Lionsgate Pictures

Sometimes a movie is better than the book it sprang from, particularly if the source material is a pop culture phenomenon: when a novel like that gets stripped down to its essential parts, a better, more compelling story can come to life. And if that story is filmed with visual flair and dramatic detail, it can make a really good movie.

That is what we have in The Hunger Games.

Jennifer Lawrence plays Katniss Everdeen, the resourceful heroine of this dark story. It’s set in an oppressive future society where rebellion is contained through fear, near starvation and military might, and by forcing children to fight each other to death in an annual nationally televised event; a kind of murderous Olympics that sends a powerful message about the cruel might of the ruling class.

Katniss is intellectually and physically tough but emotionally vulnerable, and Lawrence does a fabulous job of walking that tightrope; we believe our heroine can kick ass as we simultaneously feel for her soft heart. So when she volunteers to take her little sister’s place in the Hunger Games, we aren’t surprised by her protective impulse and we immediately start pulling for her – maybe she can win it! – even though Lawrence’s face, in that moment, registers only shock and fear. But she is a rebel at heart – she has been slipping through the barbed wire of her District Twelve compound to hunt for food – and as the games progress her courage and her independent attitude begin to unnerve the powers that be (represented, menacingly, by Donald Sutherland) which, not surprisingly, doesn’t bother her at all.

It’s easy to imagine the emotions a kid – or anyone – might feel if they are thrown into an arena and forced to fight to the death. Fear, certainly. Panic, along with a deadly resolve simply to survive. But Katniss is angry, and that, in many ways is the source of her strength and the thing that makes her interesting. As she survives one competitor after another, she stokes a righteous rage about the casual cruelty of the Games and the unfeeling masterminds behind them. She begins to evolve into a warrior; she becomes dangerous.

Which brings me back to the notion of movies being better than books – Suzanne Collins had a remarkable concept when she started The Hunger Games trilogy, but the story - and Katniss -  lose tension and direction as the books progress. A good screenwriter could help get things on track; hopefully that will happen before the last film hist theaters.

With Woody Harrelson and Leny Kravitz in memorable performances as Katniss’ behind the scenes supporters during the games, and Elizabeth Banks and Stanley Tucci as colorful representatives of the evil overlords. Oh, and there’s a love triangle of sorts: Josh Hutcherson plays a mild mannered kid who gets thrown into the games with Katniss, and Liam Hemsworth is her buff hunting partner – unlike other tween stories, these relationships aren’t the heart of the matter although they do have influence. But the point here is Katniss, and the evolution of a hero. Hopefully the writers will remember that. Playing everywhere. Big hit. B+

Opening this weekend: February 10

Bunch of big openings this weekend, and none look to impress. The Safe House stars Denzel Washington as a CIA turncoat who is attacked while in government custody and has to be rescued by a young operative in the form of Ryan Reynolds. The story involves a lot of John Woo style action and psychological warfare between the traitor and his protector. Middling reviews. In The Vow, Rachel MacAdams plays a young wife who develops amnesia following a car accident, and she can’t remember her husband. She does remember her old boyfriend, though. Is this supposed to be a date movie?  If so, which love are we rooting for? The husband is played by Channing Tatum, and he  doesn't have a lot of star wattage, and the boyfriend is Scott Speedman, who - wait, who is he?  Based on a true story, getting middling to poor reviews. Journey 2: The Mysterious Island, stars Dwayne Johnson and Michael Caine (and a surprising number of other familiar actors) as explorers on a strange isle. This one is really just an excuse for 3-D effects and box office dollars; reviews aren’t great but they aren’t terrible either. Might be a possibility if you have kids to distract on Saturday afternoon (rated PG). Unless, that is, you can’t help yourself and need to take them to see Phantom Menace (Star Wars: Episode 1) in 3-D. Lucas has said that this special edition of his most disappointing film is designed for the grammar school set. So far, no lines around the block; in fact, the new release getting the most attention in presales and general buzz is The Vow. Must be a Valentines thing. Could be a record breaking weekend, box office wise, so if that kind of thing interests you, click back for the Monday wrap up. I’ll be here.

