Tag: the hunger games

The Hunger Games: Mockingjay – Part 2


The Hunger Games: Mockingjay – Part 2 (2015)
★★★★ / ★★★★

If I could pick only one word to describe this film (and the series as a whole), it would have to be “brave.” It requires courage to tell this story in such a way that it entertains and makes one think a little deeper about its themes, characters, and ironies. It could easily have been just another movie designed to steal money from casual viewers and diehard fans. Thus, despite the emotional and grim events that unfold in “The Hunger Games: Mockingjay – Part 2,” directed by Francis Lawrence, it is ultimately an example of optimistic filmmaking. It would not be an exaggeration if one were to claim that “The Hunger Games” series is a benchmark when it comes to dystopian future young adult fiction that has been translated on screen. Others would be wise to follow.

Right at the heels of brainwashed Peeta (Josh Hutcherson) attempting to kill Katniss (Jennifer Lawrence) with his bare hands, the human suffering caused by the war between the rebels, led by President Coin (Julianne Moore), and the Capitol, led by President Snow (Donald Sutherland), is becoming all the more intense and apparent. Frustrated with constantly being used as a pawn behind the political machinations, Katniss decides to go on a one-woman mission to assassinate Snow herself. However, the Capitol is already littered with brutal yet ingenious traps designed by Gamemakers, people who designed and controlled the country’s annual tournament to the death.

Although action-packed once the gears start rolling, the film remains true to its human relationships. Painted beautifully is the complicated dynamics among Katniss, Gale (Liam Hemsworth), and Peeta. But unlike other dystopian films targeted toward young adults, the story does not revolve around choosing a boy. It is impressive that it has never been about that. Instead, topics such as friendship and betrayal are explored. It touches upon forgiveness, too, and what that word entails whether it be through actions or words. There is a small but excellent exchange between Gale and Peeta when Katniss is supposedly asleep. There is humor in that conversation. And mutual respect.

Look at how the camera is so close to the performer’s faces when they reveal their characters’ thoughts, hopes, and motivations. Lawrence, Hemsworth, and Hutcherson are not only there to look cute or pretty. There are real emotions behind their eyes and so it becomes easier for us to understand and perhaps identify with their characters’ respective inner turmoil. Yes, even when there is war happening and although they are on the same side, we feel that their priorities when it comes to specific things they value vary. The screenplay Peter Craig and Danny Strong treats these characters as if they were in a dramatic picture, not just an action movie where buildings blow up and lives are taken for the sake of delivering a body count. Many of the deaths are felt and given meaning.

There are two standout action pieces. The first involves what appears to be black tar—an ocean of it—making its way through flights of stairs as our protagonists run for their lives. The second is a terrifying trip underground where white-skinned, eyeless monsters wait for them. During these two scenes, I caught my face contorting in horror and my hands felt cold.

When I watch a movie, especially horror and thrillers, it is a habit that I try to figure out possibilities of how characters could extricate themselves from a challenge. Here, I was floored; I had no idea how they could possibly make it out alive. I took comfort in knowing that it is only natural that at least some of them would live to face President Snow.

“The Hunger Games: Mockingjay – Part 2” commands a feeling of coldness about it precisely because of these reasons: it understands that war is rarely black and white, that the costs of war are significant and do not just end when victory is announced, and that war hardens people. The sadness of Katniss and her story touched me in such a way that many movies of this type—even those outside the sci-fi action genre—does not. This is due to the story and its execution being tethered with something real.

The Hunger Games: Catching Fire


The Hunger Games: Catching Fire (2013)
★★★★ / ★★★★

Though she has triumphed over the 74th Hunger Games, an annual ritual in which a male and a female are randomly chosen to represent their district of residence and fight against other Tributes—as well as one another—to the death, Katniss Everdeen (Jennifer Lawrence) finds herself in a post-traumatic dirge, seeing faces and hearing voices of those who did not survive. Meanwhile, President Snow (Donald Sutherland) has begun to worry about a possible uprising because Katniss has inadvertently become a symbol of hope—toxic to the totalitarian regime.

The point of the yearly custom is to instill fear among the twelve districts but since Katniss’ victory, more are willing to step forward and express their disdain for the status quo. Snow wishes to eliminate Katniss as soon as possible, but a new gamemaker (Philip Seymour Hoffman) explains that if she is killed, people will surely overthrow the government. Instead, he proposes that Katniss, along with her friend and co-winner, Peeta (Josh Hutcherson), be pitted against past—and deadly—winners for the 75th Hunger Games.

