Tag: Adina Ciment

‘Hunger Games: Catching Fire’ is an intense, fast-paced experience

Jennifer Lawrence is back in the hunt in ‘Hunger Games: Catching Fire’

When The Hunger Games was released in 2012, the talk around town was how a story that involves killing kids could keep a PG-13 rating in order to attract the audience that propelled the original novels to the top of the bestselling lists. The filmmakers were creative. Violence was shrouded by foliage. The filming, choppy and chaotic.

Clearly, with Catching Fire, the much anticipated sequel to the blockbuster film, director Francis Lawrence was not too concerned with such petty details. The series has taken off its gloves, entered the ring, and is a no-holds barred death fest that makes the TrackerJackers from the first film seem like honeybees from Pooh Corner.

The story starts off right where the last one ends. Katniss is back in District 12 with some understandable post-traumatic stress, about to go on the Hunger Games Victory Tour of all the districts in Panem. As much as she wants to put the games behind her, she is still a pawn of the Capital, forced to maintain a public relationship with Peeta, her fellow victor, and under the constant, watchful eye of President Snow. The last Hunger Games has sparked a revolution in Panem, and Snow places the blame squarely on the shoulders of the Girl on Fire.

Jennifer Lawrence is on fire at Katniss in ‘Hunger Games: Catching Fire’

In order to quell the restlessness brewing in the districts, Snow, together with the new Game Master, Plutarch Heavensbee, devise a plan. For the next Hunger Games, tributes will be chosen from past victors. Which means, surprise! Katniss is going back to the arena.

The story follows the same pattern as the first – the public reaping, the Capital, the clothes, the talk show with Caesar Flickerman, the arena, the violent deaths – all the familiar elements that made the first movie so enjoyable. But the characters are older now and they are damaged. With revolution whispered everywhere, there is more at stake this time around. So even though we’ve seen this journey before, every aspect of it is different. The scenes are dark and intense and the humor, mainly from Haymitch and Johanna Mason, a tribute from District 7(played spot-on by Jena Malone), come as much needed relief to the building stress pervading every scene.

Make no mistake, this is an intense movie. Not just in terms of the action in the arena, but in the emotional punch the actors deliver. Everyone on the screen has stepped it up a notch, even Josh Hutcherson, as Peeta, who spends most of his time in the role of “dude in distress.” Jennifer Lawrence’s Katniss, while still a bad-ass with a bow, is a much more emotional character than in the first film and Lawrence, not surprisingly, carries it off. Liam Hemsworth as Gale, Katniss’s boy-back-at-home, is more than just the pretty face he was last time. Granted, he’s still nice to look at, especially in IMAX, but this time he will have you crying quicker than fawning. Most impressive though is Donald Sutherland’s evil-incarnate President Snow, and Philip Seymur Hoffman’s Plutarch. They are terrifying in their indifference. Just watching their scenes is worth the admission price alone.

Josh Hutcherson and Jennifer Lawrence are running for their lives again in ‘Hunger Games: Catching Fire’

Of course, the highlight of the film is the battle in the arena. The tributes are subjected to all sorts of sick torture – from insane monkeys, to poisonous fog, to rainstorms of blood. Their alliances are more complex, though and their characters more defined. The new tributes, particularly Sam Claflin as Finnick Odair, are far more than the two-dimensional killers of the first film. The violence here is intense and swift, the effects jarring, and the tragedy of the Hunger Games themselves much more overt than last time. This is definitely a film that needs to be seen in IMAX, not just for the elaborate effects in the arena but also for the scenes in the always garish Capital.

Book purists will balk at the glaring omissions and subtle changes from Suzanne Collins original novel, but the movie maintains the important parts and delivers them at such a fast pace that you will swear the movie is shorter than its two hour and forty minute run-time. It is powerful and compact, and builds to a shocking “Luke! I am your father!” climax that will no doubt bring in the crowds once again for the next, eagerly anticipated chapter in the franchise. This will be a tough act to follow. Let’s hope they keep up the pace.

December 6, 2013
‘Life of Pi’ more than just a 3D treat – it’s complex, profound and highly intelligent

The all-CGI Bengal tiger, Richard Parker, will have you believing in movie magic in ‘Life of Pi’

I’m a big proponent of reading the book before seeing the movie so I felt a bit hypocritical when I plunked down the $15 for my ticket to Life of Pi having no knowledge of the plot except for the snippets I caught in the trailers and the little I knew from my feeble attempt at reading it a few years ago. The novel, by Yann Martel, had won the Man Booker Prize and the movie, directed by Ang Lee, was getting rave review everywhere I looked, so I figured I couldn’t lose.

