The Hunger Games: Catching Fire (Lawrence, 2013)

Jennifer Lawrence really is the Girl on Fire.

After one of the most successful movies of 2012 brought her to global acclaim, she turned around and won an Oscar- becoming the second-youngest actress (22) ever to win Best Actress. Now, she has become America's sweetheart, and she deserves equal praise for her latest blockbuster performance.

The Hunger Games: Catching Fire is vastly superior to the franchise's first installment, drastically improving on all the qualities that made The Hunger Games stall. That's right, that means no more shaky-cam, more political thrills, and all the teenage angst you can possibly hope for. 

Director Francis Lawrence, taking over the reigns from Gary Ross, here crafts a masterful action picture, one that is both highly intelligent and breathtakingly epic. 

Following almost immediately after the events of the first movie, Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson) struggle to live in a world that supports the brutal slaughter of children. President Snow (Donald Sutherland), threatened by the image of hope Katniss symbolizes, tries to convince the "girl on fire" to speak on their upcoming Victory Tour about the glories of the Capital and the current regime. Katniss initially appeases him, but a chain of events soon sends Katniss to the breaking point with the Capital- and it's cold-blooded leader. 

Those who were waiting for more political themes will not be disappointed; the film addresses issues of government control, citizen responsibility, and the natures of honor and loyalty. Viewers will witness a more fleshed-out story, and the dialogue portions are gripping to watch. 

The cast is once again on par, and are developed significantly more than in the first movie. The supporting players are in top form, and it's almost impossible to ignore Liam Hemsworth's Gale, Woody Harrelson's Haymitch, as well as newcomers like Sam Claflin as Finnick and Jena Malone as Johanna. Stanley Tucci provides entertaining comic relief as Caesar Flickman, the eccentric Hunger Games announcer. 

The two villains are also portrayed with shocking intensity, not seen since the Harry Potter franchise ended a few years ago. Donald Sutherland emits poisonous radiation, literally turning wine into a blood-like fluid. Phillip Seymour Hoffmann is equally menacing, with a snake-like charm that evokes his slimy nature.

But it is Jennifer Lawrence that stands above the rest. She takes Katniss to crazy new heights, elevating her character in ways that audiences have come to expect from the Oscar winner. It's also fun to see her incorporate some of the personality she's come to be known for in her hilarious interviews. Lawrence is an extraordinarily talented actress, and that's all that can be said. 

Catching Fire goes beyond simple action-film cliches, instead harnessing both social allegory and striking prose to make a brilliant work of cinema. Francis Lawrence exceeds expectations in cinematography, editing, and sound.

The production design is on an epic scale, with roaring plains in one scene and high-rise buildings in the next. The coolest set, however, is the place those familiar with the book will be excited by- and it's beyond dazzling to see. The spot-on special effects only add to the awesome production value.

For fans of The Hunger Games franchise, action movies, political thrillers, Jennifer Lawrence, or fun times at the movie theaters, go see The Hunger Games: Catching Fire.

Every revolution begins with a spark, and this one begins with a bang.

Five out of five stars. 

Flashback Friday: The Hunger Games (Ross, 2012)

For a story that features children fighting to the death, this book/film franchise has done remarkably well. After a successful trilogy of young adult novels, author Suzanne Collins decided to work with film studio Lionsgate to craft a faithful adaptation of her beloved novel. They expected a hit, but nothing in the vein of what was accomplished in March 2012. The movie would eventually grow as the highest-grossing non-sequel of all time, shattering box office weekend records and becoming the first movie since Avatar to hold the top spot four weeks in a row. It eventually led to the popularity of an Oscar-winner, and arguably the most beloved youth franchise since Harry Potter. The sequel, Catching Fire, arrives in theaters today, so Movie Critic's Club is taking a look on Flashback Friday at The Hunger Games. 

Lionsgate acquired the rights to The Hunger Games as early as 2009, and backed the film with a hefty budget and lots of marketing. Lionsgate needed a hit, as they had not turned a profit for several years. They hired original author Collins to pen the screenplay, along with director Gary Ross and screenwriter Billy Ray, and she worked to keep the adaptation as close to the source material as possible. 

The film tells the story of Katniss Everdeen (Jennifer Lawrence), a teenage girl taking care of her younger sister Primrose (Willow Shields) and distraught mother (Paula Malcomson) in the troubled District 12 of Panem. She spends her days trying to gather as much food as possible for her family, along with friend Gale (Liam Hemsworth). She is exceptionally talented with a bow-and-arrow, and is a skilled hunter.

