THE HUNGER GAMES

THE HUNGER GAMES
Written by Suzanne Collins and Gary Ross
Directed by Gary Ross
Starring Jennifer Lawrence, Josh Hutcherson and Liam Hemsworth


President Snow: Hope is the only thing stronger than fear.

Having just finished reading the incredibly addictive Suzanne Collins novel, and having fallen completely in love with the heroine, Katniss Everdeen, in the process, I could barely breathe before seeing Gary Ross’s film adaptation of THE HUNGER GAMES. I was downright giddy going in. I was also horribly worried that the whole thing would just fall apart before my eyes. I was pretty sure that wouldn’t happen but what if it did? I would be crushed. Forget about me though. The legions of fans that have been intensely anticipating this film would revolt. I exaggerate but you get my point. And so, I found myself holding my breath quite often throughout the film - either the action was incredibly tense or I was worried the novel’s more delicate nuances and pivotal moments would become missed opportunities. And so that you can just sit back and enjoy the incredible ride without the worry I went in with, I assure you in advance that THE HUNGER GAMES will satisfy all of your cravings.

Now, THE HUNGER GAMES isn’t just for people who have the read the book, y’know. For those of you out there who haven’t, the global hysteria over the film must seem a bit bizarre. This is likely especially true when the trailers elude to some form of fight to the finish tournament, reminiscent of THE RUNNING MAN, with Arnold Schwarzenegger. Fortunately, there is way more to it than that. Taking place in the North America of the future, now known as Panem, the “Hunger Games” are an annual sport where one boy and girl, between the ages of 12 and 18, are chosen from each district to compete in an arena until only one is standing. There are 12 districts in all and each one is worse off than the last. The games are a reminder from the ruling Capital, where no one goes without, to the peasants in the districts of their failed revolution from years past. The games remind them that they do not really matter, but yet they are forced to not only participate in them but even follow them and celebrate them. Katniss (played here by the mesmerizing Jennifer Lawrence) is the “tribute” from District 12, one of the least likely to come out alive.

Of course, when a series of novels is as loved as THE HUNGER GAMES is, the film adaptation is always greatly scrutinized for inaccuracy and loyalty to the original text. In the novel, Katniss is always the focus. We never leave her perspective at any time. The film cannot do this. Instead, it shows the viewer the other side of the games. While Katniss describes her disgust for the barbarism of the games in her own head in the novel, here Ross must show us what it is she is repulsed by. The change in point of view keeps the pace brisk, which is perhaps one of the greatest changes in tone from page to screen, as well as one of my only disappointments, albeit slight . By staying in the games at all times in the book, there are days when nothing happens, where dehydration is a real threat. As this would bore film audiences, the action has to be broken up. As a result, some moments can feel a tad rushed (I won’t say which ones; you’ll see) but the intention to honour the original work is so honest and pure, that all is quite easily forgiven. Besides, this isn’t the book. This is the movie and it finds its own tone, one that is at times, quiet and contemplative, while disarming and profound at others.

To some, THE HUNGER GAMES might seem like the next big tween craze but it is the furthest thing from that really. Yes, Katniss is torn between Peeta (Josh Hutcherson), the man she enters the games with, and Gale (Liam Hemsworth), the man she left back in District 12, but this is not another TWILIGHT. Katniss is a complicated character with a complex background that makes her reticent to love, makes her fiercely guarded, and Lawrence does the character great justice. She has moments where she embodies both strength and fear simultaneously and you wonder why anyone ever had any concern she wasn’t right for the part. Thanks in great part to her performance, as well as Ross’s sturdy grip on the rest of the film, in today’s context, THE HUNGER GAMES is a commentary on the increasing global class divide and our continued desensitization to violence. It is also a thrilling experience. I have not read the second or third books in the series but something tells me there is another uprising coming before long. This is good too because after filling up on THE HUNGER GAMES, you will be left starving for more. In fact, it left me ravenous.

Click here to see Black Sheep's photos from THE HUNGER GAMES Canadian premiere in Toronto!

X-MEN: FIRST CLASS

Written by Ahsley Miller, Zack Stentz, Jane Goldman and Matthew Vaughan

Directed by Matthew Vaughan

Starring James McAvoy, Michael Fassbender, Jennifer Lawrence

and Kevin Bacon

Charles Xavier: I believe that true focus lies somewhere between rage and serenity.

I’ve always had a soft spot for the X-Men within the ever-expanding realm of comic book film adaptations. Given my own, and what I imagine are most people’s insecurities, it is easy to identify with people who feel they don’t belong amongst regular society, people who genuinely believe themselves to be freaks. Only these particular freaks aren’t ashamed of who they are, rather they are more advanced specimens because of their abnormalities. That confidence can perhaps be no better pinpointed that at its moment of inception. And so X-MEN: FIRST CLASS tells us the tale of how a mutant comes of age.

