Suppose most people are familiar with what happens in The Hunger Games so I won't spend too much time expanding upon the plot.
An uprising was launched by 12 impoverished districts which was crushed by the powers-that-be. In the aftermath, in order to brutally humiliate their subjects even further, they then created the Hunger Games, a competition wherein a youthful male and female representative from each district is selected to take part in a vicious fight to the death.
24 combatants are chosen and by the end only one remains.
The combatants, referred to as tributes, travel to the capital where they're elaborately decked out and paraded in front of the well-to-do in an ancient romanesque spectacle that's designed to showcase the oppressed and impress potential sponsors. These sponsors can provide you with assistance during the Games thereby enhancing your chances of survival. Ratings are provided to each contestant and they have their chance to prove their worth in front of a select group of interested parties and on television as well.
President Snow (Donald Sutherland) makes it clear that the Games were designed to instil a sense of hope within his destitute subjects, a sense that even though your chances of survival are slim, you still might win and be showered with riches forever after.
Obviously the hope he intends to cultivate isn't seen quite so romantically by the citizens of the districts.
Or the participants of the Hunger Games.
But those who have lucratively profited by the current composition of the state cheer and laugh at the hopeless in a disgusting exercise of affluent vanity.
Refusing to participate in the Hunger Games ensures your death.
Participating in the Hunger Games almost assuredly ensures your death.
So you have an extremist government that castigates the poor and suppresses any form of rational descent, demanding strict obedience to its self-serving whims and designs. Its supporters revel in the bloodthirsty celebration and the families of the participants forlornly sit back and watch.
But sponsors can assist you, give you critical support if you put on a good show.
Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson) put on the best show they possibly can.
By falling in love.
Love in its true form enables them to change the rules of the game to the vouchsafed delight of their begrudgingly suppliant benefactors.
Thereby suggesting that true love saturated with sacrifice can momentarily defeat the agents of tyranny.
Or that true love fictions are at the heart of the tyrannical enterprise.
Working within a sensationalist frame to provoke a tear jerking deconstructive critical strike disseminating subliminal democratic aftershocks.
Perhaps I expanded upon the plot ad nauseum.
I can't figure out if the end justifies the means.
Sunday, March 25, 2012
Carnage
Propriety is caustically deconstructed in Roman Polanski's Carnage as two couples meet to discuss a recent altercation between their contentious offspring.
And inadvertently try to get to know one another.
The situation is this: one kid was confronted by a group of kids mouthing him off so he picked up a stick and hit the leader of the group in the mouth, damaging his teeth. The parents of the former make an effort to apologize to the parents of the later by stopping by their apartment in a show of good faith. They discuss things amicably and the parents of the former are about to leave but one thing leads to another and their conversation is extended.
As the mother of the later (Jodie Foster as Penelope Longstreet) becomes more and more intrusive in her comments and suggestions, the father of the former (Christoph Waltz as Alan Cowan) becomes increasingly defensive and irate. The resulting polemic pits two couples from different socio-demographic backgrounds against one another and the children are soon forgotten as the animosity intensifies.
But each couple has their own internal struggles as well and the genders eventually square off while enjoying another round of afternoon scotch.
Known for its transformative curations.
Carnage works as a deconstructive piece which champions open honest airings of grievances over uptight formal indisputable appearances. Tearing away at the veneers which constitute a wide variety of social interactions, it finds catharsis through confrontation while productively disrupting and recasting established codes of conduct.
As everyone remembers their youth.
This could have been an exceptional film but there's something missing from its bitter tranquil blend. While I respected its formula, I couldn't find that cohesive regenerative spark which would make me want to wholeheartedly engage in subsequent viewings.
Some sort of kinetic catalyst.
Everything's reputably in place to make Carnage stand out and I think that may be the problem. This script may have found more life with a less successful cast and crew looking to make a resounding impact.
As they fight for recognition.
And inadvertently try to get to know one another.
