MGM via Everett Collection
With Divergent is hitting theaters on March 21, the theme of teens fighting for survival on the big screen is at the forefront of our minds. It's one that has resonated through the decades in cinema, and we're taking a look at some of our favorite examples.
I'm talking about the 1984 original, not the forgettable reboot. As someone who was born in the 1970s and was growing into teenager-hood in the 1980s, the sight of those parachuting Russians in the film's opening made me want to crawl under my blankets and hide forever. Ronald Reagan and Mikhail Gorbachev's steps toward Glasnot years later couldn't come fast enough. This was a bloody movie that featured many up-and-coming stars like Patrick Swayze, Charlie Sheen, and C. Thomas Howell. The film hit towards the end of the Cold War, allowing USSR to play an effective Hollywood villain. The film saw America become a Russian state; the band of teenagers who fought back against the Red Menace made all of us look like sad-sack couch potatoes. To this day, you can yell "Wolverines!" at any person over the age of 35 and you'll much more than likely get a knowing nod back... and not just on the campus of University of Michigan.
By now, nearly everyone in the world knows who Katniss Everdeen is. For the very few uninitiated, Everdeen is a teenager who has to go and hunt other teenagers in a dystopian future that takes its cues from The Running Man more than anything else. Everdeen is tough, resourceful, cunning, and also one hell of a shot with a bow an arrow. She shows people that teens can take matters by the horns and do what it takes to win, and still not entirely sacrifice their humanity. There are those why decry the things she does, but in the long run, she is a good role model for being a strong female lead, which is something the movies have been lacking quite often. Everdeeen isn't one to quake and let a male take over or win or make her compromise herself. Yes, this series of movies shows kids murdering other kids, but the underlying message beneath is one that can't be ignored either.
Released in Japan in 2000, the movie comes from a different culture and as such institutes different tropes into its school-aged characters. The film centers around the students of a ninth-grade class that are made to fight each other to the death. Even more brutal than the American films, it shows what people are capable of when they have their backs to the wall and are being forced to commit atrocities in the name of their own government. I'd be seriously scared to get a note from my son's school in the future about something like this.
What kid hasn't wondered about the true demonic motives of his or her teachers? This 1998 horror/thriller boasts a cast full of comedic powerhouses like Bebe Neuwirth and Jon Stewart, as well as heartthrobs like Josh Hartnett and Jordana Brewster... and, yes, Usher. Running on the theme of teens versus adults, The Faculty becomes an intense and interesting cinematic experience. Beyond its horror aspects, the uniqueness of the overall movie made it better than something like Halloween or Friday the 13th. If you haven't seen it, it'll make you look at the Daily Show host in a totally different light.
Lord of the Flies
The original teen survivor movie, adapted in 1963 from William Golding's award-winning novel. We meet a group of school kids who get stranded on a desert island, and initially band together to survive... before anarchy starts to take over as the veneer of civilization gets stripped further and further in the movie. It's quite harrowing, and a sobering reminder of what can happen when we let the rules of society slip away. And if you've somehow managed to get this far without reading the novel, we highly recommend it. I read it in seventh grade, and had this weird thing about conch shells for a while after that.
Divergent hits theaters March 21. You can check showtimes and purchase advanced tickets here.
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
Follow @Michael Arbeiter
| Follow @Hollywood_com
The Hunger Games: Catching Fire is building up a strong community of Hunger Games victors to unite for the forthcoming 74th annual competition. So far, the likes of Plutarch Heavensbee, Johanna Mason, and Wiress have found embodiments, among many others. Entertainment Weekly reports that the latest of Suzanne Collins' characters to get an actor: Seeder, District 11's reigning champ, will be played by Maria Howell.
To date, Howell has had a large variety of television roles, appearing on such series as The Vampire Diaries, Army Wives, and Necessary Roughness; her film resume includes The Blind Side and What to Expect When You're Expecting. Howell will be featured on the upcoming NBC program Revolution.
The character of Seeder is not well-liked by many of the Hunger Games competitors. The good-hearted Katniss (Jennifer Lawrence), however, sees the good in her after Howell offers some helpful strategic information.
