Panic

Tags

2000's, Crime, Donald Sutherland, Drama, Henry Bromell, John Ritter, Neve Campbell, Panic, Tracey Ullman, William H. Macy

Film Title

Panic

Director

Henry Bromell

Starring

• William H. Macy as Alex
• Donald Sutherland as Michael
• Neve Campbell as Sarah
• John Ritter as Dr. Josh Parks
• Tracey Ullman as Martha

A crime drama with roots in themes of twisted family manipulations and the want to change, Panic is one of those movies that really takes you by surprise in my instances. Panic is an unexpected and extremely underrated gem of a film with a feeling of inexorable tragedy slowly coming out in its story of a man in midlife crisis of a most unusual kind.

Alex is a sad-eyed, middle-aged man who goes to see a psychotherapist named Josh Parks to get his life in order. Once there, he surprisingly reveals that he is actually a hit man who has been trained by his sly and corrupting father Michael since he has young. Dr. Parks listens in shock and dismay, but wants to know more if anything to possibly help a desperate Alex. Though Alex is a hit man, he doesn’t want to be one anymore. Yet as he is so scared of his imposing father and knows that it won’t be easy to just discard that part of his life, that he is currently undergoing a severe crisis of conscience. He keeps his deadly profession hidden from his wife Martha and young son to protect them, even though his relationship with his wife is on shaky ground as it is. Around this trying time for poor Alex, he encounters Sarah; a sprightly, sexually adventurous young woman who is completely forward and ever so neurotic. He finds himself drawn and infatuated with this kooky girl and this is one of the things that makes him want to quit. Yet just as he wants to tell his domineering father that he can’t do it anymore, the man gives him his next assignment. The man he is expected to kill is Dr. Parks, which throws everything out of control and puts more strain on the already pressured Alex. Alex is put through the wringer as he deliberates what he is going to do about the issues and dangerous circumstances surrounding him.

Henry Bromell adroitly directs this drama that involves crime, but is largely focused on the conscience of a man wanting to escape it all. Although the title suggests overt drama, it’s the internal struggle and scruples of the main character that elicit the most power and turbulence. Panic is a dark and engrossing study of warped family loyalty and pressure disguised by parental superiority. Everyone has a feeling when they are younger of being a good child and looking up to your parents, but what if your parents aren’t what you thought? That’s the main thing going on in Panic; Alex is smothered by his father’s dominance that he’s slyly held over him and employed in such a way that his son knows no different and is now suffering. We frequently get shots of important moments in a non-linear fashion that highlight the history of the characters, in particular how Alex was trained by his father in a scene where he has his young son shoot a squirrel as his first kill. Scenes like this are shocking( but not because they are bloody, no violence is explicitly seen) but for how it frames the father as a corrupting and malevolent presence over his son’s life that simply won’t let go of him in adulthood. There’s an exceptional back and forth between the past and present, filmed without the need for intertitles, as it respects the audience and can frequently be audacious. From what I’ve read about the movie, it was praised on release but never quite connected with audiences. This is a shame because Panic has much to offer movie fans, in how it mixes genres and has a certain haunting quality about it that stays with you. A peppering of black and ironic humour is sprinkled into Panic, particularly in how Michael discusses the business of killing people in a way that is so blasé yet menacing to his son and how the therapist listens with both a dumbfounded shock and yet inquisitive ear to Alex’s mournful confessions. Occasionally, the tone gets muddled but this is few and far between in an accomplished and atypical story that has a real poignancy. A lot of the success is down to the script written by director Henry Bromell, that fleshes out the dilemma of Alex and his predicament in a seemingly impossible situation. A moody and pulsing score is simply exemplary throughout Panic, hinting at the spiral of one man attempting to break out of his chains.

William H. Macy cuts a mournful and tired figure playing Alex; who wants out of the family business, but is buckling under the weight of everything on him. The ever so talented Macy wonderfully and subtly brings the nervousness and sadness of this man at tipping point out for the audience to see, which makes it a stellar performance of buried anguish and stifling anger. You couldn’t have asked for a better person for the role, as William H. Macy invests it with a real soulful melancholy. On hand to play the manipulative and quite horrid father is the always excellent Donald Sutherland. Like Macy, Sutherland’s approach to the character is a measured one that allows differing sides to emerge; from the seemingly genial and hospitable man to the ruthless and bullying father whose ingratiating manner starts to reveal his choke hold over his son. Neve Campbell stunningly stars as the catalyst for Alex’s need for change, exhibiting attitude, feistiness and that something else that is usually missing from other women roles in cinema. John Ritter excels as the shocked therapist whose curious about Alex and equally horrified, while Tracey Ullman gets across suspicion and a genuine feeling of being lost in her own life as her husband becomes distant from her for reasons she is ignorant of.