In Panem, a terrible war caused a dystopian government to take over from the Capital. In order to quell any sense of rebellion, each year two children (one male, one female) between the ages of 12 and 18 are chosen to compete in the Hunger Games, a brutal fight to the death in which there is only one survivor. Primrose is chosen at random, and in an effort to save her sister, Katniss volunteers to compete. Katniss, along with male tribute Peeta Mellark (Josh Hutcherson), go on a journey to the Capital to train for the Games. There, they are aided by former victor Haymitch (Woody Harrelson), the eccentric Effie (Elizabeth Banks), and stylist Cinna (Lenny Kravitz). Eventually, Peeta and Katniss enter the Hunger Games, and must fight for survival amongst trained killers. 

As the novel is told from the first person, it is limited in its discussion of other characters. As such, Collins took advantage of the ability to expand on other characters. She greatly added to Seneca Crane (Wes Bentley), the gamemaker who kept control of the tournament; his command center was also built. In the film, Crane also several conversations with President Coriolanus Snow (Donald Sutherland) in the gardens, which do not exist in the book. Collins created these scenes to elaborate the differences between the Capital and the outlying Districts. In addition, as President Snow's character becomes the primary antagonist in later stories, it gave audiences a better opportunity to meet him. 

The casting of The Hunger Games is marvelous, and all the actors sink their teeth into these meaty roles. Jennifer Lawrence in particular delivers a heck of a performance, breaking into the mainstream and making the world fall in love with her. Josh Hutcherson gives a biting edge to Peeta, and he and Hemworth's Gale are likable male leads. The supporting characters almost steal the show; Banks as Effie is very fun to watch, as is Stanley Tucci's flamboyant commentator Caesar Flickerman. 

Filming of The Hunger Games took several months, and Gary Ross chose to implement a shaky-cam technique to heighten the authenticity. This hinders the movie, and it is very nauseating to watch the first time. While he does a good job at introducing the story, the first hour of the film (before the actual Games) is not filmed particularly well. However, the competition works with the shaky-cam method, and he does a nice job at capturing the horror of the event. A fun fact about the movie is that the second unit director, who handles some of the more easily filmable scenes to shorten production time, is Steven Soderbergh, who won an Oscar for Traffic in 2000. He notably produced the District 11 riot scenes. 

Despite questionable cinematography, the production design of The Hunger Games is beautiful. The Capital is grand to look at, as is the costuming and make-up (particularly Effie's). The visual effects are awesome, and the action is very entertaining. 

The Hunger Games opened to rave reviews and explosive box office receipts, holding at #1 for four weeks. It had the highest opening day and highest opening weekend for a non-sequel motion picture. Landing in at $691 million over a production budget of $78 million, it was a huge success for Lionsgate. The movie eventually became the ninth-highest grossing film of 2012, an outstanding feat for a film released during the dead month of March. It also made a mild impact during the Awards race, most notably garnering Lawrence a Best Actress for an Action Film prize from the Broadcast Film Critic's Association. 

The Hunger Games: Catching Fire opens in theaters everywhere this weekend, and it is likely to make a huge splash in the box office for the next several weeks. The original movie proved that people will see a movie that looks good, no matter when it is released. As the series and it's stars have only grown in popularity since The Hunger Games, Catching Fire may end up being one the most successful films of the year. 

Catching Fire, may the odds be ever in your favor. 

Flashback Friday: Thor (Branagh, 2011)

When Marvel Studios was deciding which superheroes to use in their Avengers Project, they needed a group that was recognizable yet able to cohesively fit in one movie. Iron Man was a billionaire with an advanced cybersuit, The Incredible Hulk was a scientist who was exposed to a tad too much Gamma radiation, and Captain America was an ultra-strong product of the Super Soldier experiments. The last member? A Norse God who can literally control thunderstorms. The creative team at Marvel had to figure out a way they could integrate this alien into the Avengers line-up without being hokey. So, they hired one of Shakespearean cinema's finest directors and a cast of hugely talented actors to bring the God of Thunder to the big screen. It's sequel is in theaters now, so if you're planning on seeing it this weekend, or still in the mood after already viewing it, this post is for you. Today on Flashback Friday, we're hanging out with Thor.

