The Reel World

As someone who devoured The Hunger Games during a single marathon sitting a week before the movie's release, I was particularly curious and excited to see Suzanne Collins' best seller get the big-screen treatment. Judging by all the Team Peeta devotees and side-braid-sporting, would-be Katnisses — who had certainly been waiting for the movie a lot longer than I had — at my opening night screening, I was far from the only one. (The record-breaking box office was another clue.) Still, in a theater packed with rabid superfans, and with a beloved property making its much-anticipated jump onto the silver screen, the question of whether or not the movie is actually any good can often seem somewhat beside the point.

In case you've been living under a rock — or were buried in a District 12 mine explosion — The Hunger Games is set in the nation of Panem, what's left of North America after an unspecified apocalyptic event in the future. Panem consists of the wealthy, oppressive Capitol and its 12 surrounding districts. Every year, each district must send one boy and one girl — ages 12 to 18, and known as "tributes" — to compete in the Hunger Games, a televised battle to the death meant to re-establish the Capitol's dominance over the rest of the nation.

Dr. Seuss and his cast of strange and wonderful characters have been around since before I was born. The first book I ever read by myself was Green Eggs And Ham, and I can remember the experience quite vividly still. Each Christmas I run the 1960's Boris Karloff version of The Grinch Who Stole Christmas. It's been a tradition at the Sassani household for decades. It started with television broadcast that led to videotaped copy which found its way to a laserdisc, followed by a DVD and now a beautiful Blu-ray from the folks at Warner. If these things don't qualify me as a bonafide fan of the good Doctor, I'm not sure what else will.

Mankind has lost touch with the Earth's environment and now lives in sterile cities where there is no longer any nature at all. Few can even remember what a tree looked like. The natural resources were completely consumed to make products so that now trees are inflatable fixtures in the neighborhood. In order to impress a girl who has fantasies about real trees, Ted (Efron) leaves the safety of the city to track down the Once-ler (Helms) who is rumored to know what happened to the trees. The Once-ler tells a cautionary tale of how he was responsible for the extinction of the trees in spite of the warnings of their protector, the Lorax (DeVito).

"In valor there is hope"

It would be easy to dismiss Act Of Valor as either a recruiting tool piece of propaganda or yet another in an endless line of war films attempting to capture some form of authenticity. It would be easy, if you haven't seen the film. I can promise you that no matter what your views on war or the military in general, the one thing you simply won't be able to do is dismiss Act Of Valor.

“Have you seen her? The Woman in Black? She once lost a boy, and now she’s come back. Our parents all worry, they make such a fuss: For if she can’t find him, she’ll take one of us.”

Now this looks like a Hammer film. A subdued cool color palette, stunning Gothic set pieces, a wonderful location ripe with grieving and decaying symbolism, and genuinely scary ghosts make The Woman in Black an impressive throwback to old fashioned horror. Having been a fan of the original 1983 novella by Susan Hill and the 1989 TV teleplay for Britain’s ITV network, I looked forward to Hammer’s adaptation. I was not disappointed.

At first glance Haywire appears a bit out of character for the likes of director Steven Soderbergh. It's not that he hasn't delivered action films in the past. It's that he's never quite tied himself to such a tried and sometimes true formula before. When you first look at the press for Haywire you're going to pretty much dismiss it as a standard action hero film that follows in the mold of a Steven Seagal/Chuck Norris mold with a touch of Bourne Identity thrown in to meet the more recent trends. If that's what you think, then you've pretty much called it, because that's exactly what it is. But that's not a good reason to dismiss the film either.

I won't lie. The film pretty much follows the path you expect it to follow. Mallory (Carano) stumbles into a bar in an isolated town where she's meeting with a contact. But she's wary because something has gone wrong and she's not sure exactly who she can trust. She's right. No surprise there, is there? She takes Scott (Angarano) hostage for his wheels and makes her getaway. During their flight she begins to tell him the story of how she got to where she is. It's through this narrative that the story unfolds for us. This is where Soderbergh offers up a little of his own tweaks to the story and, for the most part, there's enough of his wit here to keep the narrative humming along. Of course, she's out to find the guys who tried to get her killed, and there's a ton of carnage in the wake.

"Fight for honor. Fight for your children. Fight for your future. Fight for immortality!"

I know there are a lot of you out there who can't wait for the huge 300 sequel: 300 The Battle Of Artemisia. You might even have your calendar circled for the Clash Of The Titans remake sequel Wrath Of The Titans, also on the horizon. In case you find that you just can't wait, director Tarsem Singh has created a weigh-station, of sorts, with his action-packed Immortals. The film takes elements from both franchises and melds them together into something very much like those films, yet unique enough to warrant some of your attention. The result is a film that is absolutely uneven in places, but entertaining enough to be worth a look.