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Showing posts with label Jennifer Lawrence. Show all posts
Showing posts with label Jennifer Lawrence. Show all posts

Jennifer Lawrence in Silver Linings Playbook

Tuesday, February 12, 2013

Jennifer Lawrence received her second Best Actress nomination for playing Tiffany, a mysterious and wounded young woman in David O. Russell's Best Picture nominated film, Silver Linings Playbook. Jennifer basically won every important award for her performance in this film, which places her in the status of the front-runner at the Academy Awards (I suppose that SAG and the four acting nominations for the film sealed this). However, I don't think that this win will be an easy one: Emmanuelle Riva is very close to her and Jessica Chastain could also be a threat if they decide to make up for the snub of Kathryn Bigelow. The reason why I think Jennifer is winning is simply because there's so much competition among her fellow nominees and that will give the edge to the front-runner (just like in Melissa Leo's case).

As I've already explained it in a previous post, I find Silver Linings Playbook to be an amazing movie that deals with a very tough subject in a most unusual and yet totally convincing and realistic way. The movie is not ashamed of having a silver lining and not deciding to write a tragic end to the story (in my humble opinion, this underlined the message of the movie so wonderfully). Come Oscar night, I'd very much love to see an upset in basically every category in which it's nominate, even though it's not necessarily my pick in most of them. 

We get to see a twentysomething nominee in the Best Actress category every year, who's enjoying her first nomination (with a slim chance of winning) and the possibility of a great career. And here's Jennifer Lawrence, 22, receiving her second nomination in two years (being the youngest actress to receive two nominations in that category) having received critics' awards, a Globe and a SAG. Many people would have probably bet on Carey Mulligan to gain a second nomination and an Oscar earlier and yet here we are with Jennifer who didn't have the "star is born" hype the last time (since Natalie Portman sucked out the air of anyone's possible campaign with hers).

However, Jennifer's last nomination came for the independent film Winter's Bone, where the cast and crew was able to ignore Hollywood's rules with the raw, unapologetic style of filmmaking. I suppose this attitude was the one that appealed to most Academy voters last time and that's what helped Lawrence's meteoric rise to stardom. She's so uncompromising in her acting and so free of tactics that one could even ignore the term "acting decisions" in her case. Instead of choosing to overanalyse her character, she relies completely on her own instincts and lets her soul drive her performances instead of her head, which may not lead to what we call "great actressing" but what is essential to creating a character that the audience can relate to and connect with certain aspects of their lives. Nowadays reviewers are almost pervertly obsessed with the little details and external aspects of performances that we often tend to forget what it's all about. Primarily, it's not about constantly showing an actor's tools and/or skills, it's more about embodying a believable character that contributes to the story.

I couldn't understand these at all the last time I encountered her as an Oscar nominee, but years taught me to see behind the surface and now I'm just amazed by her talent. And as weird as it sounds from my mouth, I believe we might have found our next Jane Fonda, an actress who creates on her own terms and acts with her soul and flawless instinct. She may not display all those "perfect skills", but her characters are painfully deep and vulnerable, which lead to enourmous effects (on me, at least).

Although Jennifer is much younger than Tiffany should be according to Matthew Quick's novel, her youth adds another layer of vulnerability to Tiffany's character. Nothing that she says about her husband sounds completely believable from her mouth, which confuses you more and makes you uncertain about everything you would think about her and this ultimately leads to a mysterious aura around her that makes it so easy to identify with Tiffany's pain. The fact Jennifer makes the emotions of the character almost touchable makes her acting affect even more deeply.

Moreover, the chemistry with Bradley Cooper makes them one of the two greatest duos that graced the screen last year (guess who were the others). Although there have been complaints about the fact that the whole purpose of Jennifer's character was to support Bradley Cooper's unstable Pat, I'd say that's one of the many-many misinterpretations about this movie or at least it's not a very accurate one in my opinion: Tiffany's character, as unstable as she is herself, brings redemption to Pat's life, just as much as she's saved by Pat. Bradley Cooper's clumsy and obsessive character is the polar opposite of Jennifer's Tiffany and yet they are just as implusive and vulnerable.

And since this chemistry is at the centre of Silver Linings Playbook, it's no surprise that their scenes are the one sticking with you the most. Their argument at the diner and in front of the movie theater is both electric and devastating, perfectly demonstrating how these two human beings are exposed to their traumas and their sudden realization of this is nothing short of heartbreaking.

But really, in the end, it all comes down to my favorite scene all year, the dance contest that is one of the most unusual and memorable scenes I've ever seen in my life: there's a brilliant balance between outrageously funny comedy and a deeply upsetting drama. It has a "last shot at happiness" feeling to it that makes you (or at least me) feel a kind of euphoria, which is perfectly shown on the face of Jacki Weaver in that scene. The bittersweet reality that Lawrence and Cooper both bring to this scene is quite simply astonishing. It's too bad that we're influenced by our own cynicism and our expectations of great "actressing" or "acting" and we forget to enjoy. If anything, Silver Linigs Playbook was a memento for me to examine all my conceptions and opinions about acting and filmmaking in general

Overall, contrary to all the Oscar reviewers and just like everyone else in this world I've totally fallen under the charms of Jennifer Lawrence who gives an unbelievably amazing, beautiful performance and creates a three-dimensional character with such extraordinary passion and depth that it sets the screen on fire and makes you fall in love with her characters despite (or maybe even because of) her flaws. A wondeful portrayal which according to me deserves a

What do you think?

