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.
The website posts, titled What's on Steve Buscemi's Stoop, was launched by Brooklyn, New York resident Elliot Larkfield in 2009 after he walked past Buscemi's family home in the Park Slope neighbourhood and noticed a doll's head hanging off a fence.
He decided to take photos on his camera phone and upload them to the blog, which soon became a quirky read for locals and fans of the Boardwalk Empire star. Larkfield continued to snap pictures of the tossed belongings, including old cassettes, mugs and a basketball cap with a fake ponytail attached to it.
But he agreed to shut down the website after he was approached by Buscemi's son, Lucian.
In his final blog post, he writes, "I don't want to be slinking around the neighbourhood taking pictures in defiance of the Buscemi family's wishes."
And the actor's wife, artist Jo Andres, hopes the blog's closure will discourage fans from crowding their quiet neighbourhood to inspect their trash for themselves.
She tells the New York Post, "We have been good neighbours for 20 years and now we have been inundated (with fans). We'd like respect and consideration and would like to be left alone."
Taking the bare bones of The Ten Commandments and Romeo and Juliet this pedestrian tale explains the origins of Lucian (Michael Sheen) a “Lycan” (read: lycanthrope) who served the vicious vampire king Viktor (Bill Nighy) but would eventually lead a revolt of his fellow Lycans (read: slaves) after his illicit affair with Viktor’s daughter Sonja (Rhona Mitra) was revealed. From this the war between vampires and werewolves would be waged for generations to come depicted in Underworld and Underworld: Evolution. Those unfamiliar with the previous films might be a little lost here and it’s highly unlikely that Rise of the Lycans will win many new fans to the franchise. With his glow-in-the-dark eyes and penchant for delivering every syllable with relish Nighy does his best to enliven things but there’s not much to work with -- and hamminess only goes so far. Sheen’s female fans may enjoy seeing him shaggy and occasionally shirtless but if The Queen and Frost/Nixon proved he’s capable of doing good work with good material this proves that at least he can cash in with bad material. Mitra who survived the rigors of Doomsday is fit and fetching here. But performances are not this movie’s strong suit. Very little is. This marks the directorial debut of award-winning production designer Patrick Tatopoulos (who also supervised the creature design) so it’s no surprise that the film is steeped in medieval atmosphere and loaded with CGI effects. Beyond that it’s a crashing bore -- even with the gore.