In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
Normally when a film about a historical figure finds its way into “awards watch” season you expect a certain level of intrigue from its content.So My Week With Marilyn should by all accounts deliver a little bite. Marilyn Monroe is a staple of American culture. We all know her face her voice her classic lines her wardrobe “malfunctions ” her tumultuous relationship history her power over men and of course that ugly little truth we like to brush under the carpet: the pill addiction that eventually cost her her life. This film purports to give us a look at the “real” Marilyn – the one the millions of representations of her haven’t already shown us. The problem is that by the time the film attempts to explore the darker corners of Monroe’s (Michelle Williams) existence we like our protagonist Colin Clark (Eddie Redmayne) are already under her spell. Just as we start to condemn her or look at her problems without the biased nostalgic eye most of us are afflicted with the film waves its magic Marilyn wand and quickly abolishes those less glamous notions. The result is a splendid yet decidely indecisive journey with a very complicated and often misunderstood woman
We meet plucky young Colin as he embarks on his first foray into feature films. It’s his dream and thanks to a connection to Sir Lawrence Olivier (Kenneth Branagh) he’s got a shot at working on a film. But it’s not just any movie; it’s The Prince and Showgirl a marriage of American and English sensibilities starring Olivier and Monroe. When Colin arrives he’s just a third assistant director to Olivier – essentially a go-fer – and can do little but admire Marilyn without hope. He takes up with a wardrobe girl named Lucy (Emma Watson) and goes about his duties. Of course things don’t stay this simple. His newness lends itself to a bit more flexibility so when Olivier’s rigid practices clash with Marilyn’s laissez-faire style and the production begins to slow to a glacial pace Colin is a natural fit to become Marilyn’s willing ally. Their friendship grows as Olivier’s temper comes to a boiling point and the result makes Marilyn a film tinged with a choice number of harsh realities – but as soon as they rear their ugly heads Monroe’s ever-present spell casts itself over them.
Of course this isn’t so much a criticism of the film as it is criticism of the weight given to the content. My Week With Marilyn is beautifully shot allowing the nostalgic air of London and Monroe in the 50s to take the lead with a few contemporary flairs to help keep us along for the ride. Every detail is impeccable from the music to the settings to the dialog. There isn’t a single weak link in the cast. Redmayne displays all the youth and earnest vigor demanded by his young character. Though her character teeters between a layered enigma and the girl the entire world knows Williams handles each angle as easily as Marilyn handles the men around her. Supporting cast members Julia Ormond (as Vivien Leigh) Judi Dench (as Dame Sybil Thorndike) and Branagh put their wealth of experience to tremendous use. Lesser known actors like Dougray Scott and Dominic Cooper take on American accents with minimal issues and handle their supporting characters with ease – and Watson delivers her usual (but welcome) lovely precocious act.
There’s really nothing wrong with My Week With Marilyn. It’s lovely. It’s smart. It’s extremely well-crafted. It’s a good film. But it does little to excite a reaction beyond that. And when you’re dealing with someone we know as well as most of the world knows Marilyn I doubt I’m the only one who expect a little more…va va voom.
At the time of Scream’s release in 1996 the state of Hollywood horror was at a pretty low-point. For every Dracula there was a Frankenstein. For every original idea there were dozens of painful sequels. There were some truly terrifying films released during the decade but there wasn’t a lot we hadn’t seen before. Then along came Wes Craven’s now classic slasher pic a revisionist take on the genre that simultaneously dissected its tropes while embracing them. It was equally hilarious and horrific thanks to the auteur’s precise execution and Kevin Williamson’s sharp sardonic script that dynamically pooled the characters’ points of view with those of the audience. Scream’s self-awareness was a true game-changer that has carved a very nice place in film history for itself. Fifteen years and two sequels later the franchises’ principle players have all returned to Woodsboro to catch up on cinematic commentary and thwart the sadistic plans of yet another Ghostface killer in Scre4m.