The movie is about the experiences of a young Indian boy, Pi, played by Suraj Sharma, who is stranded on a lifeboat with an adult Bengal tiger (named Richard Parker) after the ship carrying Pi and his family sinks in a storm. The story is told through flashbacks and voice-overs by the adult Pi to a fledgling author looking for a story that will make him believe in God. After some tedious exposition that reminded me why I never finished the book, the movie kicks off into the main story: Pi and the tiger alone at sea.

Suraj Sharma makes his motion picture debut in ‘Life of Pi’

Since Pi is the narrator, we know he eventually survives the ordeal, but even so, you will swear that there is no way he will make it through all of the tribulations he faces. Ang Lee uses 3D technology here the way it is supposed to. You are right there in the midst of a storm that quite literally blows you away and you face off with the Bengal tiger in eye-covering, seat-gripping, terror. But even though the effects are useful in scaring the bejeezus out of the viewers and inducing some simulated motion sickness, the movie also uses it for more than the in-your-face gimmicks. Pi’s experience is not just a gritty story of physical survival, it is a spiritual journey and it is during the calm, pensive moments that the effects are simply breathtaking. One scene in particular, involving thousands of meerkats on a unique island, will leave you scratching your head wondering how on earth they were able to do that. The scenes are so impressive and stunning in their colors and construction that I felt like I was watching a piece of art rather than following a story.

Now, a boy on a boat with an animal for companionship seems to smack of Tom Hanks and his trusted “Wilson,” but trust me, this tiger is no volleyball. I couldn’t figure out how they were able to get a tiger to perform like that until I found out it was all CGI (duh!). But seriously, you will not be able to tell, even in 3D. That tiger was as real as my hand over my eyes and I would not be surprised to see Sharma’s name popping up around awards time.

The movie is a visual feast and an experience that must be watched on the big screen to fully appreciate its power. By telling the story mainly through images rather than narrative, Lee highlights the mystical nature of Pi’s experience and in turn, relies on the viewer to interpret the meaning of the ordeal. For people looking for a relaxing night at the movies, this is not the film to see. This is a movie that will sit with you for days as you mull over the implications left at the ending of the film. It is complex and profound and highly intelligent. But even if you aren’t much of a deep thinker, bring a friend to explain the ending and go for the sheer sensory festival the film provides. Because on its simplest level, the film is beautiful.

November 27, 2012
‘ParaNorman’s lack of frights makes it safe for kiddies, little dull for adults

‘ParaNorman’ is light on frights but heavy on fun

As a fan of Coraline, I was looking forward to seeingParaNorman since the first teaser trailer last year. A movie about zombies, curses, witches, and ghosts? Perfect for the kids! A little bit of trauma might do them some good! Don’t let the trailers fool you, though. ParaNorman is far from scary.

ParaNorman tells the story of Norman, a cartoon character who should be the poster child for children’s Prozac. He’s lonely, depressed, misunderstood, and has an unhealthy preoccupation with horror movies and the undead. He walks around like a miniature Stephen King without the sense of humor.

Then again, Norman has good reason to feel out of sorts. In addition to dealing with the insanity of middle school, he also sees dead people. All the time. To make matters worse, a centuries-old curse is about to bring the dead to life and only Norman can stop it.

‘ParaNorman’

This is where the movie quickly turns into Night ofthe Living Dead for the Nickelodeon-set. As zombies take over the town, the filmmakers try to up the suspense, but it’s a pretty docile invasion. The zombies look like they just escaped from a Plants vs. Zombies game and are more comical than vicious. By the time the film ends you even start to like them. Norman, with the help of his irritating sister, his best friend, and his best friend’s brother, struggle to stop the curse in ways that again, are amusing, not frightening. In fact, the scariest parts of the film are the ones that have to do with real life rather than fantasy. The constant bullying Norman has to endure at school and Norman’s father – a brash, angry, frustrated parent who constantly argues with his wife about their peculiar son – make up the real horror scenes in this film. The curse itself, which dates back to the Salem witch trials, the Puritans, and a misjudged “witch,” is a little too complex for the audience the film is intended for and will probably sail over most kids’ heads. But they will relate to the general theme of being misunderstood and will love cheering for Norman. With all his hang-ups, he is such a likable character that you can’t help feeling bad for him.