The situation is this: one kid was confronted by a group of kids mouthing him off so he picked up a stick and hit the leader of the group in the mouth, damaging his teeth. The parents of the former make an effort to apologize to the parents of the later by stopping by their apartment in a show of good faith. They discuss things amicably and the parents of the former are about to leave but one thing leads to another and their conversation is extended.
As the mother of the later (Jodie Foster as Penelope Longstreet) becomes more and more intrusive in her comments and suggestions, the father of the former (Christoph Waltz as Alan Cowan) becomes increasingly defensive and irate. The resulting polemic pits two couples from different socio-demographic backgrounds against one another and the children are soon forgotten as the animosity intensifies.
But each couple has their own internal struggles as well and the genders eventually square off while enjoying another round of afternoon scotch.
Known for its transformative curations.
Carnage works as a deconstructive piece which champions open honest airings of grievances over uptight formal indisputable appearances. Tearing away at the veneers which constitute a wide variety of social interactions, it finds catharsis through confrontation while productively disrupting and recasting established codes of conduct.
As everyone remembers their youth.
This could have been an exceptional film but there's something missing from its bitter tranquil blend. While I respected its formula, I couldn't find that cohesive regenerative spark which would make me want to wholeheartedly engage in subsequent viewings.
Some sort of kinetic catalyst.
Everything's reputably in place to make Carnage stand out and I think that may be the problem. This script may have found more life with a less successful cast and crew looking to make a resounding impact.
As they fight for recognition.
Monday, March 19, 2012
21 Jump Street
After royally screwing up their first arrest, rookie policepersons Schmidt (Jonah Hill) and Jenko (Channing Tatum) are reassigned to the undercover division 21st Jump Street, where they're tasked with discovering the supplier of a new narcotic which has recently claimed its first victim.
While preparing for life back in high school, Jenko, who played football, takes the lead, providing advice to the less intellectually challenged Schmidt, who was a member of the Juggling Society. Pretending to be brothers and bunking out at Schmidt's parent's house, they reacclimatize themselves to the young adult social predicament as best they can, before youthfully arising and plunging back in.
But things have changed since they came of age, and environmentalists are now just as popular as the jocks were back when Jenko tossed his tight spirals. Jenko and Schmidt quickly see their traditional roles reversed as the later makes headway with the cool kids and the former infiltrates the nerds.
But as Schmidt begins to socially prosper for the first time, he loses sight of their law enforcement objectives.
It's now up to Jenko to hold the team together and nerd where he has never nerded before.
Down, set, hut.
Ignoring the film's ludicrous structure and myriad implausibilities, the question of where 21 Jump Street sits in the political spectrum remains up for debate, and I'm sure it's currently being dissected in political philosophy classes across North America.
I may as well add my two cents.
The objective of the film: stop the flow of easily accessible trendy narcotics within high schools.
Point awarded to the Right Wing.
But it's not as if the Left Wing wants to see the proliferation of drugs proceed unabated, it simply recognizes that the traditional means that have been employed to prohibit them have had little effect (they're not going away), and since many of them are less harmful than alcohol, don't see an enormous problem with systematically controlling them and making a productive fortune off their taxation. However, the narcotics in 21 Jump Street are new and little is known about them so it would make sense that the Left would seek to analyze their contents and resultant effects before judging whether or not they should be legally regulated/distributed. A commodity is being trafficked off the grid and the government wants to step in and regulate it in order to understand its harmful effects more comprehensively and better educate the public: point awarded to the Right Wing withdrawn.
21 Jump Street Captain Dickson (Ice Cube) tells his recruits to focus on stereotyping everyone they encounter in order to fit within their high school social spheres more snuggly.
Point awarded to the Right Wing.
Yet by focusing intently on stereotypes, Schmidt and Jenko have trouble fitting into their new environment and only succeed after opening their minds to the possibility of difference.
Point awarded to the Right Wing withdrawn.
