Tag: h

Haphead

  By

★½
“Virtually worthless.haphead“

A good idea goes entirely to waste in this woefully-executed cyberpunk webseries, with the episodes now combined back into something more or less feature-length. The heroine is Maisie (White), who gets an entry-level job working in an electronics factory belonging to the murky Asteri*k corporation. They’re making “haptic” cables which allow computers to interface directly with the brain; the potential in this idea is massive, but here, it’s explored only in a few scenes of Maisie playing a VR game in which she controls a rabbit with ninja skills. There’s some kind of rumblings that the skills learned stick in your brain, so as you become good at fighting in the virtual world, you become good in the real world. Except, this doesn’t go anywhere either – although this is probably wise, considering White’s fighting abilities, charitably described as wobbly. Instead, the film diverts in its second half into her investigation of the mysterious death of her father (Strauss), a security guard who took an unwanted promotion so she wouldn’t have to work in the factory, only to be killed by a “haphead”. Maisie investigates this, and soon discovers things are not quite what they seemed.

The problems here mostly stem from the script which comes up with any number of initially interesting concepts, including the positive and negative uses of technology, through corrupt practices of big business… and then discards them without doing anything significantly more than bringing them up (never mind even scratching the surface), instead scurrying on to the next one. The end result is less a frothy cybernetic souffle, and more a leaden lump of undercooked plot elements strapped together with old USB cables, like the parkour which shows up for no apparent reason, other than someone thought it would be cool. Or, equally likely, the film-makers’ mates wanted to be in the film.

You don’t even need big-budgets or incredible effects to do something like this justice. The makers could, and should, have learned a great deal from something like David Cronenberg’s eXistenZ, which covered a fair amount of the same ground, but did so with a script which truly explored the possibilities of virtual reality – and saved a lot of money, because the VR world was very, very similar to our own one. Of course, no doubt it helped to have Jennifer Jason Leigh, Jude Law, Willem Dafoe, etc. However, a low budget is no excuse for a bad script: indeed, the reverse is true, if your means are limited, you’d better be damn sure your script is engaging and well-written. Throwing a bunch of semi-“edgy” cyberpunk elements on top of a story painfully ill-suited to handle them, is not an acceptable substitute.

Dir: Tate Young
Star: Elysia White, David Strauss, Joanne Jansen, Kwame Kyei-Boateng

Hellions

  By

★★★½
“More than a trick, yet just short of a treat.”

hellionsJust in time for Halloween comes this atmospherically and spooky tale, in which teenager Dora (Rose) has a day – and a night – to remember. It begins with her discovering that she’s pregnant, news which initially causes her to stay home and brood over her future. She changes her mind and texts her boyfriend to come pick her up; he never shows, and instead she finds herself increasingly tormented by young, masked figures, who repeatedly knock on her door. The doctor (Sutherland) makes a house call, only to discover Dora has gone from four weeks to four months pregnant in just a few hours. Dora is also being plagued by nightmarish visions sacrifice, and it becomes clear that those little figures have some very unpleasant plans for our heroine and her baby-to-be.

The religious symbolism here is not exactly subtle: Dora’s Halloween costume is that of an angel, and once you see one of the creatures dissolve when accidentally exposed to salt, it’s clear they’re from down below (well, clear if you’ve ever watched Supernatural, at least!). It’s an angle I’d like to have seen better explored. The script perhaps needs a Peter Cushing type, to pop up as Reverend Exposition and lay some groundwork, instead of forcing the audience to figure everything out on the fly, such as the rules to the occult universe this inhabity. What it does deliver, is atmosphere by the bucketload, with McDonald drenching the screen in every kind of filter imaginable, creating a world where you’re never sure what’s real, and what’s a product of Dora’s escalating and deranged imagination. It’s helped by a very creepy score from Todor Kobakov and Ian LeFeuvre, which takes the first four notes of Silent Night, and riffs on them to impressively unsettling Carpenter-esque effect.