A compelling crime drama of morality and darkness, Panic makes its mark through the strong sense of purpose, direction and acting that give life to the unexpectedly melancholy rumination on family and crisis.

Klute

Tags

1970's, Alan J. Pakula, Charles Cioffi, Donald Sutherland, Jane Fonda, Klute, Roy Scheider, Thriller

Film Title

Klute

Director

Alan J. Pakula

Starring

• Jane Fonda as Bree Daniels
• Donald Sutherland as John Klute
• Charles Cioffi as Peter Cable
• Roy Scheider as Frank

An atmospheric thriller built on prowling paranoia through the direction of Alan J. Pakula, Klute also succeeds at being an unconventional urban drama with two fascinating characters, embodied spectacularly by Donald Sutherland and an Oscar-winning Jane Fonda.

Tom Gruneman; a family man mysteriously goes missing for no apparent reason. After the police have searched and turned up nothing, friend and private eye John Klute steps in and takes the investigation. He is a small town detective with not much experience in big cities, but he still dutifully takes on this case. The only clue as to what might have happened to Gruneman comes courtesy of an obscene letter he sent to a New York call girl. The girl in question is Bree Daniels, who seems to be not bothered about her lifestyle, but inwardly wants to break out from being a hooker and become an actress. In the area she lives in though, this dream is pretty slim which accounts for why she would need to turn tricks. The dependable and committed Klute travels to New York to see what he can uncover with regards to his friend’s disappearance. For a while, he watches Bree before making his presence known and questioning her of what she may know. Naturally defensive, Bree still manages to tell him about a client a few years back who brutally beat her up, but she can’t remember his name. Add to this the fact that she’s been getting cold calls frequently and Klute suspicions are raised. As he investigates and attempts to decipher what may have happened to Gruneman, he starts developing feelings for Bree, who has trouble reciprocating because of how distrustful and complex she is. Yet when a nearby prostitute is murdered and Bree begins to feel isolated, it appears that the crazed psycho may well have her in his sights. Bree is forced to trust Klute, which is something usually out of her remit as the steadfast Klute closes in on the stalker.

Alan J Pakula’s probing direction is a perfect match for the unconventional film that while ostensibly a thriller, reveals a personal drama in a place of seeming hopelessness. He is most adept at constructing paranoia in the viewer, achieved by placing the camera behind an assortment of obscuring surfaces. Surveillance is almost ever-present in Klute; which brings out a voyeuristic deconstruction of a seedy underbelly that the characters here occupy. The way that the camera stalks and tails Bree is both compelling and alarming, as it places us in the position of the crazed former client stalking the slowly more desperate Bree. While the spine tingling thriller aspects are plentiful and impressively drawn, the real crux and unique point of Klute comes in the characters and the attention it makes for them. The exploration of John and Bree are impeccably rendered and allow them to be characters that fascinate as well as challenge us. This is mostly seen in Bree, who is the focal point and key to the story. What is most enthralling about Bree is that she isn’t really like either of type of prostitute that is often seen in film; neither the hooker with the heart of gold or an emotionless broad. Instead, she occupies the middle ground and that , coupled with her complex relationship with Klute, is the lifeblood of this movie. John is also intriguing for how he manages to stay above corruption with his smarts and common sense, while still attempting to connect with Bree and solve the case. Special mention must go to the cinematography from the masterful Gordon Willis. He already stands as one of my favourite cinematographers and Klute displays his sublime gift for crafting darkness and shadowy intent. Combined with the piercing and perceptive direction of Pakula, the visual elements place is right in the middle of the strange and ever so unnerving story. Even when there is a spot of brightness in the film, something usually shocking or dark is occurring to offset any relief. A tremulous and minimal score that often echoes with eerie intent is employed to supply sufficient atmospheric impact, which it does it droves.

