The Devil Wears Prada

Tags

2000's, Adrian Grenier, Anne Hathaway, Comedy, David Frankel, Drama, Emily Blunt, Meryl Streep, Simon Baker, Stanley Tucci, The Devil Wears Prada

Film Title

The Devil Wears Prada

Director

David Frankel

Starring

• Meryl Streep as Miranda Priestly
• Anne Hathaway as Andy Sachs
• Emily Blunt as Emily Charlton
• Stanley Tucci as Nigel
• Adrian Grenier as Nate
• Simon Baker as Christian Thompson

An amusing comedy drama about a young woman’s journey in the world of fashion under the boss from hell, The Devil Wears Prada gets laughs and some surprising dramatic weight. As formulaic as some of it is, it is still a very funny satire on the fashion industry, benefiting from a talented cast.

Andy Sachs is a fresh-faced college graduate who wants to be a journalist and is just out of university. An opportunity comes knocking in a strange way, after not having much luck in finding work. She is in turn recommended a job working at  Runway, a New York fashion magazine headed by the notorious and commanding editor in chief Miranda Priestly. She is to be the junior assistant to her, which is a job so many people would give their lives for. Although she has no interest in fashion or the whole scene that she views as shallow, she gets the job unexpectedly. Yet Andy is totally unprepared for what she’ll have to deal with while being assistant to the very high-powered Miranda. What she finds is that Miranda is no walk in the park, but an extremely demanding and at times vicious boss. Having to complete the various, seemingly impossible tasks that Miranda sets her proves to be a severe challenge to someone as wide-eyed as Andy. Andy doesn’t fit in with anyone particularly, not least the snippy senior assistant Emily. Yet with the help of art director Nigel( which includes a glamorous makeover) and adopting of a different attitude towards the industry, Andy starts to succeed and surprisingly get ahead at work. She believes that lasting a year working under the dominating Miranda will be good for references and open doors to her dream. Yet as Andy gets further sucked into the world that she initially disdained, she is forced to confront the fact that her integrity is slipping and that she is rapidly changing into something she never thought she would. Her love life with chef boyfriend Nate begins to sour and she begins to alienate herself from her closest friends, as a result of being at Miranda’s beck and call. But is survival working for Miranda worth sacrificing all for?

David Frankel has a stylish approach to the material, imbued with the right amount of humour and character. I wouldn’t say his direction in The Devil Wears Prada is anything awe-inspiring, but it gets the job done efficiently and with care. Interest does lag within a few scenes that go on for too long( and the main men in Andy’s life don’t particularly give much to the plot of the film). The catty one liners and frequently hilarious events make up for that however, getting your interest as we glimpse a behind the scenes look at a glamorous yet dog eat dog world. Seriously some of the dialogue is priceless in how it skewers the fashion industry and culture, while allowing the relatable but difficult journey for Andy that threatens to overtake her, to feature added depth to the largely funny flick. The look at how easily one can lose themselves in something and feel they have no choice but to oblige is rendered well; owing to the way the script gives measured nuance and surprising insight. Sometimes the film only scratches the surface of what wants to get to in the odd slip, but the satirical edge and stylish glitz are more than sufficient at keeping things in a way that feels fresh for us to enjoy. And like any movie dealing with clothing and image, The Devil Wears Prada is a super stylish and glossy film. From montages to bright colours, it has magazine ready finish from the get go. And while some will say it is just a chick flick, The Devil Wears Prada can equally be enjoyed by men. It’s an all round fun time to be had here in a high glamour world that’s as funny as it is stinging. I mean the while boss from hell plot is a definitely amusing one that I’m sure many people can recall similar situations in their own lives, with less outrageousness I’m sure but you know what I mean. A fashionable soundtrack briskly keeps the film on its course with some great songs to groove to.