There’s also something thoroughly striking about the image of a shotgun-wielding angel (as shown), even if the cartridges have been re-loaded with salt, and Rose makes for an engaging heroine, who manages to be smart, without toppling over into Juno-esque slappability. McDonald was also responsible for the off-kilter zombie film, Pontypool, and the film is at is best when Dora is engaged in an Assault on Precinct 13-style – again, more Carpenter – battle against the ongoing siege of the hellions, with the help (or is it?) of a local cop (Patrick). Unfortunately, the story can’t quite sustain that pace, and runs out of steam notably in the final reel, which brings us round to where the film started, with Dora waking up in hospital. You could do worse in terms of a choice for your own Halloween viewing than this; if not quite a full-size chocolate bar, it’s definitely better than a stale Tootsie Roll.

Dir: Bruce McDonald
Star: Chloe Rose, Robert Patrick, Rossif Sutherland, Rachel Wilson

Hot Pursuit

  By

★★½
“Colombia 1, America 1.”

Your tolerance for this may well depend on your fondness for Modern Family, in which Vergara plays Gloria, who is much the same character: a Colombian spitfire trophy-wife. It works rather better there, as part of the broad palette of distinct individuals, and in an episode that lasts 30 minutes, including commercials. You get the sense she might not be too easy to live with, and the 85 minutes here does sometimes become more a slog than a pleasure, and we speak as big fans of Family. Here, rather than the wife of a closet magnate, Daniella Riva (Vergara) is married to the henchman of a drug lord, who gets gunned down after agreeing to testify against his employer  (Cosio), just as the straight-laced Officer Cooper (Witherspoon) arrives to escort them to court. When it becomes clear some corrupt cops are in on the action, Cooper and Riva are forced to strike out on their own, making for an unlikely odd couple, whose spiky relationship grows over the course of their unscheduled road-trip.

It’s certainly far from novel, and the whole concept is so well-worn and utterly predictable, the script might as well have grooves and be mounted on rails. This is not a film to watch if you want to be surprised, in any shape or form; it’s more like a comfy jersey, that you pull on, knowing exactly what to expect. As such, there are some moments which are genuinely amusing, such as when Cooper ends up coked-up by (literal) accident, chattering away like a highly-caffeinated dolphin. It’s not Witherspoon’s first entry here either; back in her early days, Freeway won our Seal of Approval, and more recently, we also reviewed Wild, which had her stepping out into the wilderness. This is a more obvious role, in more ways than one; like the story, Cooper is over-familiar from a hundred other comedies, and making her a woman isn’t sufficient deviation to create interest. Witherspoon certainly tries, and the effort is palpable; however, there’s only so far effort can take you, given such lazy writing.

With Vergara, the problem is almost the reverse; Riva certainly has more of an arc than Cooper, and is given some genuine motivation for her actions, rather than existing purely because the plot demands it. However, if you’ve caught one episode of Modern Family, you’ve already seen all this performance has to offer. It probably says a lot, that Vergara’s turn in Machete Kills offered a more highly-nuanced approach to acting. I’m thinking this is probably the first time Machete Kills and “highly-nuanced” have ever been used in the same sentence. The end result just about manages to skate by on the charisma of its two leads, and I can’t say we were ever bored; that hardly counts as anything even approaching a glowing recommendation, however, and you should be in a thoroughly undemanding mood before approaching this one.

Dir: Anne Fletcher
Star: Reese Witherspoon, Sofia Vergara, Robert Kazinsky, Joaquín Cosio,

The Hunger Games: Mockingjay – Part 1

  By

★★★
“The beginning of the end.”

mockingjay1The makers go the Twilight and Harry Potter route here, dividing up the final entry of the series into two parts – presumably so as to maximize revenue. I can’t say how justifiable that is, or how this entry relates to its inspiration, because unlike the other two films. I have not yet read the last book. With this being a “half adaptation”, I didn’t want to end up getting ahead of myself, though I’ll probably end up doing so between now and when the second half comes out, in November. What was notable – and somewhat disappointing – is how passive heroine Katniss Everdeen (Lawrence) had become. After spending the first two movies taking the battle to those who sought to repress her, albeit more by accident after her sister was unfortunately selected for the Hunger Games, we left her having escaped the system’s clutches and flying to the legendary District 13, not quite as destroyed as she thought. Here, we discover they had retreated underground, and were now continuing to foment revolt against Panem. They want Katniss to be the figurehead for their rebellion.