The Next Year

Saturday, February 9, 2013

2012


So the nominees are:
  • Jessica Chastain in Zero Dark Thirty
  • Jennifer Lawrence in Silver Linings Playbook
  • Emmanuelle Riva in Amour
  • Quvenzhané Wallis in Beasts of the Southern Wild
  • Naomi Watts in The Impossible
Since I have very little time left, I have to interrupt 1999 (which will be finished immediately after 2012, don't worry) so that I can finish 2012 before the ceremony (I'm planning to write a more thorough should win/will win than usual). I can say one thing in advance: what a year! And I tell you, according to my own estimations, it will be a real Sophie's Choice between not two, but three (!) performances (very much like 1996). And I love it that none of these performances are usual Best Actress stuff. 

What do you think? Who's your pick? Who do you think will win the Oscar? And more importantly :P, what's your prediction for my ranking? :) 

Silver Linings Playbook

Thursday, January 24, 2013


They say a critic shouldn't get personal and should maintain a sort of distance from a particular movie in order to remain objective and not to get too passionate about certain things. What I think is wrong with this particular expectation is that it forgets that the reviewer is also a regular moviegoer when it comes to a particular film and their opinion receives more attention because they have better terms to describe what others feel about a picture.

So, should I aspire to become a "good critic" and give up being passionate about a certain film just for the sake of more appreciation? It’s true, I’m closely affected by the subject of Silver Linings Playbook and that can cause two things, depending on how I react to it: a) I completely reject it because I feel that the way the movie portrays its subject is way out of reach, over-the-top and theatrical, b) I develop a sweet spot for it instantly because I get more of the „inside jokes” of it. In this particular case, it’s more of the latter: there came a certain point in the movie after which I couldn’t maintain that distance from the movie and was immediately taken by its beautiful way of telling the story of Pat, a bipolar man who tries to find a new beginning in his life after a horrible incident by getting back to her wife.

What I instantly impressed me about Silver Linings Playbook is the delicate way David O. Russell approached this subject: you can feel that the story is personal for him and he didn’t turn to cheap theatrics even in the most over-the-top scenes in the film. The directing, writing and the editing add up to a dazzling, unbalanced and bizarre experience, surprising you way too much. The whole roller coaster feeling of the film makes it one extended, haunting manic episode.

However, Russell holds this chaos together thanks to the outstanding work of an exceptional cast, led by an amazing Bradley Cooper who reached an unexpected (to many) career high with the character of Pat. He has two key scenes in the movie, which could have become standard meltdowns made for an Oscar clip, but instead they are both extremely terrifying and heartbreaking (I’m talking about the one at home and the one in front of the cinema). The way he shows the over-the-top hysterics of the character, while also crying for help silently in his eyes is astonishing. If people weren’t so snobbish about romantic comedies as they are today, this character would become just as iconic as Alvy Singer, but alas, people look down on films like this. Moreover, the frequent criticism of gender inequality is constantly proven wrong by Cooper who clearly puts an emphasis on how much Pat also depends on Tiffany.

Since I’m going to review Jennifer Lawrence very soon, I’m saving my lengthy comments on her performance, but let me just say that she’s an essential part of an amazing ensemble whose every member is able to create three-dimensional characters, even with their limited parts. De Niro gets the most showy part and uses all the opportunities to have fun and also prove that he didn’t lose his acting chops somewhere around Meet the Fockers. And I’ll have to defend Jacki Weaver’s nomination: her character’s caring and loving presence undeniably uplifts the movie and provides us with some of the loveliest moments. I don’t think she’s worse than her fellow nominees (in my opinion, she captures a mother’s love way better than our actual winner-to-be). Even Chris Tucker is able to display his skills in small part, which he rarely gets to do. The members of the cast should really win that SAG Ensemble Prize come Sunday for their contribution to creating the bittersweet and yet magical atmosphere of Silver Linings Playbook.

However, to embrace and enjoy all of the aspects of the movie you really need to leave behind your cynicism and try to believe that a movie with a “silver lining” can actually be just as worthy of being considered a masterpiece as one about decaying human beings. After all, cinema has to capture reality and reality always offers us a silver lining. And why couldn’t Silver Linings Playbook become that particular silver lining? 

What do you think?

HOUSE AT THE END OF THE STREET

Tuesday, January 22, 2013

HOUSE AT THE END OF THE STREET
Written by David Loucka
Directed by Mark Tonderai
Starring Jennifer Lawrence, Max Thieriot and Elizabeth Shue

I’m not sure what I’m basing this on as I’ve never met her but I think that Jennifer Lawrence seems like a smart girl to me. She always appears in sharp projects, big and small, so when I saw that she was starring what looked like an incredibly generic thriller, HOUSE AT THE END OF THE STREET, I thought the film couldn’t possibly be as bad as it looked. Why else would she sign on to make it? Now, I’m puzzled though. I wouldn’t say my faith in Lawrence has been decimated after watching the film but it has been shaken somewhat.

There is nothing redeeming about this watered down premise. Lawrence and her mother (Elizabeth Shue) move into a new home, next to a home where a murder took place. Everyone in town generally avoids this house so naturally Lawrence’s character is drawn to it. She takes rides from strangers, is constantly snooping around where she shouldn’t be and disobeys her mother when she is forbidden from spending time with the boy who lives in the house (Max Thieriot). And then she wonders how she ended up being chased by a knife-wielding maniac. It isn’t rocket science, Mrs. Lawrence. You just should not have made this movie.



