REVIEW: The Hunger Games: Mockingjay – Part 2

20 11 2015

Much like the “Harry Potter” series, the final installment of “The Hunger Games” departs radically from the formula of all entries that came prior. “Mockingjay – Part 2” does not actually feature the Hunger Games themselves, the main event that involves children killing children to placate the masses of a dystopian future. Without this intense action set piece to which the story can build, everything else cannot help but feel like a bit of a letdown.

“Mockingjay,” for many fans of the series, represented the least of Suzanne Collins’ books. So, in a sense, it is not terribly surprising that “The Hunger Games: Mockingjay – Part 2” ends on a similarly underwhelming note. But even that is unlikely to put a damper on what will surely be one of the highest grossing films of the year; the four-year relationship Jennifer Lawrence built between viewers and her Katniss Everdeen is truly remarkable.

Without the games, “Mockingjay – Part 2” seems rather confused as to what kind of movie it wants to be. Some aspects of political semantic games and propaganda messaging remain from Part 1, primarily at the outset. These leftovers just further serve to reinforce the sense that a two-part finale was an unnecessary protraction of events.

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REVIEW: Pitch Perfect 2

16 06 2015

While I was a repeat listener of the “Pitch Perfect” soundtrack, I most certainly had no desire to return to the film itself.  In my (admittedly harsh) review of the first film, I dubbed it “a comedy that inspires more groans than laughs and thinks it has a whole lot more insightful things to say about growing up than it actually does.”

So color me surprised to count myself a fan of “Pitch Perfect 2,” the rare Hollywood sequel that actually learns the correct lessons from the success of the original.  The music is tighter and catchier than before; the message, more potent and impactful.  The characters, too, are more relatable and hilarious the second time around.

Writer Kay Cannon, returning to script the series’ follow-up, cuts down the “aca-nnoying” pun humor to much more reasonable levels and finds great hilarity in just having the Barden Bellas interact with each other.  At times, she does this to the point of fault, as the many subplots of “Pitch Perfect 2” often overpower the main narrative of the group trying to regain their former glory after an ignominious display at the Kennedy Center.

That preoccupation with the personal hardly does harm to the movie, though, as these scenes are the highlight of the film.  Watching Anna Kendrick’s Beca attempting the tricky balance of professional exploration at a music company with her duties to the Bellas rings so true, and it also gives the actress a chance to showcase her vibrant range of emotions beyond the scowl she was limited to in the first “Pitch Perfect.”  Rebel Wilson’s Fat Amy is another undeniable highlight, given a hysterical romantic arc with Adam DeVine’s Bumper; the two play off each other with remarkable comic intuition.

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REVIEW: Love & Mercy

7 06 2015

Love and MercyStruggle is an inevitable, unavoidable part of creating art and living life.  But in Bill Pohlad’s “Love & Mercy,” an unconventional two-panel biopic of Beach Boys lead singer Brian Wilson, struggle is practically the whole story.  Rather than running through his entire life, writers Oren Moverman and Michael Alan Lerner take a pair of cross-sections featuring Wilson’s breakthroughs and breakdowns.

The 1960s Wilson, as played by Paul Dano, struggles to break his band out of their disingenuous surfer boy marketing gimmick.  To do so, he sets out to create a record that will redefine the capabilities of rock and make The Beatles quiver.  Observing Wilson hard at work fine-tuning the iconic tracks of the Pet Sounds album, which includes such staples as “God Only Knows” and “Wouldn’t It Be Nice,” provides an undeniably joyous sonic rush.  (It was almost enough to make me forget I was watching Paul Dano.)

Fast-forward to the 1980s, and a middle-aged and overmedicated Wilson is now played by John Cusack.   The lights are on, but the person at home is hard to pin down.  “Love & Mercy” might be the first time since “Being John Malkovich” that Cusack does not play some variation of himself, and it proves devastating to watch a helpless soul squirm under the oppressive thumb of exploitative psychologist Eugene Landy (Paul Giamatti, angry as ever).  Thanks to some tender love and assistance from the kindly soul of Cadillac saleswoman Melinda Ledbetter, played by an absolutely ethereal Elizabeth Banks, Wilson finally manages to get some relief.

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REVIEW: The Hunger Games: Mockingjay, Part 1

20 11 2014

Unlike the “Harry Potter” finale, which ran over 800 pages in length, the last installment of “The Hunger Games” probably did not necessitate a two-part cinematic conclusion.  But alas, the filmmaking team thought they could find enough action in the story, and the Lionsgate executives had confidence that they could market two films.  So now, audiences are stuck with “The Hunger Games: Mockingjay, Part 1.”