Even though the story isn’t particularly strong, the animation, as expected, is brilliant. Though the features of the adult characters are somewhat distracting and in some ways disturbing, the zombies are awesome with features that horrifically define them as individuals without completely grossing out the viewers. Most dramatic are the scenes involving the ancient witch whose effects are so fluid I forgot it was stop animation.

Kids will like the jokes, but there isn’t much for adults here beyond the artistic appreciation. Though there are some small shout-outs for the grown-ups – “Cu-Jo” bars in the candy machine, Scooby Doo references, and some overt allusions to classic horror films – this is definitely one for the kiddies.

I love animated films and with Fankenweenie, and Hotel Transylvania coming out soon, it seems that everyone is jumping the Princess-and-Prince-Living-Happily-Ever-After ship and embracing the horror and dark corners that kids have always been into. ParaNorman does a good job opening the door to that and will definitely have you smiling, but you don’t need to shell out the cash for this one, even in 3D. Rent the video and you’ll be just as pleased.

August 20, 2012
Forget ‘Twilight,’ ‘The Hunger Games’ is the real deal

Jennifer Lawrence and Liam Hemsworth in ‘The Hunger Games’

I cringed when I heard that Lionsgate was producing The Hunger Games. Not because they don’t produce good movies – I love their films — but one in particular came to mind. It was all I could do to scream “No! Not them! Please don’t let them turn this soon-to-be- classic story into a festival of shirtless teens and bad acting!”

Fear not, Hunger Games fans. This ain’t no Twilight.

Based on the bestselling series by Suzanne Collins, The Hunger Games is a brutal story set in a futuristic American society called Panem. Divided into districts, the country maintains control over the districts with a yearly, televised, fight to the death event called “The Hunger Games.” Two children from each district are randomly selected as “tributes” to play to the delight of The Capital and the horror of the districts who are forced to watch their children die. Think of it as Lord of the Flies on acid.

This is the story of Katniss Everdeen, a young tribute from District 12, who takes the place of her younger sister in the Hunger Games. Played by Jennifer Lawrence, Katniss is the kind of female hero we’ve been waiting for. She’s smart, resourceful, pretty, and shoots a mean arrow. Josh Hutcherson, as Peeta Mellark, the other tribute from District 12, channels the innocent, doe-eyed boy who loves Katniss. Added into this mix is Gale, played with just enough smolder by Liam Hemsworth. As Katniss’s best friend back home, Gale is somewhat marginalized in this segment of the story, but the triangle between the three characters is quickly set up. Those small glimpses of Gale watching Katniss and Peeta fight for their lives has already kicked off the Team Gale/Team Peeta debate without any shiny glittery stuff or well-oiled chests.

ALTERNATE REVIEW: Even if you didn’t read the books, ‘The Hunger Games’ is a winner

The movie wastes no time with exposition and jumps right in on “reaping day” when Katniss and Peeta are sent to the Capital for training. There they are primped and primed for television and for whatever awaits them in the arena. The depravity of the Capital is represented by the characters who live there. Cinna, their stylist, played by Lenny Kravitz, serves as some sort of moral voice among the whole decadent Capital bunch, while Stanley Tucci as Caesar Flickerman, is a dark Regis Philbin who interviews the tributes and presents them to the adoring crowds. Leading this whole group is President Snow, flawlessly portrayed by Donald Sutherland with just the right mix of abject evil and cold-heartedness.

Jennifer Lawrence stars in ‘The Hunger Games’

While the setup is interesting, the time in the actual arena is what is most compelling. The filmmakers worked hard at keeping this film at PG-13 and in many ways, it works well. Although the arena scenes are bloody and violent – I mean, hey, there aren’t that many ways to sugar-coat kids killing other kids – it isn’t gratuitously so. Fast editing reminiscent of the shower scene in Psycho (“Knife! Blood! Lady! Knife! Lady! Blood! Knife! Body!) give you enough of a picture of what is going on. The deaths that show the least gore actually are the most horrific. You hear the screams and then see the bodies and your heart breaks a bit. That’s not to say this is lacking in the violence department. Make no mistake, there are some nasty bits; including a scene with wasps that might stay with you for some time, and some horrid dogs that put Cujo to shame.