Silver Linings Playbook

Wednesday, November 28, 2012

Silver Linings Playbook, 2012
Directed by David O. Russell

Pat has just been released from a mental ward after spending 8 months there. A full grown man, Pat is sent to live with his parents under court orders, and set to take medication and go to therapy. While Pat is happy to be out, all he wants to do is see Nikki, his wife. But no one will talk about her, or let Pat see her. Pat has become an optimist, a true believer in "silver linings". So he tries to better himself, physically and intellectually for Nikki. But then he meets Tiffany, another girl with problems. And when she offers to deliver a letter to Nikki, Pat ends up making a deal with her, to dance with her at a local dance competition, something she's always wanted to do.

I read the book, by the same name, by Matthew Quick back in the winter in anticipation for this film. Having only read the summary of the film IMDB gave me, it sounded funny, and tracked down the book at my local library. And of course, it was such a phenomenal book. It was hilarious, and real, slightly cliche, but original at the same time! The only hindrance to reading a book and falling in love with it as that you'll expect the movie to be the book and sit through it being like "why did they change that? what was the point of that?"

Thus is kind of what happened upon seeing Silver Linings Playbook over the weekend. However, I will not talk too much about the pointless changes they made, the movie was still incredibly well done and well acted and funny.

I have never had a lot of hope in Bradley Cooper. He's never acted in anything to really give me much confidence in him as a serious actor. When I saw he was cast in SLP, I was a little "meh" about it, but got over it. Having now seen the movie, I'll say for the first time something I didn't think I'd say: "Bradley Cooper really impressed me in this movie!" He really captured Pat so well. He gave him the right sensitivity, but balanced with enough wit and humor to make him real. His emotional scenes, mostly the ones with him having breakdowns and slowly descending into hysteria, where wonderfully done. I'm really impressed with him!

Also, Jennifer Lawrence was not someone who I'd have cast. Tiffany is supposed to be in her 30s in the book, and supposed to be (if I remember correctly) Veronica's older sister, not younger. However, upon seeing her acting in this film, it's so clear why Lawrence was cast. She really captured Tiffany. Tiffany could've easily been some sort of cliche character with not a lot of depth, but Jennifer Lawrence was able to give her depth and humor, but also that we were able to sympathize for her. Additionally, I had been nervous that the age difference between Lawrence and Cooper (15 years difference, by the way) would be really weird. But Cooper was able to seem much younger (I already didn't believe he was 37 when I just googled his age), and Lawrence seemed much older than her mere 22 years.

I could easily keep going on the acting in this film. Robert De Niro gave Pat's father depth, and played him so well. Jacki Weaver was also great and was a nice addition to the cast.

Overall, the movie was well made, the script was well written and it was cute, quirky and funny. It has bits for everyone. It has romance for rom-com fans, Jennifer Lawrence (for Hunger Games fans, and  for the guys), Bradley Cooper, football, dancing, and humor. It's an unconventional romantic comedy that David O. Russell only could've done.

While I need a second viewing to really believe in this film as a film, and not keep thinking about "why?" when they changed things from the book, it was a really great movie.

Jennifer Lawrence will definitely be big competition for Leading Actress, and seems to be the current front runner. Robert De Niro is also expected to make it into the top 5. While I'd love to see Bradley Cooper get some love for his role as Pat, we'll see whether this will happen. This film is almost gauranteed to make the Best Picture Nominations, having won the People's Choice Award at TIFF. Will also probably crack into the Adapted Screenplay nominations and could swipe into Director, anything else is really up in the air.

8/10

277. Silver Linings Playbook

Sunday, November 18, 2012

277. (17 Nov) Silver Linings Playbook (2012, David O. Russell)* 31



Grating and mind-numbingly pandering, there's not a single genuine moment to be found in Silver Linings Playbook. There is, at least, the effervescent presence of Jennifer Lawrence, who at least elevates every scene she's in. But she's the only one bringing nuanced work alongside actors who are pure caricature. Bradley Cooper, Robert De Niro and Jacki Weaver, in particular, could hardly be in worse form, offering performances without the slightest hint of humanity in them.

David O. Russell's script is pure amateurism. He feels the need to cram all of his small ensemble into every scene, even when they have no place there (e.g. the psychiatrist at the football game, the cop at the dance competition). This gives the false sense that people from all walks of life are bonding when, in fact, this underscores the phoniness. And what could be further from reality when, out of nowhere, someone shouts to a busload of Philadelphia Eagles fans who happen to be Indian, "Go back to your own country! The Eagles are our team!"

The gags here are about as subtle, revolving around something as stupid as a mispronunciation of Trazodone. The so-called drama includes a manic episode where Cooper freaks out about his missing wedding video. Such scenes are painfully out of place considering the serious tonal shift it requires from broad comedy, but it emphasizes just how bad Cooper is in the lead. It's all the more reason why I'm certainly overrating Lawrence, who at least can read a line without seeming like she's in a high school play.

SILVER LININGS PLAYBOOK

Sunday, September 9, 2012

SILVER LININGS PLAYBOOK
Written and Directed by David O. Russell
Starring Bradley Cooper, Jennifer Lawrence and Robert De Niro

Pat Solitano: She is my friend with an F.
Danny: Capital F.
Pat Solitano: Yeah, for friend.

The one thing I took away from David O. Russell’s SILVER LININGS PLAYBOOK is that you have to deal with the bad in order to get to the good stuff. Always focusing on the silver lining never gives you the opportunity to face your demons and allows them the chance to grow while you’re looking the other way. Russell makes an apt point here as applying this theory to watching this film is really the only way to enjoy it.