Review: The Descendants

Fox Searchlight

Good movie. George Clooney stars as Matt King, a disconnected dad who has to step up his parenting game when a boating accident leaves his wife in a coma. His two daughters, ten and seventeen, are mysteries to him, but he’s a essentially a warmhearted guy, giving the unexpected dad thing his best shot until older daughter Alex (played with beautiful authenticity by Shailene Woodley) hits him with a bombshell: his comatose wife has been having an affair. “She was cheating on you, Dad,” Alex tells him, in a matter of fact tone that is only a little impatient, as though this huge development in his marriage was something she pretty much expected him to miss. But once the news is out Matt is galvanized into action, collaborating with Alex to track his wife’s lover down – determined to confront the guy, wanting to see his face when he learns that the woman he has been dallying with is at death’s door.

Obviously there is a dark side to all of this, but writer/director Alexander Payne (Sideways) teases the humor out of the drama, and George Clooney gamely allows himself to appear foolish, letting go of his leading man suave to look believably awkward when he peers over a hedge trying to spot his wife’s mystery man, or races in flip flops to his neighbors’ house to demand the truth about the affair. The film lingers a little too lightly on the real pain at the heart of this story, skims over the tough stuff, but we still feel enormous sympathy for the characters and keep pulling for them. With Robert Forster doing great work as the dying woman’s father, and young Nick Krause providing welcome comic relief as Alex’s friend. Playing a relatively small run (433 theaters) throughout the country but it’s doing good business and should expand. Lots of Oscar buzz. B+

What to See November 18, 2011

The big opening of the weekend is Breaking Dawn – Part 1, and if you are on Team Edward or Team Jacob (no one seems to need a Team Bella) you are already in line for the midnight show. Good for you, but keep me out of it. I am hoping to miss this one. I’m not sure what I dread most: Kristen Stewart’s sourpuss face, Edward Pattinson’s steely blankness, or Tyler Lautner’s wholesale abandoning of any nascent acting talent in exchange for flashing his abs. It all depresses me, and we haven’t even arrived at the bizarre birth scene. Oops! Spoiler alert. The other big opening is Happy Feet 2, an animated tap dancing penguin movie. Early reviews are mixed, but it looks like a solid family film.

More highbrow, The Descendants opens this weekend in a handful of theaters; this is one of the best reviewed films of the fall, definite Oscar bait. George Clooney stars as an absentee dad who has to step up his parenting game when his wife is injured and falls into a coma.

Held over are a number of biggies: Adam Sandler’s Jack and Jill, Tower Heist and The Immortals. You might be wise to skip all of those but if you are in the mood for a big Hollywood movie, Tower Heist is a better bet than the other two. Unless you absolutely love Adam Sandler, and, just a tip, the membership of that club appears to be dwindling. Jack and Jill had a disappointing opening weekend and critics really hated the film. On the other hand, people who showed up liked it well enough.

If you happen to live in a city with an art house scene, look for a film called Like Crazy. This charming, unexpected and extremely well done love story is one of the best films out right now.

Review: J. Edgar

Warner Brothers

I hate to burst bubbles, but this movie is a snooze. Leonardo DiCaprio plays the title role and he tries mightily to make it work, but the script lets him down; J. Edgar Hoover, one of the most significant and controversial American public figures of the 20th Century, is presented with such a narrow, insulated focus that it’s hard to tell if he was a real threat to his enemies or just an awkward, slightly deranged man ranting about in his office. The film is shot in understated tones with muted colors, and that might have seemed retro cool if the story had any spark, but instead the low key presentation too easily allows your mind to wander. I started planning my weekend.

The story begins early on, when Hoover is an eager young agent trying to bring a new level of sophistication to crime investigations. Determined, ambitious, and socially awkward, he is appointed the first head of the new Federal Bureau of Investigation when he is only 24. He assembles a personal staff that includes his secretary, Helen Gandy (Naomi Watts) and his number two in command and possible love interest, Clyde Tolson (Armie Hammer). The film spends a good deal of time attempting to explore the relationship between these two men, which was a source of speculation for anyone who paid attention to Hoover, both during and after his lifetime. The question was never resolved, though, and J.Edgar’s considerable efforts to lift the veil seem hackneyed and flat.