Klute may be the title of the film, but the main story belongs to Bree and how stunningly Jane Fonda essays the role. She garnered a well-deserved Oscar for playing the brittle prostitute and it’s not hard to see why. The character is one of so many angles and contradictions; tough and hard-edged yet achingly vulnerable, openly sexual and yet never really knowing the pleasure of love and seemingly fulfilled but crushed by failed opportunities. For any actress this role would be a high wire act that could have gone wrong, but Jane Fonda’s simply astonishing depth and ability to exhibit all of these traits is really something to behold. I can’t wax lyrical enough about how exceptional her work is here, she just never misses a beat and inhabits the role with a whole bunch of committed emotions, sometimes within a matter of seconds. Donald Sutherland’s wisely understated and stolid playing of the titular private eye is an exemplary counterbalance to Fonda, as he is the one who is doing the digging and managing to somehow remain from getting his hands dirty. In supporting parts, Charles Cioffi as the man Klute reports back to and Roy Scheider as a vicious pimp, do commendable work.

Filled with a piercing and voyeuristic insight into a place of urban and moral decay and exuding some nail-biting suspense, Klute makes a big impact and striking effect as we are invited into this world and behold the fantastic work from the two main actors, particularly a knockout Jane Fonda.

A Time to Kill

Tags

1990's, A Time to Kill, Ashley Judd, Brenda Fricker, Charles S. Dutton, Chris Cooper, Courtroom Drama, Crime, Donald Sutherland, Drama, Joel Schumacher, John Grisham, Kevin Spacey, Kiefer Sutherland, Legal Drama, Matthew McConaughey, Oliver Platt, Patrick McGoohan, Samuel L. Jackson, Sandra Bullock

Film Title

A Time to Kill

Director

Joel Schumacher

Starring

• Matthew McConaughey as Jake Brigance
• Samuel L. Jackson as Carl Lee Hailey
• Sandra Bullock as Ellen Roark
• Kevin Spacey as Rufus Buckley
• Oliver Platt as Harry Rex Vonner
• Kiefer Sutherland as Freddie Lee Cobb
• Donald Sutherland as Lucien Wilbanks
• Ashley Judd as Carla Brigance
• Brenda Fricker as Ethel Twitty
• Charles S. Dutton as Sheriff Ozzie Walls
• Chris Cooper as Dwayne Looney
• Patrick McGoohan as Judge Omar Noose

An incendiary and well mounted adaptation of the John Grisham legal/courtroom drama, A Time to Kill ensures that the moral and ethical debates come through strong, thanks to the story, script and cast.

In the town of Canton, Mississippi, a 10-year-old black girl by the name of Tonya Hailey is walking home after getting groceries from the local store. Suddenly, she is targeted by two sneering and utterly vile rednecks who violently rape and attempt to kill her by hanging. Tonya survives, but the damage to her has been done, which sends shock waves through the community. Tonya’s father Carl Lee is devastated when he discovers what has happened to his little girl and knowing that due to the racism that pervades the town and that the two men may get a light sentence, decides to take matters into his own hands. He responds by gunning down both men on their way to trial, in front of over a dozen witnesses. Arrested, Carl Lee contacts young and idealistic lawyer Jake Brigance to represent him. Jake had previously helped Carl Lee’s brother in the past and feels he must represent him; mainly because he was aware that Carl Lee might have gone through with his retribution after talking with him earlier. Jake is warned that this case will be dangerous and because he doesn’t have that much experience, he is bright and wants to help. Hurdles and stumbling blocks come up as the manipulative district attorney and prosecutor Rufus Buckley, who has his eye on office, decides to seek the death penalty and manages to stir the situation up. The climate of racism and clashing opposition makes the whole thing a powder keg as Jake finds his life in danger, as well as those closest to him being threatened by a resurgent faction of the Ku Klux Klan, brought out by one of the brothers of the men slain by Carl Lee. Yet with all the hostility and violence being thrown his way, Jake refuses to back down and his resolve is strengthened as he is soon in the courtroom representing his client in a case that could spark even more eruptions of unrest and horror for everyone. He is aided by the young law student Ellen Roark, who is a know it all but very passionate and good friend plus occasional divorce lawyer cynical Harry Rex Vonner. Yet getting a fair trial is going to be anything but easy as tensions threaten to explode.

