The sci-fi action film, based on Suzanne Collins' books, has already broken records at the U.S. box office, and movie bosses were further delighted with the latest figures from Britain.
Lionsgate's U.K. boss, Zygi Kamasa, says, "The Hunger Games was always destined to be this phenomenon in the U.S. Book sales have been strong in the U.K., but it's not on the same scale. We hoped to be better than Twilight's U.K. opening, and in fact we are very nearly double that."
Jonah Hill and Channing Tatum's 21 Jump Street remake was in second place after earning $1.7 million (£1.6 million), while The Best Exotic Marigold Hotel took $1.1 million (£700,000).
Former number one movie The Devil Inside was in fourth place after notching sales of $960,000 (£600,000) and Matt Damon's We Bought A Zoo rounded out the top five with $640,000 (£400,000).
Set in 1818 something evil is going on in the Bell’s family house. The trouble begins after a land deal John Bell (Donald Sutherland) and his neighbor Kate Batts (Gaye Brown) are involved in goes awry. She blames John for her misfortunes and curses his whole family. Townsfolk think Batts practices witchcraft and when it turns out she has kept pieces of their clothing suspicion rises even more. A religious leader (Matthew Marsh) and the local schoolteacher (James D'Arcy) set out to figure out the truth but have very different ideas about what is causing the nightmares and possession of young Betsy Bell (Rachel Hurd-Wood). But when Betsy's nightmares get more intense and violent--when Bible pages fly out of the book and Betsy gets dragged hair-first up the stairs in front of them all--the family matriarch Lucy (Sissy Spacek) sternly asks "Now are we all just having nightmares Professor?" Veteran talents Sutherland and Spacek have some of the scariest movies ever on their resumes. Sutherland was plenty creepy in the Invasion of the Body Snatchers remake while Spacek got her first Oscar nomination as Carrie. Even if there isn't much to say these two easily convey a lot of emotion fear and empathy with just a side glance or a raised eyebrow. The movie however wouldn't work without a beautiful innocent girl. Hurd-Wood is as magical in this gritty role as she was as Wendy Darling in the recent live-action Peter Pan. Her looks of horror and violation seem as real as if they were actually happening. The few people who saw the Exorcist prequel may recognize D'Arcy as the priest in it and his role is just as aloof and emotionless. He's a fine British actor and accomplishes a decent Southern accent but he comes across like a Brit who is stuck in a Southern town and frankly he is. Writer/director Courtney Solomon certainly knows how to weave a nice yarn. He's taken an old legend that was apparently witnessed by Andrew Jackson (before he became president) and tells it as if he was sitting around a campfire and spinning a great spooky story. A previous version of the film made it through the festival circuits about a year ago but had a very different ending. It’s the version playing in England right now actually. But with the American release Solomon took some advice and made some adjustments. Framed within a modern-day family living in the Bell house which flashes back to the period story its a gothic ghost story that doesn't jump out at you but instead seeps into your bones and chills you from within. And there’s nothing gross or offensive about it.
In the 1950s Senator Joe McCarthy began a witch hunt in Washington and Hollywood to cleanse the nation of "commie sympathizers." No one dared stand up to him for fear of being targeted themselves until journalist Edward R. Murrow (David Strathairn) did an expose of the senator on his television program See It Now. In doing so he risked himself the livelihoods of the reporters working for him and the reputation of CBS. The network stood behind him although very reluctantly and Morrow swayed public opinion--a landmark moment in broadcast journalism.
David Strathairn is wonderfully subtle as the legendary Murrow from small nervous facial tics as he prepares to go live on the night of his controversial broadcast to his barely concealed contempt for the puff pieces he has to do like an interview with Liberace. Patricia Clarkson and Robert Downey Jr. also do nice work as a married couple who hide their relationship since it's against company policy but their characters--and indeed all of the characters--are all very thinly sketched. The meatiest supporting role belongs to Ray Wise (Laura Palmer's crazy dad on Twin Peaks) as CBS news anchorman Don Hollenbeck who is barely hanging on after being labeled a "pinko" in the right-wing press. George Clooney as Murrow's producer Fred Friendly is low-key but still deftly funny. A number of supporting players like Tate Donovan don't have much of a chance to stand out. McCarthy himself is presented only in archival footage.
George Clooney in his second outing behind the camera is clearly going for a documentary type of feel resulting in out-of-focus shots and quick pans that often land on nothing at all. Dramatic scenes are interspersed with so much unedited archival footage that after a while it does feel like you're watching a documentary although a documentary would likely have provided more context. For some reason a jazz singer (Diane Reeves) is frequently seen performing in a studio at CBS or at a club that Murrow's staff all frequents. The musical interludes are lovely but ultimately rather pointless. You have to respect Clooney's wanting to tell this story and to tell it an unadorned non-Hollywoodized kind of way that Murrow himself would likely have approved since he didn't approve of mere "entertainment." But except in a few rare moments the film remains more of a dry history lesson than a movie in its own right.