Though the film runs a full 30 minutes shorter than both its predecessors, it feels significantly longer.  Jennifer Lawrence, Julianne Moore, and Philip Seymour Hoffman (in his penultimate role) do bring an aura of prestige to the relatively calm proceedings, yet that is not enough to boost the low energy that plagues the first half of “Mockingjay.”  While there is a thrilling final rescue scene and one quasi-action sequence in the middle, the inside baseball of Panem politics occupies the majority of the two hours.

Perhaps “Mockingjay” could inspire the next generation of political publicists, a prospect simultaneously encouraging and frightening.  The film offers an introductory course to how semantics, misinformation, and outright propagandizing can be used by governments as well as social movements to recruit followers and repel criticisms.  The overarching lesson of “Mockingjay” may very well be that the camera is mightier than the sword.

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REVIEW: The Lego Movie

31 07 2014

Back in 2012, “Zero Dark Thirty” gave audiences a pulse-pounding conclusions as it showed SEAL Team 6’s bold mission to kill Osama bin Laden in stunning detail.  Yet even as gripping as that was, I couldn’t help but chuckle a little bit when I saw who they cast as the finger behind the trigger: Chris Pratt, who I knew and loved as Andy Dwyer (and his FBI alter ego Burt Macklin) on the TV comedy “Parks & Recreation.”

Well, as it turns out, Kathryn Bigelow was as right about Pratt as an action star as she was about Jeremy Renner as a fine dramatic actor.  And now it’s Pratt who’s laughing all the way to the bank.  “The Lego Movie” proves that Pratt doesn’t even have to be present in the flesh to lead a movie towards some very fun adventure.

Pratt is like the world’s oldest 7-year-old, a lovable, innocent kid that you can’t help but root for because he reminds you of all the naive optimism of a simpler state of mind.  When his plastic Lego teddy bear of a character, Emmet Brickowoski, chants the film’s theme “Everything Is Awesome,” it’s hard not to smile a little bit.  He’s not just singing from a place of pure naïveté like Selena Gomez on “Barney,” but also from a position of contagious optimism that makes Emmet quite irresistible.

Thankfully, the writing/directing dynamic duo of Phil Lord and Christopher Miller (they who blessed us with the gift of “21 Jump Street“) matches Pratt’s enthusiasm throughout “The Lego Movie.”  They bring a boundless imagination to the project, resembling the kind of creativity that Legos themselves spark in children all over the world.  What they ultimately construct is wild, wacky, and quite inspired. Read the rest of this entry »





LISTFUL THINKING: 2012 Superlatives

1 01 2013

New Year’s Day always marks a very interesting balancing act, reflecting on the old while also ringing in the new.  So while people are still thinking about 2012, let me offer up the first annual Superlatives post for the films of 2012.  I’ve already weighed in with the best and worst 10 of 2012, but what about the other 80 movies of the year?  What about the performances?  What about all sorts of other things?  This is the post where I get all sorts of stuff floating in my mind out there.

For the sake of review, I’ll go ahead and re-list my 10 best and worst of 2012.

Top 10 of 2012

10 Best of 2012: “21 Jump Street,” “Argo,” “Hitchcock,” “Killing Them Softly,” “Looper,” “Bernie,” “Zero Dark Thirty,” “Les Misérables,” “The Master,” “The Queen of Versailles

Prometheus

Honorable Mentions: “Rust and Bone,” “Prometheus,” “Beasts of the Southern Wild,” “Wreck-It Ralph,” “End of Watch,” “Holy Motors

Worst 10 of 2012

10 Worst of 2012: “The Grey,” “The Bourne Legacy,” “John Carter,” “Gone,” “The Vow,” “Killer Joe,” “The Paperboy,” “The Deep Blue Sea,” “The Watch,” “Casa De Mi Padre

pitchperfect2

Honorable Mentions: “Pitch Perfect,” “Something From Nothing: The Art of Rap,” “Abraham Lincoln: Vampire Hunter,” “First Position,” “Keep the Lights On,” “Being Flynn

10 More 2012 Releases I Still Need to See: “The Hobbit: An Unexpected Journey,” “The Impossible,” “Promised Land,” “The Intouchables,” “Seven Psychopaths,” “Hyde Park on Hudson,” “Not Fade Away,” “Smashed,” “The House I Live In,” “Searching for Sugar Man”