Joel Schumacher impeccably displays a flair for the material; making it both extremely gripping and equally as powerful in what it brings to the table. A Time to Kill raises many moral questions in a series of ways that delve into the quagmire of what is deemed right and wrong, and how there is a difficult grey area in between. There are those that will say that the movie is more in favour of one view than the other, but even if that is true, A Time to Kill deserves credit for presenting issues like justice, fairness and racism with many degrees of thought-provoking effectiveness. I believe that the film tries to show both sides of things. While Carl Lee did kill the men who raped his daughter, you can understand many of the reasons why he did it. A Time to Kill asks us to consider what we would do in that situation, which allows the film to get under the skin deeply. The difficulty in the topic of morality and justice is best summed up by a speech given by Donald Sutherland’s character. He says, “If you win this case, justice will prevail, and if you lose, justice will also prevail”, which perfectly and simply reflects the complex issue at hand. The legal nature of A Time to Kill is pretty compelling to watch as the ethics of lawyers and the inevitable courtroom examinations of whether someone is guilty are put under the spotlight. The build up to the courtroom is equally as excellent, showing just how dangerous a case of this magnitude can be in a climate of uncertainty and intolerance. Yet when the courtroom drama hits, the fireworks really start to occur. The testimonies and confrontations have rippling consequences that influence the society around them, that is already at boiling point on account of racism and violence. The dignified and quick-moving script makes the legal terminology easy to digest, yet doesn’t forget the battle going on between many things within the fabric of the story. And speaking of quick-moving, A Time to Kill runs for two and a half hours, yet interest is kept in check and held throughout most of it. Sure some moments could have been expanded on, but the atmosphere and climate of the piece brings immediate attention and confronting intent to the viewer, that will get them to look at the ethics of the trial intensely. The music provided by Elliot Goldenthal is dynamic and matches the escalating emotions and tensions within the story.

A Time to Kill was the movie that really launched Matthew McConaughey to stardom and it isn’t difficult to see why. With his charming yet astute persona, he naturally plays Jake as a man put through the difficulties of the case, yet spurned on by what he sees as just cause. The gravity of the situation dawns on him after realising how complex events will turn out, but he won’t give up on this case and soldiers through it with unwavering determination. McConaughey is the right fit for the part and his closing speech in the film is powerful stuff that shows just what an excellent actor he is. Samuel L. Jackson is particularly memorable as the man on trial, evoking the self-possessed man whose temper was pushed to the edge by the brutality his daughter endured. Jackson’s work is very subtle and while he has two scenes of outburst( the first when he kills the men and the second in court) he is largely a modulated presence, though behind his eyes the fury and hurt is there as clear as day. This performance impressed me as I usually think of Jackson as manic and loud, yet he delivered a finely tuned performance as the avenging Carl Lee that reveals another side to him. We have Sandra Bullock portraying the over-eager and brainy Ellen with a good mix of sass and smarts, while Kevin Spacey can be discovered slithering his way across the screen, inhabiting the egotistical and ambitious prosecutor. Oliver Platt provides some levity from the intense drama in the sidekick role of being a cynical wise ass with questionable morals, yet also with surprising depth to match. Kiefer Sutherland is appropriately nasty and shocking, starring as the angered brother of one of the slain who riles up the Klan once more and delights in causing horror to all in order to get what he perceives as his own justice. His father Donald also makes a hell of a mark, exuding the wily silver fox persona ideal for his part of Jake’s former mentor, who despite being disbarred from court, manages to aid his young charge. It is interesting to note that Donald and Kiefer never share a scene in the film. Ashley Judd and Brenda Fricker have less to do in the film, but each is good in their respective roles of concerned wife and long-serving secretary. In smaller roles, Charles S. Dutton, Chris Cooper and Patrick McGoohan add their expertise to various people involved in the case and make the most of the time they get to be shown.

A Time to Kill emerges as an engaging crime drama that explores culpability, legality and racism in a powerful way, benefiting from confident direction and a star-studded cast.

