The Hunger Games: Catching Fire

Francis Lawrence, 2013

IMDB

4/5

I have to start this review with a bit of an apology. After seeing the first Hunger Games film, a lot of memories of the 2000 Japanese bloodbath thriller Battle Royale surfaced. It felt so similar. I went on to do a little research, discovering that The Hunger Games books actually stirred a bit of controversy because of the similarities to the Royale films. Some argued that because of the Royale films being released before the books, that author Suzanne Collins must have lifted the premise. I was one of the people who felt that Collins had ripped off Kinji Fukasaku’s idea. The whole kids getting put on island forced to fight it out to the death couldn’t have been conceived by both purely on coincidence. But the second installment of the Hunger Games comes into it’s own. It builds off the first film, and takes on a different form that sets itself apart. The detailed dystopian landscape, as unforgiving and tragic as it is, is alluring. The film does what so many of the great dystopian films (Children of Men, The Road, The Matrix) do so well. It creates a dreadful end-of-days scenario where the state of humankind is haunting. Through fascist political overreach and highly evolved technology, we see what humans are capable of doing to each other in such horrid circumstances. You continue to stay invested in Jennifer Lawrence’s Katniss Everdeen character as she tries to find independence / solitude from the Snow regime. But because her character has become an iconic figure, it becomes evident that she is forever changed and unable to escape the public spotlight. A symbol of hope for the poverty-stricken people but a symbol of rebellion to the leadership. Francis Lawrence does a good job of making you completely despise the Snow regime and really get behind the plight of Katniss. From the detailed visual effects to the sound design, Catching Fire feels very much like a Battle Royale meets Snowpiercer meets novel Ready Player One by Ernest Cline (soon to be adapted to film by Steven Spielberg). I am glad I gave the second one a go. I plan on continuing on. Catching Fire certainly leaves you hanging, eager to see what happens next.

American Hustle

David O. Russell, 2013

Netflix

3/5

Russell's latest work is actually a difficult film to explain to someone when they ask you to describe the plot. "Okay.. so there's this con-man and his lover who cheat desperate people out of black market loans who then get caught and have to assist the FBI in taking down some politicians while also at the same time try to handcuff the investigation to the mob by promising Middle Eastern financial backing in rebuilding the Atlantic City casinos. You got all of that right?"

Scorcese gave his keys to Russell and told him to bring it back in one piece. He did, and he took it for a nice long spin in this con-artist crime drama/gangster story/quirky comedy/period piece. The nod to Scorcese is blatant: the narrative, the tracking shots, MOS sequences set to music, the gangster motif, the Big Apple backdrop. The casting office even called for a couple of Boardwalk Empire's guys. But it's also very David O. Russell. At times the film solicits laughter reminiscent of his comedic style in Flirting with Disaster. Russell puts on his Sounds of the 70's compilation and plays with one of his signature elements of taking that classic song you've heard a million times and putting a visual component in there that makes it seem like you're hearing it differently. 

Christian Bale morphs into his role as chubby con-artist (hair piece included) Irving Rosenfeld and continues to prove that he's one of the best actors working today. If his character didn't possess the nuance that Bale was able to bring to the role, it just wouldn't work. Jennifer Lawrence takes her already great performance in Silver Linings Playbook and goes off her meds, taking it to another level as a vindictive hot mess. Her distorted reality from being confined at home. The manipulative tendencies. Seething jealousy. Bradley Cooper's character is similar to his character in The Place Beyond the Pines in the sense that he's a government worker trying to make his mark. He's always been overlooked. He can almost smell success, it's so close. He wants it so badly. Amy Adams plays the classy Sydney Prosser, who wants nice things and is willing to trade her morals for companionship. Renner's performance as Camden Mayor Carmine Polito is more subtle but it has a certain plangency to it. You know whats going to happen to him. And it should bother you even after the film is over. Some surprising faces even turn up - one of which is un-credited.

Enough can't be said about the performances in the film. The cast deserves much praise, as well as Russell for being able to collaborate with such a pool of talent. It's especially impressive to discover that 20% of the film was improvised which again speaks well for the Russell's confidence. But outside of the great performances, the film feels too elaborate. While Russell's The Fighter and The Silver Linings Playbook had a more youthful feel -  American Hustle seems to be a film made for the older crowd. Probably the crowd who grew up the 1970's. It's surely a subjective movie (aren't they all), likely to be lauded by many and not so much by others. But either way you're bound to feel satisfaction on some level because the acting gives you your money's worth an hour into the picture. 

Silver Linings Playbook

David O. Russell, 2012

4/5

David O. Russell has really refined his craft, especially from a pacing standpoint which in this film was so evident. Frantic and gradually calming, there is a great parallel to the progression of Bradley Cooper's character Pat's medication taking hold. There is a scene where Pat is having a manic episode. In the background is the very fitting "What Is and What Should Never Be" by Led Zeppelin and the scene is shot in a claustrophobic attic with a lot of close angle & shaky-cam that really added to the tension. By the final act I was literally on the edge of my seat - laughing to myself that I was actually looking forward to a dance scene. It was refreshing to see Chris Tucker again, and his character provided some levity in the already mildly comedic moments. Silver Linings cuts raw, and feels real.