Suzanne Collins' Hunger Games series isn't the happiest set of books filling the YA section of your local bookstore. The newly released track list for the second film in the series, The Hunger Games: Catching Fire , shows that living in a post-apocolyptic dystopia is probably a tad depressing. The soundtrack showcases the perfect mix of tracks to bob your head to while watching children murder other children in brutal combat. (But It’s also a love Story!) So what tunes are the denizens of The Capitol listening to?
1. "Atlas" – Coldplay2. "Silhouettes" – Of Monsters and Men3. "Elastic Heart" – Sia (ft. The Weeknd & Diplo)4. "Lean" – The National5. "We Remain" – Christina Aguilera6. "Devil May Cry" – The Weeknd7. "Who We Are" – Imagine Dragons8. "Everybody Wants To Rule The World" – Lorde9. "Gale Song" – The Lumineers10. "Mirror" – Ellie Goulding11. "Capital Letter" – Patti Smith12. "Shooting Arrows At The Sky" – Santigold13. "Place For Us" – Mikky Ekko14. "Lights" – Phantogram15. "Angel On Fire" – Antony and the Johnsons
We’ve already heard the haunting "Atlas" by Coldplay, which will serve as the film's official theme. The soundtrack contains a bevy of eclectic musical talent including tortured R&B crooner The Weeknd, equally tourtured indie rockers The National, also tortured pop star Lorde (I'm sensing a pattern here), and Christina Aguilera. It seems like the music of the film will be honing in on themes such as teenaged angst, loneliness, and what it's like to be a genie in a bottle.
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Antony & The Johnsons frontman Antony Hegarty has created an art exhibit around his poem The Cut. His latest drawing and sculpture work will be on show from 31 May to 12 July (13) at the Sikkema Jenkins gallery in New York City.
In the future London won’t be quite as jolly good as its present version according to V for Vendetta. That’s where V (Hugo Weaving) comes in. Equal parts Batman Jack the Ripper Phantom of the Opera and Michael Moore V is out to sabotage the totalitarian British regime that oppresses its citizens and that turned him into the masked monster he is. Along the way he saves a young girl named Evey (Natalie Portman) and tries to turn her on to his cause. She’s not quite keen on V’s terrorist tactics but something inside endears her to the man behind the mask--a man only she can truly reach. V’s mission is one of more than mere terrorism though: he hopes to unite all civilians and make the government fear its people instead of vice versa. As Nov. 5 looms Evey uncovers V’s secrets while V does the same to the government making it a fifth of November they’re sure to remember. Bravery as applied to a Hollywood performance is bandied about much too often when used in earnest. But if used somewhat superficially it aptly describes Portman’s head-shaving scene--about the “bravest” thing a beautiful actress can do in the context of a movie--especially since it was captured in a single take! G.I. Jane aside the greatest classiest actress of her generation again shows why in a dazzling performance. Forget the faux accent it’s the raw emotion she displays especially in the film’s latter stages that’s positively Streep-like and most captivating. And did we mention that even sans her flowing locks she’s not too rough on the eyes? Weaving’s in equally precarious territory hiding behind a mask. But it adds a perfect mystique to that impeccable eloquence and enunciation of his evoking that of his Agent Smith in the Matrix flicks. The European Stephens (Fry and Rea) too provide acting muscle and will hopefully and deservedly gain some American exposure. Larry and Andy Wachowski are the main story here even though V is directed by their assistant director on the Matrix trilogy James McTeigue. He’s responsible for the film’s look and what an eye-catching look it is but the Wachowskis who wrote and produced no doubt watched over his shoulder and might be more responsible for its feel. The feel is like the brothers themselves very complex. Much as they may not like it they’re a veritable Hollywood brand and that means if they set out to make a message piece it’s going to be big-budgeted. Such contradictory goals make for occasional incoherence. There’s also some indulging: referencing “America’s War” in a film set in the not-so-distant future for example seems cheap propaganda. Yet many issues remain compelling and McTeigue sets the right mood for them with the help of great music choices (Cat Power Antony & the Johnsons et al).