Review: The Hunger Games: Mockingjay - Part I

by Trevor Kirkendall

★★★ 

For a big budget and over-produced film with “Hollywood” written all over it, “The Hunger Games: Mockingjay – Part I” is a well put together film, rarely lacking in dull moments. I say “rarely” because there are a few yawn-inducing moments here or there that probably could have been easily left out. But overall, there’s a bit more genuine emotion coming through here than you normally would see from they typical crap the studios have been producing lately, which is nice.

“Mockingjay – Part I” picks up almost immediately where “Catching Fire” left off. District 12 is gone. Katniss Everdeen (Jennifer Lawrence) is now hiding out in District 13 with former game designer Plutarch Heavesbee (Philip Seymour Hoffman), former Hunger Games victor Finnick Odair (Sam Claflin), romantic interest Gale (Liam Hemsworth) and her former sponsor Haymitch (Woody Harrelson). Her mom and sister are also there. But not Peeta (Josh Hutcherson). He’s being held captive in the Capitol.

The story revolves around Katniss becoming the Mockingjay, a poster child for the uprising among the various districts. The plan is put in motion by District 13 President Alma Coin (Julianne Moore). She sends Katniss out into the bombed out Districts with a propaganda filmmaker from the Capitol, Cressida (Natalie Dormer) to get some footage of her that can be used to rally the other Districts into fighting for the rebellion. But Katniss is cautious of her actions because she knows the evil President Snow (Donald Sutherland) has Peeta in a jail cell somewhere and torturing him. She doesn’t want him to die.

The biggest problem I have with this movie can be summed up with the title: “The Hunger Games: Mockingjay – Part I.” We can’t just get an adaption from a book anymore; it has to be a series, or at the very least, it needs to have “series potential.” So all those good books you read that begin and end between the hardcover, forget ever seeing those on film. Unless some poor screenwriter can somehow concoct a sequel. That’s really the only reason Hollywood screenwriters exist anymore. What a pity.

So we have a series of books: The Hunger Games Trilogy. The trilogy has two great novels, and one crappy novel. “Mockingjay” is the crappy one. I’m sorry if you liked it, but I had to force myself to finish it. We’ve already seen the first two films made from the first two books, which were both pretty good movies. But now we get two movies out of this one crappy book. And for what reason? Because they know you’re going to pay double to see it.

After watching this film and investing two hours into the story, we will now have to wait another 12 months before we get to see the cinematic version of the second half of the series’ worst installment. I mean, if they really wanted to split a book into two parts and make four movies, “Catching Fire” would have been the appropriate candidate. But instead, we get this one, the book with one of the most wretched conclusions of any book I’ve ever read.

But it’s unfair of me to judge the film itself on the greedy aspirations of the executives at Lionsgate. Despite having three separate writers credited here (Peter Craig and Danny Strong on the screenplay and author Suzanne Collins credited with “adaptation” whatever that means – I’ve never seen anyone credited like that), the story is balanced out pretty well. Aside from the aforementioned yawn-inducing moments, the script never feels overinflated. It never feels like filler was jammed in just so that the story could be stretched out into two full-length movies. It actually works well, and yes, I am quite surprised by that, given the source material.

Julianne Moore is a nice addition to the cast this time around, even though her role is reduced to just a woman sitting there during some scenes and delivering morale-boosting speeches to her followers in others. I pictured President Coin with a little more drive behind her. Apparently that’s now how director Francis Lawrence saw the character. Oh well. Moore is always so solid and it’s nice to see her getting a chance to showcase her talents for what will no doubt be a large audience. But of course, the star of the film is none other than Jennifer Lawrence. This is the role that made her a mega-Hollywood superstar, after all.

The story this time around focuses more on her struggles of leading an entire nation in revolution rather than just hanging out in the forest or on a beach trying to avoid death. Here, we finally get to see a little bit more about what kind of a person Katniss Everdeen really is. I always felt that the love triangle between her, Peeta and Gale was a bit ridiculous and was designed to be overly complex just for complexity’s sake. But a lot more goes into her and her feelings toward her two suitors this time around. And Lawrence absolutely nails it.

She runs through the emotional gauntlet as well as she’s ever done. For my money, she’s never been better than her breakout role in 2010’s “Winter’s Bone.” Even her Oscar winning performance can’t touch that one. After watching “Mockingjay – Part I,” I still think my assessment is true, but who could have predicted a performance this good from a movie like such as this? Not me.

I had already written this film off when I went into it, but I must admit to being impressed. But the unfortunate thing is, I don’t feel like I watched a whole movie. A story is a beginning, middle and end. This is just a middle – a two hour second act. The third act is still a year away. I can’t support the studio executives in their blatant cash grab attempts but putting unnecessary yearlong breaks between movies like this. And it’s not going to stop anytime soon either. But, I guess I can’t really complain too much if the movies are good, especially from the studios. “Mockingjay – Part I” isn’t bad. It just shouldn’t be two parts. And while there might be a little bit more action in “Part II,” I just can’t get psyched up for it. At least not right now. I guess I’ll conclude my “Mockingjay” review next November. Tune in then.

