending in ‘-er’ and the most impeccable (meaning unfathomable) analysis skills seen to date. Seriously, “The World’s Greatest Detective” is no exaggeration here. He’s a diplomacist, theoretical physicist, star chemist, gadget master, and 007 all rolled into one. You’ll gawk at the lever pulling, button smashing, cocoa drinking slapstick Dynamic Duo, who operate in dead seriousness with no-nonsense faces, though you’ll probably struggle to maintain one yourself. But before the whole thing starts to seem like a live action Looney Tunes, you’ll realize that there’s no way the creators were in earnest, and that the film is highly tongue-in-cheek. Still, who knew Batman had so many epithets?
Michael KeatonAppearances: Batman (1989), Batman Returns (1992)Nothing screams Tim Burton as loudly as a snowy, christmas-y, goth-y, chorus-y, nighttime shot paired with Danny Elfman’s candy store soundtrack.
In the two Batman films that he directs (Joel Schumacher took over and directed the latter two installments of the anthology after Warner Bros.
decided the films needed to be more mainstream), Burton adds auteuristic strokes of funk, moodiness, and exaggeration into what is overall a
well-balanced and mature take of the Dark Knight, and the seeds of inspiration for the Nolan films are quite ubiquitous. Keaton plays a relatively
reticent, low-energy Bruce Wayne with Jerry Seinfeld’s hair, which thankfully means we’re spared from overly sentimental death/flashback
scenes. He’s a master of disguise, since he walks openly on the street without being recognized...which might also have to do with the fact that
visually, he’s just an average, chill dude. Don’t confuse yourself though. Although he’s a stultifying conversationalist, and usually has a look of
confusion etched on his face, he’s smooth as velvet, looks pretty menacing donning the Batsuit, and is a hero we can cheer for. You may start to
wonder if these are really kids’ movies despite the flamboyant colors and frivolity, as the cursing, innuendos, and general lack of qualms about murder
suggest otherwise. Not that all traces of 1966’s version take have vanished. There’s still the couple of bat shaped vehicles, impractical bat cave entries,
and the occasional cheesy one liners from villains. And who could ever forget the classic Keaton Batman battle cry “Eat floor”?
7 /Chiaroscuro
Henry Cavill Appearances: Man of Steel (2013), Batman v Superman: Dawn of Justice (2016)
Whether you prefer the fearless young upstart keen to adopt the customs of his people in Man of Steel, or the mythical, grim faced figure in the
sequel, one thing’s for certain: he’s the Superman that best embodies the role of the outsider. He’s fully aware that he’s unparalleled in power, exuding
a cynical sense of confidence, but he’s also the first live-action Superman who can do wrong in the public eye, reflecting growing levels of societal
paranoia. Not to mention that Cavill’s Man of Steel is one who’s capable of waging a furious vendetta...well of course he is. How else would we have
BvS? It’s evident that the filmmakers feel no urge to perfect him: he doesn’t strive to be a symbol, isn’t above stealing, and is ready to strike preemp-
tively. This economical interpretation of Superman is more self-centered than his predecessors, and he’s not obsessed with intervening in every case
where someone needs saving (probably for the good of his character arc), but he’s prepared to make sacrifices greater than anyone ever imagined.
Sometimes he needs to convince himself that the people of the world want to be saved, but that’s what makes him respectable. At the end of the day,
he makes a decision, acts persistently, and then doesn’t look back. In his own words, “I’m about as American as it gets.”