And that’s the key word here: figurehead. Outside of a morale-boosting trip to a hospital, which goes horribly wrong, she doesn’t do much [as an aside, I was left wondering if those running the rebels knew or expected the trip’s repercussions, but did so deliberately that they could exploit the consequences for their own ends]. For instance, there’s a rescue mission sent into the capital to retrieve Peeta (Hutcherson), but Katniss stays at home – instead, it’s led by the other corner of that love triangle, Gale (Hemsworth). About the only sequence with any protracted sense of danger is when she’s running around the rebels’ complex, trying to find her little sister and their cat, before a government bombing raid reduces everything outside the deepest levels to rubble. While somewhat reminiscent of Ripley going off to look for Newt at the end of Aliens, it really isn’t anything like a substitute for the linear and more effective approach taken in the first two films. As noted, however, it’s probably unfair to judge this as a standalone film, and it should really be seen as the first half of a single, four-hour epic. I trust the remainder will take care of the action shortcomings here.

What works well, is the increasing awareness of, for want of a better phrase, shit getting real. This isn’t a televised spectacle any more, whose impact is limited to those about whom Katniss cares: it’s much broader in scope, and you can see the weight hanging on our heroine’s shoulders. Credit also due here to Julianne Moore as President of the rebels, Alma Coin, who has an over-arching world view that Katniss can’t quite see initially. But by the end of it, you get the sense she has become rather more pragmatic and realistic about the situation. Later this year, we’ll see how the whole saga wraps up, and I’m just hoping it’s more Lord of the Rings than The Matrix in terms of series finales. It has already reconstructed the landscape for action heroines, showing they can hold their own and appeal to a broad audience. But we still need the last installment to be a rousing success, both financially and critically, to keep pushing the genre forward into 2016, and beyond.

Dir: Francis Lawrence
Star: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson

Heavenly Sword

  By

★★
“Not even deserving a console-ation prize.”

heavenlyswordI wasn’t aware this was based on a video-game, until I started watching it and saw a Sony Playstation credit. In fact, I wasn’t particularly aware that it was animated. Neither would necessarily have made much difference, I guess, but forewarned is forearmed. Maybe knowing the game would make this better? Or maybe not, since that wouldn’t address either of the two main problems here: a storyline crafted entirely from bad pulp fantasy, and animation that works very nicely for action scenes, but is useless at portraying any kind of emotion. To start with the former, there’s a drinking game to be played here: take a swig every time a clichéd story element shows up. On second thoughts, I like my readers unencumbered by alcohol poisoning.

There’s an all-powerful sword, which is guarded by a tribe. Evil king Bohan (Molina) wants the sword, because it, in the hands of the ‘Chosen One’, is prophesied to be the only thing that can destroy him. He attacks the tribe, scattering them to the winds: Noriko (Torv) is given the task of protecting the sword, and bringing it to her half-brother, Loki (Jane) who is the intended bearer. Except, of course, he isn’t where he’s supposed to be, having left his village to become – oh, the irony – a blacksmith in the massive fortress complex belonging to Bohan. So, Noriko, along with sister Kai (Ball), who refers to herself in an irritating third-person way like Gollum with cat-ears, have to head into the heart of enemy territory, with Bohan in hot lukewarm pursuit. However, the ‘Chosen One’ turns out not to be who we’ve been told at all.

This is my unsurprised face.

