The Hunger Games: Catching Fire Review

Hunger Games: Catching Fire

Dir: Francis Lawrence

Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, and Woody Harrelson.

Suzanne Collins' striking trilogy continues its’ filmic journey with “Catching Fire”, the second of four films (the finale being split into two films) being produced for the franchise. Collins' dystopian world of Panem, where teenagers fight to the death in an annual competition called the Hunger Games, finds the titular character Katniss (Jennifer Lawrence) back in her poverty stricken district coping with the emotional ramifications of her victory and the stardom that accompanies it. From the start new director Francis Lawrence sets the tone by allowing the downtrodden atmosphere direct attention while mixing in the tension of a nation in upheaval. “Hunger Games: Catching Fire” is a satisfying, if sometimes muddled, film that captures the teeming societal tension found in the book and the building transition of the budding lead character.

Katniss begins the film preparing for the looming victory tour of the Hunger Games. Things are different for Katniss, the world she knows has been affected by the survival tactic that allowed her and Peeta (Josh Hutcherson) to both escape the games together through a romantic ruse. The tour means leaving her mother and young sister Primrose but also her obscured relationship with her other suitor Gale (Liam Hemsworth). The twelve districts the two victors will circuit are in the midst of rebellion and the government has taken notice, implementing harsh restrictions and violent counteractions for suppression. Katniss’ defiant actions during the games and on the tour lead President Snow (Donald Sutherland) to implement a change for the Quarter Quell (75^th Anniversary of the games) in which past winners of the games are brought back to fight in a battle of champions.

Francis Lawrence accomplishes what the first film attempted to do, which was crafting the realism of world that was desperate and oppressed. Eliminating some of the forced hand-held photography techniques and centering on proper character development helps but allowing focus on the societal structure of a conflicted world filled with only the privileged and the poor maintains the hopelessness felt within the people. This aspect is especially envisioned in the champions returning to battle, their government promises broken and their lives placed on the line again. While Francis does well to fit as much source material in the film there are moments where the narrative drags and some scenes feel like rehashes from the first film, it makes the film feel somewhat disordered.

Jennifer Lawrence offers a better performance as Katniss, this time executing the layered undertones of confusion, anger, and confidence efficiently in the role of a forced hero. Katniss Everdeen is an interesting character and Francis does well to display that essential aspect in this film. Her role is one of growth, she is starting to understand what her actions mean and how they influence the looming uprising seen in the painted defiance of a mocking jay on a tunnel wall or through a honored salute. The added cast members are especially good as well, Jeffery Wright and Amanda Plummer portray two eccentrics who won the games because of intellect, while Jena Malone offers an interesting attitude that plays well off Katniss’ more reserved influence. Returning cast are also given more to work with, particularly Elizabeth Banks who offers a nice balance of prestige and fearful anxiety for her two champions.

“Catching Fire” is a considerably better film than the one that introduced the franchise. Director Francis Lawrence has brought a worthy vision of Suzanne Collins' novel that should satisfy both those familiar and unfamiliar with the source material.

Monte’s Rating

4.00 out of 5.00

Thor: The Dark World Reviews

Thor: The Dark World

Dir: Alan Taylor

Starring: Chris Hemsworth, Natalie Portman, Anthony Hopkins, and Tom Hiddleston

The Marvel movie universe continues to grow, particularly in the realm of “The Avengers” where each affiliate of the group has their own standalone film. This, of course, is all in preparation for a reunion of the collective’s sequel. “Thor: The Dark World” continues the journey of thunder god, who has been busy defending his homeland and fighting evil in the nine realms. Director Alan Taylor whose recent foray with televisions “Game of Thrones” offers a pleasant looking atmosphere but unfortunately makes a mediocre film that is enjoyable enough but ultimately serves the purpose of setting up the return of the assembly.

Malekith (Christopher Eccleston) is the leader of a group of vengeful dark elves who, after being defeated in a battle with the Asgardians and forced into hibernation, awakens and begins looking for a weapon called the aether. Thor has been battling for peace in the nine realms but is also distracted by his love for astrophysicist Jane Foster (Natalie Portman) on Earth. Jane has been looking for Thor since he left and is lead to dimensional anomalies in London. Jane is drawn into a dark dimension where the aether has been hidden; she is infected with the weapon, which brings Thor back to protect her from Malekith who wants the aether for his own world destroying desires.

Director Alan Taylor does a good job of quickly introducing the characters and working off the established chemistry, especially the strained relationship between the brothers Thor and Loki (Tom Hiddleston). Loki, returning to Asgard after destroying New York in “The Avengers” movie, is imprisoned but is freed by Thor in order to escape Asgard. Hiddleston, the most interesting character in the film, is comfortable with Loki’s mischievous and arrogant persona. He uses the character’s buoyant banter in one particularly comical scene to further flaunt The Avenger’s group and taunt Thor’s upright character.  Hemsworth is good as Thor even though the superhero is a fairly standard moral composition. The character is best when action is called for and he is able to heave his hammer. Natalie Portman is a lead character but is lost amidst the script. She is a scientist and her assistance during the climatic action sequences consist of displaying her science vocabulary and handling scientific gadgetry.

The script offers humorous moments that allow Hiddleston and Kat Dennings, returning as Jane’s intern Darcy, opportunity to lessen the gravity of an all too serious moment with a deadpan quip. This trait of humor is something that the Marvel films have embraced; it works in keeping the atmosphere lighthearted. Unfortunately the narrative jumps around and becomes disjointed, following characters on Asgard and in London while also following others floating along in space. It all becomes distracting and familiar. Past Marvel films have handled some of the same elements better though in a film made purely for entertainment it’s difficult to expect too much diversion from successful methods of the past.