“The Hunger Games: Catching Fire” is a strong sequel because the main goal of Simon Beaufoy and Michael Arndt’s screenplay is to expand its dystopian universe while the thrilling action sequences are allowed to fall into place. Upon closer inspection, this approach shares the same genome as superior second chapters, from Christopher Nolan’s “The Dark Knight” to Bryan Singer’s “X2.” Though we are familiar with the central characters, there is a freshness in what we come to experience because there is a consistent and defined point of view. Through Katniss’ anger, guilt, and fear, we learn to appreciate not only who she is as a protagonist but also the type of world she lives in. The filmmakers make an active decision not to simply rely on the good-guy-versus-bad-guy template and assume that just because someone “good” is up against a “big bad” does not mean he or she is worthy of our time. They work for it. Those in charge of the material are willing to go into specifics and so the final product is transportive.

Lawrence has so much range and she is the reason why Katniss is worth knowing—lightyears more interesting than the likes of Bella Swan or Melanie Stryder. For instance, part of the essence of the picture is the characters’ relationship with the media. Katniss and Peeta must pretend to be a couple when the districts and the all-seeing Capitol are watching. Katniss is instructed to smile, be happy, and act in love. Lawrence makes interesting choices on how to present Katniss during interviews. While we see the character following instructions she has been given, there are split-second moments—subtle body movements—when Lawrence allows Katniss to appear uncomfortable and communicate how much she hates participating in the charade. In other words, the actor is completely pulling the strings while her character attempts to put on a show. There is a difference and it is a challenge to accomplish with grace.

It is most interesting that the picture spends well over an hour to expand the circumstances and build what is at stake. When we get to the tournament—which, admittedly, I looked most forward to—it is almost less engaging compared to the machinations and politics in Panem. I found this appropriate. Because the first half gives us a chance to appreciate the film’s universe, the game itself has gone stale, almost shallow. What I wanted to see more is the growing rebellion. President Snow expresses great concern—building up to silent panic—about the government being overthrown but we are not yet provided distinct factions to allow the threat to be personified. The next chapter should prove most fruitful.

I do not mean to suggest that the challenges that the Tributes face in the strange tropical island are not exciting. On the contrary, it offers some moments of real suspense. For instance, it features the most menacing white cloud of terror since Frank Darabont’s “The Mist.” I also enjoyed being suspicious of Katniss and Peeta’s competitors. I never trusted any of them (Jeffrey Wright, Amanda Plummer, Sam Claflin, Lynn Cohen, Alan Ritchson, Jena Malone)—even if a few have proven several times that they are allies. I caught myself looking for the smallest hints—to anticipate the acts of betrayal. A good movie dares to keep you on your toes. I knew then that I was engaged.

Based on Suzanne Collins’ novel, “Catching Fire,” directed by Francis Lawrence, is great entertainment because it cares about details not only when it comes to what is seen on screen but also what is felt by the characters and how we feel toward them. Notice the significant contrast between Katniss’ drab grayish-blue world—one that she covets nonetheless because of her family and community—and the pavonine, lush celebrations in the Capitol—a world that does not earn an iota of her respect due to what it represents.