Drugs are demonized throughout insofar as curtailing their distribution is sought after yet the ways in which they are presented glorifies their consumption.
Point awarded to neither.
While the Left realistically understands that the war on drugs is futile, it still doesn't glorify their use, and neither does the Right.
The female officers working for 21 Jump Street close their first case long before Jenko and Schmidt are in a position to begin solving theirs.
Point awarded to the Left.
Chauvinism pervades Right Wing discourses and by making Schmidt and Jenko semi-incompetent buffoons who pale in comparison to their feminine coworkers, 21 Jump Street counteracts its "might is right" ethos. But at the same time, the heroes of the story are men, and even though the women obtain results much more efficiently, their achievements are still only ephemerally referred to and the point is by no means elaborated.
Point awarded to the Left withdrawn.
The principal student drug dealer is an environmentalist, directly synthesizing facilitators of intoxication with those who support initiatives such as sustainable development.
Point awarded to the Right.
Yet the student in question, Eric Molson (Dave Franco), is given some of the film's best lines and shown to be an understanding and compassionate person who cares about his fellow classmates with whom he gets along well. But still, when 21 Jump Street reaches its conclusion, he's dragged off in handcuffs to answer for his activities.
Point awarded to the Right sustained.
From the Schmidt and Jenko duo, it's the football playing jock who holds things together and ensures their success.
Point awarded to the Right.
Then again, while professional football seems at times like a prolonged jingoistic advertisement for the military, this doesn't mean the game itself is necessarily Right Wing, inasmuch as when you ignore the ways in which it's sensationalized, you can still sit back and enjoy an entertaining sport, played by many a Left Winger.
Point awarded to the Right withdrawn.
And ambiguity permeates 21 Jump Street insofar as it's difficult to strictly determine what its political motivations are.
Point awarded to the Left.
Although, even though the Left attempts to break down strict polarities and establish a level non-stereotypical playing field wherein historical factors play an inductive role, it still staunchly adheres to specific points within established dichotomies in order to ensure their ethical survival.
Point awarded to the Left withdrawn.
The only sustained point may have been awarded to the Right, but I still hesitate to classify 21 Jump Street as a conservative film. There's simply not enough evidence.
Is it still an entertaining film that I didn't want to leave half way through?
You be the judge.
While preparing for life back in high school, Jenko, who played football, takes the lead, providing advice to the less intellectually challenged Schmidt, who was a member of the Juggling Society. Pretending to be brothers and bunking out at Schmidt's parent's house, they reacclimatize themselves to the young adult social predicament as best they can, before youthfully arising and plunging back in.
But things have changed since they came of age, and environmentalists are now just as popular as the jocks were back when Jenko tossed his tight spirals. Jenko and Schmidt quickly see their traditional roles reversed as the later makes headway with the cool kids and the former infiltrates the nerds.
But as Schmidt begins to socially prosper for the first time, he loses sight of their law enforcement objectives.
It's now up to Jenko to hold the team together and nerd where he has never nerded before.
Down, set, hut.
Ignoring the film's ludicrous structure and myriad implausibilities, the question of where 21 Jump Street sits in the political spectrum remains up for debate, and I'm sure it's currently being dissected in political philosophy classes across North America.
I may as well add my two cents.
The objective of the film: stop the flow of easily accessible trendy narcotics within high schools.
Point awarded to the Right Wing.
But it's not as if the Left Wing wants to see the proliferation of drugs proceed unabated, it simply recognizes that the traditional means that have been employed to prohibit them have had little effect (they're not going away), and since many of them are less harmful than alcohol, don't see an enormous problem with systematically controlling them and making a productive fortune off their taxation. However, the narcotics in 21 Jump Street are new and little is known about them so it would make sense that the Left would seek to analyze their contents and resultant effects before judging whether or not they should be legally regulated/distributed. A commodity is being trafficked off the grid and the government wants to step in and regulate it in order to understand its harmful effects more comprehensively and better educate the public: point awarded to the Right Wing withdrawn.