[Photo Credit: NBC]
'Hunger Games: Catching Fire': Bruno Gunn is Brutus
'Hunger Games: Catching Fire': Meta Golding is Enobaria
'Hunger Games: Catching Fire': Lynn Cohen Is Mags
Scooby and the gang at Mystery Inc.--Fred (Freddie Prinze Jr.) Daphne (Sarah Michelle Gellar) Velma (Linda Cardellini) and Shaggy (Matthew Lillard)--are at the top of their game and just about everyone in Coolsville loves them. Even the Coolsonian Museum is honoring them with an exhibit--a costumed display of Mystery Inc.'s former foes such as The Pterodactyl Ghost The Black Knight Ghost and The 10 000 Volt Ghost. Yet at the museum's gala opening the team's stellar reputation is put in serious jeopardy when said monsters come alive re-created by a masked villain who vows to bring Mystery Inc. down. Under pressure from relentless reporter Heather Jasper-Howe (Alicia Silverstone) the gang launches an investigation into the monster outbreak but as the mystery deepens Mystery Inc.'s members end up questioning their roles within the organization. Can macho leader Fred and image-conscious Daphne look past the superficial and find the identity of the Evil Masked Figure? Will brainy Velma let her feelings for Coolsonian Museum curator Patrick Wisely (Seth Green) blossom even though he is a key suspect? And finally can Shaggy and Scooby stop cowering--and eating--long enough to prove they can be detectives? These are tough times for the gang but they've got to pull it together so they can solve the mystery and save the day.
Even though it seems a little ridiculous that Scooby-Doo 2's fleshed-out cartoon characters would try to dig deep to find answers within the returning actors continue to have fun exploring their alter-Scooby-egos. Prinze's Fred has a hipper haircut this time (the original matted blond 'do had to go) and isn't quite the braggart he once was. He is still unquestionably the "face" of the group until he is made to look foolish by the ruthless Heather played with relish by Silverstone who shines in the bad-girl role. Gellar has definitely dropped Daphne's "damsel-in-distress" routine getting all Buffy on the monsters but is still worried that its her looks not her skills that get her attention. Cardellini's Velma on the other hand gets a love interest--and even all dolled up at one point--but can't get rid of her inherent geekiness. It's Shaggy and Scooby who experience the biggest revelation realizing they really are nothing but giant screw-ups. Lillard actually turns in some (and I can't believe I'm actually saying this) poignant moments as Shag grapples with his inequities. They all realize in the end though that for the good of Mystery Inc. it's best to be true to yourself. Thank god.
Director Raja Gosnell goes full throttle in his second Scooby effort with more action and more elaborate theme-parky sets than the original. Even as the characters pause to reflect on their faults these moments are thankfully short-lived before the gang is thrust into another wild chase or fight sequence keeping the kiddies' minds occupied--and allowing the adult fans to laugh at all the monsters they remember from the TV show. One of the criticisms from the first Scooby-Doo was that it didn't provide enough "inside" jokes for the grown-up enthusiasts (and face it there are probably more of them than kids). But Scooby-Doo 2 harkens back to the good old days and even pokes fun at all those criminals whose evil plans and ghost disguises were foiled by the meddlesome quintet. They all gather at their own watering hole called the Faux Ghost where they can throw darts at pictures of the Mystery Inc. gang. Funny stuff. Overall the sequel provides the same madcap fun the original did without requiring the use of too much brainpower.
Based on a true court
case first tried in 1953 Evelyn recounts the story of a man on a mission. Rumpled pub-crawler Desmond Doyle (Pierce Brosnan) has a streak
of bad luck when he loses his wife to another man the day after
Christmas and then loses his three
children Evelyn (Sophie Vavasseur) Maurice (Hugh McDonagh) and Dermot (Niall Beagan) to the Catholic
church and Irish courts. That he's without a wife and a regular job prompts the courts to place the tots in an
orphanage which he unsucessfully tries to steal them from. This of course was not a good move. He
gets caught and the courts see this as a strike
against him. Doyle does not give up--instead he gets his life together. But it
turns out that an obscure law that has never
been tried in the courts before requires that Doyle's estranged spouse give him
custody of the kids so he enlists several lawyers (Alan Bates
Aidan Quinn and Stephen Rea) to help him get
In the end the story ends happy ever
after but not without its up and downs. Doyle must
face the hardship of living without his children and
his children must suffer through living in a miserable
Although this story line is based in predictibility-land the actors
still come out on top. Brosnan's character with his native Irish accent anti-Bond dishevelment and
pitful story is charming. Each time he leaves the
screen he leaves you wanting more. It seems
as though this role was made for him. We are used to seeing
him in the coolly unrealistic role of James Bond and this is a refreshing change. He shows the
true acting skills that he really has as a father in
agony. Julianna Margulies
also surprises with her protrayal of Bernadette
Doyle's love interest. She is charming and feisty as
a bartender who enlists her solicitor brother's help to put the devastated father's family back together again.
He may be a double Oscar nominee but Bruce Beresford's directing here is mediocre. The director whose only decent film in recent years was 1999's Double Jeopardy makes a script that is already too obvious painfully so. Pacing is a little slow some of it is corny (ie: rays of sunshine representing faith) and some of it seems unnecessary (a love-triangle plot). The great acting and chemistry between Doyle and his kids especially daughter Evelyn is the best part about this movie.