There is one other thing I learned while watching this film, that Bradley Cooper has the potential to take on stronger, more dramatic parts. Cooper plays Pat Solitano, whom we meet moments before he exits a mental facility, where he is being treated for bipolar disorder, convincing himself aloud that he’s better now. It is never really clear to either of his fantastically fussy parents, played by Robert De Niro and Jacki Weaver, whether he truly is any better but they take him in regardless. Meanwhile, it never needs to be made clear to Pat’s new friend, Tiffany (Jennifer Lawrence), because she is often just as messed up as he is. Together they learn to heal each other ... through amateur dance?


Considering how visceral Russell went last time out with his Oscar-nominated work on THE FIGHTER, I am genuinely surprised by how tame SILVER LININGS PLAYBOOK is. A fantastic ensemble elevates Russell’s screenplay, with moments both touching and amusing, but never to the point where it breaks free of its more conventional trappings. But when you weigh the film’s faults against it’s own silver linings, its still worth the experience.


THE FALL 2012 FILM PREVIEW (part one)

Saturday, September 1, 2012


Ive been up for a couple of hours now and it has only just now dawned on me that it is September 1. Summer isn't technically over but it's hard to argue with its inevitable finality once September rolls around. All is not lost though. With the fall comes some very impressive films and Black Sheep is here to help you sift through them ...

SEPTEMBER

For me, September means the Toronto International Film Festival. And as I plan on previewing the 40 or so titles I will be seeing during this year's festival later this week, I will limit my choices today to films that will only be coming to a theatre near you.

TROUBLE WITH THE CURVE
Let's begin with the man everyone is talking about this week, Clint Eastwood. With all his directing as of late, he hasn't acted for another director for almost 20 years. (1993's IN THE LINE OF FIRE would be the last time, in case you were curious.) Personally, I can barely handle the man. His films are so bogged down with his old, white man idealism that they never resonate with me emotionally. Perhaps relinquishing his directorial duties will make him more enjoyable for me, but seeing as how his baseball scout character in this Robert Lorenz film seems like just as much of a curmudgeon as everyone else he plays, my hopes are not high. At least Amy Adams and Justin Timberlake are along to lighten the load.


HOUSE AT THE END OF THE STREET
Yes, this does look just like your typical fright flick, but how can it be with Jennifer Lawrence in the lead role? After earning an Oscar nomination for her brilliant work is WINTER'S BONE and dominating her star making turn as the girl on fire in one of the year's biggest hits, THE HUNGER GAMES, she certainly doesn't have to take a role like this. So unless this was shot before she stepped into the role of Katniss (which is possible but I could not find the shooting dates), this horror film has to be a cut above the rest. Lawrence herself is reason enough to find out though. Elizabeth Shue and Max Theriot co-star.


Other September highlights include Bradley Cooper plagiarizing Jeremy Irons in THE WORDS; Viola Davis and Maggie Gyllenhaal take over a broken down public school in WON'T BACK DOWN; Kirsten Dunst hopes her group of gal pals can repeat the BRIDESMAIDS success with BACHELORETTE; and although I can hardly believe it, they are still making RESIDENT EVIL movies. RETRIBUTION, the fifth in the series, hits September 14.

OCTOBER

FRANKENWEENIE
Many people accuse Tim Burton of having sold out a long time ago, of being washed up and tired now. I am actually often amongst those people but I am very excited for his newest stop-motion animation, FRANKENWEENIE. Based on his 1984 short film, which got him ousted from the Disney junior animator job he had at the time, the expansion is pretty much exactly what you would expect - young boy's dog is brought back to life and the townspeople are not very open to this freak of nature. Yes, there is the potential the feature length will bring with it many schmaltzy and unnecessary moments but if Burton does it right, it could be a new creepy cult classic.


KILLING THEM SOFTLY
Brad Pitt reteams with the director of THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD, Andrew Dominik, for this new thriller. Pitt plays a hit man hired to tail two less than sharp thieves who rob a mob-run poker game. The premise sounds almost funny but the trailer looks like the final product will be less than amusing. One thing is for sure though; with a 97 minute runtime, this one will surely be faster paced paced than their last collaboration. Also, Richard Jenkins and James Gandolfini co-star.


TAKEN 2
Given the success of the first TAKEN film, it is no real shock to see a sequel for the film hitting theatres now. After all, that film solidified Liam Neeson as a bonafide action star internationally. After watching the preview for the sequel, I am sure fans of the first film will not be disappointed with the follow-up. I, however, was not a huge fan of the first film and have very little interest in this instalment. This time around, his wife and daughter appear to be taken as revenge for the havoc he wreaked last time out. And I'm supposed to take this seriously?


Also coming in October ... Helen Hunt plays sexual surrogate to John Hawkes in Oscar-buzzy, THE SESSIONS; Jennifer Garner comes dangerously close to losing her cool as a champion butter sculptor in BUTTER; Robert De Niro and Diane Keaton play a long-divorced couple trying to play nice for their son's wedding in THE BIG WEDDING, which sounds like it could have been directed by Nancy Meyers (it is not); and apparently there is a never-ending stash of found ghost footage somewhere in a Hollywood basement just waiting to be turned into a PARANORMAL ACTIVITY movies. The fourth film in the series hits October 19 (and will be gone by November 1, most likely).

Check back tomorrow for Part Two of Black Sheep's 2012 Fall Film Preview, which will feature November and December.