Meryl Streep completely steals the show as the demanding and commanding Miranda. Possessing a glacial demeanor and a certain regal poise, she creates a character who may be a tyrannical, but is still quite unexpectedly human despite her frostiness. Miranda both inspires fear and awe within the film and the audience, with Meryl Streep steering her away from just being a wicked caricature. What we get instead of a one-dimensional part is one that is frequently ruthless yet not above revealing a hidden vulnerability, in a nuanced way that Streep effortlessly portrays. Miranda doesn’t need to raise her voice to make a point; a simple purse of the lips, look up and down or a cutting, deadpan remark is enough to reduce anyone to a pile of quivering nerves. A scary, fascinating, darkly funny and fabulous character is brought to life with measured shading and conviction by the always excellent Meryl Streep. Anne Hathaway delightfully portrays the inexperience and uncertainty of Andy, tempered with an intelligence and feeling of doubt over what she can achieve. Hathaway has an inborn sensitivity and vulnerability that I’ve noticed in many of her performances, that is used excellently to make Andy a conflicted yet relatable heroine the audience wants to help. I mean how can you not have sympathy for this girl, going through the motions and figuring out just what she wants to do? Her sheer awkwardness and coltish appearance is rendered nicely by Hathaway, who refuses to make the character a brainless girl.  Emily Blunt gets a whole of laughs in her role of minion to Miranda, whose neurotic and desperation to please provide hysterical desperation and scintillating, bitchy sassiness. Splendid and side-splitting support comes from Stanley Tucci as the confidante, who instructs Andy in how best to approach her job and how Miranda is not above rewarding loyalty, in her own roundabout way of course. Tucci though is the only guy in the film who is actually given something good to do. Adrian Grenier and Simon Baker are left stumbling and with little in the way of material to work with.

So for all the contrivances in the film and how it can seem predictable, The Devil Wears Prada boasts a high entertaining factor, finding humour and pathos from a cast headed by an imperious Meryl Streep and how the whole fashion world is a place of survival. A biting yet somehow sweet engaging and humorous film is what The Devil Wears Prada emerges is, which brings out big enjoyable laughs for the viewer.

A Midsummer Night’s Dream

Tags

1990's, A Midsummer Night's Dream, Anna Friel, Bernard Hill, Calista Flockhart, Christian Bale, Comedy, David Strathairn, Dominic West, Fantasy, Kevin Kline, Michael Hoffman, Michelle Pfeiffer, Romance, Rupert Everett, Sam Rockwell, Sophie Marceau, Stanley Tucci, William Shakespeare

Film Title

A Midsummer Night’s Dream

Director

Michael Hoffman

Starring

• Kevin Kline as Nick Bottom
• Michelle Pfeiffer as Titania
• Rupert Everett as Oberon
• Calista Flockhart as Helena
• Anna Friel as Hermia
• Dominic West as Lysander
• Christian Bale as Demetrius
• Stanley Tucci as Puck
• David Strathairn as Theseus
• Sophie Marceau as Hippolyta
• Bernard Hill as Egeus
• Sam Rockwell as Francis Flute

A well cast and amusing adaptation of the classic Shakespeare comedy, A Midsummer Night’s Dream gets points for direction, writing and acting. Yes it isn’t the best Shakespeare adaptation there is and there are a few flaws, but by and large it’s a success of love’s complications, romantic entanglements and mischievous magic.

The setting is Italy near the beginning of the twentieth century( in the play the setting is Greece). The Duke Theseus is preparing for his upcoming marriage to Hippolyta. He is a respected man and is asked near the beginning to help Egeus with his problem. The problem in question is his daughter Hermia, who he has betrothed to Demetrius. Hermia is actually enamored with Lysander, but their love is forbidden. With Hermia being forced to marry Demetrius, the young lady and her lover Lysander secretly plan to elope. Meanwhile, Hermia’s friend Helena pines for the moody Demetrius, but to no avail as he loves Hermia. The downtrodden Helena seizes the opportunity to make an impression on Demetrius by informing him of Hermia and Lysander’s plans to run away one night through the nearby forest. Demetrius follows the two star-crossed lovers deep into the forest, with the desperate Helena behind him. Yet what none of the four realise is that the forest is inhabited by fairies, and most importantly the fairy King Oberon and his wife Queen Titania. The couple is going through trouble and their differences begin to hold sway on the fates of the four young lovers in the forest. The scheming Oberon, to get back at Titania, devises an amusing plan and enlists the help of loyal but mischief-loving sprite Puck to help. By obtaining a magical flower and applying the nectar of it to the eyelids of Titania, when she awakens she will fall in love with the first person she sees. Into this game unintentionally comes the talkative actor Nick Bottom and his company, who are rehearsing a play to perform at the upcoming wedding. Using the flower on Titania and then turning the unsuspecting Bottom into a donkey, a funny beginning of events flourishes as Titania becomes smitten with the transformed Bottom, much to the actor’s surprise and delight. Oberon also asks Puck to help out Helena so that Demetrius falls in love with her. But naughty Puck accidentally mistakes Lysander for Demetrius and soon enough chaos ensues as the romances interlink and much squabbling occurs thanks to Puck’s devilish intervention.