Christian BaleAppearances: Batman Begins (2005), The Dark Knight (2008), The Dark Knight Rises (2012)
It’s difficult not to compare all the other portrayals with this one, since Nolan’s legendary trilogy captures the Dark Knight’s story in full cycle, and hits home like no other. An incredible first installment, which set the benchmark for all other origin stories, introduced us to all of the imperfections of a young Bruce Wayne, and made us a sucker for him every time he’d appear on the screen. The key word here is ‘young’. Because even though Thomas and Martha Wayne’s death is probably one of the most reenacted scenes in cinema, Nolan’s take is the only one that really shows how the trauma shapes Bruce, and leads to the creation of Batman, instead of fast forwarding and directly cutting to the veteran crime fighter that he turns out to be. His youthfulness and inexperience add weight to his immense struggles and self-imposed restrictions, and the stubborn, boyish aura never really seems to leave him. He’s an enigmatic recluse, but also a visionary who strives to be a beacon of hope for the city that’s his last remaining connection to his parents. Between all the witch-hunting by the police and internal crises concocted by his enemies, he’s constantly redefining true heroism. There will always be popular things from an era that will go down in history as weird and tacky. Like fanny packs. Or bowl cuts. Or Top Gun. Maybe even the Bale Batman. But for now, let’s just acknowledge that he’s the up-by-the-bootstraps ninja bat that all of us need.
Ben AffleckAppearances: Batman v Superman: Dawn of Justice (2016)
Affleck brings the Batman of the comics to life. This is a humorless, cold blooded pragmatist who takes no chances, and acts like a veritable commando. Not to mention that he’s got the body of a MMA heavyweight, substituting heavy blows for the stealth and agility based combat style of 2005’s Batman (which probably has to do with the fact that he’s meant to be an older, more experienced version of Bale’s character). As Bruce Wayne, he’s severe-faced, modern, and a responsible boss, and makes Keaton’s Wayne seem like a kindergarten teacher in comparison. He’s fully in control of all his spheres of influence, as we see him taking an active role in managing Wayne Enterprises and the family foundation’s philanthropy. He’s over the tribulation of his parents’ murder, isn’t gripped by incessant self-conflict, and doesn’t care much for being a symbol. Instead, he’s steadfastly utilitarian, and acts out of an unspoken sense of responsibility for Gotham. The fact that his face never breaks into a smile contributes to his look of terrifying determination. And is it just me, or may it also have to do with the fact that there’s just never been a particularly comfortable looking batsuit?
Brandon RouthAppearances: Superman Returns (2006)
This more down-to-earth (no pun intended), less charismatic version of Kal-El is probably easier for modern audiences to stomach. In fact, the
personalities of this darker take are more or less the same ones from 1977, toned down in campiness and roughed around the edges. Intended to
serve as a sequel to Superman II, ignoring the events of III and IV, Superman Returns features non-jarring reintroductions of old characters and
their idiosyncrasies, and an older, quieter, melancholic Superman who’s returned to earth after years searching for his planet. He’s burdened with
adult responsibilities, and is appropriately relatable to adults who were kids growing up watching the original series. He’s a compelling hero who’s more
effeminate (meaning still very manly), shedding of his dorky hides (Reeves’ Clark Kent was utterly cringeworthy, though not without good reason),
and proving that even the all-powerful can sometimes feel out of their element. The fact that he’s plagued by somewhat of an existential crisis makes
his actions even more admirable and selfless. Coming from the director of X-Men, Superman Returns proves that sometimes all a superhero franchise
needs is a (Bryan) Singer’s touch.
8 /Chiaroscuro
In Captain America: The Winter Soldier, Joe and Anthony Russo showed the growing separation be-tween Captain America and Steve Rogers. In Civil War,
they broke the two completely apart. One of Steve’s struggles in the new century is his inability to connect with others due to his celebrity. People approach him primarily as Captain America, and secondarily as Steve Rogers. Because of this, he can rarely connect with new people. He is burdened by the weight of the perso-na he seemingly must carry on his own, a persona that is obnoxiously pure, nauseatingly good, and impossibly perfect. Captain America is not just Steve Rogers. He’s a combination of three people and their ideas, all of whom have been present since the series’s first install-ment: Steve Rogers, Peggy Carter, and Bucky Barnes. Steve Rogers is the man typically associated with Captain America. He’s the one who wears the suit and carries the shield. Most people believe he embodies the heroic ideals — selflessness, honesty, loyalty — but I rarely find that to be the case. Steve’s first action as Captain America is to save the captured men of the 107th in 1943. But it’s only after he confirms Bucky’s captured status that he decided to go after the men, because his involvement makes it personal. I wouldn’t call that particularly self-less. Since the revelations made in Captain Amer-
ica: The Winter Soldier, Steve actively conceals his in-tentions and motivations from his fellow Avengers, and this deception is ultimately the cause for the fallout be-tween him and Tony Stark in Captain America: Civil War.