I don’t like the CGI style here: for too much of the time, this like watching a cut scene from a video game. There are occasional interludes of more-traditional animation and this works rather better: I’d prefer to have seen the whole thing done that way, to be honest. However, I will admit that, when in motion, the flaws are much less obvious, and the final battle, pitting Noriko against an army is impressive; it’s actually credible that she could kick their ass, more or less by herself. The ending does go in a different direction from what was expected, and has a certain poignancy, albeit spoiled by an unnecessary sequel-generating scene during the end titles. Torv and the other voice actors do what they can, but that isn’t much, given their characters’ faces express about as much emotion as an anaesthetized Shaolin monk. The late Roger Ebert once famously said that video games “can never be art.” While I disagree with him, for a number of reasons not relevant here, watching this, I can kinda see from where he was coming.

Dir: Gun Ho Jang
Star (voice): Anna Torv, Alfred Molina, Ashleigh Ball, Thomas Jane

The Huntresses

  By

★★★
“Charlie’s Korean, Medieval Angels”

During the Joseon era in Korea, a trio of bounty hunters, Jin-Ok (Ha Ji-Won), Hong-Dan (Gang Ye-Won) and Ga-Bi (Son Ga-In), work with their agent, Moo-Myung (Ko Chang-Seok), capturing wanted bandits. But they get a different task, after a King’s envoy carrying an encoded message is the latest courier to go missing, and are charged with bringing him in. Needless to say, it’s not a simple task, and they find themselves facing a host of players opposed to the King receiving the message, which would threaten the fragile relationship with the Chinese emperor. But there’s also a personal angle, as Jin-Ok finds herself face-to-face with the man she remembers as having killed her father.

Huntresses-Poster-5Huntresses-Poster-1Huntresses-Poster-4

Early on, it becomes abundantly clear that this is not intended to be taken entirely seriously, probably from the time one of the heroines whips out her yo-yo, and takes out an entire platoon of enemies, Sukeban Deka style. Indeed, it’s probably the comedic elements that work best, such as the constable who follows him around, convinced his camo skills will stop him being seen – in a rarity for the humour often seen in Eastern films, it’s a joke which could have been used more, rather than being driven into the ground as normal. However, it feels that this lack of seriousness was taken by the makers as a reason to slap together the story, which lurches from set-piece to set-piece without any sense of logic or narrative flow – and don’t even get me started on the whole “dramatic amnesia” suffered by Jin-Ok.

It’s also fairly obvious the actresses aren’t doing very much of their own action, putting them behind Drew Barrymore et al, and in another galaxy, far, far away, from the participants in another cinematic cousin, The Heroic Trio. Ha probably comes off the best of the three, but there’s an awful lot of scenes which consist largely of close-ups of the actresses flailing wildly, intercut with wide shots from behind of someone competent. However, it still passes the time easily, particularly after all the parties involved end up in the port city of Byeokrando – or, at least, a convincing CGI imitation thereof. This allows plenty of scope for some impressive bits of combat, regardless of who’s actually doing them, as well as exploding pagodas, and other chunks of mass destruction. It also helps that the performances are solid from just about everyone concerned, which shores up the flimsy constructs of the storyline.  I’m informed that the Korean title translates as “Three Beautiful Musketeers of Joseon,” and that’s probably an accurate an overall summary as the preceding 400 words.

Dir: Park Je-Hyun
Star: Ha Ji-Won, Gang Ye-Won, Son Ga-In, Ko Chang-Seok

How I Live Now

  By

★★★
“My Sweet Sixteen Teenage Armageddon.”

howilivenowThe extraordinarily surly teenager Elizabeth (Ronan), who loudly insists on being known by everyone as “Daisy,” is sent from American to spend the summer in rural Britain with relatives. Unsurprisingly, she hates it – at least, until she meets Eddie (MacKay), a local brooding hunk for whom she falls. Fate throws a spanner in the works, however, as escalating tensions eventually lead to a nuclear attack on London and the outbreak of World War 3, against an un-named foe. The kids try to fend for themselves, but the boys and girls are forcibly separated, with Daisy having to take care of young cousin Piper (Bird). Turning her willpower to topic other than, as she says, not eating chocolate, she and Piper escape the camp where they are being used as forced labour, and begin the hazardous trek back to where Daisy is sure Eddie is waiting.