Stan Lee is the creator of most of the recognizable Marvel brands. He worked on X-Men, Spider-Man, and the Avengers in their earliest days. Stan Lee created Thor because he was interested in God-like superhero, and found that many people were unfamiliar with Norse mythology. So, he crafted a new Marvel world, where science and magic exist as one and Gods roam the galaxy as almighty aliens. Thor soon became one of Marvel's most popular incarnations. 

After the success of Iron Man, Marvel's newfound cinematic universe was green-lighted to continue development. The Incredible Hulk rode it's waves, and Iron Man 2 proved an equal triumph. Thor was selected as the next film, and in 2011 premiered alongside Captain America: The First Avenger later that summer. 

Because of it's epic proportions and deep mythology, Marvel wanted to hire a capable filmmaker to helm the project. Kenneth Branagh, who was eager to branch into action franchises, accepted the offer and immediately got to work. The actors and crew loved working with him, and felt that he brought cinematic innovation to a film that may have otherwise been emotionally stalled.

The movie is the origin story of Thor, who's father Odin united the Nine Realms and rules over them as king. The God of Thunder is next in line for the throne, but his coronation is halted by a group of Ice Giant thieves. Furious over their entrance, Thor leads a small fellowship of warriors, including his four best friends and his brother Loki, to the Ice Giant homeworld to strike fear into their kind. The Ice Giants retaliate with further bloodshed, and Thor's group is narrowly saved by Odin and gatekeeper Heimdall. Angered by his son's brash arrogance and child-like behavior, Odin banishes Thor to Earth to live as a mortal.

On Earth, Thor meets with Jane Foster, a scientist who is studying the pathways Thor's people use to travel between worlds. Jane, along with mentor Erik Selvig and intern Darcy, work with the hero to try and return him home. However, they may have more trouble than they bargained for when Thor's mischievous brother Loki begins causing havoc of his own. 

For the title role, Chris Hemsworth was selected based on a great screen test in which he made up a huge backstory for the character. He looks at acts like Thor, brining both the physical and emotional depth needed to portray him. Hemsworth is also quite hillarious, and his narcism comes across as comical rather than annoying, as so many protagonists are. 

Natalie Portman is a beautiful love interest, and although she mumbles through most of the science-y jargon, she remains a likable lead. Anthony Hopkins proves he can sink his teeth into any role, and as Odin is the perfect leader, a capable warrior, and a stern yet loving father all at the same time. It's an awesome, awesome role that is thrilling to watch. 

After seeing The Avengers, Tom Hiddleston's Loki is just silly in Thor, and provides only a minor threat; nevertheless, Hiddleston's first foray into the part is a good one. Clark Gregg's Agent Coulson is hilarious as usual, and Kat Jenning's Darcy is excellent comic relief, too.

The production design includes a beautiful Asgardian landscape, shining with a radiance and architectural brilliance that is almost unthinkable. The Ice Giant's homeworld is equally well made, as is the New Mexico towns on Earth. Thor's hammer has a lot of small intricacies, such as latin speech an Odin's symbol. The designers also made the hero's costume more realistic and less intricate than the comics, though Loki's villainous garb is almost exactly like the original. 

Thor remains a unique superhero adventure because it's almost Shakespearean in quality, with a royal family dispute having galactic consequences, and themes of arrogance, jealousy, love, and loyalty. It is extremely well crafted, and features arguably the best overall ensemble of the Marvel lineup (except for The Avengers, of course). It takes a great team to make Norse mythology fit in a semi-realistic setting, and Branagh and company do it wonderfully. Thor is a fun action film with lots of thrills, funny moments, and a ton of heart. 

"Whosoever holds this hammer, if he be worthy, shall possess the power of Thor!" 

  

The Counselor (Scott, 2013)

Oscar-winning director Ridley Scott. Oscar-winners Javier Bardem and Penelope Cruz. Global superstars Michael Fassbender, Cameron Diaz, and Brad Pitt. The writer behind The Road and No Country for Old Men.

It seems like The Counselor should have been a sure thing.

Unfortunately, it is a garbled mess of a thriller, bogged down with uninteresting characters and a shamefully boring story. The film goes nowhere, and at no great speed.

The talents behind The Counselor are geniuses in their craft, but that does not stop the movie from failing at nearly every angle. Cormac McCarthy's ludicrous dialogue, filled with mediocre monologues and a few too many backstories, does not come through with any real effect or emotion.

