Archives for posts with tag: Emma Watson

Circle

Feminist diversity cheerleader and global elitist Emma Watson stars in the near-future technological cautionary tale The Circle as Mae Holland, who goes to work for a Google- or Facebook- or Microsoft-like tech giant headed by the deceptively down-to-earth Eamon Bailey (Tom Hanks) and finds it an altogether more sinister affair than the mere professional advancement she had expected. The film is more satire than suspense, its nightmare scenario of a progressive social media company assuming the de facto function of government being too close to today’s reality to do much to shock the audience. Watson is, as always, pleasantly watchable, and colorful little character parts are nicely drawn by the supporting cast, which includes Karen Gillan, Bill Paxton, Glenne Headly, and an understated Patton Oswalt.

Three out of five stars. Ideological Content Analysis indicates that The Circle is:

3. AltMedia-skeptical. After a character dies onscreen, an anonymous social media poster claims that the death was faked – a critique of the trend for alienated and insular internet-dwellers to assume the use of crisis actors in any significant event.

2. Luddite! People behave better when they are being watched, the Circle determines, and “Secrets are lies” becomes its mantra. In addition to its Orwellian scenario, the movie is critical of people’s reliance on social media for interacting with their fellow humans. In one scene, Mae suggests to her old friend Mercer (Ellar Coltrane) that he should text her later to arrange a time when they can meet. He points out that they could just do that now, while they are face to face, which puzzles her. “I’ve never been touched by someone who loves me,” an anonymous commenter confesses, illuminating the alienation and cost in terms of real-life social capital that the internet represents for some users. A social media clusterfuck later leads to one character’s demise. Qualifying the criticism, however, director James Ponsoldt claims in one of the Blu-ray features that the megacorporation at least “means well”.

1.Anti-White. Mae (of course!) finds herself drawn to a hyper-intelligent black computer genius named Ty Lafitte (John Boyega), who (of course!) is the actual inventor of the innovation that has made the Circle so powerful. Perhaps unintentionally, however, the filmmakers’ attempt to create a seamlessly multiracial milieu contributes to the movie’s sense of claustrophobia and paranoia, with annoyingly intrusive Circle zealots Smith Cho and Amir Talai being noteworthy in this regard. In addition, there appears to be a reference to much of the anti-white power elite’s antinatalism when one character observes that, “No one at the Circle has kids.”

Rainer Chlodwig von K.

Sofia Coppola’s latest effort is very much her own. Bright, punchy, or ambient music, an elegant eye, and a sardonic sense of humor imbue yet another examination of rampant girldom with Coppola’s trademark sensibility. Unlike Lost in Translation or Marie Antoinette, however, The Bling Ring features no strong or particularly likable central protagonist, and is consequently a much more detached and ironic study than its predecessors.

The Bling Ring opens with shots of the Facebook pages of characters Marc (Israel Broussard), Chloe (Claire Julien), and Rebecca (Katie Chang) – an appropriate means of introduction in this true crime story set in an amoral teenage order founded on trendiness and popularity. All attending a high school for affluent problem kids, these are the more sophisticated and fashionable counterparts to the hedonistic nihilists in Larry Clark’s Bully, operating out of the sinister psychological intersection of thug chic and a privileged entitlement mentality.  Along with like-minded recruits Nicki (Emma Watson) and Sam (adorable Taissa Farmiga), the group combines its vapid interests in celebrity, pop criminality, and haute couture by committing a series of casual burglaries of the homes of Paris Hilton, Lindsay Lohan, and others.

An odd feature of these young people’s lives is how little concerned with love they appear to be. Tawdry apparel, dirty dancing, sex, and group acceptance interest them plenty, but these new teen creatures bear almost no resemblance to their grandmothers, the malt shop loiterers of old, with their puppy love crushes and idealism. The new teen queen is a kind of ravenous beast sustained by a constant regimen of dope, dainty baubles, irresponsible escapades, and protected from introspection by forbidding walls of abrasive music preoccupied with self-determined fabulousness.

It is difficult to watch The Bling Ring and not be reminded of another group of young Californians who targeted celebrity victims – namely, the Manson Family. In both cases, pathological fascination with the rich and famous, coupled with peer pressure, drugs, and an unhealthily violent cultural diet, result in celebrities being simultaneously venerated as idols and dehumanized as potential victims. Marc, reflecting on the meaning of his acts in the aftermath of his arrest, confides that after the story of his involvement hit the news, he received over 800 Facebook friend requests, suggesting that it is criminality itself as much as fame that attracts the adulation of the unsavory masses.

If The Bling Ring has any discernible shortcoming, it may be the dearth of surprising event, as the film proceeds along a fairly straight, predictable line as far as the plot. Apart from the signature Sofia Coppola seal in terms of color, design, and atmosphere, the film’s most attractive strength must be its delightful cast. Israel Broussard, featured in what, for lack of any real hero, is The Bling Ring‘s lead role, has a Byronic look and an enigmatic vulnerability that complements the Coppola aesthetic nicely; and all of the damsels in dissipation, from Katie Chang to Claire Julien, Taissa Farmiga, and Emma Watson, are irresistibly vile, divine, and luscious.

4.5 stars.  Ideological Content Analysis kisses Sofia Coppola’s ring and indicates that her most recent flourish as a dependable writer-director is:

11. Multiculturalist/pro-miscegenation.  People of different races interact as without the least consciousness of their physiological or cultural differences. One of the girls has a thug Latino boyfriend. The camera lingers longingly over untouchable Katie Chang.

10. Anti-wigger.  Pop veneration of the ghetto mentality goes hand in hand with nihilism, crime, and self-destruction.

9. Pro-police.  Authorities conduct their investigation and effect the necessary arrests professionally and without inflicting unnecessary harm.

8. Anti-religion.  Modern woman’s faith is junk spirituality, “the philosophy of the Secret”, a kooky, relativistic melange in which words like “Lord” rub shoulders indiscriminately with new age talk of “karma”.

7. Anti-gun.  Privately owned guns, this film appears to want to convince viewers in one very frightening scene, make homes less safe and endanger the mentally deficient.  However, the fact that one of the girls steals a gun and gives it to her thug boyfriend demonstrates that criminals are not above obtaining their guns illegally and that gun control legislation is therefore futile.

6. Philanthropy-skeptical.  One suburban family claims a commitment to charitable causes in Africa, but cannot identify the specific country where they are active.  This pretended philanthropy is played as a sympathy card after the girls are caught by the police.

5. Statist.  The pitiable demonstration of home schooling as practiced by one ditzy mother (Leslie Mann) is an implicit endorsement of public education.

4. Anti-drug.  Drinking and driving results in a non-fatal accident, which, however, fails to prevent the girls from going out and behaving just as carelessly as before. Accelerating substance abuse parallels the girls’ increasingly poor judgment and carelessness in their criminal endeavor.

3. Pro-gay.  Sexually ambiguous Marc shares his girlfriends’ interest in fashion (including high heel shoes) and refers to a male schoolmate as “hot”.

2. Class-conscious.  Coppola (perhaps responding to the criticism that Marie Antoinette depicted a self-absorbed aristocrat sympathetically without taking into consideration the economic plight of the French peasantry?) depicts moral decay as in part deriving from wealth and privilege (cf. Billy Madison).

1. Pro-family.  The horror wrought by permissive or absentee parenting is the unstressed theme that haunts The Bling Ring.

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