Review: X-MEN: Days of Future Past

by. Joe Moss
★★★

There has been a lot of hype, Easter eggs hidden in other Marvel films, movie-teaser trailers...otherwise a TON of money poured into this summer's installment of the widely successful X-Man series. I can tell you this much...Bryan Singer and company do NOT disappoint. "X-Men: Days of Future Past" is over the top, introduces a few newer characters, and even allows for the return of fan favorites long gone. In short...IT IS AMAZING!!

Much as the trailers show, the movie begins 50 years into the future, with mutants being hunted to extinction by Trask Industries Sentinel destroyers. They are able to hone in on mutant blood (and track mutant sympathizers) to capture and destroy. It is a grizzly sequence of film right at the start and paints the future bleak for mutant and human alike. No part of the globe is unscathed by the rampant disregard for life that these AI creatures possess.

In a catch-22 moment within this beginning series of the film, Wolverine volunteers to do the impossible and is transported back through time to juxtapose with his former "1973 self' to stop a crucial event in the early inception of the Trask Industries military Sentinel contract. He must bring together Magneto and Professor X, as well as Raven/Mystique, Beast (Nicholass Hoult), and Quicksilver (Peter Evans) for this plan to have a chance. AND it must be accomplished in 5 days time. Will this crazy plot even work? Seemingly impossible, right...you will just have to wait and see how the movie ends.

Simon Kinberg (X2 and X-Men Last Stand) was brought back to finalize the screenplay (in a story collaboration with Jane Goldman and Matthew Vaughn who worked on X-Men: First Class). This writing team allowed the past decade of X-men films to have some crucial continuity and attempted to fix errors from the past. The story affords the next film (X-Men Apocalypse) to utilize whichever mutants it so desires to fight (you'll have to wait for the Easter Egg at the end of the credits to see the next villain).

While we have all come to expect Hugh Jackman to embody Wolverine 100%, I feel that he gets better with every film as he comes to understand the character--be Wolverine, not just look like Wolverine. Nevertheless, as great has Hugh is, Jennifer Lawrence (Mystique) steals the movie with every scene. Her ability to make the entire audience empathize with the twisted past of Mystique is truly amazing. She is confusing, passionate and lovely all at the same time. I hope that she is around for many films to come..albeit both of their required paychecks may stretch the budget in the future.

While I am a fan of the X-Men. and a fan of a few of the comic series, I cannot say that I have been 100% happy with all of the liberties taken in the films to date. I do feel that this film has attempted to rectify many problems of the original 3 (as well as the horrible Wolverine: Origins), by allowing for a complete reboot of the story-line by the end of the credits. Therein lies the best part of the movie--the final sequence allows for hope for the future of the X-Men franchise. It is a MUST see for this summer!! Go and enjoy with the entire family!

Review: American Hustle

by Trevor Kirkendall

★★★½

One thing that can’t be said about “American Hustle” is that it’s a nice relaxing movie full of deep meaningful themes about life, love and happiness. No, this is about as in-your-face as it gets. The latest from David O. Russell (“Silver Linings Playbook”) is a fantastic look at people conning each other and going behind everyone’s back. While some movies about con artists are slick and cool (like “The Grifters,” “Matchstick Men” or “Ocean’s Eleven”), “American Hustle” is loud, eccentric, obnoxious, maniacal, unbalanced, hilarious and most of all fun.

Meet your crazy new friends from "American Hustle"

Christian Bale plays Irving Rosenfeld, a very skilled con artist living in New York City in the late 1970s. At a party one night, he meets the beautiful Syndey Prosser (Amy Adams). They form a bond that turns into love and eventually he invites her into the scamming business. Irving’s scam is loaning people money for a non-refundable $5,000 fee but then never delivering on the loan. Sydney fits in by pretending she’s a British woman named Edith with connections to London banks.

One day, Sydney lets her guard down and brings in a man (Bradley Cooper) looking for a loan. What she doesn’t know is he’s Richie DiMaso, FBI Agent. She’s arrested and thrown in jail for fraud. Irving isn’t, but Richie has other plans for him. He’ll let Sydney (who he really does think is a British woman named Edith) go with no charges if Irving helps him con some people he suspects are corrupt so the FBI can bring them down. One name is Carmine Polito (Jeremy Renner), mayor of Camden, NJ.

Sydney doesn’t like this idea. She would rather flee the country, but Irving won’t because of his adopted son from his estranged marriage to Rosalyn (Jennifer Lawrence). Sydney knows of Rosalyn but doesn’t care for her because she’s absolutely crazy. She ultimately agrees to help Irving and Richie with the con work, but she’s also going to con Richie right back into having him fall in love with Edith just to aggravate Irving.