In how many ways does this bloody new chapter differ from the others? Not many. The story begins when Neve Campbell’s Sidney Prescott now the best-selling author of a self-help book returns home on the last stop of her promotional tour. There she meets up with Dewey and Gale Weathers-Riley (David Arquette and Courtney Cox) her friends and mutual survivors of the Woodsboro Murders though there’s precious little time for a warm reunion because someone has inherited the mantle of Ghostface and begun taking out the town’s well-endowed teenagers. The trio along with a young and attractive cast of victims and suspects including Emma Roberts Hayden Panettiere Nico Tortorella and Rory Culkin attempt to stop the killer despite an escalating body count.
As with the original Williamson’s screenplay is the most valuable part of the production. He employs the same narrative formula he did in ’96 but puts it in contemporary context riffing on cinema’s current trends (namely sequelitis and the torture-porn craze the latter which the filmmakers are clearly not fans of) his own franchise (the opening self-deprecating sequence is absolutely riotous and perhaps the funniest in the entire series) and America’s social media obsession (Twitter Facebook and YouTube references take the place of pagers and other outdated cultural staples further separating the film from its predecessors) which plays a larger part in the story and its characters motivations than you really want to know. If there ever was a film for and about the been-there-done-that post-modern generation it’s Scre4m.
While Williamson is at the top of his game Craven’s direction doesn’t appear to have evolved much since helming the original (a sad fact considering his creative growth with Music From The Heart and Red Eye). A few eerie shots aside he doesn’t take any risks with the material resulting in a monotonous merry-go-round of murders that’s consciously grislier but noticeably less effective than those found in the earlier entries. Thankfully his enthusiastic cast is more than willing to go over-the-top and beyond to sell the (few) scares; Panettiere particularly stands out as the confident Kirby Reed as does Alison Brie as the slimy PR girl Rebecca Walters. They’re all archetypes fitting into the film’s modus operandi of amusingly adhering to conventions and making it relatively easy for you to predict who’s going to die without spoiling the fun.
Still with so many preconceived notions about what Scre4m should be it’s hard to imagine all moviegoers loving its throwback premise and downright silly tone. What was once clever is now contrived; what was once refreshing and exhilarating for horror buffs is now exploitative of their common knowledge and passion. As a horror-comedy hybrid it brings some funny but not a whole lot of fear; in other words it’s very much like the original. Not that there’s anything wrong with that…
Based on the bestseller by Nicolas Sparks the film begins with Duke (James Garner) and Allie (Gena Rowlands) an inseparable couple living in a nursing home. While Duke remembers their life together Allie who suffers from progressive dementia does not. Their only bond is a faded notebook from which Duke reads to Allie every day telling her the same story over and over. It's a sweeping tale of two South Carolina teens country boy Noah (Ryan Gosling) and city gal Allie (Rachel McAdams) who spend one glorious summer in the early 1940s falling madly in love. Unfortunately the couple is soon separated first by her disapproving parents and then by World War II but after seven years apart after taking different paths they are passionately reunited. There's a catch though; Allie is now faced to choose between the man she once loved and the successful businessman (James Marsden) she is engaged to. It's really no surprise who the young Allie chooses in the end--but for Duke the only thing that keeps him going is the fact that every day somehow through the power of this story the mentally impaired Allie miraculously remembers their love if only for a very brief moment before slipping back into oblivion. Tears being jerked from your eyes yet?
The talented cast certainly elevates The Notebook's romantic drudgery. McAdams takes a departure from all the Mean Girls she's played lately (including The Hot Chick) and easily wins you over as the spirited young Allie while the usually intense Gosling also tackles something lighter so to speak than his previous darker roles such as his Jewish-turned-American Nazi leader in The Believer. While infusing a certain sense of brooding and melancholy into Noah especially in the years he spends pining for Allie Gosling manages to exude Noah's genuine warmth and sensitivity as well. And between the two of them real sparks fly as the actors paint a fresh and inviting picture of young love that stands the test of time. Marsden is completely wasted however as Allie's fiancé Lon a upstanding Southern gentleman Allie's parents expect her to marry who offers little as to why Allie should stay with him. As the older contingency veterans Garner and Rowlands who take the sappiest material and turn it into something meaningful inspire some truly heart-ripping moments as the aging couple holding onto their love as tight as they can. In the supporting cast Joan Allen has some shining moments as Allie's uptight mother with a secret of her own.