21 Jump Street Captain Dickson (Ice Cube) tells his recruits to focus on stereotyping everyone they encounter in order to fit within their high school social spheres more snuggly.
Point awarded to the Right Wing.
Yet by focusing intently on stereotypes, Schmidt and Jenko have trouble fitting into their new environment and only succeed after opening their minds to the possibility of difference.
Point awarded to the Right Wing withdrawn.
Drugs are demonized throughout insofar as curtailing their distribution is sought after yet the ways in which they are presented glorifies their consumption.
Point awarded to neither.
While the Left realistically understands that the war on drugs is futile, it still doesn't glorify their use, and neither does the Right.
The female officers working for 21 Jump Street close their first case long before Jenko and Schmidt are in a position to begin solving theirs.
Point awarded to the Left.
Chauvinism pervades Right Wing discourses and by making Schmidt and Jenko semi-incompetent buffoons who pale in comparison to their feminine coworkers, 21 Jump Street counteracts its "might is right" ethos. But at the same time, the heroes of the story are men, and even though the women obtain results much more efficiently, their achievements are still only ephemerally referred to and the point is by no means elaborated.
Point awarded to the Left withdrawn.
The principal student drug dealer is an environmentalist, directly synthesizing facilitators of intoxication with those who support initiatives such as sustainable development.
Point awarded to the Right.
Yet the student in question, Eric Molson (Dave Franco), is given some of the film's best lines and shown to be an understanding and compassionate person who cares about his fellow classmates with whom he gets along well. But still, when 21 Jump Street reaches its conclusion, he's dragged off in handcuffs to answer for his activities.
Point awarded to the Right sustained.
From the Schmidt and Jenko duo, it's the football playing jock who holds things together and ensures their success.
Point awarded to the Right.
Then again, while professional football seems at times like a prolonged jingoistic advertisement for the military, this doesn't mean the game itself is necessarily Right Wing, inasmuch as when you ignore the ways in which it's sensationalized, you can still sit back and enjoy an entertaining sport, played by many a Left Winger.
Point awarded to the Right withdrawn.
And ambiguity permeates 21 Jump Street insofar as it's difficult to strictly determine what its political motivations are.
Point awarded to the Left.
Although, even though the Left attempts to break down strict polarities and establish a level non-stereotypical playing field wherein historical factors play an inductive role, it still staunchly adheres to specific points within established dichotomies in order to ensure their ethical survival.
Point awarded to the Left withdrawn.
The only sustained point may have been awarded to the Right, but I still hesitate to classify 21 Jump Street as a conservative film. There's simply not enough evidence.
Is it still an entertaining film that I didn't want to leave half way through?
You be the judge.
Saturday, March 17, 2012
Shame
Consumed and dominated by uncontrollable sexual desires which demand constant strategic salacious improvisations, Brandon Sullivan's (Michael Fassbender) unquenchable thirst for carnal pleasures is disproportionately interrupted by a visit from his little sister (Carey Mulligan as Sissy Sullivan).
Who, as it turns out, has no where else to go.
His private carnivalesque prurient pursuits must now adjust themselves to the potential impact of familial judgment and the threat of patronizing restraint. As it becomes clear that Sissy's economic circumstances are by no means self-sufficient, the resultant limitations psychologically materialize a contemptuous backlash which leads to a breakdown in their sustainable relations.
And a resurgent unfettered libidinous conflagration.
Shame works as an emotionless stark rigid character study which sociologically examines localized affects of satyriasis. Michael Fassbender's focused distant unattached self-absorbed performance seductively infuses Mr. Sullivan with a wantonly calculated individualistic purpose. Carey Mulligan's struggling confused desperate counterpoint functions as an effective curve.
Responsibilities bear their consequences in jolting destructive strikes whose unleashed immediate pressures instantaneously distill a sense of belonging.