While “Thor: The Dark World” forwards the story it doesn’t do anything audiences haven’t seen in other superhero films before. It’s enjoyable and witty but after the credit codas are through, it’s regrettably unmemorable.

Monte’s Rating

2.75 out of 5.00

Ender's Game Review

Ender’s Game

Dir: Gavin Hood

Starring: Asa Butterfield, Harrison Ford, Viola Davis, and Ben Kingsley

Based on the beloved 1985 science-fiction novel by Orson Scott Card, “Ender’s Game” creates a future were a panicked all controlling government begins training children to battle a bug-like alien forced readying an invasion. It has taken some time for this novel to find film adaptation but the market has been primed, perhaps too much, for some time now. Both the “Harry Potter” and “Hunger Games” franchises place children in peril and center salvation in the abilities of the youth. Director Gavin Hood wrote and directed this film which struggles to execute some of the depth found in the literature but succeeds in keeping the film streamlined with some entertaining paces.

Ender Wiggins (Asa Butterfield) is a quiet, calculating young man in a stringent military-like school. He is a prodigy of sorts, finding the admiration of Col. Graff (Harrison Ford) and the concern of psychologist Major Anderson (Viola Davis). Ender displays a rational and aggressive ideal of strategy, at one point beating a bully to the point of submission so that he’d never torment Ender again. This gives Ender admission into a space station battle school that molds him for command and possible final hope for salvation of mankind.

There are some thought-provoking narrative themes proposed in this film; ideas like the cost of freedom, loss of innocence, and the ambitions of leadership. However these concepts are only touched upon in favor of sci-fi action that ushers a burgeoning and somewhat anti-climatic ending. Hood keeps the film moving entertainingly, giving the familiar military boot camp constructs an amusing perspective from the children participating in battle games, computer generated cognitive combat, and the usual struggle for control in the barracks. Ender is a quick-witted study, defying authority and ambitiously tackling adversity with ease. The character of Ender is fascinating but Hood only slightly gets into the deeper emotions of his composition, instead a majority of the attention remains on highlighting the key points from the novel. 

Asa Butterfield is a talented young actor. When the script ventures into the emotional aspects of Ender’s multifaceted structure Butterfield is convincing. Though he isn’t given enough opportunity to build on those designs often enough to make Ender feel complete. Harrison Ford unfortunately doesn’t do much with Col. Graff. His unsympathetic temperament holds constant throughout the film regardless of the emotional tone of the scene.

Orson Scott Card resumes Ender’s journey in the continuing novels, which should only constitute a probable sequel for this film property. Though there are narrative elements proposed in the film that could have offered more interesting character developments or stimulating undertones, the end result was still entertaining to watch and only felt insubstantial after it was over. “Ender’s Game” may not be the film adaptation science fiction enthusiasts have been waiting for but it’s better than most of the young adult targeted films.

Monte’s Rating

3.00 out of 5.00

12 Years A Slave Review

12 Years A Slave

Dir: Steve McQueen

Starring: Chiwetel Ejiofor, Michael Fassbender, Lupita Nyong’o, and Benedict Cumberbatch

The subject of slavery has been handled in film before though most of the films were unsuccessful in honestly portraying the never-ending despair and dehumanizing atrocities associated. British director Steve McQueen handles the subject in an unflinching and undistracted manner, displaying everything through the lead character Solomon Northup’s (Chiwetel Ejiofor) prospect. It’s a draining, although important, ordeal McQueen conducts through the combination of stellar performances and a brutal narrative honesty.

Solomon Northup is a free man living in the North with his wife and three children. He is a musician, esteemed by the community that knows him. Northup is invited by a group of traveling circus promoters to join their performance. After an evening of pleasantries, Northup wakes up in unfamiliar quarters with chains on his legs. Northup is brutally beaten and forced into a slave market in the South were he is priced for sale. Northup holds out hope to one day rejoin his family, being traded from owner to owner for 12 long and torturous years.

McQueen is a talented director who focuses on a straightforward narrative structure, free of technical exaggerations but instead aimed on telling the story from the perspective of his primary character. McQueen paces the film so effectively, moving throughout the transitions of ownership during Northup’s slavery effectively allowing time to properly examine slavery. This can be attributed to both the pragmatic narrative, which draws the viewer in almost immediately, but also to the simplistic though meticulous attention established by the photography. There are moments when the camera holds frame during close-ups allowing the expressions of the subject’s opportunity to display the varying emotions posed by the narrative. In one brutal scene Northup is attacked and hung but is given enough rope for his toes to barely touch the ground. The camera lingers on this disturbing scene while also showing the fearful compliancy of the other slaves who continue on their own never helping Northup. The narrative is handled pragmatically, an effective choice that keeps the attention on the proper focus of Northup and both the physical and psychological atrocities he encountered.

The performances are impressive. Ejiofor’s handling of Northup is both striking and restrained during his characters continued hope of survival and in the moments of disquieting desperation. Ejiofor’s performance anchors the film. Michael Fassbender plays a punishing plantation owner named Edwin Epps, a drunkard with a reputation for being able to break difficult slaves. Fassbender, who seems at any moment capable of losing control of the character, keeps Epps in rein with a consistent performance that never glorifies with overly showy or flamboyant traits, a feature that is as much accredited to McQueen’s direction.

“12 Years A Slave” serves as an important film for the depiction of slavery purely because of how the brutality of history is depicted unflinchingly. Happiness within this film is an artificial emotion, as Northup’s life has been forever ruined by his ordeal. McQueen has constructed an affecting film that depicts the inhumane torture of those forced into slavery but also an essential one that exhibits the shame of the nation that observed it.  

Monte’s Rating

5.00 out of 5.00