There’s a lot going on in “American Hustle” that might seem overwhelming at times. It’s been noted that director David O. Russell was more concerned with characters rather than plot, and that shows. Russell is credited as a co-writer with Eric Warren Singer, but I believe the only thing he really did to the screenplay was embellish the characters into larger-than-life personalities and turn his cast loose.

What we’re left with is a film that lacks any structure. The film moves along – at times briskly, at other times slowly – with one scene after another. I tried to figure out where the act breaks were, but I couldn’t seem to find them. So there’s no flow. Actually, a more appropriate phrase for “American Hustle” is there’s no order to the madness.

Jennifer Lawrence and Amy Adams exchange unpleasantries

But what fun that madness is! In a film that lacks structure, “American Hustle” compensates for it with loud and boisterous characters that are in your face from the moment this film starts. While Russell’s approach to the story may be a little unorthodox, his approach to these characters is what makes “American Hustle” great. He loves each and every one of them and it shows. The film doesn’t take sides with anyone. No one is a good guy and no one is a bad guy.

The relationships between these people are handled delicately. The relationship between Irving and Sydney is especially intriguing. It’s also added by two fine performances by both Christian Bale and Amy Adams. These two continue their streak of turning in great performances every time. The relationship with Irving and Carmine is also interesting to watch. Irving isn’t the least bit interested in conning him, but he has no choice at first. As the two get to know each other, and as their wives get to know each other, Irving starts having second thoughts. Carmine is a very passionate man and is loved by all his constituents. What’s great is Irving never has a scene of wallowing regret about this to anyone. It’s all Bale showing us through his eyes and his body language that he’s uncomfortable entrapping this guy.

Bradley Cooper and Jennifer Lawrence turn in the most entertaining and by far the best performances in this film. They’re the loudest and the biggest this film has to offer, and in a film that’s built on loud and grand characters, that’s saying something. Cooper’s fast-talking and hyperactive DiMaso is the focal point of every scene he’s in. It’s impossible to take your eyes off him – either because of the phenomenal acting job Cooper is doing, or because of the loud and outlandish costume and hairstyle Russell puts him in. Jennifer Lawrence is a sensation, once again. Her scenes are few in numbers, but they’re the most memorable of the film. Her character Roslyn is insane, but it’s a joy to watch. She thinks she’s the life of the party and the most important person in the room wherever she goes. “Thank God for me,” she declares, a line delivered with perfection from Lawrence. She’s not the main role in “American Hustle” but we’re once again reminded about the long and successful career she has in front of her.

Despite its lack of structure, “American Hustle” is a fun and exciting film that’s much different from anything we’ve seen from a Hollywood studio this year. It’s a pleasure to watch Russell’s maniacal characters in every situation they encounter throughout the story. It might be a little long, and it certainly feels its length thanks to its lack of structure, but it’s a great time getting to hang out with these crazy people for that amount of time.

Review: Catching Fire

by William Hill
★★★½

From the ashes of the Twilight...thing (I refuse to call it a saga), comes The Hunger Games trilogy, the latest young adult fiction sensation which has been compared to Battle Royale, Lord of the Flies, and other subject matter far darker than the young adult label is purported to cover. I read the first volume of the trilogy when I got my Nook last year, since the freebie option was either this, or the aforementioned cheap anti-erotica novel, I opted for the book where teenagers kill each other. Considering the Stephanie Meyers blurb on the back cover, my blood was good and frosty when I opened the glorified HTML file that was siting in solitary on my new eReader, I was surprised to find the story of a strong young woman sticking it to a society of hedonists, while trying to survive a free-for-all battle before getting into a love triangle of what in the buggering hell is this nonsense?

Hardly indicative of the themes of nature of the film.

For those of you who are reading this and still questioning why people are into The Hunger Games franchise, allow me to assuage certain fears. No, this isn't about a love starved idiot who pines for two men while a far greater conflict gets shoved into the background. In fact, the entire love triangle thing was shoved into the first book/film. I'll wrap up my discussion of the first film by saying that it was a well told story with fine performances from most of the cast, and some of the most nauseating photography ever designed to conceal brutal violence. I was thrilled to hear that Gary Ross wasn't returning to shoot the follow-up, and that they were leaving the broken tripod back in the equipment truck. So how does the second act of Suzanne Collin's trilogy translate to film?

Well, I didn't get around to reading this book yet, so there will be no nitpicking.