Consequent reactions determine semantic interpretations incorporating previously manifested patterns built into historical socio-foundations established in relation to a kaleidoscopic point of view.
Director Steve McQueen's direct approach attempts to resist the interpretative labyrinth.
In so doing we're given the cold hard narrow unforgiving facts.
Which themselves impose additional limits on Brandon Sullivan's freedom.
Who, as it turns out, has no where else to go.
His private carnivalesque prurient pursuits must now adjust themselves to the potential impact of familial judgment and the threat of patronizing restraint. As it becomes clear that Sissy's economic circumstances are by no means self-sufficient, the resultant limitations psychologically materialize a contemptuous backlash which leads to a breakdown in their sustainable relations.
And a resurgent unfettered libidinous conflagration.
Shame works as an emotionless stark rigid character study which sociologically examines localized affects of satyriasis. Michael Fassbender's focused distant unattached self-absorbed performance seductively infuses Mr. Sullivan with a wantonly calculated individualistic purpose. Carey Mulligan's struggling confused desperate counterpoint functions as an effective curve.
Responsibilities bear their consequences in jolting destructive strikes whose unleashed immediate pressures instantaneously distill a sense of belonging.
Consequent reactions determine semantic interpretations incorporating previously manifested patterns built into historical socio-foundations established in relation to a kaleidoscopic point of view.
Director Steve McQueen's direct approach attempts to resist the interpretative labyrinth.
In so doing we're given the cold hard narrow unforgiving facts.
Which themselves impose additional limits on Brandon Sullivan's freedom.
Sunday, March 11, 2012
The Artist
Pride leads to a tragic fall in Michel Hazanavicius's The Artist, as silent film superstar George Valentin (Jean Dujardin) refuses to adapt to a technological paradigm shift. Losing everything after the advent of the Talkies, he descends into a self-obsessed alcoholic tailspin while remaining loyal to his preferred form of artistic expression.
To which he was an unparalleled sensation.
Paying hommage to an abandoned form of film making which was responsible for cinema's resounding success, The Artist works, presenting a remarkable synthesis of motion and sound whose historical resonances are fashionably festooned.
Ludovic Bource's original music playfully harmonizes with the action and temporally positions us within a revitalized inspirational epoch. Jean Dujardin and Bérénice Bejo (Peppy Miller) use the full range of their creative non-verbal subtly to emit an understated existential dialogue which encourages evocative sensual reflections as one tries to imagine what might have been said.
Even as Valentin seems destined for dereliction, a sense of innocent naivety permeates The Artist's being, as its expertly timed stylistic complexities leisurely conjure an effervescent cascade of childlike simplicity by delicately condensing multilayered supporting complements into an affective cry.
Nothing that surprising takes place in the narrative itself. It's the cohesive viscid micro-details which transform each moment into an exception of its own that make The Artist such a compelling film.
Nice to see Ed Lauter with a supporting role.
To which he was an unparalleled sensation.
Paying hommage to an abandoned form of film making which was responsible for cinema's resounding success, The Artist works, presenting a remarkable synthesis of motion and sound whose historical resonances are fashionably festooned.
Ludovic Bource's original music playfully harmonizes with the action and temporally positions us within a revitalized inspirational epoch. Jean Dujardin and Bérénice Bejo (Peppy Miller) use the full range of their creative non-verbal subtly to emit an understated existential dialogue which encourages evocative sensual reflections as one tries to imagine what might have been said.
Even as Valentin seems destined for dereliction, a sense of innocent naivety permeates The Artist's being, as its expertly timed stylistic complexities leisurely conjure an effervescent cascade of childlike simplicity by delicately condensing multilayered supporting complements into an affective cry.
Nothing that surprising takes place in the narrative itself. It's the cohesive viscid micro-details which transform each moment into an exception of its own that make The Artist such a compelling film.
Nice to see Ed Lauter with a supporting role.