The Hunger Games: Mockingjay Part 1

Tags

2010's, Action, Donald Sutherland, Elizabeth Banks, Francis Lawrence, Jeffrey Wright, Jennifer Lawrence, Josh Hutcherson, Julianne Moore, Liam Hemsworth, Natalie Dormer, Philip Seymour Hoffman, Sam Claflin, Science Fiction, The Hunger Games: Mockingjay Part 1, Woody Harrelson

Film Title

The Hunger Games: Mockingjay Part 1

Director

Francis Lawrence

Starring

• Jennifer Lawrence as Katniss Everdeen
• Josh Hutcherson as Peeta Mellark
• Liam Hemsworth as Gale Hawthorne
• Woody Harrelson as Haymitch Abernathy
• Elizabeth Banks as Effie Trinket
• Julianne Moore as President Alma Coin
• Philip Seymour Hoffman as Plutarch Heavensbee
• Donald Sutherland as President Snow
• Jeffrey Wright as Beetee
• Sam Claflin as Finnick Odair
• Natalie Dormer as Cressida

The third film of the franchise, Mockingjay Part 1 emerges as a more subdued sister than its previous installments. At times it does feel a bit slow and devoid of action, but at the same time it’s interesting to watch this gathering calm before the storm as it explores political upheaval and the growing sense of rebellion.

Katniss has been saved after destroying the Games in the last movie. Scared and wracked with nightmares, she is taken underground to District 13. After her act of defiance, her district was destroyed and acts of protest against the corrupt Capitol have been ever-present. The enigmatic Alma Coin and political propaganda expert Plutarch Heavensbee sees Katniss as the poster girl for a full-scale attack on President Snow and his barbaric forces. The wounded Katniss is very reluctant at first to strike back as she worries about what happened to Peeta. But after seeing the destruction of her district and the sheer cruelty of Snow which includes having a brainwashed Peeta as the spokesman to talk down rebellion, that inner fire inside of her begins to burn and she becomes the face of resistance in this time of political strife and corruption. Yet with Snow using his choke hold of tyranny against the districts, it is going to be dangerous for all involved. But the newly resurfacing of Katniss is returning and she will spearhead this campaign to bring down the corrupt powers that be, aided by good friend Gale and bands of rebels wanting to be free from oppression.

As I previously mentioned, Mockingjay Part 1 is the slow build up kind of movie. For times in the film, it works very well in capturing the machinations of political rebellion and the waiting to strike. I did however find parts of it a bit dull and craved a bit more action than what was shown. Yet this doesn’t make it any less effective as a movie, it’s just slightly different from the last two entries. Francis Lawrence crafts this engaging story with a certain topicality in the politics and propaganda used featuring Katniss as the face of resistance. Even though this film is set in the future, many of the issues it deals with are very present in our current climate which adds a further dimension to this series. Mockingjay may be the slow burner, but it has a personal and more intimate feeling to it. It may be risky to have a sci-fi/action movie that only has sporadic moments of action, but I liked the way in which Mockingjay showcases how wars can be waged with the power of words and imagery rather than just violence. An effectively bleak visual style gives voice to the darkness and terror felt by the people under the rule of President Snow. An evocative and building score helps give tension and personal feeling to Katniss as she regains her steel and prepares to fight for the people. The scene of Katniss singing ‘The Hanging Tree’ and it acting as inspiration and a call to arms is an excellent example of this as the melody flows through with urgency.

Jennifer Lawrence rivets the attention from beginning to end as the emotionally tormented heroine Katniss. Embodying rage, pain and steel, she is a strong-willed character who can make a difference in a world of barbarity. With deep clarity, selflessness and toughness, Lawrence is a marvel to watch as the resilient and purposeful warrior due to her mature performance and sheer amount of talent. Josh Hutcherson, although seen quite sporadically this time, is strangely different as the Peeta who has been tortured and brainwashed. Liam Hemsworth contributes the mix of caring emotion and earnestness, while Woody Harrelson continues to be a hoot as mentor Haymitch. I liked seeing Elizabeth Banks as the now dressed down Effie, once the glory of the Capitol and now an ally with freedom. Julianne Moore encompasses the cold, detached persona of President Coin, while the late Philip Seymour Hoffman brings a considerable presence to his part as the propagandist. Hoffman is still missed now and this movie is a reminder of his talent and skill even in a small role. Donald Sutherland is still as menacing and commanding as ever as the despicable President Snow, who is not tolerating rebellion against his tyranny. Jeffrey Wright, Sam Claflin and Natalie Dormer in supporting roles at least make an impact, despite somewhat limited screen time.

Mockingjay Part 1 emerges as a thought-provoker rather than an action blockbuster which may disappoint some, but is still very effective in the way it is gearing up for the next part.