In bringing the popular novel about enduring love to life director Nick Cassavetes (Unhook the Stars) may have used his own experiences having seen his parents--the late John Cassavetes and his lady love and muse Gena Rowlands--play out their own real-life love affair. Cassavettes gets to the heart of the material right away and permeates the screen with the beautiful surroundings of South Carolina where The Notebook was filmed. We glide through lush moss-filled swamps and sleepy Southern towns marvel at languid shots of the South Carolina coastline. It's very clear Cassavetes has a way with actors much like his father did gently coaxing realistic performances from his young somewhat untested leads while allowing old guards like Garner and Rowlands to simply work their magic (imagine telling your Oscar-nominated mother how to act. Right). The problem is the story itself which not only offers nothing new to the romance genre but also isn't very compelling. There are no great tragedies (save perhaps for the whole dementia thing) no real villainous presence to keep the lovers apart no peril at all. It's boy-meets-girl boy-loses-girl boy-wins-girl-back--ho-hum. Where's the sudsy soap opera when you need it?
Justine Last (Jennifer Aniston) lives the kind of life that rarely makes the big screen. She spends her days giving makeovers at the Retail Rodeo and her nights watching her house painter husband of seven years Phil (John C. Reilly) and his best friend Bubba (Tim Blake Nelson) sit on her couch and get high. All of that changes though when she meets Holden (Jake Gyllenhaal) the new cashier. The eager yet troubled young poet/screenwriter/novelist-to-be captures her imagination and eventually becomes her lover. In classic moments of small-Southern-town trysting he takes her to his room in his parents' house and arranges meetings outside the Chuck E. Cheese's. They shack up in a motel at the edge of town; they rendezvous at a lake in the country. Throughout the affair though Justine is torn and guilty wanting to be a "good girl " but finding herself a hateful woman--a self-proclaimed adulteress and a liar. This is no whitewashed fantasy of a romantic affair between an older woman and a younger man. This affair is your sister's your brother's your husband's your wife's. It's real it's gritty and it's painful. Ultimately Holden's love for Justine becomes morbid and obsessive causing her to realize that the man she thought would change her life was in fact "at best a child and at worst--a demon." Justine is then forced to choose: this obsessive love and the excitement it brings or a stable--if boring--life with her husband.
Aniston proves her mettle at last in a role that finally allows her to do so; no one who sees this film will ever again accidentally call her "Rachel" (her character on the ubiquitous sitcom Friends). Her performance perfectly captures the tension of wanting to be a "good girl" yet secretly yearning to be selfish. You know she's dueling with herself as she makes decision after decision that leads inexorably to the film's tragic ending and you feel her pain. Justine is flawed like all the rest of us and Aniston brings this humanity to the forefront creating one of the most realistic heroines in recent history. Gyllenhaal too is perfectly cast as the brooding intense Holden. He captures the duality screenwriter Mike White writes into nearly all the characters in this movie: You want to snuggle Holden one minute; the next you wish he'd just go away. Reilly and Nelson also demonstrate a not inconsiderable subtlety in roles that could easily have become caricatures; instead the tension between what these guys wanted from life and what they ultimately ended up with accentuates Justine's turmoil and deepens the film's theme. On the film's lighter side White puts in a hilariously dark turn as Corny the Bible-thumping security guard at Retail Rodeo and Zooey Deschanel is excellent as the classic employee with an attitude hurling insults at Retail Rodeo customers over the loudspeaker as she announces the latest bargain on aisle eight.
The Good Girl doesn't look like much. Darkness and shadows invade every corner of the screen at one point or another the sets are fairly commonplace and the costumes are simple: Lee jeans smocks plaid shirts and painter's pants. Even Aniston's pink bathrobe is dull and washed out. The Good Girl is a smart delicately ironic and insightful partnership between a brilliant screenwriter (White) and a director (Miguel Arteta) who know exactly how to bring words to life on the screen. And The Good Girl does come to life in a well-paced funny quirky package that leaves you thinking that above all what you have seen is a slice of truth in a mixed-up crazy world.