Michael Hoffman successfully translates the enjoyable and funny qualities of the play to the screen with both imagination and inventiveness. He updates the setting to pre-twentieth century and it actually works very well, though I’m sure purists may quibble and take issue with it. The update allows for some beautiful scenery and gorgeous cinematography that is marvellous. A few parts of his direction are flawed, such as letting some scenes in the middle to lumber on longer than necessary, yet his overall control and skill is evidence throughout as he retains the riotous humour of the piece. Hoffman also is adept at being scriptwriter, bringing the fantasy and romantic switch ups into full fruition with humour and style and sticking to Shakespeare’s poetic verve. A vibe of sexiness is ever-present through this film; found in the double entendres and the presence of Cupid gone awry, causing humorous and unexpected matches. A modernity also pervades many parts of this adaptation, with the literal mud-slinging style catfight between Hermia and Helena a highlight. Set design, particularly in the enchanted forest and Titania’s otherworldly domain, has a definite theatrical quality that feels right for something like A Midsummer Night’s Dream, yet is embellished by the beauty of cinematic eyes and the gorgeousness that celluloid can provide. A light and twinkling score, also infused with some grand operatic arias, sets the pace of the film and what will follow with playful glee.

A handsomely star-studded cast fleshes out the roles of this romantic comic fantasy and are skilled with speaking Shakespeare’s words. The biggest standout is Kevin Kline, who is in his element as the buffoonish but strangely touching Bottom. By balancing the two aspects of comedy and pathos, Kline rules the roost and gives his all to the comic yet poignant character whose garrulous ways and thespian dreams are turned on their head by the adventure in the forest. An effervescent Michelle Pfeiffer is ideally cast as Titania; radiating imperious mannerisms and sweet love especially when funnily bewitched by a transformed Bottom. Not only does Pfeiffer look the part, she plays it extremely well and with ethereal poise. Rupert Everett, with his smooth voice and rakish demeanor, makes for an appropriately louche Oberon, whose schemes are both amusingly wicked and benevolent yet flawed. Calista Flockhart is an inspired choice for the part of Helena, emerging both as earnestly passionate but unlucky and wittily sharp. Flockhart’s performance which takes on a tragicomic nature is up there with Kline as one of the standouts within A Midsummer Night’s Dream. An appealing performance of spirit and vivacity is given by the gorgeous Anna Friel, who gets some very good lines as the star-crossed Hermia. Both Dominic West and Christian Bale have fun as Lysander and Demetrius, who more often than not are sparring partners battling for the affections of Helena and Hermia thanks to the magical mix up. Lending impish relish, sprightly naughtiness and hilarious moments is the ever reliable Stanley Tucci portraying Puck, whose attempts at bringing lovers together go rather awry. Now in supporting roles we have David Strathairn, Sophie Marceau, Bernard Hill and Sam Rockwell, who are all actors I very much admire. The trouble is they aren’t utilized  well enough here and the film could have benefited from showing them a bit more.

Purists may balk at the change of setting and it must be said that a few parts of the film could have been trimmed, yet A Midsummer Night’s Dream is a warmly funny and sexy interpretation of the play from the Bard.

Spotlight

Tags

2010's, Based on a true story, Brian d'Arcy James, Drama, John Slattery, Liev Schreiber, Mark Ruffalo, Michael Keaton, Rachel McAdams, Spotlight, Stanley Tucci, Tom McCarthy

Film Title

Spotlight

Director

Tom McCarthy

Starring

• Michael Keaton as Walter “Robby” Robinson
• Mark Ruffalo as Michael Rezendes
• Rachel McAdams as Sacha Pfeiffer
• Liev Schreiber as Marty Baron
• John Slattery as Ben Bradlee Jr.
• Brian d’Arcy James as Matt Carroll
• Stanley Tucci as Mitchell Garabedian

Gripping, intelligent and thought-provoking, Spotlight is based on the Boston Globe’s team of investigative journalists(known as Spotlight) in 2001 and their exposing through a year-long investigation of widespread child molestation and cover ups within the Catholic Church. Unshowy yet hard-hitting due to its attention to detail and refusal to exploit the source material, Spotlight is a film that really provokes your thoughts and shows the work of those bringing these horrifying events into the open.