I wouldn’t call that particularly honest. As for loyalty? Steve is unconditionally loyal to one person only: Bucky Barnes. So long as they don’t prevent him from protecting his friend, Steve is allegiant to his teammates, but that’s as far as that alliance goes. Civil War proved as much. Steve is still a genuinely good person and he always acts in the moral right, but not always in what is best for the majority. Protect-ing Bucky is right, but in the process of protecting him Steve defies the will of 117 countries, otherwise known as most of the world. In fact, it has always been Peggy Carter that I believe to be more “Cap” than Steve. Peggy was an agent for the Strategic Scientific Reserve and then the founder of SHIELD, and the filmmakers make sure the viewer understands that she embodies everything that Captain America is. The moment in the first movie when the audience knows that Steve has what it takes to be Captain America is when he jumps on a grenade to shield his fellow soldiers from the blast. The whole thing is a test — the grenade doesn’t blow up and was never intended to — but the act of selflessness defines the character and endears him to the audience long before he becomes the Captain. Steve jumps on the grenade and becomes a hero.
Peggy runs towards it too. It happens on the edge of the frame, but she runs a few steps intending to do exactly what Steve does, but he’s closer. Later, when Steve makes the decision to save the men from the 107th, Peggy decides to help him, without a per-sonal relationship with any of the captured. This trend is continued into the sequels. In The Winter
Soldier, Steve visits an ailing Peggy and admits that her involvement in the creation of SHIELD is the only reason he stays in it. In Civil War, there’s this line:
“Even if everyone is telling you that something wrong is something right, even if the whole world is telling you to move, it is your duty to plant your-self like a tree, look them in the eye, and say, ‘No, you move.’” This line, adapted from the comics, is at-tributed to Peggy. It sums up everything that Captain America is. It conveys honor, strength, and responsibility to the moral good. In the comics, it’s given to Steve. The decision to give it to Peggy acknowledges her role in the creation and sustainment of the Captain America per-sona. Peggy’s faith in Steve is integral to his ability to act as Captain America; without her he falls apart, as we see in Civil War. Bucky Barnes, who eventually comes back as the Winter Soldier, is Steve’s childhood friend. Fight-ing alongside during World War II, Bucky does the
things Steve can’t. Steve carries the shield and a small handgun while Bucky carries a machine gun and snipes the people who would otherwise kill his friend. Steve can maintain the righteous Captain character only when Bucky has his back, saving him from committing the atrocities which would stain his public image. Steve depends on Bucky in all three Captain
America films. Each film has shown us what Steve be-comes without Bucky — in the first film, shortly after Barnes “dies”, Steve crashes a plane into the Arctic, fully believing that he too would be killed. Rather unsur-prisingly, he doesn’t. In the second film, Steve leaps onto a helicarrier to fight the brainwashed Winter Soldier, ready to accept death if he fails to restore his friend. In the latest installment, Steve gives up the shield, walking away from the title of Captain America when keeping it means he’s unable to protect his friend. The name “Winter Soldier” is a reference to the writings of Thomas Paine. In his pamphlets titled “The American Crisis” he writes: “THESE are the times that try men’s souls. The summer soldier and the sunshine patriot will, in this
crisis, shrink from the service of their country; but he that stands it now, deserves the love and thanks of man and woman.” The unnamed “he”, presented as the antith-esis of the summer soldier and sunshine patriot, came to be known as the winter soldier by the Vietnam Veterans Against the War (VVAW), who referred to the Vietnam War Hearings as the “Winter Soldier Investigation”. In his testimony during the hearings, to-be Secretary of State John Kerry explained the origin of the term and its meaning. The winter soldier is the one who continues to fight after the battle is no longer glorious. Captain America cannot exist without the Winter Soldier, and never has. Bucky Barnes has always been by his side. Steve Rogers, America’s golden boy, is the face of Cap-tain America, but the hero falls apart without the guid-ance and ideals of Peggy Carter and the steadfastness and strength of Bucky Barnes. The character carries a compelling political message, as does almost anything involving Captain America: this country relies upon the faith and counsel of some to lead it down the morally righteous path, and its success on that path is depen-dent on the willingness of others to get some blood on their hands.
