Skip to main content

The Politics of Ender's Game

At a Comic-con panel for Summit Entertainment's Ender's Game there is a noticeable absence at their table, writer of the novel, Orson Scott Card. The reason is not sickness, or that the writer is uncomfortable in public arenas, the reason is that Card is has made a spectacle of himself regarding his anti-gay beliefs. Card being asked to stay home isn't a surprise (he was also let go by DC Comics after the announcement that he would be the lead writer for a new Superman comic) but Ender's Game is a much more public platform.

Backlash will continue against Card as promotions for the film begin to ramp up, but he can't be hidden from the media forever, and even if he could, the boycott of the film won't go away.

Card isn't the first person in filmmaking with a controversial opinion (screenwriter Roberto Orci believes that the U.S. government was behind 9/11 and the Boston Marathon horrors), but his entrenched position in his beliefs and his need to be very vocal about those beliefs may exacerbate the matter. Oddly enough, no fuss was made when Orci announced he would be showing up at the panel.

Read more at GotchaMovies!

Popular posts from this blog

Review: Anomalisa

Weird is rarely used as a good quality in film criticism, but few words so completely describe Charlie Kaufman’s work as weird does. All of his films are a window into his very particular worldview, and that p.o.v. is certainly unlike anything seen in pop culture. For that reason, Anomalisa became an entry on many most anticipated lists for 2015. That Kaufman chose stop-motion to tell this story made the picture an event. So it came as a disappointment when the film was one of the year’s more mundane efforts.

Being John Malkovich and Eternal Sunshine of the Spotless Mind have an energy and heart at the center that is not present here. Previous collaborators like Spike Jonze and Michel Gondry were able to temper the overwhelming negativity Charlie Kaufman occasionally falls prey to, but, this time, the writer doesn’t have a director to rein things in. In all of his efforts to create an experience that is both familiar and alienating, Kaufman may have accidentally created something host…

Review: The Salvation

Westerns have never recovered from the oversaturation that killed off viewer interest decades ago, but every now and then a gem pops up. Recent successes like The Assassination of Jesse James by the Coward Robert Ford, 2007’s 3:10 to Yuma and the Coen brothers adaptation of True Grit all did well because they tweaked the genre slightly, but director Kristian Levring goes with an old school approach. A faithful recreation of those revenge Westerns made so popular in the 1970s, The Salvation envelopes many elements of previous Clint Eastwood classics and wraps it into a tidy package.

The Salvation starts in on the central dilemma, joining Jon (Hannibal‘s Mad Mikkelsen) at the train station where he awaits the arrival of his wife and son. Jon and his brother, Peter (Mikael Persbrandt), have lived in the United States long enough to build a hospitable life for their family back in Denmark. This homecoming should be a sweet moment to establish the family important to Jon, but fate plays out…

Review: Selma

It may surprise many that Martin Luther King Jr. never received the celluloid treatment prior to Selma. Sure he had been mentioned in other historical pieces, but short of documentary footage, King was never given center stage. Quite shocking given the man's legacy and the lingering effect of his efforts still felt today. Several years of production and a director change later, Selma arrives as the film worthy of the man.