 

Pride & Prejudice

Tags

2000's, Brenda Blethyn, Carey Mulligan, Donald Sutherland, Jane Austen, Jena Malone, Joe Wright, Judi Dench, Keira Knightley, Kelly Reilly, Matthew Macfadyen, Period Drama, Pride & Prejudice, Romance, Rosamund Pike, Simon Woods, Talulah Riley, Tom Hollander

Film Title

Pride & Prejudice

Director

Joe Wright

Starring

• Keira Knightley as Elizabeth Bennet
• Matthew Macfadyen as Mr Darcy
• Brenda Blethyn as Mrs Bennet
• Donald Sutherland as Mr Bennet
• Rosamund Pike as Jane Bennet
• Carey Mulligan as Kitty Bennet
• Jena Malone as Lydia Bennet
• Tom Hollander as Mr Collins
• Simon Woods as Mr Bingley
• Judi Dench as Lady Catherine de Bourgh
• Kelly Reilly as Caroline Bingley
• Talulah Riley as Mary Bennet

Based on the classic novel by Jane Austen, Pride & Prejudice is a vibrant and witty version of the source material that brings the themes of misconceptions, social standing and matchmaking into a context that modern viewers can enjoy, but purists can appreciate as well.

In 18th Century England, the Bennet family are part of the Landed Gentry, who whilst not poor by any means are far off being rich. The family comprises of the nervous but determined Mrs Bennett, her eye-rolling and sagacious husband Mr Bennett and their five daughters; beautiful but modest Jane, stubborn and spirited Elizabeth, plain Mary, coquettish Lydia and childlike Kitty . As women can’t inherit property at this time, the house will pass to the nearest male relative, in this case it is a distant cousin Mr Collins. Mrs Bennett has her heart set on marrying her girls to secure their future, but the second eldest Elizabeth is headstrong and not fond of the idea of matrimony. When Mrs Bennet hears that a nearby hall is to be purchased by an eligible bachelor Mr Bingley, she’s sees the opening ball as a perfect way to find suitors for her daughters. It is here that Elizabeth meets the snobbish but broodingly handsome Mr Darcy, who she takes an immediate dislike to because of his proud nature. While Jane is obviously taken with the kindly Mr Bingley, the spark has been lit between Darcy and Elizabeth, and although neither will admit it, they soon begin to develop feelings for one another. But can a relationship survive because of Darcy’s sullen and proud attitude? And can the waspish Elizabeth truly love a man she has sworn to hate? Watch as this delightful version of the story unfolds with humour and vivacity as morality, romance and family form the backbone to the timeless tale.

Joe Wright, who made quite the debut here, directs Pride & Prejudice with a fluidity that gives the story a constant movement as romance changes between characters and misconceptions are rectified. Yet rather than focus on the quaint beauty that many a period drama centers on, he injects Pride & Prejudice with a modernity, while still retaining the acute social observations of etiquette and manners from Jane Austen’s source. Yes many of the locations used are beautiful, but they don’t overpower the story and this gives this take on the book a much more realistic tone than a romanticized one. A standout scene have to be the confrontation and later exclamation of love between Darcy and Elizabeth, whilst they shelter from the pouring rain. The chemistry between the two characters is most evident here, and they may quarrel with each other, but we can see that there is passion beneath the surface that is waiting to be released. Also, worth mentioning is the two would be lovers who can’t sleep taking a walk and meeting one another in the misty morning, just as the first rays of the sun emerge. The excellent script allows for humour and drama in a dynamic way that perfectly compliment one another. It also gives us a gallery of interesting characters, all caught up in the machinations of dating and social status. A gentle but urgent score by the talented Dario Marianelli is a beautiful thing to listen to as the gliding rhythms of the piano and strings give voice to the unspoken passions and initial indifference between Elizabeth and Mr Darcy.

Keira Knightley makes for an excellent Elizabeth Bennet, giving her an independence, stubbornness and charm that is a joy to watch. Knightley makes the role her own with her expressive face, witty tongue and glint of playfulness in her eyes. She has great chemistry with Matthew Macfadyen as the two characters lock horns with a mixture of intellect and barbed observations. Macfadyen plays Darcy as a snobbish and sullen bachelor. He gives Darcy an insolence but also a kindness, as we witness his proud state of mind altered and forever changed by the spirited Elizabeth. Brenda Blethyn is a hoot as the caring but highly strung mother who wants all her daughters married, while Donald Sutherland contributes a firm but warm performance as her observant husband. Rosamund Pike makes for a radiant Jane. Carey Mulligan and Jena Malone are funny as two of the younger sisters who flirt and giggle, usually at the most inappropriate times. Tom Hollander is simpering and nervous as a possible suitor and the man who stands to inherit the house, while Simon Woods is charming and polite as Jane’s suitor Mr Bingley. Only appearing briefly but making a scene-stealing impression is Judi Dench as the haughty lady with many opinions on those she deems beneath her. Kelly Reilly is suitably bitchy as Caroline Bingley, who does not approve of the family but Talulah Riley isn’t given enough to do as the plain sister Mary.