The film divides Hoover's nearly fifty years as head of the Bureau by referencing different crimes or crime sprees; in each segment Hoover has a young agent sequestered in his office, dutifully typing up the director's version of events. The story evolves from these memoirs, which, unfortunately, make us like those young men sitting at the typewriter: we merely take down what Hoover has to say. The film provides no context, no characters to give perspective. We don’t know, for example, why the Director feels a need to explain himself, since we see no one of any significance seriously questioning his actions. When he goes on his well documented vendetta against Martin Luther King, we don't see anyone in King’s camp react; we never get a chance to understand if Hoover’s hatred of the civil rights leader had any consequences.

Armie Hammer does excellent work as Tolson, even though his aggressive aging prosthetics never seem natural. Naomi Watts plays a routine role in a routine way. Clint Eastwood is a great director when he has the right material, but this one misses the mark. Still playing wide throughout the country.  B-

Box Office Wrap Up: October 21

The smash movie of the weekend was Paranormal Activity 3, its $54 million take giving it the interesting title of “biggest fall opening ever.” For perspective, that means it made more money in its opening than films like Jackass 3D, Shark Tale, and The Grudge. The third outing of the low budget franchise is a prequel to the other films in the series, working on the notion that the creepy other worldly ghostly thing that terrorized the young couple in the first movie actually got a foothold when the young woman was just a toddler. Seemed like a good idea, sort Poltergeist-y: little girl picks up communications from the beyond, and her mom is all freaked out about it.

Paranormal Activity 3 locked down about half of the box office generated by the top ten films, but the big fans who turned out for the opening weekend didn’t love it, giving the horror flick a C+ in exit reviews. Meanwhile, the latest screen incarnation of The Three Musketeers barely registered. Continuing movies Real Steel, Footloose, Ides of March, and Dolphin Tale hung on pretty well. Upcoming, we’ve got Jason Timberlake in In Time, a movie where no one ages past 25, and time becomes currency. Olivia Wilde plays Timberlake’s mother. Not sure how that’s going to work.

Looking for a Few Good Films (and Some Oscar Predictions)

I am a big fan of summer blockbusters. I like the comic book heroes and the grand battles between good and evil where good always wins and evil is defeated in a humorously ironic way.

But once Labor Day rolls around, I’m ready for something a little more thought provoking.

Which makes this fall oddly disappointing. It had a promising start, lots of hype about the great films on the horizon, but so far only Moneyball has hit the mark. Like a lot of critics, I was hoping for a little more depth from Drive and more complexity from the Ides of March; both films were well made and entertaining, but neither one could be called a great movie.

So we look forward. This weekend Martha Marcy May Marlene opens, featuring what is promised to be a stunning performance by Olsen twins sibling Elizabeth. Filmmaker Sean Durkin also won the top directing prize at Sundance. Lots of buzz on this one.

After that there is a bit of a wait before the next hyped picture arrives. J Edgar, a biopic about the controversial FBI chief comes out on November 9 in the big markets; Leo DiCaprio takes the title role, and this one has Oscar written all over it. Also in November look for The Descendents: George Clooney stars as an absentee dad who has to step up when his wife has an accident and slips into a coma. From the trailer this looks like a standard family crisis drama but, unlike Ides of March, it persistently shows up in the Best Picture conversation. The Artist opens on Thanksgiving weekend; it’s a black and white not-quite-silent picture about the advent of talking films. Screened at Cannes to wild enthusiasm.

Other possibilities include War Horse, a Spielberg picture that comes out at the very end of the year, barely making the cut off for awards consideration; it’s a World War I (that’s one, not two) movie about a horse and the kid who loves him. Okay, it’s probably more complicated than that, but it hasn’t been screened yet so nobody knows. There is also a film version of Extremely Loud and Incredibly Close, based on one of the very first novels to set in post 9/11 New York. Also opens late December. The American version of Girl with the Dragon Tattoo looks like it’s meant for mass market pop culture consumption, but Academy voters are keeping it in mind because of Director David Fincher's pedigree (he directed Social Network). As the eponymous Girl, Rooney Mara is also expected to snag a best actress nod.