Not Just a Kid from Brooklyn
By Emily Erlichson
Establishing ShotSummer 2016
Andrew Stanton, who helmed the classic first movie, returns to continue the tales (plenty of pun intended) of Marlin, Dory, and Nemo. This time,
Dory is the one to find, and while her friends return to the scene to try and track her down, they all learn something new about the real meaning
of family again.
Roland Emmerich, father of the di-
saster movie, returns for this larg-
er-than-life sequel to 1996’s block-
buster Independence Day. The aliens
are back, and while humanity’s been
preparing for the next alien invasion,
so have the aliens. Featuring both
new and returning stars, this summer
blockbuster promises big action and
bigger explosions.
Revel in Daniel Radcliffe’s triumphant less-is-
more acting job as he portrays a virtually om-
nipotent man-appliance, and offers much more
than just a chance of survival to a castaway in
this hilarious and extremely high-concept film. Visiting the cleverly thought-out publicity site
swissarmyman.com will give you a pretty de-
cent idea of what you’ll be seeing, and will either
make you a diehard fan, or lead you to swear
against ever wasting time on such rubish. Don’t
worry about the seemingly ubiquitous fart jokes
though. Sundance apparently thought it was
funny enough to give it a best direction award.
The Purge: Election Year is the third in-
stallment in the Purge Trilogy, set two
years after the events of The Purge: Anarchy. Frank Grillo returns as Ser-
geant Barnes, an ex-cop who now
serves as security for the presiden-
tial frontrunner Senator Roan. The
Senator’s plank of ending the purge,
an annual one-night period in which
all crime is legal, leads her to be a
target on the same night that took
her family15 years ago.
This documentary is based on the book from Pu-
litzer Prize-winning journalist Ron Suskind, written
about the obstacles faced by his autistic son, Owen,
who became mute around his third birthday and
ceased to understand speech. Growing up, he would
cry inconsolably, except when watching his favourite
animated Disney movies, and these films aided his parents with communication. Life, Animated snagged
the Directing Award for a U.S. Documentary at the
2015 Sundance Film Festival.
Finding Dory June 17th
Swiss Army Man June 24th
Independence Day: Resurgence June 23rd
Life, Animated July 1st
Purge: Election Year July 1st
10 /Establishing Shot
Not long ago, Russian doc director Vitaly Mansky and crew received unprecedented
sanction of the DPRK government to film in the world’s most secretive nation. But there was (obviously) a catch. Official minders intervened in every step of the pro-
cess, and maintained absolute control. Mansky cleverly circumvents a pre-penned
script intended to portray prosperity, and turns his limitations into an advantage,
unleashing the full power of documentary by using visually ironic editing, and du-
ally meaningful narration, while exposing a seasoned machine of manipulation and
brainwashing.
Viggo Mortensen stars in this indie
film about a father and his children forced to rejoin society after a de-
cade living isolated in the forests of
the Pacific Northwest. It premiered at the Sundance in January, and in
May was screened at the Cannes
Film Festival, receiving commenda-
tions all along the way. This film of-fers a compelling look into the cost
of idealism and the struggle to live
an authentic life.
Under the Sun July 6th
With his 46th directed feature, octogenarian Woody
Allen became the first to have had a grand total of three films be selected as the curtain opener of the opening night at Cannes. In Cafe Society, the buzz-gen-
erating cast (including Jesse Eisenberg, Kristen Stew-
art, Steve Carell, and Blake Lively) works together to
re-deliver classic Allen themes of love and pursuit,
and tells the story of a young Brooklynite who be-
comes ensnared in the glamor of New York’s high-end
nightclub scene after falling for his uncle’s secretary in
1930’s Hollywood.