BEST OF BLACK SHEEP: THE HUNGER GAMES

Friday, August 17, 2012


THE HUNGER GAMES
Written by Suzanne Collins and Gary Ross
Directed by Gary Ross
Starring Jennifer Lawrence, Josh Hutcherson and Liam Hemsworth

President Snow: Hope is the only thing stronger than fear.

Having just finished reading the incredibly addictive Suzanne Collins novel, and having fallen completely in love with the heroine, Katniss Everdeen, in the process, I could barely breathe before seeing Gary Ross’s film adaptation of THE HUNGER GAMES. I was downright giddy going in. I was also horribly worried that the whole thing would just fall apart before my eyes. I was pretty sure that wouldn’t happen but what if it did? I would be crushed. Forget about me though. The legions of fans that have been intensely anticipating this film would revolt. I exaggerate but you get my point. And so, I found myself holding my breath quite often throughout the film - either the action was incredibly tense or I was worried the novel’s more delicate nuances and pivotal moments would become missed opportunities. And so that you can just sit back and enjoy the incredible ride without the worry I went in with, I assure you in advance that THE HUNGER GAMES will satisfy all of your cravings.

Now, THE HUNGER GAMES isn’t just for people who have the read the book, y’know. For those of you out there who haven’t, the global hysteria over the film must seem a bit bizarre. This is likely especially true when the trailers elude to some form of fight to the finish tournament, reminiscent of THE RUNNING MAN, with Arnold Schwarzenegger. Fortunately, there is way more to it than that. Taking place in the North America of the future, now known as Panem, the “Hunger Games” are an annual sport where one boy and girl, between the ages of 12 and 18, are chosen from each district to compete in an arena until only one is standing. There are 12 districts in all and each one is worse off than the last. The games are a reminder from the ruling Capital, where no one goes without, to the peasants in the districts of their failed revolution from years past. The games remind them that they do not really matter, but yet they are forced to not only participate in them but even follow them and celebrate them. Katniss (played here by the mesmerizing Jennifer Lawrence) is the “tribute” from District 12, one of the least likely to come out alive.


Of course, when a series of novels is as loved as THE HUNGER GAMES is, the film adaptation is always greatly scrutinized for inaccuracy and loyalty to the original text. In the novel, Katniss is always the focus. We never leave her perspective at any time. The film cannot do this. Instead, it shows the viewer the other side of the games. While Katniss describes her disgust for the barbarism of the games in her own head in the novel, here Ross must show us what it is she is repulsed by. The change in point of view keeps the pace brisk, which is perhaps one of the greatest changes in tone from page to screen, as well as one of my only disappointments, albeit slight . By staying in the games at all times in the book, there are days when nothing happens, where dehydration is a real threat. As this would bore film audiences, the action has to be broken up. As a result, some moments can feel a tad rushed (I won’t say which ones; you’ll see) but the intention to honour the original work is so honest and pure, that all is quite easily forgiven. Besides, this isn’t the book. This is the movie and it finds its own tone, one that is at times, quiet and contemplative, while disarming and profound at others.


To some, THE HUNGER GAMES might seem like the next big tween craze but it is the furthest thing from that really. Yes, Katniss is torn between Peeta (Josh Hutcherson), the man she enters the games with, and Gale (Liam Hemsworth), the man she left back in District 12, but this is not another TWILIGHT. Katniss is a complicated character with a complex background that makes her reticent to love, makes her fiercely guarded, and Lawrence does the character great justice. She has moments where she embodies both strength and fear simultaneously and you wonder why anyone ever had any concern she wasn’t right for the part. Thanks in great part to her performance, as well as Ross’s sturdy grip on the rest of the film, in today’s context, THE HUNGER GAMES is a commentary on the increasing global class divide and our continued desensitization to violence. It is also a thrilling experience. I have not read the second or third books in the series but something tells me there is another uprising coming before long. This is good too because after filling up on THE HUNGER GAMES, you will be left starving for more. In fact, it left me ravenous.


108. The Hunger Games

Monday, May 7, 2012

108. (12 May) The Hunger Games (2012, Gary Ross)* 58

The Hunger Games

Monday, April 9, 2012

The Hunger Games, 2012
Directed by Gary Ross

By now I'm sure you're all familiar with what 'The Hunger Games' is all about. I'll break it down briefly for those who don't know. In the ruins of North America, now named Panem, there are 12 districts, each living in poverty and oppressed by the Capitol, a spoiled city. And to reaffirm their control, they hold, annually, something called the Hunger Games, where a one boy and one girl from each district, between the ages of 12 and 18 must fight to the death in an arena, until only one stands. The winner is awarded fame, wealth, and safety. Katniss Everdeen lives in District 12. When her little sister is plucked from the bowl of names to be a tribute, Katniss volunteers in her place. A boy her age named Peeta is also selected, in which she has ties to. And the Hunger Games begin.

I know, this review is a couple weeks late. I had originally planned to see it the Saturday after it opened, with a bunch of friends. We'd pre-ordered tickets and everything, but I got the stomach flu the morning of, and just haven't had time to see it since. Finally, 2 weeks later, I've seen in! I picked up the first book after the urging of my friend around a year ago, during the very early stages of casting. The books weren't a huge deal yet, but it was picking up steam. I read them all pretty quick, and while I wasn't awestruck with the books, they were good reads with a strong message, and knew they would translate to screen a lot better than most things.