Michael Fassbender stars as a man simply known as The Counselor, who is currently juggling a new fiancé (Penelope Cruz), a handful of lackluster clients, and his new trade: dabbling in the drug industry, along the help of his associate (Javier Bardem), and a drug expert (Brad Pitt). Bardem's girlfriend (Cameron Diaz) begins to cause problems, however, which propels everyone into a survival-of-the-fittest death race.

The fine actors in this production seem to have no interest in The Counselor. They give little effort to the dialogue, have no chemistry with one another, and act as though they do not even want to be there. Even the costuming is ridiculous; Bardem's design and character is meant to be eccentric, but the Oscar-winner himself just reads his lines and follows the motions with lackluster avail.

Diaz has received some flack for her femme fatale performance, and she does stick out like a sore thumb. However, this remains a good thing throughout the story; her villainous role is so looney it's almost enjoyable. She's certainly better than co-star Cruz, who does nothing but complain and spew petty garble.

The screenplay is thinly written, and the story is clearly progressing in a script-based manner. Ridley Scott's lack of directorial innovation comes across as lazy filmmaking, uncharacteristic of the legendary director. Everything about The Counselor is cheap. 

And what the heck was with the cheetahs? Were they meant to represent the primal instincts of the characters? To show how humans are selfish creatures concerned solely for their own predator-like survival? Please. They're just cool to look at.

The Counselor remains proof that it takes more than a beautiful cast and an Oscar-worthy crew to make a good picture. It's one of the more forgettable movies of 2013, and the ending will leave viewers shrugging their shoulders. Just YouTube some of the more "interesting" death scenes, and that can be the extent of your suffering through the film.

One out of five stars. 

Ender's Game (Hood, 2013)

Science fiction meets coming-of-age meets highly ethical questions. Sound like Star Wars? Well, in the book world, it might as well be. 

Ender's Game, the highly anticipated adaptation of the novel of the same name, is an exciting sci-fi thrill ride, boasted by galactic special effects and fascinating moral quandaries. It features a well-cast ensemble of characters that wonderfully touch every point on the ethical spectrum. 

Asa Butterfield, the successful young actor behind Hugo and The Boy in the Striped Pajamas, plays Ender Wiggin, a "third" who is training to be in the elite children's military. He has great potential, with the intelligence and strength to match even the most respected officers. However, he is psychologically tormented by the mistakes of his older brother, and the pressure of saving the human race. 

In the world of Ender's Game, Earth was attacked by an alien invasion, which nearly decimated the population, and only stopped because of the sacrifice of one brave soldier. Now, as Earth's last line of defense, the people have placed their faith in the children, who's future actions hold the key to humanity's survival. Ender is one of those special progenies, and is selected to join the competitive Battle School. There, he faces not only his fellow classmates, but is own personal demons. 

Harrison Ford finally returns to sci-fi as Colonel Graff, the commander of the Battle School who has the ultimate confidence in Ender's potential. Viola Davis beautifully plays his counterpart, Major Anderson, who is a little more conscious of Ender's troubles. Hailee Steinfeld, Abigail Breslin, and Moises Arias round out the cast as Ender's classmates and family. 

The visual effects allow the viewer to delve deeply into the story line, immersing them in this rich and colorful universe. The costumes and sets are well made, and there is a haunting and foreboding familiarity to the whole space stations. The infamous Battle Room is perfectly articulated and designed, and the action in there does not seem choreographed or fake. Ender's world is a really cool place to play. 

As I have stated numerous times before, my personal belief is that a movie should be judged on it's own merits, and not on the book for which it is based on. They are two completely different entities, and should be critiqued as thus. For future reference, this will be my final comparison of book-to-screen on this website. 

Ender's Game follows the novel rather well, with only a few obvious removals and changes. The book focuses more on the relationship between Ender and his siblings, but this would detract from the film's values and point of view. A lot of the story is condensed, but the necessary portions are kept intact. 

The film is also famous for it's curious moral dilemmas: should children be under so much pressure to save Earth? Is Col. Graff pushing Ender too far? Will Ender be forever damaged by his training? There are some very interesting ethical issues presented in the movie, sure to inspire discussion for hours after watching. 

Ender's Game remains supremely exciting throughout, never slowing down or reaching a standstill. The actors are in top form, and the action scenes are loads of fun. Science fiction is the stuff of dreams: they allow us to create new worlds, and question the very issues that plague us today. It's a genre that really benefits when seen on the big screen, and Ender's Game is a welcome inclusion to that group. 

Four and a half out of five stars. 