This foreign film tracks three sisters and their half-sister, who are united
upon their biological father’s death. It
explores themes of family, loyalty, and
responsibility through the reserved in-
teractions of the four women, telling
a delicate story that packs significant punch.
Illumination Entertainment and Universal Pictures pres-
ent their fifth collaboration on a fully-animated film, a comedy about the daily lives of pets after humans leave
for work. For animal lovers, it is a great opportunity to
appreciate overwhelming fuzziness and cuteness.
Captain Fantastic July 8th
Secret Life of Pets July 8th
Our Little Sister July 8th
Cafe Society July 15th
Bryan Cranston, of Breaking Bad fame,
returns to the screen to take on the op-
posite side of the drug war in this period
piece about the Colombian drug trade
and money laundering.
The Infiltrator July 13th
Selected and written by 151MM staff
Layout by Everett Shen
11 /Establishing Shot
Set in ancient Japan, this beautiful stop-motion
film follows a young boy as he sets out to find his samurai father’s lost armor, battling mythical
foes with the help of a monkey and a beetle.
Featuring a star-studded cast, including Char-
lize Theron and Matthew McConaughey, and
animated by the studio behind such films as Coraline and The Boxtrolls, this is a must-see for
any fan of animation or adventure.
This film chronicles the experiences of Gardner Elliot, the first human to be born on Mars. He develops an online friendship with a teen in Colorado, Tulsa, and visits Earth for the first time at age sixteen. Completely unsocialised, and with little sense of
belonging, he explores Earth with Tulsa and attempts to place
himself in the greater scheme of the universe.
The third film based off 1880’s classic novel Ben-Hur: A Tale of Christ, Ben-Hur chronicles the journey
of the eponymous pro-
tagonist, a Jewish prince
betrayed by his adopted
brother and sent into slav-
ery. Director Timur Bek-
mambetov promises that
the adaption will reimagine
the novel while staying true
to its source material.
Admiring the Obamas’ feel-good first date in Chicago’s South Side in 1989 seems to be a fitting way to seal off the POTUS’s legacy as his second terms near an end. After taking a glimpse at this classy, 80 minute rom-com portraying
a 28 year old Barack Obama, perhaps even the most zealous birth certificate hunters will lay down their pitchforks for a while just to say “awww”.
Kubo and the Two Strings August 19th
Southside with You August 26th
The Space Between Us August 19th
Ben-Hur August 19th
Following in the tremendous foot-
steps of 2014’s Godzilla, Toho Studios
is bringing the King of the Monsters
back to his domain. Evangelion direc-
tor Hideaki Anno heads Godzilla’s first solo romp since 1984, and this time, the big G’s looking more terri-
fying than ever.
After 2013’s award-win-
ning short film Lights Out, director David F. Sand-
berg received the green-
light from Warner Bros.
Pictures for a box office release. This upcoming
supernatural horror flick will add to short story’s
premise of a supernatu-
ral entity who only ap-
pears in the dark, with
the intent of terrorizing
humans.