Vanellope

5 Most Surprising Movies of 2012: “Wreck-It Ralph,” “Bernie,” “End of Watch,” “Hitchcock,” “21 Jump Street

Denzel Washington in Flight

5 Most Disappointing Movies of 2012: “The Dark Knight Rises,” “Django Unchained,” “Lincoln,” “Flight,” “The Bourne Legacy

Bachelorette

10 Most Forgettable Movies of 2012 (in alphabetical order): “Bachelorette,” “Hysteria,” “Jeff, Who Lives at Home,” “Lola Versus,” “Man on a Ledge,” “Men in Black III,” “Salmon Fishing in the Yemen,” “Seeking a Friend for the End of the World,” “Take This Waltz,” “Trouble with the Curve

Silver Linings Playbook

5 Most Rewatchable Movies of 2012: “21 Jump Street,” “Silver Linings Playbook,” “Wreck-It Ralph,” “Argo,” “Ted

Lincoln

5 Movies of 2012 I’m Glad I Saw But Will Never Watch Again: “Lincoln,” “Amour,” “The Invisible War,” “Compliance,” “ReGeneration

Killing Them Softly

5 Most Underrated Movies of 2012: “Killing Them Softly,” “Les Misérables,” “Prometheus,” “Safety Not Guaranteed,” “End of Watch

The Avengers

5 Most Overrated Movies of 2012: “The Sessions,” “Lincoln,” “Django Unchained,” “Life of Pi,” “The Avengers

PSH

5 Movies That Got Better with Distance and Time: “Killing Them Softly,” “Zero Dark Thirty,” “The Master,” “Silver Linings Playbook,” “Prometheus

Brave

5 Movies That Got Worse with Distance and Time: “Brave,” “Lincoln,” “Flight,” “The Sessions,” “The Dark Knight Rises

Argo

5 Movies That Felt Shorter Than Their Runtime: “Zero Dark Thirty,” “Les Misérables,” “The Dark Knight Rises,” “Argo,” “Django Unchained

Keira Knightley in "Anna Karenina"

5 Movies That Felt Longer Than Their Runtime: “Lincoln,” “Anna Karenina,” “This Is 40,” “Damsels in Distress,” The Five-Year Engagement

BOTSW

Breakout Performances: Quvenzhané Wallis in “Beasts of the Southern Wild,”  Eddie Redmayne in “Les Misérables,” Ezra Miller in “The Perks of Being a Wallflower,” Garrett Hedlund in “On the Road,” Scoot McNairy in “Argo

Silver Linings Playbook

Breakthrough Performances: Bradley Cooper in “Silver Linings Playbook,” Michael Pena in “End of Watch,” Jack Black in “Bernie,” Channing Tatum in “21 Jump Street,” Elizabeth Banks in “People Like Us

Best Exotic

Breakdown Performances: Anna Kendrick in “Pitch Perfect,” Salma Hayek in “Savages,” Tom Cruise in “Rock of Ages,” Emile Hirsch in “Killer Joe,” Dev Patel in “The Best Exotic Marigold Hotel

frame 01021605R

Best Body of Work in 2012: (tie) Anne Hathaway in “The Dark Knight Rises” and “Les Misérables,” Jennifer Lawrence in “The Hunger Games” and “Silver Linings Playbook

The Deep Blue Sea

Worst Body of Work in 2012: (tie) Rachel Weisz in “The Bourne Legacy” and “The Deep Blue Sea,” Taylor Kitsch in “John Carter” and “Savages

Jessica Chastain in Zero Dark Thirty

Best Heroes: Jessica Chastain as Maya in “Zero Dark Thirty,” Mark Ruffalo as The Hulk in “The Avengers,” Hugh Jackman as Jean Valjean in “Les Misérables

John Carter

Worst Heroes: Andrew Garfield as Spider-Man in “The Amazing Spider-Man,” Taylor Kitsch as John Carter in “John Carter,” Jeremy Renner as Aaron Cross in “The Bourne Legacy

Catwoman

Best Villains: Anne Hathaway as Selina Kyle/Catwoman in “The Dark Knight Rises,” Russell Crowe as Javert in “Les Misérables,” Leonardo DiCaprio as Calvin Candie in “Django Unchained

Skyfall

Worst Villains: Tom Hardy as Bane in “The Dark Knight Rises,” Javier Bardem as Silva in “Skyfall,” Rhys Ifans as Lizard in “The Amazing Spider-Man

