They just want a good show, that's all they want.

The Hunger Games

(2012)

The parts of this that are most effective are, unsurprisingly, the 12 certificate Battle Royale episodes of teen-on-teen slaughter. Possibly even more disturbing than Royale, as you're conscious that this is a film made with kids as the target audience. In particular, the set piece on entering the field of games is strong stuff. There are also interesting (but elusive) machinations taking place in the privileged city (Stanley Tucci's presenter is winningly flamboyant). I expected to be critical of Gary Ross' use of shakycam (it's been a consistent complaint) but I didn't find it distracting.

The main areas where this comes up short are, damningly, the premise and the rule changes. I can buy a future where the populace are put in their place by having Arnie fighting for viewing pleasure, but one where children are sent to slaughter each other (rather than, say, the fittest, bravest young people from each section) is too much of a stretch. Wouldn't that be just asking for a revolt ("Look what they've done to out darlings!"). The only reasoning I could see is that this is "young adult" fiction so the games have to focus on such an age group.

As for the rule change, I couldn't believe that the outcome of the film wouldn't have been attempted by someone before in the games' 75 year history, or that the organisers would institute rule changes as way of manipulating the contestants (or if they would, that it wouldn't have been widely recognised for what it was by this point). Well-made, with a fine performance from Jennifer Lawrence, but replete with loftier aspirations than its source material can fulfil.

***

Comments

I never strangled a chicken in my life!

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I'm an old ruin, but she certainly brings my pulse up a beat or two.

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A herbal enema should fix you up.

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Miss Livingstone, I presume.

Stage Fright (1950) (SPOILERS) This one has traditionally taken a bit of a bruising, for committing a cardinal crime – lying to the audience. More specifically, lying via a flashback, through which it is implicitly assumed the truth is always relayed. As Richard Schickel commented, though, the egregiousness of the action depends largely on whether you see it as a flaw or a brilliant act of daring: an innovation. I don’t think it’s quite that – not in Stage Fright ’s case anyway; the plot is too ordinary – but I do think it’s a picture that rewards revisiting knowing the twist, since there’s much else to enjoy it for besides.

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Shadow of a Doubt (1943) (SPOILERS) I’m not sure you could really classify Shadow of a Doubt as underrated, as some have. Not when it’s widely reported as Hitchcock’s favourite of his films. Underseen might be a more apt sobriquet, since it rarely trips off the lips in the manner of his best-known pictures. Regardless of the best way to categorise it, it’s very easy to see why the director should have been so quick to recognise Shadow of a Doubt 's qualities, even if some of those qualities are somewhat atypical.

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The Young and Prodigious T.S. Spivet (2013) (SPOILERS) The title of Jean-Pierre Jeunet’s second English language film and second adaptation announces a fundamentally quirky beast. It is, therefore, right up its director’s oeuvre. His films – even Alien Resurrection , though not so much A Very Long Engagement – are infused with quirk. He has a style and sensibility that is either far too much – all tics and affectations and asides – or delightfully offbeat and distinctive, depending on one’s inclinations. I tend to the latter, but I wasn’t entirely convinced by the trailers for The Young and Prodigious T.S. Spivet ; if there’s one thing I would bank on bringing out the worst in Jeunet, it’s a story focussing on an ultra-precocious child. Yet for the most part the film won me over. Spivet is definitely a minor distraction, but one that marries an eccentric bearing with a sense of heart that veers to the affecting rather than the chokingly sentimental. Appreciation for

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