Here we are, in the final months of 2013. Summer break
is near in sight, which means the time has come to countdown my top 10 films of
the year so far. The rules are simple: films which were released January
through November are eligible for the list (discounting movies that were included
in last year’s awards ceremonies). Having said that, there is a high chance
that many of these movies could change ranking or not make it on the final list
when all is said and done. Oscar season is about to commence and there is a
plethora of films left to see.
The Hunger Games is without a doubt a pop culture phenomenon. Unlike Twilight, which appealed strictly to teenagers, Suzanne Collins' universe has broadened to entertain adult audiences, mainly due to its mature themes and emphasis upon the reality television zeitgeist of our times. While the first adaptation in the series provoked some thought-provoking theses, its sequel has elevated the stakes to a new level. Featuring terrific acting talent, a brilliant blend of humour and terror and very little filler, Catching Fire is a blockbuster spectacular worth the price of admission.
Improving upon its predecessor, the script has stripped any excess fat, resulting in a rich and thrilling sci-fi escapade that grabs your interest (whether it be emotional, action orientated or otherwise) and doesn’t let go. A mounting sense of drama and an engrossing political subtext makes the rollercoaster ride too much fun to get off. From the media tour through the hunger-stricken districts to the deathly Hunger Games arena, Katniss and Peeta’s tumultuous passage invokes a genuine sense of adventure that drives the plot forward and continues to feel fresh throughout, despite a lengthy 146 minute running time.
Catching Fire is a rare example of cinema refining its source text. Francis Lawrence’s smooth and stylish direction is complimented by a supreme performance from Oscar winner Jennifer Lawrence who packs an emotional punch as the tortured, yet ever resilient, Katniss Everdeen. The threat is existential and no longer restricted to the arena. Enriched with deeper, more adult themes that delve into Panem's political conflict and the power of pop culture, Michael Arndt’s (Little Miss Sunshine, Toy Story 3) screenplay plays to young and old audiences alike. None of these complimentary elements would hold up without the strength that Jennifer Lawrence brings to the heroine role, arguably the best young female role model in recent cinema history.
New faces Sam Claflin and Jena Malone, are brilliantly cast in the roles of Finnick Odair and Johanna Mason, existing victors from previous games. Both are gifted with great lines and provide a significant amount of heart and humour in their portrayals. Their presence outshines the mopey and self-pitiful Gale and Peeta, both of whom remain damsels in distress. Most surprisingly however, is Donald Sutherland, who after an uninspiring turn in the original instalment has finally awoken from his slumber to be a menacing and foreboding presence onscreen.
For the first time in recent memory, I was genuinely entertained and engrossed by the action-orientated drama. A barrage of arrows, ravenous monkeys, spells of lighting, a tsunami, you name it; Francis Lawrence’s Hunger Games spectacularly delivers on all action and special effects fronts. True to its title, Catching Fire spews sparks of tension and adrenaline before it abruptly cuts. Thrill seekers, adventure lovers, die-hard fans and non-fans alike, will be left wanting more.
Since the overwhelming success of Inception,
studios have been capitalising on the "Christopher Nolan effect" to recreate big
box office reception by masquerading average blockbusters as nuanced art films.
Directed
by Louis Leterrier, Now You See Me is
a prime example of an illogical story hiding behind a grand design; a series of
cinematic tricks executed with a whole lot of razzle-dazzle and a complete
disregard for reality.
Mark Ruffalo leads the cast in the role of Dylan Rhodes, an FBI
agent called to track down a team of illusionists who pull off bank heists during their
live shows and reward their audiences with the money. Always one step behind
the so-called ‘four horseman’, (played by Jesse Eisenberg, Woody Harrelson,
Isla Fisher and Dave Franco), Rhodes attempts to thwart their criminal magicianary
to no avail. They frequently inform him, ‘Look
closely, because the closer you think you are,
the less you will actually see’.
After a standard first act, the movie descends into a
mundane action flick in which CGI technology takes over and a labyrinth of plot
twists consumes the integral drama. On more than one occasion, unnecessary
sweeping camera movements and speedy editing butchers simple scenes of dialogue
between two characters. Random showcases of computer generated ‘magic’ act as
red herrings, thrown into the mix to bulk up a shockingly thin plot. The
bombastic music accompanying these elaborate stunts is the cinematic equivalent
of a cheesy grin and wink to the viewer. An amateur combination of mumbo jumbo exposition
and bizarre blockbuster action distracts the audiences from the fact that there
is no real heart or mind to the storytelling at all.
The performances are largely cringe inducing,
especially from Jesse Eisenberg and Isla Fisher. As the central linchpin,
Mark Ruffalo unconvincingly bumbles his way through the script, while Dave Franco
and Woody Harrelson are their usual average selves. Additionally, Michael Caine and
Morgan Freeman are shoehorned into supporting appearances to give off the
illusion the film somehow resembles a clever masterwork by the Nolan brothers.
Now You See Me tries to
be intelligent with an overly convoluted plot, plenty of misdirection, and a
revelation designed to make the audience question everything that came before
it. However, in reality, the overall narrative is little more than multiplex
fluff that succeeds only at being incoherent, flashy and shallow. Even worse
than being a work of bad craftsmanship, the story isn’t very entertaining. With
its ensemble cast and fast paced scene construction, Now You See Me aims to be as slick and smart as Steven Soderbergh’s
Ocean’s Eleven, however it falls
embarrassingly short and ends up being pretentious.