 First, let me just say all the performances, I thought, were pretty spot on. A lot of people had reservations about Jennifer Lawrence being too sexy, and Josh Hutcherson being too young, or just not what they'd imagined at all. But getting Jennifer Lawrence on as Katniss was a really great move. She's an Oscar nominated actress, and this role is quite similar in nature to Ree, the character she played in Winter's Bone, in which she was nominated. She really embodied Katniss in every way and gave such a real and gritty performance. She had Katniss's strength, but was also able to embody her vulnerability in a real way, and was able to find the balance between that and her strength and stubbornness, which, I'd imagine, is quite tricky. Jenn is a really diverse actress. She had a small but cute role in last year's Like Crazy, she played the sexy and mysterious Raven/Mystique in X-Men: First Class, and debuted in Winter's Bone. Jenn has such promise to be a really great actress, and she doesn't take it easy in this role. She pours a lot of emotion into her character, and draws back enough when needed to draw back. She gives Katniss strength and a ruthlessness. But you can still remember she's just a teenage girl, who has a family to look after. She's not the tough person she appears to be, and Jenn really captures this all.

The supporting cast was great too. Josh Hutcherson was great as Peeta. What I really appreciated about his performance was the subtleties he brought to Peeta. The smiles, and the stolen glances, that you knew he bought every word Katniss said, and that he's really in love with her, and it's not a game to him. He was able to make me feel for his character in a way I hadn't in the book. He made me realize what a tragic character Peeta is, constantly getting the rotten end of the stick. Having an undying and loyal love for Katniss, and not realizing until he's head over heels that it was just a game for her. While he didn't give a heart-stopping performance, he did give a nuanced one, and was quite good if you were really paying attention.

Such as this moment here. Just the way he looks at her, and he just loves her, you can tell. Just the one little glance (and tons more in this scene and throughout the film) sold me. And his reaction to being picked to the Games was great too. Just mouth half-open, hardly believing, and in shock, and even crying. I feel like this is an unpopular opinion since I keep reading people thought his performance was mediocre, but I felt like he really understood his character. It wasn't perfect, nor was it the best in the movie, but he really captured who Peeta is and what he's about. For that I applaud him.


 There are plenty of fun performances by various well known actors. Woody Harrelson and Stanley Tucci gave my favourite supporting performances in the film. Harrelson as the drunken, harsh mentor of the 2 District 12 tributes gave a great performance. He was funny, he was a jerk, and then you saw the side of him where he really cared. And Stanley Tucci, you could tell he was really having fun with his part. The faces he made, his laughter, just the way he carried himself, it was such a fun performance to watch. Other fun supporting actors included Elizabeth Banks as the cooky and colourful Effie, Donald Sutherland as President Snow, Wes Bentley as Seneca Crane and Toby Jones as Claudius Templesmith.

The pacing of the movie, I found, to be balanced quite well. I had wondered how long they would spend on the preparations before the Games. The training and all that. I felt they kept in a good amount. It was long enough that you got the picture, and got enough information about the tributes, and about Haymitch and Peeta, that you needed to know before the Games. It was a good chunk, but it never overstayed its welcome. It was a large chunk in the book, and was a large chunk in the film. It showed off just how much of an event this was to the Capitol, and showed how grotesque it really is, when you think about it, showing the balance between the showing off of the tributes and the dressing up, and the training. The Games were also well paced, though Katniss's time with Rue was very short and could've been extended for a fuller effect. The violence was definitely there, and we got touches of it, but, to keep it to a PG-13 rating, it was scarce and was shown in generalities only, though there is a lot of blood shown.

Additionally, the costuming and make-up were quite fun. They were outrageous and crazy, and were just so fun and playful. I wouldn't be surprised to see this film get either a make-up or a costume nod. Both were well done and were great.

One frequent complaint that I've read is the excessive use of "shaky cam". For the most part, I felt it was well-used. During fight scenes, understandable. Running through the woods, understandable. However, it was used way too much during the first half hour or so, I felt like I was watching the Hurt Locker. But it felt extremely misplaced when in the Capitol and on the train. I felt like I never got a very good look at anyone for the first little bit since it was zoomed awkwardly in some places, and was all very close shots, and hardly any wider shots for the first little while. Use of shaky cam should've been reserved for the Games, and it didn't have much business in the first half of the film, as it took away from the film more than it added to it. Additionally, some of the Visual Effects weren't that great. When Katniss and Peeta was on fire at the tribute parade, I actually chuckled out loud upon seeing. It looked incredibly fake, and phony. I realize they didn't have an enormous budget and it was saved for other things, but this looked pretty bad. Though I forgive them because most of the other things looked quite good.

There were many "added" in things as well, though all were incredibly beneficial to the film. The scenes between Seneca Crane and President Snow, the rebellion in District 11, the television discussion with Caesar Flickerman and Claudius Templesmith, etc. Even seeing more of Haymitch, and what kind of role he played in different things added more to the film that the book wasn't able to with a first person perspective.  We get to see the part Haymitch plays behind-the-scenes, and showing him sucking up his anti-socialism, and interacting with the sponsors in order to help Katniss, and just how much he really cares for her, and for Peeta. In a way, I felt the movie portrayed the overall themes and thoughts of the characters better than the book did, because it was less limited to Katniss's view.

Overall, this is one of the better blockbuster films, based on a YA novel no less, that has come out. With an 85% rating on Rotten Tomatoes, this film has done well for itself. Not to mention it had the biggest opening weekend, ever, for a non-sequel and has made a ton of money. This film has a wide appeal for both boys and girls, and it's great to see something the guys can get into as well, after having all-girls things like Twilight.
It's a fun movie, with some violence, some romance, and some fun costumes. It's a great movie, and a really well done adaptation.