The year is 2001 and the Boston Globe has a new editor in the form of Marty Baron. Something of an outsider in the predominately Catholic Boston area, the Jewish Marty is softly spoken yet very decisive. It is upon arriving that he enlists the expertise of the Spotlight team, who specialises in cases that require long and in-depth investigations. The team comprises of main boss Walter “Robby” Robinson, Michael Rezendes, Sacha Pfeiffer, Matt Carroll and overseeing managing editor Ben Bradlee Jr. After reading an article about lawyer Mitchell Garabedian who is representing a client in a case that says that the highest reaches of the Church in Boston knew of child abuse and did nothing, instead moving the priest to another parish, Marty has the team take a look at the potential story. The team is initially reluctant to investigate due to the readership being mainly Catholic, but go about the investigation nonetheless. The team in the beginning thinks that the case is just about one priest, but through their diligence and digging, they begin to uncover darker territory. Continuing to dig, through help from Garabedian, the attempts to unseal classified documents and testimonies of those who were the victims of molestation, they discover that over 80 priests molested children throughout the decades and the Church covered up their crimes by turning the other way. Shocked by their findings, the team becomes more determined to break the story and continue their search for the truth. Fighting political opposition and the Church trying it’s best to stop any story getting out to the public, it’s up to Robby and his team to break the silence on decades worth of systemic abuse and cover ups and bring the story into the light so that nothing like it ever happens again.

Now the first thing to commend Spotlight on is its treatment of the difficult subject matter. Rather than just over-embellish the story and become histrionic, it presents the events uncovered by the eponymous team with a documentary like precision. Tom McCarthy succeeds in making the film as authentic as possible and not making the horrifying findings that the team unearthed in any way sensationalized. There is a degree of respect that he keeps with Spotlight that does the subject matter justice and reveals the whole extent of the cover ups and abuse that happened throughout the decades. McCarthy wisely doesn’t use any stylistic flourishes as this is a story were the facts take precedence over that and to have overdone visuals would be wholly out-of-place and just wrong. Instead, Spotlight presents things in a gripping and powerful way that illuminates the fight for justice and the desire to bring forth the truth so it is never forgotten. The main characters in the film aren’t presented as fame-hungry opportunists trying to climb the ladder, but genuine, soulful people who cared about the story, telling it right and bringing it out in the open to expose the horror within the trusted organisation of the Church. It’s quite refreshing, due to the setting of the movie, to not see a lot of technology. Too often in movies now, there is a huge overuse of technology that often mars movies. There is the odd computer in Spotlight(yet it is not on par with today’s ones and neither should it be), but the focus is all on the note-taking, digging and legwork that went into the investigation and the impact it has it presenting the facts is deeply felt. A score that quietly builds and doesn’t overly intrude is well used throughout Spotlight as the investigation gains momentum and it is reflected in the gathering pace of the music.

The cast of Spotlight is an excellently assembled ensemble who burrow into their parts and create performances of naturalism and authenticity. Michael Keaton excels in his portrayal of the head of Spotlight Robby. He brings out a steel and drive to this man with little subtle things he does. Yet we can also sense an inner struggle that you can’t quite put your finger on that is effectively shown by Keaton. Mark Ruffalo brought a whole lot of emotion to the role of Michael with his determination growing as the horror of events opens up and his heart on his sleeve personality. His cry about how shocked he is about what the scale of abuse and the cover ups is a genuinely moving bit of acting that really makes an impact. I can see why he is up for a Best Supporting Actor award because his performance is really phenomenal. The same goes for Rachel McAdams, who is also up for an Oscar for her work as the compassionate Sacha. Her performance is one of nuance and sympathy as she talks to the victims and with her humility and warmth, helps them open up about their traumatic experiences. Liev Schreiber is authoritative and deeply intelligent as the new editor Marty, who is the person who puts the Spotlight team onto the story as he believes it needs to be told. John Slattery as the managing editor and Brian d’Arcy James as one of the group are equally as impressive as the rest of the cast. Stanley Tucci is marvellous as the lawyer who is representing many of the abuse victims and who prefers to work alone. Tucci just exudes the dogged desire to do right by these people and eventually he works with the eponymous team to help with the story.