Joaquin

Best Possessed Performance: Joaquin Phoenix in “The Master

The Paperboy

Worst Possessed Performance: Nicole Kidman in “The Paperboy

Bernie

Best Comedic Performance: (tie) Jack Black in “Bernie,” Channing Tatum in “21 Jump Street

The Watch

Worst Comedic Performance: The cast of “The Watch

Uggie

Best Cameo: Uggie in “The Campaign

Ryan Reynolds

Worst Cameo: Ryan Reynolds in “Ted

Eddie Redmayne

Best Singing: Eddie Redmayne in “Les Misérables

Alec

Worst Singing: Alec Baldwin in “Rock of Ages

That’s about all I can come up with for now … may add to this later!  Happy 2013, everyone!





F.I.L.M. of the Week (December 21, 2012)

21 12 2012

There are few movies in the world that can make me laugh harder than “Role Models,” my pick for “F.I.L.M. of the Week.”  An R-rated romp that slipped through the cracks for most upon release in 2008, David Wain’s riotous comedy is fantastic through and through.  It’s held up miraculously well, too – trust me, I’ve watched it dozens of times and still bust a gut.

As the two leads doing a comic man/straight man routine, Seann William Scott and Paul Rudd are absolute perfection.  Scott gets to play the absurd variation of the Stifler character for “American Pie” that made him famous, while Paul Rudd plays perhaps his best bleakly blunt pessimist yet.  Though Rudd rings real in opposition to the ridiculous Scott, that doesn’t mean he’s grim or depressing.  Rather, he’s all the funnier and relatable as Paul Rudd proves once again he might be the most adept actor at bringing all our frustrations and annoyances to comedic light.

The free-wheeling Wheeler (Scott) and Danny (Rudd) find themselves in a world of trouble after a particularly bad day on the job peddling energy drinks to kids.  But rather than go to prison for their trail of destruction, they wind up getting community service at Sturdy Wings, a Big Brother-Little Brother type program.  The two quickly find out that prison is a more appealing option than most people would consider.

First of all, Sturdy Wings is run by a crackpot ex-alcoholic and drug addict, Gayle Sweeney – played by Jane Lynch pre-Sue Sylvester (this part probably got her that character).  And to say she steals the show is a vast understatement.  You only hear every other line from her because your laughs from one line bleed over well into the next one.  She speaks in bizarre metaphors that don’t make sense and LOVES reminding everyone of her former habits to a painstakingly hilarious extent.

And Gayle pairs them with two “littles” that scared off everyone else who was volunteering.  Wheeler gets stuck with a firecracker in Ronnie, a crude and manipulative little version of himself.  Danny, on the other hand, is given Augie, an introvert with a good heart that loves nothing more than a good live-action roleplaying game.  Their adventures are strange and funny, leading them to campfires and virtual battlefields, but David Wain brings a funny-bone and a heart to every moment of it.  His “Role Models” packs an excellent message of mentoring and guidance towards becoming a better person without ever being sappy or cheesy; rather, he finds a way to get it across smoothly with laughs, smiles, and good feelings all around.





REVIEW: Man on a Ledge

5 12 2012

I think a more appropriate name for “Man on a Ledge” might have been “Baby’s First Thriller.”  By that, I do not mean that you should go show this film to your infant.  Rather, I am making a statement on how rudimentary and textbook Asger Leth’s film is.

His color-by-numbers genre pic is not the worst thing in the world to watch.  There are plenty of predictably thrilling instances where the action heats up and the plot begins to sizzle.  But it’s just so unambitious, reaching for all the buttons that so many better filmmakers have already pushed to death.

Even though I can’t think of any movie that shares the specific plot of “Man on a Ledge,” it felt nonetheless familiar and banal.  Sam Worthington’s Nick Cassidy goes and stands on a ledge and puts on a show for a captive audience in the streets of New York City.  He’s  left to be talked down by archetypical police officer haunted by guilt of a prior incident, here played by Elizabeth Banks.

Meanwhile, a giant diamond heist occurs with Nick’s brother Joey and girfriend Angie (Jamie Bell and Genesis Rodriguez) inside the building across the street to prove his innocence.  And of course, the greed of the big bad capitalist, played by the menacingly frightening Ed Harris!  Both plots are interesting enough to keep our eyes on the screen, but neither really captivate at the level we have come to expect from say, a Soderbergh thriller.  It does what it needs to do and nothing more.

And if that’s all you want from a movie, then perhaps “Man on a Ledge” is the perfect background music to you doing chores around the house.  You don’t need to be paying too much attention to know what’s going on here.  Because after all, you know the narrative.

