3.5 on 5
War Games: Gavin Hood ( "X-Men Origins: Wolverine" ) filmed in Orson Scott Card's in Anglo-Saxon popular SF cult novel as a boot camp drama to a space station , where trained children to killer machines to a galactic war against an supposedly aggressive species to win. A somewhat cumbersome ethics discourse manipulation, war crimes and militarism.
The first book of five-part youth-SF series (dt: "The Great Game") to heavy adult topics such as genocide, wars of aggression and (? U.S. -) arrogance was founded in 1985, is dominated by the Cold War and exerts a devastating critique of a violent man , the forms to agents all genocides out of sheer paranoia child soldiers by lying to them and viciously manipulated.
Unlike the great Anime philosopher Mamoru Oshii, who in "The Sky Crawlers" masterfully empathic the fate of Kildren exported and thus much told in war pictures about gamification and our entertainment pleasure, Wood is in its screenplay sided to work and chooses fluctuating between psychodrama and sense-of-wonder-spectacle , between criticism and collecting, often the wrong means.
The cadets film with boarding and jail elements follows the growth of a gifted, can only maintain itself with cunning and calculating cruelty to his aggressive, much older competitors who harass him constantly sadistic. An outsider matures into a leader in a Abhärtungsdrill between " Full Metal Jacket " and "Starship Troopers"
But there is a lack of empathy - neither Hood nor the actors find a way to express the moods of the characters veritabel emotionless stare. Do they really have no one, least of all a grim Harrison Ford The psychology of the drama remains focused on mental processes large pores. And the dramatic works to be exhaustively enforced, stereotyped conflicts from.
Above all, be the underdog success story with a cheer, the innocent cancels an intelligent civilization, and thus leads straight onto the moral ice, on the Paul Verhoeven also slipped. Enders grabs rise involuntarily, although reluctant in all, however, to enjoy this Nazi story . According thick is the message with which it dissociates Wood afterwards.
Suzanne Collins 'The Hunger Games' (just the book) and Joe heap's "The Eternal War" succeeds precisely those deeply humanistic, touching, fascist war games and murder glorification damning attitude, desperately looking for the Woodland. He not only seduces, but defused between human brutality, limited expressiveness and dramatic power , spilled nuances and depths.
If the Darwinian struggle progresses, a great score underlines the importance of ongoing severity and the camera stuck in their faces, as if it anything insistent. Then, when even Ben Kingsley Maori war paint comes up, the stiff and only in parts compelling work at least briefly borders on the ridiculous.
Education to hatred, Waking up after the Holocaust
The power of many statements remains nonetheless. To clear the structure of power, lies and manipulation may be, the dystopian-didactic influence is seen when child soldiers abused as a stooge of international assassins will use and ultimate weapons of mass destruction. Who is the real enemy? The answer, unfortunately the audience knows from the beginning.
Only the protagonist (Asa Butterfield, "Hugo Cabret" ), slender dairy Bubi and born strategy genius needed for this to end, but then reaches repentance, guilt and morality after, even if this coming-of-age much of its missed shattering effect . The design as a property of a government could come Before the Fall, an education to violence and hatred, with a wake after the Holocaust.
That life is not a game, makes the consternation posturing clearly, while other aspects will end: for example, whether exponential growth automatically leads to a war over resources, whether competition takes cooperation will generate inhuman world in which no weakness is allowed and leads to extinction and how We changed gamification. A mediocre adaptation, but also with a few elegant upgrades.
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