A spirited triumph filled with humour and romance, Pride & Prejudice is a handsomely produced period drama with a wide range of appeal, due to its excellent direction, witty screenplay and fine performances.

The Hunger Games: Catching Fire

Tags

2010's, Action, Amanda Plummer, Donald Sutherland, Elizabeth Banks, Francis Lawrence, Jeffrey Wright, Jena Malone, Jennifer Lawrence, Josh Hutcherson, Lenny Kravitz, Liam Hemsworth, Philip Seymour Hoffman, Sam Claflin, Science Fiction, Stanley Tucci, The Hunger Games: Catching Fire, Woody Harrelson

Film Title

The Hunger Games: Catching Fire

Director

Francis Lawrence

Starring

• Jennifer Lawrence as Katniss Everdeen
• Josh Hutcherson as Peeta Mellark
• Liam Hemsworth as Gale Hawthorne
• Woody Harrelson as Haymitch Abernathy
• Elizabeth Banks as Effie Trinket
• Sam Claflin as Finnick Odair
• Jena Malone as Johanna Mason
• Donald Sutherland as President Snow
• Philip Seymour Hoffman as Plutarch Heavensbee
• Jeffrey Wright as Beetee
• Amanda Plummer as Wiress
• Lenny Kravitz as Cinna
• Stanley Tucci as Caesar Flickerman

The Hunger Games: Catching Fire is the second film of The Hunger Games series. Following on from the groundwork set by the predecessor, it emerges as a smart, darker and more thought-provoking film. Featuring an excellent cast, a relatable heroine in the form of Katniss Everdeen as played by Jennifer Lawrence and some amazing visuals, Catching Fire is an sci-fi/action movie with brains that still delivers the goods.

After surviving the 74th Hunger Games by threatening to kill themselves, Katniss and Peeta return to District 12. They are paraded around as victors, but Katniss is having trouble adjusting to life again. Although seen as a beacon of hope by many, she is plagued by horrific nightmares of what she had to do in order to survive. The corrupt President Snow senses rebellion is brewing as a result of Katniss’ defiance. He blackmails Katniss into saying that the reason she survived was her ‘love’ for Peeta, when in actual fact she did it to enable their safety. He threatens to kill those most dear to Katniss if she doesn’t comply with his actions, including her good friend Gale, who has feelings for her. Although he wants Katniss dead, he employs the help of the enigmatic Plutarch, a man working on the Games. Plutarch suggests using a special version of The Hunger Games in order to relinquish rebellion. In this version of the games past victors can be chosen and sure enough Katniss and Peeta are both selected for the brutal games. As the games begin, Katniss must ally herself with some of the other skilled competitors in order to emerge alive from the carnage that will follow.

Taking over the reins from Gary Ross, Francis Lawrence crafts a darker, smoother movie than the first. Whereas Ross favoured use of kinetic shaky cam, Francis Lawrence utilises more fluid shots to create a sense of journey and the uphill battle to stay alive. The special effects employed in Catching Fire are marvellous in execution, especially the various obstacles that are thrown the way of Katniss. These include tidal waves, birds that mimic the screams of a loved one and some seriously vicious and brutal baboons. The score provided accentuates the struggles, pain and horror that befalls those competing. One flaw could be the length of the film as it does drag in places, but overall the running time is appropriate.