But she’ll be competing with the Grande Dame of Oscar nominees, Meryl Streep, who is expected to blow out the competition with her performance as Maggie Thatcher in Iron Lady. If there’s a lock in this awards season, old Meryl is probably it.

Review: Ides of March

Columbia Pictures

In The Ides of March George Clooney plays Governor Mike Morris, a left wing politician with the strength of his convictions; he’s running for president using a straight talk campaign that delights his young lieutenant, Stephen (Ryan Gosling). “You drank the Kool-aid!” reporter Ida (Marisa Tomei), tells the young acolyte. “I drank the Kool-aid, and it was delicious,” responds Stephen with a grin. He’s working for Morris because he loves his country and it’s the right thing to do. There’s a real charm to his nearly naïve conviction, but there’s also a sense that it can’t survive the rough and tumble campaign. 


The movie covers the few days prior to the Ohio Democratic primary, a race Morris needs to win to sew up the Democratic nomination. His single opponent is lagging behind but there’s a trump card to play: both candidates are hoping to pick up the endorsement of a powerful Senator (Jeffrey Wright, in a brief but convincing performance) who controls enough delegates to swing the tide. 

Morris’s campaign manager Paul (Philip Seymour Hoffman) is confident he can talk the Senator into joining their camp, but his opposite number Tom (Paul Giamatti, at his creepy best) is equally sure he can get the man’s endorsement. And Tom has another trick up his sleeve – he hopes to steal Stephen, a crack media mind, once he can convince the young idealist that the Morris cause is lost.

It’s a good story, and the back room politics feel authentic; the whole thing gives you the sense of being an insider at a critical moment in a presidential campaign. Even if you’re just a regular citizen voter, you easily see the significance of what is at stake here, and the myriad small decisions and unexpected missteps that can cause one candidate or another to become the leader of the free world. In that sense, it’s a pretty cool roller coaster ride.

But the movie has a purpose, to show up the dark underbelly of even the most idealistic campaign, and it’s here where things get a little rocky. Stephen’s slide from innocence to cynicism comes on a little fast, and seems almost arbitrary, like it doesn’t take much to stop believing. Likewise, when Clooney’s Morris shows his dark side it doesn’t feel quite authentic; it’s like there was a character mix up and Michael Clayton stepped in for a scene, his sudden tough guy act reminded me of that.

But this is the sort of thing that you think of later, when you stop off for a drink and get to talking about the state of our political universe. Ides of March is a good, thought provoking film, with terrific performances, particularly from Gosling and Hoffman, who plays a grizzled but determined old politico with an odd kind of grace. Also features Evan Rachel Wood as a young intern who enjoys the social side of campaigning. Playing everywhere. B

Now in Theaters - August 26, 2011

There are three new movies opening this weekend and none of them is highly recommended by anybody. Our Idiot Brother stars Paul Rudd as a genial ne’er do well who runs into some life challenges and elects to solve them by crashing into the well ordered lives of his three sisters. Big hit at Sundance, getting decent, but not terribly enthusiastic reviews. Don’t Be Afraid of the Dark is a remake of a made for TV movie; it stars Guy Pearce and Katie Holmes as the parents (well, Pearce is the dad, Holmes is dad’s new girlfriend) of a precocious youngster (Bailee Madison) who unleashes goblins, or something, in the old Gothic home they’ve just moved into. Scary stuff – or not: one critic suggested that all you would need to fight off the little creatures is a good stiff broom. What does seem scary is that Guy Pearce and Katie Holmes are in this movie. Weren’t they supposed to be serious actors, once upon a time? Finally we have Columbiana, an action picture where Zoe Saldana sheds her Avatar Blue, picks up a gun and becomes a dangerous assassin. By most accounts this movie will remind you of every other movie where someone learns to kill in order to avenge the tragic, senseless death of a loved one. There are a lot of movies like that. This one isn’t very good.