8.5/10

THE HUNGER GAMES

Wednesday, March 21, 2012


THE HUNGER GAMES
Written by Suzanne Collins and Gary Ross
Directed by Gary Ross
Starring Jennifer Lawrence, Josh Hutcherson and Liam Hemsworth


President Snow: Hope is the only thing stronger than fear.

Having just finished reading the incredibly addictive Suzanne Collins novel, and having fallen completely in love with the heroine, Katniss Everdeen, in the process, I could barely breathe before seeing Gary Ross’s film adaptation of THE HUNGER GAMES. I was downright giddy going in. I was also horribly worried that the whole thing would just fall apart before my eyes. I was pretty sure that wouldn’t happen but what if it did? I would be crushed. Forget about me though. The legions of fans that have been intensely anticipating this film would revolt. I exaggerate but you get my point. And so, I found myself holding my breath quite often throughout the film - either the action was incredibly tense or I was worried the novel’s more delicate nuances and pivotal moments would become missed opportunities. And so that you can just sit back and enjoy the incredible ride without the worry I went in with, I assure you in advance that THE HUNGER GAMES will satisfy all of your cravings.

Now, THE HUNGER GAMES isn’t just for people who have the read the book, y’know. For those of you out there who haven’t, the global hysteria over the film must seem a bit bizarre. This is likely especially true when the trailers elude to some form of fight to the finish tournament, reminiscent of THE RUNNING MAN, with Arnold Schwarzenegger. Fortunately, there is way more to it than that. Taking place in the North America of the future, now known as Panem, the “Hunger Games” are an annual sport where one boy and girl, between the ages of 12 and 18, are chosen from each district to compete in an arena until only one is standing. There are 12 districts in all and each one is worse off than the last. The games are a reminder from the ruling Capital, where no one goes without, to the peasants in the districts of their failed revolution from years past. The games remind them that they do not really matter, but yet they are forced to not only participate in them but even follow them and celebrate them. Katniss (played here by the mesmerizing Jennifer Lawrence) is the “tribute” from District 12, one of the least likely to come out alive.


Of course, when a series of novels is as loved as THE HUNGER GAMES is, the film adaptation is always greatly scrutinized for inaccuracy and loyalty to the original text. In the novel, Katniss is always the focus. We never leave her perspective at any time. The film cannot do this. Instead, it shows the viewer the other side of the games. While Katniss describes her disgust for the barbarism of the games in her own head in the novel, here Ross must show us what it is she is repulsed by. The change in point of view keeps the pace brisk, which is perhaps one of the greatest changes in tone from page to screen, as well as one of my only disappointments, albeit slight . By staying in the games at all times in the book, there are days when nothing happens, where dehydration is a real threat. As this would bore film audiences, the action has to be broken up. As a result, some moments can feel a tad rushed (I won’t say which ones; you’ll see) but the intention to honour the original work is so honest and pure, that all is quite easily forgiven. Besides, this isn’t the book. This is the movie and it finds its own tone, one that is at times, quiet and contemplative, while disarming and profound at others.


To some, THE HUNGER GAMES might seem like the next big tween craze but it is the furthest thing from that really. Yes, Katniss is torn between Peeta (Josh Hutcherson), the man she enters the games with, and Gale (Liam Hemsworth), the man she left back in District 12, but this is not another TWILIGHT. Katniss is a complicated character with a complex background that makes her reticent to love, makes her fiercely guarded, and Lawrence does the character great justice. She has moments where she embodies both strength and fear simultaneously and you wonder why anyone ever had any concern she wasn’t right for the part. Thanks in great part to her performance, as well as Ross’s sturdy grip on the rest of the film, in today’s context, THE HUNGER GAMES is a commentary on the increasing global class divide and our continued desensitization to violence. It is also a thrilling experience. I have not read the second or third books in the series but something tells me there is another uprising coming before long. This is good too because after filling up on THE HUNGER GAMES, you will be left starving for more. In fact, it left me ravenous.


2012 Anticipated Films

Tuesday, February 14, 2012

Here are some trailers from upcoming movies I'm looking forward to. Taking a break from the Awardsy movies, and sharing some films I'm looking forward to this year!

The Hunger Games- March 23rd 2012

The Amazing Spiderman- July 3rd 2012

The Dark Knight Rises- July 20th 2012

Brave- June 22nd 2012

The Hobbit: An Unexpected Journey
December 14th 2012

Special mentions: Les Miserables, Salmon Fishing in the Yemen, The 5 Year Engagement, Seeking a Friend for the End of the World, The Great Gatsby, Gangster Squad, Gravity

REVIEW: X-Men: First Class (B+)

Tuesday, June 21, 2011

(dir. Matthew Vaughn, 2011)

I've always thought adapting the X-Men mythos was a particularly hard undertaking, as proven in spades in the previous four attempts.  Unlike other superhero or comic books heroes, the X-Men aren't just one character and a bunch of villains, but rather a bunch of heroes and a bunch of villains, all of which need to be fleshed out well.  And that hasn't really been done, despite a whole four films trying to do that with Wolverine.