What gives Catching Fire its thought-provoking edge is the cast of it. Jennifer Lawrence once again is phenomenal as the heroine Katniss Everdeen. Lawrence lets us glimpse the emotional scars she suffered that she hides behind her strong, armour like demeanor. As a result, Katniss emerges a multi-dimensional character, alternately strong and capable but also caring and vulnerable. It is Lawrence’s performance that gives the film its heart. Josh Hutcherson rises to the challenge by being given more to do as Peeta than in the last movie. Liam Hemsworth follows suit with a more expanded role. Woody Harrelson and Elizabeth Banks are both on fine form as the returning mentors to Katniss and Peeta. Newcomer Sam Claflin is charming as the capable contestant Finnick and Jena Malone is a stubborn, sullen but moving presence as Johanna. Donald Sutherland is gleefully nasty as the corrupt President Snow, while Philip Seymour Hoffman works well with his enigmatic role . The ever-reliable Jeffrey Wright provides the brains as the techno wizard and Amanda Plummer is delightfully kooky as his wife. Lenny Kravitz is touching as the sympathetic stylist to Katniss and Stanley Tucci is a hoot throughout.

Combining thrilling action, interesting parallels with the subtext of media manipulation and well-drawn characters, Catching Fire proves itself as a successful sequel  and great movie in its own right, spearheaded by the evocative and strong performance of Jennifer Lawrence.

The Hunger Games

Tags

2010's, Action, Donald Sutherland, Elizabeth Banks, Gary Ross, Jennifer Lawrence, Josh Hutcherson, Katniss Everdeen, Lenny Kravitz, Liam Hemsworth, Stanley Tucci, The Hunger Games, Woody Harrelson

Film Title

The Hunger Games

Director

Gary Ross

Cast

• Jennifer Lawrence as Katniss Everdeen
• Josh Hutcherson as Peeta Mellark
• Liam Hemsworth as Gale Hawthorne
• Woody Harrelson as Haymitch Abernathy
• Elizabeth Banks as Effie Trinket
• Lenny Kravitz as Cinna
• Stanley Tucci as Caesar Flickerman
• Donald Sutherland as President Snow

Based on the novel by Suzanne Collins and starring the talented Jennifer Lawrence, The Hunger Games is a brutal, exciting action film with an emotional core. It is an action movie with brains as well as brawn.

In the future, North America is no more and is now known as Panem. It is split into the Capitol and twelve districts, alternating between the poor and the rich. The young and resourceful Katniss Everdeen lives in District 12 with her mother and sister Prim. Every year, as punishment for an uprising years before, a boy and girl, between the ages of 12 and 18 are selected to take part in the eponymous games. The games consist of surviving and fighting literally till the death on live television, until someone emerges as the champion. When her sister is selected, Katniss volunteers to take her place so that her sister can escape the brutality of the games. Also selected is Peeta, a boy who helped Katniss when she was starving years before. What unravels after this is a thrilling, bloody and shocking contest and memorable film.

Jennifer Lawrence is amazing as Katniss, showing her steely strength but also an underlying, human vulnerability. She is a memorable heroine, battling not just with a bow and arrow of which she is accomplished, but also her wits and own initiative. Lawrence fits the part of Katniss like a glove, showing us her capability in the acting world. Woody Harrelson is strangely touching and knowing as her alcoholic mentor. An almost unrecognisable Elizabeth Banks plays the avant-garde Effie, commonly seen in outlandish costumes and speaking in a funny and memorable voice. Music fans should look out for a supporting role by Lenny Kravitz as a sympathetic advisor and stylist to Katniss. In supporting roles, Stanley Tucci and Donald Sutherland are respectably amazing as always.

The use of up close camera shots and shaky footage may put off some viewers, but I personally thought it added to the overall kinetic feeling of the film. The first half builds up to the opening brutal event, by what can only be described as a mixture of reality show references on acid, and not meant in a bad way. The second half of the film becomes more frenetic as the brutality continues involving scavenging for supplies, deadly poisonous creatures called Trackers and Katniss battling her way bravely through it. The sections of the games and each of the tributes battling literally to the death reminded me of  Lord of the Flies, but the futuristic version.

Although only rated 12, director Gary Ross has included many bloody and savage instances of violence so as not to dilute the original source material. To stop it from being gratuitous, the main character of Katniss gains the audience’s sympathy and rooting for her character saves it from being purely a gory bloodbath with no story at all. Many people have said the film would be better if it was rated R. As I haven’t read the book I can’t vouch for that.

If you are looking for an action that delivers on performances and story as well as violence, The Hunger Games is a decent bet for you. The cast is uniformly excellent, with Lawrence anchoring the proceedings with her strong yet touching presence. The only minor quibble I have with the film is the running time, if it was trimmed slightly it would benefit. Regardless of that, the film is a brutal, bloody and entertaining view of a dystopian future and reality shows gone to far.