So what to see? Well, The Help is a popular choice. It’s become a box office juggernaut, beating out other adult oriented films as well as the latest blockbusters. Well worth seeing: entertaining, thought provoking, all of that. If you are in a summer movie mood, Captain America and Rise of the Planet of the Apes are still in theaters, and if scares are your thing, give Fright Night a try.  

Nothing strike your fancy?  Well, just hang on.  Next week a new shark movie is coming out.  And it's in 3D!

Movie review: Thor

Paramount Pictures

You knew summer blockbuster season had arrived when Thor ripped through the May box office and a new superhero franchise was born. Played with charm, humor and bravado by Chris Hemsworth, Thor is a godlike hero based on Norse legends; he comes from Asgard, a mythical dreamy place where his father Odin (Anthony Hopkins) runs the show and Thor is the presumed heir apparent. Only, he’s a little excitable, so when Asgard is threatened by an old enemy he decides to go to war himself, instead of waiting for his father to pursue patient efforts at diplomacy. He gathers up his friends and they set off to wage glorious battle, but soon realize they’re badly outnumbered and Odin has to rush to their rescue. This escapade makes the old man pretty mad, so he strips Thor of all his powers and banishes him to earth.

And then he meets Natalie Portman.

C’mon, people, it’s a comic book movie. It only stands to reason that Thor will fall out of the sky and land right in the path of a beautiful, brainy scientist. Jane Foster feels responsible for the fallen hero because he bounced off her car when he plummeted to earth, and then – in one of the film’s funniest scenes – her assistant, Darcy (Kat Dennings) tases him when he starts ranting on about Earth and Asgard. (“What! He was freaking me out!”). And so the adventure begins, with Thor trying to find his way home, and Jane trying to help him while she tries to understand who he is.

There’s a lot of great comic book style action in Thor, especially on Asgard, but the real fun happens when the young superhero attempts to navigate his way around Earth; even without his powers, he is quicker and stronger than the “puny” humans who surround him, and there is a charming buffoon quality to his efforts to understand propriety in this tiny Western town. He also eats a lot. Thor figures he’ll be in good shape if he can just get his mystical hammer back, but Odin has thrown it to Earth protected by a Camelot style curse: only someone worthy will be able to wield it. In other words, Thor has to learn his lesson; which he does, eventually, but not before he tangles with a shadowy government group that has taken an interest in him and his hammer (they can’t wield it, of course, bureaucrats aren’t worthy). He also has to manage a duplicitous younger brother who perceives Thor’s banishment a grand opportunity to pursue his own ambitions. (Tom Hiddleston plays brother Loki with slick creepiness; you recoil from him but you can’t wait for him to come back on screen.)

If you think summer blockbuster movies are a silly waste of time, this one will not change your mind. It doesn’t stretch the boundaries of the genre, it sits squarely within them. But it’s fun, lighthearted, popcorn stuff, and if you’re in the mood for that well, hit the multiplex. It scored big at the box office so it will probably survive the onslaught of the new Pirates movie on Friday. Playing everywhere. B

Movie Review: The Source Code

Summit Entertainment

The Source Code is an entertaining little science fiction film that doesn’t always make sense, but then, science fiction films often don’t. It’s fun to watch, anyway. Jake Gyllenhaal plays Colter Stevens, a soldier in Afghanistan who wakes up to find himself on a commuter train traveling into Chicago. He is the only one surprised that he is there: turns out that a government technology experiment has spirited him out of his war injured body and into the body of another man, a high school teacher who regularly rides this train. Colter was sent there to complete a mission, which he has eight minutes to get right, but like Groundhog Day, that eight minutes keeps playing over and over again until he has an opportunity to figure the mystery out.

Pretty cool, right? Actually, it is. The whole notion of being able to re-live a bit of time, even if it’s only eight minutes, and having a chance to do things better on every go-round is intriguing. Unlike the Bill Murray movie though, this story has an extra layer: the eight minutes that Colter is reliving aren’t exactly real; they represent the “halo” of consciousness left behind when people die, the last eight minutes of their earthly lives. In other words, all the folks on the train, including the poor old math teacher whose body Colter inhabits, are dead, victims of a terrorist bomb.