Godzilla Resurgence July 29thLights Out July 22nd
12 /Establishing Shot
Local Events CalendarSummer 2016
July 2016
August 2016
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10
24
4 6
18
29 31
14
20
12
26 28
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17
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Sun Mon Tues Wed Thurs Fri Sat
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5 7
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25 27
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Sun Mon Tues Wed Thurs Fri Sat
1 3 5
9 11
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25 27
2
5th Day of NY
Asian Festival
Painting the Mod-
ern garden: Monet
to Matisse
12:30
Planet of the
Apes (1968)
2:00 & 7:00 PM
Top Gun @
Bryant Park
8:00 PM
The Palm Beach
Story @ Bryant
Park
8:00 PM
The Omen @
Bryant Park
8:00 PM
Three Days of
the Condor @
Bryant Park
8:00 PM
Raiders of the
Lost Ark @
Valentino Pier
8:30 PM
Purple Rain @
Valentino Pier
8:30 PM
The Lego Movie
@ Valentino Pier
8:30 PM
Pretty in Pink
7:00 PM
The Searchers
7:00 PM
Imitation of Life
7:00 PM
Princeton Student
Film Festival
Sullivan’s Travels
7:00 PM
Planet of the Apes
2:00 & 7:00 PM
The Maltese
Falcon 7:00 PM
True Grit
8:30 PM
Dr. Strangelove
7:00 PM
Monty Python and
the Holy Grail 7:00 PM
Princeton Student
Film Festival
Casablanca
7:00 PM
Charlotte’s Web
@ Palmer Square
8:30 PM
Last Day of NY
Asian Film Festival
National Lam-
poon’s Animal
House2:00 and 7:00 PM
Painting the Mod-
ern garden: Monet
to Matisse
12:30 PM
The King and I
2:00 and 7:00 PM
Harvey @ Bryant Park
8:00 PM
High Plains Drifter @ Bryant
Park
8:00 PM
The Big Chill @
Bryant Park
8:00 PM
Star Trek II: The
Wrath of Khan @
Bryant Park
8:00 PM
Beverly Hills Cop @ Valentino Pier
8:30 PM
Reservoir Dogs
@ Valentino Pier
8:30 PM
Pitch Perfect @
Valentino Pier
8:30 PM
Labrynth @
Valentino Pier
8:30 PM
Aliens @ Valenti-
no Pier
8:30 PM
M*A*S*H7:00 PM
Invasion of the
Body Snatchers
7:00 PM
The Public Enemy
7:00 PM
National Lampoon’s
Animal House2:00 and 7:00 PM
Father of the
Bride
7:00 PM
The King and I
2:00 and 7:00 PM
Sweet Smell of
Success
7:00 PM
Brave
8:30 PM
The Man who
Knew Too Much
7:00 PM
Funny face
7:00 PM
To Catch a Thief
7:00 PM
Cloudy with a
Chance of Meat-
balls @ Palmer
Square
8:30 PM
Long Island
International Film
Expo Begins
Princeton Garden Theater AMC Hamilton 24 NYC Princeton University Princeton Public Library
13 /Local Events
Star Wars: The Force Awakenstar Wars: The Force Awakens will undoubtedly go down in history. It was enjoyed universally and marked the Star Wars franchise’s return to
form—at least as far as movies are concerned (fans of The Clone Wars and Star Wars: Rebels argue form was held in the animated series). Some believed that perhaps it was too similar to the original trilogy, with a screen-play that was nearly copy-and-pasted from Episode IV: A New Hope and cinematogra-phy so remarkably alike to A New Hope it felt like 1977 again. They’re not wrong. The movie’s cinematography is clas-sic—shot on film and bursting with practical effects, the movie feels remarkably ground-ed in the original style from the seventies and comes across as nearly tangible, leaving viewers with the feeling that all of it really just happened before their eyes. While all too large a number of movies are desaturated for the sole purpose of giving the film some “grit”, the colours of The Force Awakens in-vigorate and engage. It bests films like Man of Steel, in which washed out color palettes bog down even the most idealistic and hope-ful of protagonists. Many of the movie’s shots are ferociously breathtaking. They surround and excite you with their vivaciousness and you can’t help but smile, no matter what your personal history is when it comes to Star Wars. The necessity in this is obvious, as Star Wars must inspire, and the return to the techniques used in the originals both ac-complishes this, owns up to the legacy of the franchise, and allows the new filmmakers to build off of it. The filmmakers borrowed more than just cinematography from the first film. The plot of The Force Awakens is nearly iden-tical to A New Hope, but I believe only so the
innovation of the film still feels connected to the legacy of the originals. The main source of this innovation lies in the new characters, who we’ve never seen before in such a con-text. Rey is a refreshing protagonist—her independence is incredible but it is the result of such absolute isolation that every relation-ship she forms is new and exciting for her, and thus the same for us. Poe is a child of revolution, born of and bred on the camara-derie that comes from uniting behind a single cause. Finn is perhaps the most interesting of them all, his first act being to claim his per-sonhood. By doing so he shatters stereotypes and revolutionises the discussion of morality within the Star Wars universe. Previously, Stormtroopers were no more than cannon fodder—there to die, provide some resistance for the heroes, and create a tiny bit of cinematic tension to keep the viewer engaged. Finn brings new per-spective to their stories. He shows that they are beautifully and painfully human. Even if they don’t have names and are indoctrinated with the hatred of the Empire/First Order, they are people with unsatisfied wants and desires. The Force Awakens makes it much more difficult to watch them die in battle without wondering exactly who they were. Furthermore, witnessing their deaths raises the question, “was it right?” Similar evaluations of morality have rare-ly been broached upon in Star Wars films. There’s always been a clear good, a clear evil, and a struggle between them. We never stopped to seek justification for the casualties on the Death Star, and we didn’t dedicate a thought to the right to life of the nameless, faceless thousands who were on board when it was destroyed. This film offers a rich dis-
cussion of the moral grey—and there’s still colour in it! Another innovation of The Force Awakens is the structure of the new trio. There are two protagonists, contrasting from the traditional one, a fact much ignored by critics and fans alike. Lineage and interconnectedness de-fine the Star Wars universe. The Force “binds the galaxy together,” and discovering your identity means finding the place in which you belong, allowing you to exist in harmony with the Force. Such an existence is central to the arc of a successful character, especially if they are Force-sensitive.