The best thing here by far is the heroine’s character arc. In the first two minutes, it’s established what a totally unlikeable bitch Daisy is: she has clearly made up her mind to hate the trip and everything about it, and the audience hates her for the obvious narcissism. But by the end, she has been forged in the fire of adversity and completely transformed in just about all aspects of personality, to someone who has learned that it’s much better to live your life for others than for yourself. As Chris noted, it’d be funny if the whole thing had just been a set-up by her (unseen) father, just to teach his whiny daughter a good lesson. That isn’t the case: what it is, is another powerhouse performance by Ronan, backed by solid work from the rest of the young cast, particularly Piper, who could gives the likes of Abigail Breslin and Dakota Fanning a run for their money in the Adorability Stakes.

Probably the main weakness is the abruptness of the relationship between Daisy and Eddie. It probably needed more time taken to develop it, because as things stand, it seems Daisy falls head over heels for him at about the second glance. On the other hand, I’m quite glad it didn’t because it’s the kind of standard, young adult cliché which we’ve seen far too often before [this was based on a book from the genre by Meg Rosoff]. Much more satisfying is the second half, when Daisy is forced entirely into relying on her own skills, and becomes a much more interesting character as a result. Director Macdonald got his start in documentary film-making and brings much of the same urgency to proceedings here, not soft-pedalling the brutality and violence of armed conflict. Like a more contemporary version of The Hunger Games, it shows how inner strength can be found in the most surprising of places, and Ronan cements her position as one of the leading young action heroines in Hollywood.

Dir: Kevin Macdonald
Star: Saoirse Ronan, George MacKay, Harley Bird, Tom Holland

Hapkido

  By

★★★
“Forbearance. It’s vastly over-rated…”

lady_kung_fu_poster_011934 Korea is under the yoke of Japanese occupation. At the hapkido school of martial arts, Yu Ying (Mao), Kao Chang (Wong) and Fan Wei (Hung) are learning the form. On graduation, they return to China and open an establishment of their own, only to fall foul of the Japanese Black Bear group, who bully both local residents and other schools, and try to run the hapkido practitioners out of town. Despite their teacher’s mantra of “Forbearance,” of which Ying has frequently to remind her colleagues, hot-headed Wei is eventually baited into fighting and killing some of the Black Bear students, and has to go into hiding. Chang’s efforts at diplomacy fare no better, leaving him beaten within an inch of his life, and the Bears seize the opportunity to tell Ying they’ll be incorporating her school into theirs. She finally realizes that turning the other cheek can only go so far before you have stand up for what’s right. Which, in this case, is some kicking of asses belong to the Japanese and their minions.

The film certainly loses points for obviously cloning Bruce Lee’s Fist of Fury, also released in 1972 and similarly based on a conflict between Japanese and Chinese martial arts schools. The strong anti-Japanese sentiment is no less shrill and strident here, and the style adopted for the fights is also largely similar, with one or other of our hero(in)es taking on a large group of rival students, before finally battling the big boss (or The Big Boss, if you prefer…).  Still, this is remarkable for the future output of those involved in the film. As well as being an early entry in the careers of Mao, Wong and Hung, there are minor roles for Billy Chan, Lam Ching-Ying (Mr. Vampire), Yuen Biao, Corey Yuen (director of Yes, Madam, She Shoots Straight and DOA: Dead or Alive) and Jackie Chan, who plays one of the Black Bear students.

But it’s mainly a showcase for the leads, and the action demonstrates why they’d all go on, to varying extents, and become stars in their own right. Mao is, obviously, of most interest here. After an early demonstration in Korea, which shows her as the smartest and sharpest of the trio, she largely takes a back seat in the middle, trying to keep the peace and practice that whole “forbearance” thing, before exploding into action again at the end. Particularly cool is the use of her weighted braids as a weapon, to whip her opponent about the face – you never saw Bruce Lee do that! And this is probably what defines the film. When it’s trying to be no more than a Lee-mitator, it comes off as second best, for obvious reasons. However, when the creators go their own way, it’s inventive and much more entertaining as a result. Shame the ratio isn’t tilted more heavily towards the latter.