It is 1944 when Matthew Vaughan’s first adult superhero movie opens. (He also directed KICK-ASS but that’s more pubescent superhero-ish really.) The man who would become Magneto, Erik Lehnsherr (Michael Fassbender), is but a boy, being separated from his mother in a Nazi concentration camp in Poland. Across the world, a boy named Charles Xavier (played in adult form by James McAvoy) is alone with his thoughts in a Westchester, New York, mansion. They don’t know it yet but they will grow to become sworn adversaries in an eternal debate surrounding the true nature of humanity – are we in fact inherently good, hopeful and open to change or are we just hateful beings acting out of fear and desperation attempting to destroy everything we cannot understand? One believes is harmony while the other doesn’t believe humanity capable of it.

A little less than 20 years later and these boys are now adults. Charles is bit of a cad with the ladies, finishing his doctorate on genetics at Oxford University. Erik however has focused his ability to manipulate and control all metals to a fine art and is determined to find the Nazi officer that ruined his life. Unbeknownst to either of them, this particular Nazi is a mutant himself and one with grand plans at that. Sebastian Shaw (Kevin Bacon) wants to start World War III by pitting the Russians against the Americans in what we would know as the Cuban missile crisis. As nuclear radioactivity gave birth to mutation in humanity, Shaw believes a post nuclear war world will be a mutant utopia. Charles and Erik must band together, along with a group of misfit mutants who have barely become adults, to defeat a common enemy. Their idea of defeating him though differs drastically.

I’ve always known Professor X and Magneto to be enemies. I knew they had a respect for each other, which at times bordered on admiration but all the same, they ruled on opposing sides. X-MEN: FIRST CLASS provides the insight as to just how complex their relationship truly is. They are not really enemies after all; they are equals and even brothers who have fundamentally different values. The fact that they each adhere to their core beliefs so passionately and with such unflinching resolve is what inspires the respect that each accords the other. The strength of their fraternity is testament to the great depth Fassbender and McAvoy bring to the roles, all of which allows Vaughan to bring a great deal of class to a franchise that was going the route of crass.

THE BEAVER

Written by Kyle Killen

Directed by Jodie Foster

Starring Mel Gibson, Jodie Foster, Anton Yelchin and Jennifer Lawrence

The Beaver: Everybody needs a friend, Walter, and you've got me.

Who does depression hurt? Everybody. Ordinarily, this would mean to include everyone directly involved with a person suffering from depression but thanks to Jodie Foster, now depression can also hurt everyone who comes to see her latest directorial effort, THE BEAVER, as well. While I’m sure she was well intentioned, Foster’s eager beaver preoccupation with rehabilitating the image of her maligned co-star, Mel Gibson, must have distracted her from seeing that the film’s lack of focus was ultimately gnawing away at its own foundation the whole time.

It is no secret that THE BEAVER is meant to be a prestige picture designed to remind the filmgoing public that they once loved Gibson for his talent and charisma, both of which have returned fully to form in THE BEAVER. While Gibson may successfully handle the material, this does not mean the material itself is doing him any good. Gibson is Walter Black, a family man with a successful career who just can’t seem to be happy. He is hopelessly depressed, as we are reminded frequently at the film’s onset, and he has tried every therapy known to man to fix himself save for one. Up until now, he has never considered giving into his depression and just allowing it to take over his life. Enter the beaver.

After an unsuccessful suicide attempt, Walter snaps and begins living through the beaver, a puppet that has seen better days but that now rests comfortably on Walter’s left hand and speaks in a delightfully chipper Australian accent. Apparently, the inherently playful nature of the beaver makes it possible for Walter to instantaneously shelf his bigger issues and function successfully again in society, despite society’s discomfort with his unorthodox manner of expression. Gibson goes back and forth between his two personas with impressive ease, finding himself in some rather uncomfortable predicaments. Still, the tone of the film gets confused – is this psychotic lapse meant to be jovial? The underlying quirkiness borders on offensive at times, as it undermines the seriousness of the situation at hand.

The beaver places a convenient wall between Walter and all he encounters, protecting him from hurt and pain. Foster’s oversimplification of the subject matter takes that same wall and puts it up between THE BEAVER itself and it’s audience. We are never allowed in to the movie, which makes some sense considering all the characters have their own metaphoric beavers to protect themselves as well. The insinuation though that if we would just let down our guards and allow people in, no matter how difficult that may be, is almost insulting to those of us who still walk the world alone. The fact that the advice comes from a puppet is what ultimately damns the whole thing.