Ultimately, what I walked away from “Man on a Ledge” with was nothing about the story or the presentation.  To my surprise, it was that superb actors like Elizabeth Banks and Anthony Mackie were still being reduced to this kind of auto-piloted stock studio schedule filler crap.  Casting agents, please sit down with a copy of “People Like Us” and “The Hurt Locker.”  You will find Banks and Mackie, though not nominated for an Oscar (yet), are far above this type of movie.  Find them something suitable for their immense talents, please!  C+





REVIEW: Pitch Perfect

4 10 2012

It took three years for the “Glee” high to trickle down into film? Surprising that Hollywood didn’t milk the a capella pop song earlier because now that goose is no longer popping out golden eggs … and now we’re left with “Pitch Perfect.”  It’s a movie happy to riff on the vocal talent Ryan Murphy assembled but wants none of the social responsibility.

It takes swipes at minorities, overweight people, homosexuals … really anyone who doesn’t fit in.  “Pitch Perfect” is stuck in the old normal, which may be gleeful fun for some but just makes me wince.  (I have to have set some kind of record for Ryan Murphy series wordplay there.)  If the film’s humor isn’t knocking down the little guy, it’s making some HEINOUS pun on the word a capella.  If you cringe at the thought of hearing someone say “A ca-scuse me?!” with a straight face, that’s only the tip of the iceberg.

I guess it’s also trying to adhere to the old normal of high school/college movies, trying to fashion itself as the new “Mean Girls” … which itself was trying to be a new John Hughes film.  “Pitch Perfect” even goes as far as to blatantly self-reference and name drop these movies!  I’m not entirely opposed to trying to make lightning strike the same place twice.  However, if you are going to so patently harken back to a classic, you have to be prepared to face the an apples-to-apples comparison.

And “Pitch Perfect” is no “The Breakfast Club.”  Heck, it’s more like a “Jennifer’s Body,” a comedy that inspires more groans than laughs and thinks it has a whole lot more insightful things to say about growing up than it actually does.  Not even the presence of Anna Kendrick, who won my heart in “Up in the Air,” can salvage this movie.  The only worthwhile segments in the bloated two hour duration were the well-orchestrated a capella pieces, but you can just listen to those on YouTube or Spotify or however the kids listen to music these days.  There’s no reason you need to see the whole rest of the movie just to get to those.  C- 





REVIEW: People Like Us

1 10 2012

“People Like Us” is the kind of tender, domestic drama that has become a specialty for writer/directors like Alexander Payne, Jason Reitman, Tom McCarthy, and Noah Baumbach.  It’s a story meant to provide insight into the human spirit by focusing on a tortured soul in a time of great duress and total life upheaval, lifting up the power of our relationships to either make or break us.  All achieved with the power of pathos.

Well, this movie doesn’t have the Baumbach brain.  Nor the McCarthy might.  And it doesn’t even come close to achieving Payne and Reitman heights.  But consider the two movies that writer/director Alex Kurtzman, along with his co-writer Roberto Orci, scribed prior to “People Like Us;” they were “Cowboys & Aliens” and “Transformers: Dark of the Moon.”  Not exactly tender, heartfelt human dramas.

I’m not a proponent of grading on a curve (although I am a staunch proponent when it comes to my test being graded), but I will say that I’m wiling to cut Kurtzman and Orci some slack because they didn’t churn out “The Descendants” or “Up in the Air” on their first try.  (I will note, however, that “Citizen Ruth” and “Thank You for Smoking,” their respective debut features, are both highly impressive.)  All things considered, “People Like Us” is an entertaining and fairly keenly observed film.  It hits a few flat notes along its journey, but there are enough powerful and touching moments scattered throughout the film to make it redeemable.

As Sam, a barterer whose shady dealings lead him into hot water with the SEC at the time of his father’s death, Chris Pine shines in a role that allows him to shed the cocky exoskeleton coating him from too long in rom-com purgatory.  Baring flashes of his raw soul, he’s fairly easy to sympathize with in spite of his character’s frustrating actions.  Like Robert Pattinson in “Cosmopolis,” it’s not an announcement that a true dramatic virtuoso has arrived on the scene, rather a signpost pointing towards greater things to come.