Dir: Huang Feng
Star: Angela Mao, Carter Wong, Sammo Hung, Bai Ying
a.k.a. Lady Kung Fu

Her Vengeance

  By

★★★
“Revenge, with extra sleaze.”

hervengeanceDirector Lam is responsible for insane cult classic, The Story of Ricky, and if this is more restrained, it’s only by comparison. Casino manager Chieh Ying (Wong) is gang-raped by five sleazebags – and, wouldn’t you know it, they’re the same guys who killed her father. Worse is to come, as a trip to the doctor reveals a rather nasty case of venereal disease, and after some melancholic wandering around which occupies the rest of the first half (and, to be frank, is rather boring), our heroine gets tore into the villains, extracting the titular payback. Though you know the old saying, “She who seeks vengeance, must first dig two graves”? That’s a severe understatement here, because this roaring rampage will end needing an entire cemetery, costing Chieh Ying almost everybody she cares about, from her uncle, a wheelchair bound kung-fu wizard (Lam, best known for the Mr. Vampire series), to her wannabe boyfriend (Wong).

Once things kick off, this is impressive, and it’s clear that Lam does not give a damn about any kind of political correctness. The performances are (surprisingly?) decent, with Wong suitably angsty, and the villains entirely hissable, though their apparent inability to recognize her certainly defies explanation – I’ve never raped anyone, but if I did, think I would likely remember what they looked like. Lam is his usual great self, demonstrating some amazing moves as a crippled master, at one point whipping one of the wheels off his chair, and hurling it at an assailant. The main problem is poor pacing, to such an extent that it feels almost like two separate films, spliced together – and as we’ll see, that is indeed the case in some ways. The film gets credit for not hanging around, and gets the rape out of the way with admirable speed. However, things then grind to a halt for a good 30 minutes, Chieh Ying moping around from Macao to Hong Kong and back again, before eventually getting a job in her uncle’s bar. Your attention may drift away considerably during this spell.

Fortunately, things recover significantly when she starts taking out the trash, with a wicked combination of blades, acid and curtains constructed of fish hooks (!). And that’s not mentioning the F-sized crossbow she and her uncle construct: the poster isn’t quite accurate in the details, but does give you an idea. There’s a wonderfully bleak approach here: while Chieh Ying may get the retribution she has been craving, does it really help? Is she any happier as a result? I sincerely doubt it. If damaged by its unevenness, this remains a good example of “they don’t make ’em like this any more,” as far as Hong Kong cinema is concerned.

Dir: Ngai Kai Lam
Star: Pauline Wong, Ching-Ying Lam, Elaine Jin, Kelvin Wong

Note: there have been a couple of versions of this officially released: one with all the sex and violence, and another where that was cut, but containing other scenes that actually resulted in a longer running-time, by several minutes. Some enterprising individual took it upon themselves to splice the two together, and that’s the version reviewed here.

The Hunger Games: Catching Fire

  By

★★★½
“Still not as good as the book.”

catchingfire2It took a little way into 2014 for it to get there, but Catching Fire overtook Iron Man 3 to become the biggest-grossing film in the US, released in 2013. What’s particularly stunning about that is, it’s the first #1 film for a year, with an woman as the unequivocal lead, in four decades. And depending on how you view Linda Blair in The Exorcist, you might have to go back even further, to Babs Streisand in 1968’s Funny Girl. It indicates just how far this series has redrawn the playing field: there can no longer be any credible claim, as heard after the failures of Catwoman, Aeon Flux, Cutthroat Island, etc. that action heroines are, per se, box-office poison.

