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.
In the beginning of the Dark Ages the warlords of England are brutally kept in line by the Irish King Donnchadh (David O'Hara). Tristan (James Franco) has grown up hating the Irish for killing his family and has made a strong allegiance to father figure Lord Marke (Rufus Sewell) while Isolde (Sophia Myles) Donnchadh's daughter has grown up under her father’s thumb. After a fierce battle that leaves Tristan near death he washes up on Irish soil and is nursed secretly back to health by Isolde who tells him she’s someone else. The two fall madly in love but Tristan must return to England before he’s discovered. Meanwhile Donnchadh decides to stage a tournament between all the champions of England with his daughter as the prize. Tristan ends up winning the princess' hand for Lord Marke but is horrified to find out she’s his own true love. Tristan and Isolde now must suppress their love for the sake of peace and the future of England. But despite their best efforts to stay apart the lovers are driven inexorably together. Despite the fact that Franco (Spider-Man) and Myles (Underworld) look lovely rolling around on the ground in romantic trysts and gazing forlornly at one another you don’t necessarily feel any heat between them. That seems to be mostly the fault of Franco who plays the young Tristan far too stoically. We understand he’s a tortured soul torn between duty and love with his eyes perpetually half-filled with tears. But couldn’t he have shown a little more passion (and while he’s at it washed his hair)? The luminous Myles is better at showing her burning desire but she too is left many times sad and weepy. Only Sewell (Legend of Zorro) who is usually delegated to playing bad guys shows any kind of raw emotion as he first falls genuinely in love with his bride--and then is betrayed by her and the only son he ever knew. He’d probably make a great King Arthur. As the Celtic myth of Tristan and Isolde predates the Arthurian legend as well as Shakespeare’s Romeo and Juliet you can easily see how those two more famous stories were possibly formed. Tristan & Isolde is a classic story of forbidden passion set against political upheaval as well as a tale about a tragic love triangle. Producers Ridley and Tony Scott had been fascinated with the legend for many years and finally got the opportunity to bring it to the big screen. Ridley however who directed last summer’s medieval fare Kingdom of Heaven wisely chose to hand over the directing reins to Kevin Reynolds (Robin Hood: Prince of Thieves) who adequately paints a picture of a time when chaos reigned. Maybe Tristan & Isolde is not as compelling or romantic as the king of them all Braveheart but it is certainly far more accessible than say Kingdom of Heaven. Sorry Ridley.