Catching Fire picks up less than a year after the events of the first film, and Katniss Everdeen (Jennifer Lawrence) is still trying to recover from the grim happenings at the previous year's Hunger Games. Her relationship with Thor's brother, Gale (Liam Hemsworth) is a little bit icy after her claiming her love to Peeta (Josh Hutcherson), and rebellion is on the air. Do you see how long it took me to get to the rebellion part? Well, thankfully they dialed this back quite a bit for the sequel, and it doesn't take long before Katniss and Peeta are off to tour the districts and talk about their victory, and watch people get killed, riots break out, and how their actions in the games are spreading hope among the downtrodden people of the other districts. This doesn't sit well with President Snow (Donald Sutherland), who aims to use the popularity of Ms. Everdeen to silence the cries of revolution. What follows is a thrilling look at how people unite under symbols, and how the media is used to mask the dark world events happening right under our noses. It's smart stuff, however given the nature of the series popularity, I wonder if any of the concepts being introduced in the film are being noticed by the audience it is selling to. The score stirs and stings accordingly, and is decent enough to warrant mentioning. I'd like to have heard the mockingjay call used a melodic cue, but I didn't notice such touches of leitmotif upon my first viewing.

He just wouldn't stop asking them to play the music from Tron: Legacy...

Before I get philosophical, I have to celebrate how well Francis Lawrence has improved on what was done in the first film. The photography is far more competent, and doesn't shy away from the violence by quickly moving it from side to side. Sure, it's not packing Battle Royale levels of blood and gore, but it does a far better job of keeping the worst stuff from PG eyes. The visuals are usually impressive, though some of the CGI is less than attractive. When the Quarter Quell kicks off, and the action picks up, there is a scene with monkeys...it isn't as bad as Kingdom of the Crystal Skull, but it's definitely not a pretty sight compared to the bloom-lit beauty of glossy trains, 1% society, and some glorious landscapes. Extravagant costume design in the Capitol scenes continues to stand out, with some truly eye-catching scenes that are designed to remind us of the gap in the social strata, but still draw attention to the visual design of the film in a great way.

Catching Fire does give the world another reason to say how genuinely talented Jennifer Lawrence really is. While this isn't the meatiest content that she's dealt with (see Winter's Bone, and do it soon), she carries herself through every scene with aplomb. It's easy to relate to her troubles, be it the PTSD behaviors she delivers early in the film, or the stark middle-finger-raising rebelliousness which defines her character in the previous film, as well as the late second act of Catching Fire, she excels as Katniss. Supporting this luminary are decent performances from Hemsworth and Hutcherson. However, Woody Harrelson is still a lot of fun as Woody Harrelson, tumbling through the film as a brilliant raging alcoholic. Donald Sutherland is a fantastic villain, remaining intimidating throughout the film, providing a great specter to hover in the atmosphere.

Ummm...what?

I can't help but call the audience out in regards to the tonal content of the film. Let's start with this little oddity; I work at a drug store, and about two months ago, we received a shipper from Cover Girl marked Catching Fire, and I was more than sickened to find "District Twelve Look" makeup inside. It's blatant mass marketing using a popular brand to sell eyeliner when the source material is starkly anti-commercial. Let's pick this apart: both The Hunger Games and Catching Fire clearly illustrated that there was a deep chasm in the social strata between the districts and the Capitol, where people are starving while they go to work in the mines, but the rich are living extravagant lives of sheer hedonism, where they consume vast amounts of food, and then drink a small beverage that makes them sick so that they can continue to eat. When the distributor breaks out the marketing machine that allows you to buy the look of people who are starving and mining for coal, you begin to wonder what people are actually drawing from this series. Let's take it to the character. Katniss is a strong, independent teenager who would sneak out of the city to hunt so she could better feed her family. She put her name in the drawings for the games several times over to get more bread. I was already irritated that she was pushed into a love triangle in the second act of the book because it didn't make any damned sense. She becomes the icon of rebellion among the poor and downtrodden, because she is rebellious. She doesn't conform to what is expected of her by President Snow and the people of the Capitol. So tell me, how does this films fandom deal with putting on colorful Hunger Games branded eyeliner when thinking of this character as rebellious and anti-conformist?

The short answer? They don't. Despite the best efforts of the books and the film, which both depict the social strata of Panem, the idea of peoples as symbols for rebellion, and that this strong young woman could fight and survive against all odds, the thing I heard most people reacting to while the movie was going was the damned love story. Cynics who are unsure of why people bother with the young adult love story, allow me to tell you that Catching Fire is a strong film, with bold statements to make about cult of personality, how the media projects people, and how those personalities can be illusions. Francis Lawrence has made up for the sins of The Hunger Games, and delivered one hell of a second act in Catching Fire. Check out the first one if you haven't, and go see Catching Fire. It's a great theatrical experience, and a movie that you'll discover is a lot more than it's marketing suggests.

Baby, it ain't over til it's over.

Let's see how Mockingjay translates from the oft panned book to film when it comes out next year. In two parts. Because that's how we do the last part of equally sized books when we adapt them these days.