But nevertheless apt director Matthew Vaughn (of Kick-Ass fame) has managed to do it.  And quite successfully I might add.  Aided by a veritable pantheon of screenwriters (Vaughn himself, Ashley Miller, Zack Stentz, Jane Goldman, Sheldon Turner, and Bryan Singer), a rich and complex tale has emerged.  It's slowly becoming a trend to start the movies much the ways the comic themselves have started, with an origin story.  See: Batman Begins, Iron Man, Thor, etc.  And now the marvelous X-Men: First Class.

We first meet Erik Lehnsherr (played as an adult by best-in-show winner Michael Fassbender) in a Nazi concentration camp (the exact way the original franchise began), where when he's separated from his mother, exhibits his mutant ability.  Eventually his mother is murdered and he tortured by Nazi doc Kevin Bacon (who is simply wonderful as the film's primary villain), and thus Erik is turned into a human-hating mutant hellbent on revenge.  But in a nice way.  Just take my word on that.

Around the same time a young Charles Xavier (James McAvoy) meets a blue shape-shifter (Jennifer Lawrence) in his kitchen, and the two become good friends.  As the film unfolds, the actual plot (mutants are trying to start the Cuban Missile Crisis, causing a nuclear war, where the mutants will take over!) takes a backseat to a very carefully and astutely crafted story about acceptance and love, forgiveness and being true to yourself.  Ultimately some mutants accept who they are, boldly becoming what will known as the evil Brotherhood of Mutants and the others regroup and become the heroic X-Men.  It's so finely crafted that you feel for the supposed-villains by the end of it all, and we have one of the very first comic book films where the ends to justify the means as far as villains so.

For all the things that needs to click in this movie, the action, the acting, the mythos, the checkmarks, shoveling through backstory, etc. Vaughn makes it all smooth and entertaining.  When Professor X becomes the Professor X we know today, it's a shock even though we know just what we're expecting, but the film has so separated itself from the demands of the comics that when it does happen you forget it was supposed to happen.  It should be said, Lawrence was very good as Mystique, and throughout the entire franchise, that character's arch has been the most engrossing.  I'm pleased to see this film has reinvented and continued her path.

All in all, X-Men: First Class smashes all it's objectives: establishing backstory, developing characters, entertaining, and setting up the X-Men we know and love today.  But most importantly, it has laid the ground work for the central theme that was more or less devoid from the other franchise and was forever omnipresent in the comics and TV series: acceptance.  How is society accepting these freaks?  Am I a freak? Is it easy being blue?  There's even the division between those mutant who can hide their ability and those who are stuck with it out in the open.  Themes of race, gender, and sexuality are all applicable to this film and it's handling it just beautiful.  From an X-Men, this film get a mighty bravo.  GRADE: B+


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X-MEN: FIRST CLASS

Saturday, June 4, 2011


Written by Ahsley Miller, Zack Stentz, Jane Goldman and Matthew Vaughan
Directed by Matthew Vaughan
Starring James McAvoy, Michael Fassbender, Jennifer Lawrence
and Kevin Bacon

Charles Xavier: I believe that true focus lies somewhere between rage and serenity.

I’ve always had a soft spot for the X-Men within the ever-expanding realm of comic book film adaptations. Given my own, and what I imagine are most people’s insecurities, it is easy to identify with people who feel they don’t belong amongst regular society, people who genuinely believe themselves to be freaks. Only these particular freaks aren’t ashamed of who they are, rather they are more advanced specimens because of their abnormalities. That confidence can perhaps be no better pinpointed that at its moment of inception. And so X-MEN: FIRST CLASS tells us the tale of how a mutant comes of age.

It is 1944 when Matthew Vaughan’s first adult superhero movie opens. (He also directed KICK-ASS but that’s more pubescent superhero-ish really.) The man who would become Magneto, Erik Lehnsherr (Michael Fassbender), is but a boy, being separated from his mother in a Nazi concentration camp in Poland. Across the world, a boy named Charles Xavier (played in adult form by James McAvoy) is alone with his thoughts in a Westchester, New York, mansion. They don’t know it yet but they will grow to become sworn adversaries in an eternal debate surrounding the true nature of humanity – are we in fact inherently good, hopeful and open to change or are we just hateful beings acting out of fear and desperation attempting to destroy everything we cannot understand? One believes is harmony while the other doesn’t believe humanity capable of it.

A little less than 20 years later and these boys are now adults. Charles is bit of a cad with the ladies, finishing his doctorate on genetics at Oxford University. Erik however has focused his ability to manipulate and control all metals to a fine art and is determined to find the Nazi officer that ruined his life. Unbeknownst to either of them, this particular Nazi is a mutant himself and one with grand plans at that. Sebastian Shaw (Kevin Bacon) wants to start World War III by pitting the Russians against the Americans in what we would know as the Cuban missile crisis. As nuclear radioactivity gave birth to mutation in humanity, Shaw believes a post nuclear war world will be a mutant utopia. Charles and Erik must band together, along with a group of misfit mutants who have barely become adults, to defeat a common enemy. Their idea of defeating him though differs drastically.

I’ve always known Professor X and Magneto to be enemies. I knew they had a respect for each other, which at times bordered on admiration but all the same, they ruled on opposing sides. X-MEN: FIRST CLASS provides the insight as to just how complex their relationship truly is. They are not really enemies after all; they are equals and even brothers who have fundamentally different values. The fact that they each adhere to their core beliefs so passionately and with such unflinching resolve is what inspires the respect that each accords the other. The strength of their fraternity is testament to the great depth Fassbender and McAvoy bring to the roles, all of which allows Vaughan to bring a great deal of class to a franchise that was going the route of crass.

 

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