Saturday, March 10, 2012
Like Crazy
Don't know if I'm the write person to be reviewing romantic films.
Drake Doremus's Like Crazy seems like a good one, with all the typical heartbreaking circumstances in place, presented in a harrowingly tranquil laid-back predictable manner, as a young couple falls in love but has trouble staying together because they live in different countries.
Marriage fails to solve their problems.
Long periods of separation lead to affairs.
There's nothing bizarre or distracting.
We're left wondering if the power of love will bring them back together in the end.
And it does and everyone's happy.
Hooray!
I liked the film's form. It's chill, non-judgemental, mature, flat and consistent.
But its content wasn't very surprising and lacked the distinct mesmerizing transitional scenes that could have differentiated it more prominently from typical tear jerking romances.
None of my tears were jerked.
Unlike the first time I watched Star Trek: Generations.
Drake Doremus's Like Crazy seems like a good one, with all the typical heartbreaking circumstances in place, presented in a harrowingly tranquil laid-back predictable manner, as a young couple falls in love but has trouble staying together because they live in different countries.
Marriage fails to solve their problems.
Long periods of separation lead to affairs.
There's nothing bizarre or distracting.
We're left wondering if the power of love will bring them back together in the end.
And it does and everyone's happy.
Hooray!
I liked the film's form. It's chill, non-judgemental, mature, flat and consistent.
But its content wasn't very surprising and lacked the distinct mesmerizing transitional scenes that could have differentiated it more prominently from typical tear jerking romances.
None of my tears were jerked.
Unlike the first time I watched Star Trek: Generations.
Sunday, March 4, 2012
My Week with Marilyn
Suddenly thrust into an accelerated kinetic critical creative complexity wherein two distinct approaches to acting clash on their way towards cinematic seduction, the youthful Colin Clark (Eddie Redmayne) finds himself balancing myriad egotistical dexterities while trying to maintain his liturgical nerve.
And pacify the deployments of irrepressible temptations.
Marilyn Monroe (Michelle Williams) has an undeniably perplexing presence whose improvised flexible non-linear magnetism has trouble adhering itself to Laurence Olivier's (Kenneth Branagh) by-the-book routine.
Olivier isn't the most forgiving figure either and Marilyn struggles with his disdain. She also misinterprets some of her husband's writing which accentuates her sense of ineptitude.
But as established unflattering men futilely attempt to control her, she combats their derision with a burgeoning youthful laissez-faire methodology which aesthetically appeals to the young and energetic Colin.
Whose working on his first film.
My Week with Marilyn studies the convoluted diversions and rewarding excursions to whose preponderant inconsistencies young professionals must rationally respond. Colin's seamless integration and exceptional ability to smoothly fluctuate perhaps doesn't offer the most transferable set of relatable interactive qualifications, but his success and good fortune can generate abundant ambitious daydreams, from whose integrated prosperous peaks one can fleetingly unearth kernels of truth.
After placing them within a poetic context and analyzing the resultant metaphorical flow.
And pacify the deployments of irrepressible temptations.
Marilyn Monroe (Michelle Williams) has an undeniably perplexing presence whose improvised flexible non-linear magnetism has trouble adhering itself to Laurence Olivier's (Kenneth Branagh) by-the-book routine.
Olivier isn't the most forgiving figure either and Marilyn struggles with his disdain. She also misinterprets some of her husband's writing which accentuates her sense of ineptitude.
But as established unflattering men futilely attempt to control her, she combats their derision with a burgeoning youthful laissez-faire methodology which aesthetically appeals to the young and energetic Colin.
Whose working on his first film.
My Week with Marilyn studies the convoluted diversions and rewarding excursions to whose preponderant inconsistencies young professionals must rationally respond. Colin's seamless integration and exceptional ability to smoothly fluctuate perhaps doesn't offer the most transferable set of relatable interactive qualifications, but his success and good fortune can generate abundant ambitious daydreams, from whose integrated prosperous peaks one can fleetingly unearth kernels of truth.