The Hunger Games


The Hunger Games (2012)
★★★★ / ★★★★

When Primrose Everdeen (Willow Shields) was declared by fashionably ostentatious Effie Trinket (Elizabeth Banks) as one of District 12’s two contestants to participate in a televised tournament to the death, Katniss (Jennifer Lawrence), Primrose’s older sister, bravely stepped forward and volunteered to be in her place. The next name randomly chosen from a fishbowl was Peeta Mellark (Josh Hutcherson) with whom Katniss shared a complicated history. The brutal tournament, officially coined as The Hunger Games, served as a yearly reminder of the repercussions of the twelve Districts’ failed uprising against the Capitol. Based on Suzanne Collins’ novel, although one could argue that the most jaw-dropping scenes in the film consisted of teenagers (Alexander Ludwig, Amandla Stenberg, Dayo Okeniyi, Leven Rambin, Jack Quaid, Isabelle Fuhrman) taking various weapons and using them to murder for their own survival, I was most fascinated with the rituals that the Tributes had to go through before they entered the domed battlefield. During the silences between dialogues, a great sadness percolated in my gut because it was similar to watching prisoners taking calculated steps before capital punishment was imposed upon them. Maybe it wasn’t a coincidence that a metropolis called The Capitol was the heart of the post-apocalyptic North America. The most obvious sign that supports this hypothesis was the amount and quality of food Katniss and Peeta were offered just because they were now considered special. Having grown up in District 12, the poorest among the Districts and most of its residents being coalminers, the actors did a wonderful job in masking their characters’ disgust of the system. If I were in their shoes, I’m not so sure if I would be able to eat. I’d be too aware that each chew was a countdown to my very public demise. The chosen ones also had to lobby for support via a parade, a graded demonstration of their skills, and a televised interview. If the audiences liked a contestant, they could send food, medicine, and other supplies when their favorite was in danger. Although Peeta had no trouble appealing to the masses, Katniss found it difficult to be ecstatic in being a part of something that she didn’t believe in. Cinna (Lenny Kravitz) and Haymitch (Woody Harrelson), a clothing designer and the winner of the fiftieth Hunger Games, respectively, provided much needed moral support. They were veterans to the game and Katniss was smart enough to listen to and follow what they had to say. As Tributes dwindled in number, the picture touched upon Peeta and Katniss’ potential romantic feelings toward each other yet it didn’t feel hackneyed. Considering their circumstances and what they had to endure to remain alive, it was logical that they yearned for something that reminded them of home. We were then forced to ask ourselves whether what they felt for each other was simply a matter of an illusory convenience or, in a fact, a truth in which they were just too young or too inexperienced to acknowledge. Fast-paced yet insightful, violent but never exploitative, “The Hunger Games,” directed by Gary Ross, kept my stomach grumbling for another serving of delectable bloody treats. Although we rooted for Katniss to survive every time she or a friend was attacked, almost immediately after a life was taken, a sadness washed over the reptilian part of our brains and we were reminded that they were all disposable pawns.

Battle Royale


Battle Royale (2000)
★★★ / ★★★★

Japan’s economy had collapsed which thrusted everyone’s lives into uncertainty. Since unemployment rate was at its worst, no one was happy. Some adults even killed themselves and left their children to fend for themselves. Students ceased to attend school which contributed to more violence in the streets. As a solution, the government introduced the Millennium Education Reform Act, also known as Battle Royale (BR) Act, where a high school class was to be randomly selected, kidnapped, and taken to a remote island. Their assignment was kill each other with various weapons. As a reward, the last person standing would be allowed to go home. The high concept of “Batoru rowaiaru,” based on a novel by Koushun Takami, worked best when its biting satire was front and center. The strongest scenes were found in the beginning as the students were forced by their former seventh grade teacher, Kitano (Takeshi Kitano), to watch an instructional video on how to survive in the island. The enthusiasm of the girl on the screen was similar to those late-night infomercials aimed to brainwash that what was being advertised had to be bought. But instead of an object being seen as a valuable commodity that had to be owned, the video convinced the students that the lives around them were commodities that just had to be taken. I wished that the screenplay by Kenta Fukasaku maintained that darkness instead of focusing on the romantic feelings between Shuya (Tatsuya Fujiwara) and Noriko (Aki Maeda). While their superficial interactions provided some heart to the story, they weren’t interesting enough compared to Mitsuko (Kô Shibasaki), a surprisingly ruthless girl who actually thrived on hunting for blood, Chigusa (Chiaki Kuriyama), the long-distance runner who stuck to her rituals despite the unfolding chaos, and Sugimura (Sôsuke Takaoka), desperate to find a specific girl to confess to her his true feelings before it was too late. As Shuya and Noriko unnecessarily promised each other multiple times that they were going to protect each other and find a way out, I found myself hoping that someone would sneak up behind them and put them out of their–and our–misery. Over time, though still watchable because the violence remained shocking and amusing, the film became more predictable. Since most of the scenes were tilted toward one or two groups of survivors, allowing us to warm up to them if they were “good” or getting us riled up if they were “bad,” we knew that they eventually had to face one another. The material failed to offer something special, perhaps a deep exploration of the hungry and vigilant animal in all of us when our lives were at a precipice, in order to overcome the plot’s necessary contrivances. “Battle Royale,” directed by Kinji Fukasaku, was at its best when it forced our eyes not to blink as the teens sliced, shot at, and pounded each other’s flesh like cavemen attempting to put down a lesser animal. At its worst, however, deep insight was set aside for lines like, “I’ve been in love with you for so long.” I sensed William Golding rolling in his grave.