This is where you don’t want to start asking too many questions.

Jake Gyllenhaal does a bang up job as the bewildered but purposeful young soldier. He doesn’t understand how the Source Code works (either did I; they kept telling this geeky dude to “fire up the drivers,” and he would hit a few keys on a laptop and away Colter would go. Seems like a pretty pedestrian way to power someone into a metaphysical realm.) But Colter does understand that he has a mission to do: it’s his job to identify the guy who blew up the train before the villain goes on to ignite a dirty bomb over the city of Chicago. Train explosion is the past, but the destruction of Chicago is the future, and the military puppeteers who are pulling Jake’s strings are trying to save the city.

So Colter works his way through the train, eight minutes at a time, harassing passengers and rifling backpacks, generally acting deranged, much to the amusement and occasional alarm of his seatmate, Christina Warren (Michelle Monaghan), a young woman who clearly has a crush on the man Colter is supposed to be. And here’s where things get sticky, because after spending say, 40 minutes with this woman on a kind of repeat shuffle, Colter is smitten and he doesn’t want her to die. Even though she is already dead.

Again, better not to get too inquisitive.

Vera Farmiga is wonderful as the military officer who is responsible for giving Colter his orders. We mostly see her face on a small video screen, but she is calm and persuasive, determined to keep the disoriented soldier on track even as she shows glimpses of sympathy for his perplexing situation. In the end she is as much the hero of this piece as the soldier boy. Source Code is a fun night out, worth seeing on the big screen. It had a decent opening weekend so it is still playing pretty much everywhere. B+

New Movies: March 4, 2011

Oscar excitement has left town, and along with it the glut of nominated films that dominate movie theaters this time of year. So welcome to the new arrivals! There are many, if you count obscure foreign and Sundance type films that are only playing in big cities. Not counting those, here’s what we got:


Now Playing in a Theater Near You

RANGO Johnny Depp plays a lizard in this live action animated tale of a pet store chameleon who gets lost in the Wild West. Depp based the character of Rango on Hunter Thompson, which is edgy, to say the least, and may be why so many critics caution that this film is probably not going to appeal to the pre-school set. It’s the first animated film to come out of Industrial Light and Magic, George Lucas’ special effects company, and that makes it worth seeing ; but wait, there’s more: director Gore Verbinski (Pirates of the Caribbean) upped the realism by having his cast act out the story as though it were a live action shoot, instead of the usual thing of calling the actors in to record their lines individually. Most of the big name critics are big time fans.

THE ADJUSTMENT BUREAU Matt Damon and Emily Blunt play star-crossed lovers in a sci-fi world that is determined to control their destinies; in order to be together, they must outmaneuver the mysterious Adjustment Bureau. Terrance Stamp and John Slattery play the mysterious evil puppetmasters. Based on a Philip K. Dick short story and directed by George Nofi (Bourne Ultimatum), The Adjustment Bureau is supposed to be a pretty good thriller and an even better love story. Generally good reviews.

TAKE ME HOME TONIGHT Topher Grace takes another stab at stardom in this story about an aimless college graduate whose life is upended when his high school crush invites him to an “epic” end of summer party. It’s sort of like American graffiti, if John Hughes had directed it in the eighties. Most critics love Topher and don’t love this film.

BEASTLY Aimed at the Twilight set, this modern take on the Beauty and the Beast fable features Alex Pettyfer (I Am Number 4) as the Beast, Vanessa Hudgens (High School Musical) as Beauty and Mary Kate Olsen as the witch. Cool. It’s all set in New York and has a Gossip Girl kind of vibe. Lukewarm reception by critics, who mostly seem to think it could have been a lot better. Well, we all know the story works.

Hall Pass and Drive Angry are also still around, even though they could barely scrape together an audience last weekend; theater owners seem to think they deserve a second chance. Oscar winner The King's Speech is in wide release and worth checking out if you haven’t seen it yet, and i f you’re in the mood for a fun thriller, Unknown is probably at a multiplex near you.