After placing them within a poetic context and analyzing the resultant metaphorical flow.
Saturday, March 3, 2012
The Lorax
Sustainable Development finds a pop cultural proponent in the new musical-comedy The Lorax, based on Dr. Seuss's children's book of the same name. Within, young Ted (Zac Efron) seeks the affections of Audrey (Taylor Swift) who loves the environment and would like to acquire a living tree.
They both live in Thneedville where their surroundings are predominantly non-organic.
Having never seen a living tree and possessing no knowledge of where to find one, Ted contends with a puzzling situation as his romantic daydreams complicate his ability to socialize.
Until Grammy Norma (Betty White) steps in.
She secretly tells Ted that if he wants to locate a tree he'll have to consult the Once-ler (Ed Helms) who lives in the treacherous badlands outside Thneedville's city limits.
To obtain the sought after information, Ted hops on his motorized bike and leaves the safety of Thneedville's uniformity behind. The Once-ler is discovered but before Ted can benefit from his stricken arboreal wisdom, a tale must be told in multiple instalments.
Wherein we meet the Lorax (Danny DeVito).
Guardian of the forest.
What follows is a harrowing reenactment of economic opportunism which results in the destruction of a lush wilderness and the displacement of its local bear population. The Once-ler capitalizes on the forest's marketable trees but his blind greed results in the harvesting of every last one.
And the devastation of a vibrant ecosystem.
The Lorax himself may be the guardian of the forest but there is little he can do to combat the forces of commercialization, besides trying to emphasize their folly before it's too late.
He's a secondary character in the film whose non-consequential fantastic presence is there to accentuate the importance of a realistic united environmental front, designed to disenchant extremist right wingers who like to preach about how environmentalism is the dream of children who can't understand that God is going to miraculously come down from heaven and clean up this mess some day.
Or just leave it behind and rapturously reward the extremist faithful.
Who for some reason haven't been diagnosed with a mental illness.
At least The Lorax makes it clear enough that divine intervention is not on the way and that we have to take matters into our own hands to find a progressive vision for a multi-generational solution to this misguided point of view.
Here on planet Earth.
They both live in Thneedville where their surroundings are predominantly non-organic.
Having never seen a living tree and possessing no knowledge of where to find one, Ted contends with a puzzling situation as his romantic daydreams complicate his ability to socialize.
Until Grammy Norma (Betty White) steps in.
She secretly tells Ted that if he wants to locate a tree he'll have to consult the Once-ler (Ed Helms) who lives in the treacherous badlands outside Thneedville's city limits.
To obtain the sought after information, Ted hops on his motorized bike and leaves the safety of Thneedville's uniformity behind. The Once-ler is discovered but before Ted can benefit from his stricken arboreal wisdom, a tale must be told in multiple instalments.
Wherein we meet the Lorax (Danny DeVito).
Guardian of the forest.
What follows is a harrowing reenactment of economic opportunism which results in the destruction of a lush wilderness and the displacement of its local bear population. The Once-ler capitalizes on the forest's marketable trees but his blind greed results in the harvesting of every last one.
And the devastation of a vibrant ecosystem.
The Lorax himself may be the guardian of the forest but there is little he can do to combat the forces of commercialization, besides trying to emphasize their folly before it's too late.
He's a secondary character in the film whose non-consequential fantastic presence is there to accentuate the importance of a realistic united environmental front, designed to disenchant extremist right wingers who like to preach about how environmentalism is the dream of children who can't understand that God is going to miraculously come down from heaven and clean up this mess some day.
Or just leave it behind and rapturously reward the extremist faithful.
Who for some reason haven't been diagnosed with a mental illness.
At least The Lorax makes it clear enough that divine intervention is not on the way and that we have to take matters into our own hands to find a progressive vision for a multi-generational solution to this misguided point of view.
Here on planet Earth.
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