Flashback Friday: Hugo (Scorsese, 2011)

Martin Scorsese directing a family movie seems like an odd idea. After all, how could the filmmaker behind Goodfellas, Gangs of New York, and The Departed create a moviegoing experience suitable for children? But after watching his first attempt at the genre, it is very clear why he was chosen- the film is an adoring love letter to silent cinema. And who better to direct this passion project than Marty, who is a world-renowed expert on film history? Based on the Caldecott-winning novel, this movie proved that 3-D and emotional drama can blend seamlessly together. With stars Asa Butterfield and Ben Kingsley reuniting for another highly anticipated book-to-screen adaptation, Ender's Game, released today, Movie Critic's Club is taking a short look back at one of 2011's standout pictures. Today on Flashback Friday, we're going on a film-loving adventure with Hugo. 

The Invention of Hugo Cabret made history in 2008 by being the first novel to ever win the Caldecott Medal, which is usually reserved for picture books. But Brian Selznick's Hugo Cabret is not like any other novel- on every other page is striking animation, nearly doubling the book's size but significantly adding to its imagination. 

Almost immediately after the book's publication, Martin Scorsese bought the film rights, hiring the talented John Logan (The Aviator, Gladiator) to adapt the screenplay. Hugo is the first movie Scorsese filmed in 3-D, and his first movie not shot on film. He was curious about the technology, and was eager to make his own contribution to the technique. It had, in recent years, received a revival- but no three-dimensional picture had matched the depth of 2009's Avatar. 

Despite a lukewarm box office draw, Hugo was critically acclaimed, landing on several year-end "Best Of" lists for it's strong depiction of the magic of the movies. It became an awards darling, earning the most Oscar nominations (11) for the 84th Academy Awards, including those for Best Picture and Best Director. Eventually, it tied with Best Picture-winner The Artist for most wins (5). 

Asa Butterfield plays the titular character, with the same emotional baggage he brought to The Boy in the Striped Pajamas (2008). Hugo Cabret is an orphan who lives in a train station, repairing the building's clocks so that inspectors won't find him. He was extremely close with his father (Jude Law), but after his dad dies in a horrible fire, Hugo is left alone and bewildered. His sense of wonder, however, was not damaged, and the child becomes obsessed with repairing a mechanical automaton that he and his father were working on before his death. 

Hugo encounters a group of eccentric characters in the station, played by several successful actors like Emily Mortimer, Richard Griffiths, and Christopher Lee, who shines as the station's kind librarian. Hugo, meanwhile, avoids an obsessive Inspector (Sacha Baron Cohen). Chloe Grace Moretz of Kick-Ass fame co-stars as a lonely girl eager for adventure, who fatefully encounters Hugo and sets out to solve the mystery of the automaton along with him. 

(WARNING: Spoilers throughout the next few paragraphs. Part of the mystery of Hugo is revealed here, so you may want to watch it first before reading the next two paragraphs. Spoilers end with the paragraph that starts with "The CGI is remarkably effective...".) 

Ben Kingsley wonderfully portrays George Milles, a silent film director and highly influential moviemaker from the 1930's. He made over 500 films in his lifetime, but all the footage was lost after World War II, and only a few pictures remain. Best known for his Voyage to the Moon (drawn by the automaton), Milles disappeared for years before receiving a public revival in the latter years of his life. Kingsley's depiction of him in the film is mostly true, despite some minor dramatic changes (Milles actually had two wives, the first of which was the movie star, not like the one in Hugo; plus, Cabret is a fictional character, and Milles managed to bring himself into the limelight). 

Part of the magic of Hugo comes from Scorsese's stark dedication to the preservation of Mille's memory. He features many short films, shot by Milles himself, throughout the story. Plus, there are numerous allusions to other cinematic milestones- the hilarious clock tower theater scene from Safety Last!, as well as various early movies and audience reactions.   

The CGI is remarkably effective, bringing an early 20th century train station in Paris to glorious life. The screenplay packs an emotional wallop, and viewers will find themselves falling in love with Hugo's story and pure innocence. The costuming, special effects, and sound work rather well, and there are several moments of awe-inspiring movie magic. 

But at its heart, Hugo is a coming-of-age adventure that provides a fun history lesson in early filmmaking. Through various allusions and a sympathetic protagonist, Martin Scorsese proves he was the right man to bring this motion picture to life. In some ways, like Roger Ebert said, this was the mob director's most personal project: filled with a passion for the movies, Hugo radiates with an adoring love of cinema. And for us film lovers, there's no greater treat than that.