The real story of “People Like Us,” though, is Elizabeth Banks.  Her struggling mother Frankie, a former alcoholic trying to keep her world in orbit, is the key to Sam coming to peace with a painful and unacknowledged part of his past.  It’s absolutely heartbreaking to watch her in all good intentions trying to restore her faith in others while we know she’s headed down a path that can only lead back to an all too familiar pain.  And it’s Banks who makes her such a light on the screen.  Frankie is not merely a character in her gifted hands.  She’s a person, with troubles, with issues, with worries, with anxieties, with struggles, with small triumphs … like us.  B





F.I.L.M. of the Week (August 3, 2012)

3 08 2012

Well, if I hadn’t taken a number of hiatuses, my 100th entry in the “F.I.L.M. of the Week” series (that’s First Class, Independent Little-Known Movie, just a reminder) would have come around June or July 2011.  But a belated milestone is still a milestone, so I’m going to celebrate by writing about “Wet Hot American Summer,” perhaps one of the most underappreciated cult comedies of recent memory.  Starring just about all your favorite comedians WAY before they were famous, it’s a hilarious time capsule that surely needs to be opened if you are a fan of anyone in the massive cast!

It’s the last day of summer at a Jewish camp in Maine – in 1981, no less – so that means everyone is trying to attend to some unfinished business.  The movie juggles a ton of storylines in an hour and a half, some of which don’t work as well as others, I’ll admit.  A number of the jokes are just so stupid, you have to wonder whether you want to laugh or just cringe.

But director David Wain, who later found commercial success and critical acclaim with “Role Models,” just never lets the relentless onslaught of over-the-top, farcical comedy end.  And for that, it could make for a “Napoleon Dynamite”-style viewing trajectory: perhaps just some chuckling the first time, and then those giggles turn into full-on belly laughs as the nuances of the humor reveal themselves over multiple viewings.

It’s certainly worth watching to see the beginnings of Paul Rudd’s caustic humor, albeit slightly more hammed up, as an airheaded horndog lifeguard who can really cop an attitude.  The object of his affection, at least momentarily, is Elizabeth Banks – until he decides she tastes like hamburgers and doesn’t like her anymore.

Amy Poehler is another scene-stealer as Susie, the bossy, controlling counselor in charge of theater intending to stage a number of “Godspell” as if she were working on Broadway.  What makes her character even better, though, is that she is flanked by preppy, Lacoste-clad minion Ben at all times.  Now, Ben is played by none other than Phil Wenneck himself, Bradley Cooper.  His PR people have done a mighty great job keeping this movie on the down low … I’ll let you find out for yourself why he probably doesn’t want many people to discover this early role of his.  I think it’s absolutely hilarious, as is the rest of the movie, and I highly recommend you find out Bradley Cooper’s surprise and many other raunchy delights I didn’t even mention in this cursory overview!





REVIEW: The Hunger Games

23 03 2012

From the very beginning of “The Hunger Games,” it is very clear that this literary adaptation has in common with “Harry Potter” only the hype surrounding their release.  While Rowling and an army of talented directors transported us to a universe accessible only in our wildest imaginations, writer/director Gary Ross shows no such inclinations in bringing Suzanne Collins’ best-seller to the big screen.  As her novel is meant to hold a mirror up to our own reality-TV saturated culture, he plants the film in an America just a little bit of social upheaval removed from our current one.

He has no interest in sweeping formalist cinematography that basks in the beauty of castles and countryside.  Ross’ style adheres more closely to the films of Danny Boyle with a kinetic desire propelling every shot; watching the struggles in the wilderness harkens more to Aron Ralston’s fight against nature in “127 Hours” than it does to anything in the Forbidden Forest.  The editing is more deliberate, too, lingering on the actors to communicate internal monologues with their eyes rather than conveying that the editor forgot to take their Ritalin.

Of course, not everything in the film looks as gritty as District 12 and as unyielding as the Arena.  The Capitol, where the rich and the elites bask, is embellished to the maximum for an especially emphasized contrast.  The men and women look like they walked out of Hunter S. Thompson’s acid trip, and their lavish makeup and attire are nothing short of ridiculous.  (So don’t be surprised if “The Hunger Games” takes home a technical Oscar or two next February.)

All of this makes Panem, a strange society born from the ashes of an America that tore itself apart, a fascinating place to build a story of triumph over the odds.  16-year-old Katniss Everdeen, played by Jennifer Lawrence, volunteers to participate in the Hunger Games in place of her younger sister.  The Games require the competitive edge of an Olympic athlete in addition to the cut-throat inclinations of a Real Housewife of Beverly Hills, and it gets worse for Katniss as class bias is institutionalized in the rigid caste society of Panem.

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