One defining aspect—perhaps re-quirement— of every protagonist in the Star Wars films is that they begin their arcs not knowing who their parents are. Anakin failed to find his place until the very end. Luke suc-ceeded much earlier. Rey and Finn are both still looking. All of our other main characters have been alone in their search for identity, but Rey and Finn have each other. Perhaps the filmmakers will once again expand our definitions of home and belonging to include those relationships which we hold dear but are not familial. For now, we can only guess
Sby Emily Erlichson
Title: Star Wars: The Force AwakensDirectors: J.J AbramsCast: Harrison Ford, Carrie Fisher, Adam Driver, Daisy Ridley, John BoyegaGenre: Action, Adventure, FantasyRelease date: 12.18.2015Runtime: 136 minMPAA: PG-13Rotten Tomatoes: 92%Box Office: 2.066 billion USD
14 /Screening Room
as to which approach they will take. The plot of a movie is relatively un-important in comparison to its characters be-cause there is never anything truly new under the sun. Every action has been executed, ev-ery word has been spoken, every conflict has already been resolved. The most compelling part of a story, any story, is the people. That’s
why we watch dozens of adaptations of Ro-meo and Juliet (forbidden love), The Odys-sey (the journey home), and Cinderella (rags to riches) and still leave with an appetite for more. The cause behind our insatiable de-sire for rehashed plots is the fact that, at its core, every story is a study of human nature.
What we truly desire in a story is not a conflict we’ve never seen before, but a conflict involv-ing people we’ve never met. The best movies, are the ones that give us new characters to emulate, adore, loathe, and learn from. In all of this, The Force Awakens de-livers beautifully.
How many movies do you watch on a monthly basis?Probably 3 or 4. Can you name any re-cently released movies you particularly liked and tell us why you en-joyed them?