Purists will no doubt bristle at the changes from page to screen, but in many ways, the film is pretty close to the original novel and the edits make sense. In fact, Katniss’ and Peeta’s mentor, Haymitch, played spot-on by Woody Harrelson, is much more likable in the film than the novel. The film also allows a glimpse into the Gamemaker world, showing the intricate structure of the games arena from a perspective not touched upon in the novels.

This is a good film with an all-star cast who delivers the goods. There are a few eye-rolling moments before Katniss and Peeta enter the arena, and Katniss doesn’t seem to have enough time to develop the relationships with the other characters necessary for you to grow attached to them before they are killed off, but it’s forgivable. This film was fast and gripping. At two hours and twenty minutes it is on the longer side, but you will not feel it. It will have you cheering.

With Harry Potter over and the Twilight Saga winding down, The Hunger Games is definitely the new franchise to watch. Provided the filmmakers stick to the same formula they used for this first film, The Hunger Games will definitely be the movies everyone will be waiting for.

March 25, 2012
‘Hugo’ is made for the big screen 3D

Asa Butterfield and Chloe Moretz in ‘Hugo’

Somewhere in the middle of Hugo, I could have sworn I heard Martin Scorsese giggle. Though the story is about a young orphaned boy living in a Paris train station, the underlying story is about the movies, and naturally, that’s where Scorsese seems to have the most fun.

Based on The Invention of Hugo Cabret, by Brian Selznick, a 550 page children’s book (I kid you not), Hugo follows the title character as he attempts to fix a mechanical robot in an effort to reconnect to his deceased father. It is Hugo’s quest that opens up a mystery larger than the automaton itself and a job much greater than just fixing a mechanical man.

Scorsese makes a departure with Hugo. Not only is it a film for the younger set, and as such does not contain his signature “stabbing victim in the trunk of a car” or “bloody street battle scene,” but it is also his first foray into the new world of 3D. To put it in perspective, remember that one-shot in Goodfellas when Henry Hill takes Karen into the club on their first date? Remember how it made you feel like you were there — following them into those backdoor alleys and kitchen entrances? Right. Now imagine it in 3D. In Hugo you will feel that you ARE in Paris, in 1930, in the train station, following Hugo as he fixes clocks and evades the station inspector. Scorsese is not just a phenomenal director here. He understands the medium and the effects in the film are so breathtaking that I am not so sure the film will survive the move to plain ole’ 2D disks.

Asa Butterfield in ‘Hugo’

That’s not to say that the story is weak. Asa Buterfield gives a particularly heartwarming performance as Hugo, and you can definitely see him on the road to an eventual Oscar somewhere in his career. His co-star on the other hand, Chloe Grace Moretz, is a bit irritating. In fact, at a certain point I just wanted to slap her (which, by the way, you actually CAN do in a 3D film). While the dramatic story line revolves around Hugo and Moritz’s character of Isabelle, it is definitely Sacha Baron Cohen as the Station Inspector who provides the action. As expected, his scenes are humorous, but he is no Borat here. His character, though at times reliant on slapstick and physical comedy is actually complex, and, believe it or not, quite moving.

The first half of the film trudges along in heavy exposition. With the exception of a short flashback involving Jude Law whom I never have a problem watching – especially leaping out of the screen onto my lap — most of the dialogue is slow and dragging. Younger viewers might find it hard to sit through, visuals notwithstanding. But when Hugo and Isabelle finally start to uncover the mystery of the automaton, the story takes off. It certainly helps that Georges Melies, the link between Hugo and Isabelle is played by Ben Kinsley. Beyond Kingsley’s acting, it is during the second part of the film that Scorsese begins his love letter to the movies. Melies’s movies, which he calls “glimpses into dreams” are Scorsese’s dreams, and it’s wonderful to watch.

Like I said, this is a film that must be seen on the screen. Don’t wait for the DVD. If you are going to see one 3D movie, this should be it. There were shots that had me wondering, “How did he do that?” Even with the slow start, the effects will dazzle you and seriously, it is what kept me enthralled. While the ending is a bit contrived, the film is beautiful and you will definitely find yourself smiling – no doubt along with Scorsese.

December 11, 2011