I was really looking forward to this, too, having enjoyed the second book more than the first, and with the reviews for the cinematic part two also an uptick better. And… S’alright, I suppose. Though that’s a bit unfair: it’s mostly disappointing only in relation to my increased expectations. On any other level, this is very solid cinema, with Lawrence continuing to provide a steely, resourceful heroine who breaks the mould. But I’m still finding myself on the outside, looking in – observing Katniss, rather than feeling for her. If there’s an emotional heart here, it hasn’t been beating in synch with my own; when this ended, I turned it off, went to bed and forgot all about it.

There were a couple of ways in which it felt deficient to the book, even though it’s still an extremely faithful adaptation, with virtually every incident being reproduced, in a way not far off how my mind’s eye saw them. “Virtually” might be important there. Even at 146 minutes, I got the feeling some key elements were watered down. For instance, the film doesn’t do a good job of explaining why Katniss decides that Peeta must survive at all costs. In the book, it’s clear that it’s because she believes only he can lead a rebellion, with her role being to make sure he lives to do so. Of course, the Peeta in these films doesn’t exactly come over as a teenage Martin Luther King or Gandhi: he seems there more as a cuddle-buddy for Katniss, when Gale isn’t around [thankfully, that love triangle seems pushed further into the background this time around].

HGCF_KATNISS_75J_PLAK_D_CMYK_300_A4.inddThe same sense of dilution goes for both the attacks and their results in the film version, with neither packing much wallop. A number of Katniss’s friends and allies are killed in this one, but none have as much punch as their most obvious counterpart in the first part [name omitted, just in case anyone reading this hasn’t seen or read it!]. Finally, and to some extent contradicting what I said in the opening paragraph, our heroine isn’t less the focus here, as she was in the first film, where she all but flew solo in the Games. Again, it plays differently from the book, whose first-person narration ensures that Katniss is put squarely front and centre: this entry feels more like The Expendables, with a team-based approach to the process. To some extent, this does make sense, however: one of the themes here, is the ripple effect of Katniss’s victory and how things are not longer just about her survival. The gradual realization that this is now much larger, plays a major part in the lead-up to the Quarter Quell.

Which brings me to the things the film does well, because the set-up, as Katniss and Peeta go on their “victory tour” of all the districts, is quite exquisite. Right from the first stop, where a supposedly celebratory rally ends up diverting far from what the authorities want, after the couple abandon their bland, pre-prepared speeches, you get a real sense of rising revolt. What also comes across well, is the sense of large-scale discontent, even among the power elite in the capital: witness the reaction to Peeta’s (fake) announcement of Katniss’s pregnancy, or the costume designed for her, which contains a none too subtle reference to the rebellion (and for which its designer pays the price). As a work of political subversion, this is far superior to the likes of V for Vendetta, and the dystopia depicted, in all its brutal coercion, is undeniably chilling.

It does suffer somewhat from “second film syndrome,” though stands alone much better than, say, The Desolation of Smaug. Proceedings end on the same cliffhanger as the book: while Katniss was fighting for survival, the powers that be were taking care of business elsewhere. I haven’t read the third volume yet, and am torn between doing so before I see the next film or after it. Complicating matters, the last book, Mockingjay, will be pulling a Harry Potter or Twilight, and becoming two films, to be released in November 2014 and 2015. I’m a bit dubious: the book is barely half the length of either of those volumes, and we’ve seen with The Hobbit, what can happen when material is stretched too thinly. Against that, due to its first-person narrative, the book is likely much more limited in its ability to depict the obviously impending global revolution, and one imagines this will be expanded upon in the two parts of Mockingjay.

One thing seems little in doubt. By the time the series in finished, Lawrence will have the number one, two, three and four box-office hits in action heroine history, and may even have the first billion-dollar global entry. That can only be applauded.

Dir: Francis Lawrence
Star: Jennifer Lawrence, Josh Hutcherson, Sam Claflin, Woody Harrelson

"By the time the series in finished, Lawrence will have the number one, two, three and four box-office hits in action heroine history, and may even have the first billion-dollar global entry. That can only be applauded."