I think I’ve only seen one movie in the last two months in a theater. I should have made a list! The last movie that I saw was Money Mon-ster, was it? [It was] with George Clooney, and I didn’t enjoy that. I had high expectations for it and it didn’t meet them. One movie that I watched...was The Big Short. That I enjoyed very much. I watched it on the plane; I thought it was fantastic. What I liked about it was that it was based on true events; it was informative and entertaining.As a history teacher, do you think it’s acceptable for film-makers to occasionally sacrifice historical accuracy for the purpose of telling a better story?To a certain extent, yes, absolutely. And I think it’s almost a necessity in that if it’s straight history, we’re limited to only the known record. If you try to take history and put it into a real movie, you almost have to step into the realm of historical fiction, because you have to create dialogue in all likelihood and that dialogue is historically lost. One of my favorite series is the HBO [series] John Adams, which is based upon a book by David McCullough, which isn’t straight history, but there are things like taking letters and turning them into a conversa-tion between John and Abigail for example, that moves it from being history...into [being] historical fiction. Do you think there is always a trade off between the two?Yeah. In government and politics class, we watch Argo, and...because most of my knowledge of that rescue is based upon the film...I can’t judge the film for all of its historical accuracy, but my understanding is that the airport scene, with the plane taking off, the cars right behind the plane, that kind of action really didn’t occur. That’s not hard to imagine, right? So is it ok that they threw that in there? I think yeah. Probably an awful lot of people think that. But even if people [believe it happened]does that really change the substance of the story? Favorite political drama?Game Change comes to mind, about the choice of Sarah Palin. I don’t know if that’d be my favorite of all time, but that’s one of the more recent ones that I’ve watched, that’s well done. Uh, All the President’s Men would probably be very high on that list, if not at the top. Anoth-er good one was Recount, about the 2000 recount in Florida.One of the themes that has appeared consistently in this month’s issue is the increasing dominance of dark, gritty atmospheres in Hollywood films. Do you think this has to do with a more pessimistic national mood? How has film varied depending on the atmosphere of an era?I think it definitely happens, because Hollywood is trying to tap into a mood to be successful. I’m not aware of the types of techniques they use, but I think the types of movies they choose are largely based on what’s going on in the public. In class, [one of the films we watch] is The Last of the Mohicans, and I tell the students that sometimes the film tells you more about the time that the film was made than the his-
torical period that it covers. The Last of the Mohicans is pure fiction, in that it’s based upon a novel written in the 1820s. But that the book was popular in the 1820s...tells you more about the 1820s, than the French and Indian War. So I think, why was that film made in 1992? Well, if you look at it as the end of the Cold War, and you look at it as America being victorious, it’s largely about the French and Indian War, it largely sets up the American Revolution, portraying the Brit-ish as the bad guys. My sense, (I have no reason to believe this), is that [at] the end of the Cold War, this was kind of a good time for America to return to its roots.What event or person in history deserves it’s own film or remake?Right now there are a lot of films about the Civil Rights Movement, and I think that’s a period that’s very deserving, and getting a lot of attention now. A few years ago, there was the film Let There be Blood, about the oil drilling, lying and the famous line ‘I drink your milk-shake’, and I think that was the Gilded Age period, and I think that right now, given what we’re going through, [it] might not be bad to show how [in] the Gilded Age and Progressive age, the government actually did good things in terms of regulating business.Are there any films that you think have in any way changed the course of history?I think I mentioned All the President’s Men; I think the film and the underlying story [about] Nixon’s impeachment and the Washington Post’s role in that, I think that did change journalism in the US, and the relationship between the press and the presidency, and the na-tional government overall.What is your favorite movie of all time?I’m reminded of what I said in first grade...The Son of Flubber was once my favorite movie. Let’s just throw that out there! What is now my favorite movie? We’re watching clips from the movie Lincoln...Amistad? That was another one. I want to say Lincoln, but I reserve the right to send you an email later today if another movie pops into my head! [Mr. Baxter later sent an email indicating that his favorite films are The Hours, Apocalypse Now, and Lincoln]What is the perfect date movie?*Laughs* What is a date movie? That’s a perfect movie for two people who are trying to get to know each other, without it being an uncom-fortable [experience]?...I was going to say Pocahontas...I’m going to have to send you another email today [The result was When Harry Met Sally]. Do you prefer watching movies in the theaters or at home?I think in a theater. I mean I enjoy watching them at home, and I love the access to movies [so] that you don’t have to go out, but I was just over at Market Fair, and my goodness, those chairs were just unbe-lievable! But even before that, I enjoyed watching with the big screen and the sound, with no distraction around you, in a dark theater. That’s more powerful, I think, and you’re pulled into it more, and the movie just flies. [That doesn’t] quite happen when you’re watching a movie at home; you’re attempted to put it on pause, and go on to the kitchen or something. I remember watching Apocalypse Now when that movie first came out, and I went to see it by myself, and I in-tentionally sat right in the front, so it was a little bit uncomfortable looking up *laughs*, but that big screen was great
Breaking the Fourth Wall
with Mr.BaxterPHS History Teacher
Interview by Alan Wo and Everett Shen
15 /Breaking the Fourth Wall