Well-paced, superbly acted and mightily powerful in the true story it tells, Spotlight is one movie that triumphs, not due to sensationalism or distortion, but by the seriousness, authenticity and commitment with which it is told.

 

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.

Easy A

Tags

2010's, Aly Michalka, Amanda Bynes, Comedy, Dan Byrd, Easy A, Emma Stone, Lisa Kudrow, Malcolm McDowell, Patricia Clarkson, Penn Badgley, Stanley Tucci, Thomas Haden Church, Will Gluck

Film Title

Easy A

Director

Will Gluck

Starring

• Emma Stone as Olive Penderghast
• Penn Badgley as Woodchuck Todd
• Amanda Bynes as Marianne Bryant
• Thomas Haden Church as Mr. Griffith
• Lisa Kudrow as Mrs. Griffith
• Aly Michalka as Rhiannon
• Dan Byrd as Brandon
• Patricia Clarkson as Rosemary Penderghast
• Stanley Tucci as Dill Penderghast
• Malcolm McDowell as Principal Gibbons

Funny, insightful and above all relatable, Easy A examines in comedic fashion that effects that a few little white lies can have on you and your reputation in the puzzling jungle known as high school. Headed by the excellent Emma Stone, Easy A is well above the average teen comedy and is one of the best I’ve seen in my recent memory, mainly because of its razor-sharp script and funny reworking of The Scarlet Letter.

Olive Penderghast is an average high school girl, who while not the most popular girl in school is not the most unpopular either. In order to get out of a camping trip with her best friend Rhiannon, Olive lies and says she lost her virginity having a passionate weekend with a boy. Unfortunately, Marianne, the zealously religious girl, begins to spread the rumour around the school and soon Olive has a reputation as the school tart. Now everyone is gossiping about her alleged personal life whereas before no one really took notice of her, she confides in another friend Brandon, who has recently come out as gay. Suffering bullying at the hands of the other students, he begs Olive to pretend she slept with him. Out of kindness, Olive agrees and when this rumour gets around she embraces the title as a harlot. Funnily enough, her reputation begins to mirror The Scarlet Letter, a book she has recently been studying in English class. But after a while, she begins to see that the reputation has gotten out of hand and is impacting on her relationships with those around her. She decides that maybe it is time she revealed the truth. But will anyone believe her?

The first thing to note in Will Gluck’s movie is the remarkable script it has. Delving into the thorny thicket of teenage gossip and anxiety, it crafts a relatable yet still funny look at the machinations of social standing that occur in high school. Laughs and equal amounts of drama occur, with the cast ably handling both with aplomb. References to John Hughes movies and classic 80’s films abound and will certainly raise a smile from many, including one scene that re-enacts both Say Nothing and The Breakfast Club.The eclectic soundtrack assembled accompanies much of the film, and provides many laughs along the way. A highlight for me has to be Olive singing “Pocketful of Sunshine” for almost the whole weekend, I really couldn’t stop laughing after viewing this scene.

Emma Stone is smart, sexy and touching as Olive, who finds herself branded the Hester Prynne of her school after that little white lie became public knowledge. She excellently captures the caring side of her and the willingness to help others, whilst also showing a charismatic sense of humour when people turn on her. Olive is a character who many can identify with and much of this adds to the success of Easy A. Penn Badgley of Gossip Girl film makes his role as the boy who sees through the lies and manages to woo Olive, more interesting than it could have been. As the zealous Marianne, Amanda Bynes is particularly good, her scenes with Stone providing many comedic highlights. One being Marianne telling Olive that a higher power won’t approve of her depraved behaviour. Olive’s witty reply “Tom Cruise” will have you laughing for ages. Thomas Haden Church and Lisa Kudrow in supporting roles perform very well as married teachers. Dan Byrd as Brandon earns sympathy as the much bullied Brandon who Olive helps out. Aly Michalka is a cheeky presence as the bossy Rhiannon. And rounding out the cast are Patricia Clarkson and Stanley Tucci as Olive’s super groovy parents, who steal every scene in which they appear. Look out for Malcolm McDowell in a humorous cameo as the principal.

What could have been another clichéd teen movie becomes something much greater in the form of Easy A. If it’s a teen movie that probes into many issues facing youths on a daily basis and a fine cast fleshing out the eccentric roles of this modern take on The Scarlet Letter, Easy A may be the film you’ve been searching for.

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.