Review: The Hunger Games: Mockingjay Part 1

Released: 20^th November

Certificate: 12A

Director: Francis Lawrence

Screenwriters: Peter Craig, Danny Strong, Suzanne Collins

Cast: Jennifer Lawrence, Josh Hutcherson, Woody Harrelson, Philip Seymour Hoffman, Julianne Moore, Natalie Dormer, Elizabeth Banks

Another year passes, and the most successful series of young adult novel adaptations since Twilight returns for its third cinematic instalment. Encompassing the first half of the book of the same name, Mockingjay part 1 picks up where Catching Fire left off: at the inception of a revolution led by District 13 against the despotic Capitol.

Ostensibly, leaving the tried-and-tested formula of the titular arena behind would seem to be a risk; however the transition from gladiatorial combat to political intrigue is executed seamlessly. The filmmakers continue to flesh out the world of Panem beyond the eponymous games, with the districts play a larger part than ever before. For the first time we meet Capitol exiles, and see their contrasting reactions to the District 13 way of life- from Effie Trinket’s arc from self-pity to self-resolution (Elizabeth Banks proving that it is not just the wigs that make the woman), to the hard-edged Cressida (Natalie Dormer) and her film crew. The expanding cast and action setpieces at times mean perhaps less time is spent on character development than would be ideal. Lawrence brings such subtlety to Katniss, and it would have been interesting to have given her more time to exhibit Katniss’ vulnerability after the trauma of the games, which is explored in more depth in the novel from which the film is adapted.

This is not to say that characterisation falls completely by the wayside. Effie, District 4 tribute Finnick (Sam Clafrin) and District 13 leader Alma Coin (Julianne Moore) all have interesting arcs, and Katniss herself goes on an impressive journey. Katniss is a mesmerising protagonist, her anti-heroism manifesting not as showy callousness (as with Marvel’s Tony Stark and his ilk), but as a stony pragmatism: she knows what is important to her and will move to protect it, even if this directly contravenes what appears to be the ‘greater good.’ And, while this worked in the arena, Katniss is discovering that the fact of her being instrumental to a bigger movement will require her to change. However, she resists being commodified even as she realises that it is probably necessary.

This problem of trying to create a hero out of someone who is fundamentally un-heroic is a well-worn path that nevertheless is made fresh by Lawrence and co., and feeds nicely into the film’s overarching discussion of how media can be as powerful a weapon in conflict as armaments. The irony of needing Capitol-trained personalities (Seymour Hoffman’s excellent Heavensbee and Dormer’s Cressida) to do the propaganda work of the revolution is cunningly delivered. Cressida’s eyes, while free of heavy Capitol makeup, gleam with triumph as she spots a Katniss moment of genuine identifiability which can be exploited for the cause.

Despite being a ‘part 1’ adaptation, the film feels complete within itself and stops at a logical place within the narrative while still leaving a cliffhanger ending which cues up 2015’s part 2. While it doesn’t quite equal Catching Fire for pace and verve, it encompasses the increasing thematic complexities of the novel while delivering something truly cinematic and action-packed.

Verdict: 4/5

Image credit: reelcinemas.co.uk

Review: Paddington

Released: 28^th November 2014

Certificate: PG

Director: Paul King

Screenwriter: Paul King

Cast: Ben Whishaw, Hugh Bonneville, Sally Hawkins, Julie Walters, Madeleine Harris, Samuel Joslin

The eponymous childrens’ book and TV character is given a 21^st century makeover in this charming family film. Hailing from Darkest Peru, a young bear has to leave his idyllic home life when an earthquake destroys his dwelling and claims the life of his uncle. He hitches a ride to London, where an explorer once promised his family that they’d receive a warm welcome. However, he quickly discovers that London in 2014 doesn’t stop to tip its hat jovially and comment on the weather with strange visitors. Enter the Browns, a middle class London family who get more than they bargain for when they agree to take in the young bear ‘just for one night.’

A rarity in modern remakes of much loved classics, Paddington hits all the right notes. This is mainly due to a strong cast: Bonneville, Hawkins and Walters are all British stalwarts but the young actors do extremely well considering most of their scenes probably involved acting to a tennis ball on a stick. Ben Whishaw brings a wonderful cadence to the voice of Paddington; he is innocent without being childish, straightforward and yet strangely knowing, and Nicole Kidman is clearly enjoying hamming it up as the diabolical taxidermist villain.

The story progresses nicely, and touches on some very salient themes, such as modern middle-class fear of the unfamiliar and of those seeking a helping hand. There is an argument to be had about whether the film over emphasises Britain’s historical hospitability: while Britain’s mass acceptance of German WWII refugees is referenced, there is no mention of the chilly reception experienced by West Indian workers encouraged to immigrate to rebuild the country in the aftermath of that same conflict. However, the musical interludes by calypso outfit D Lime are at least a nod to a cultural heritage that stretches beyond Europe.

Despite its dramatic underpinnings, Paddington is at its heart a comedy, and a smart one at that, featuring a raft of well-choreographed physical humour (the audience I saw it with were in gales of laughter) and plenty of other jokes if slapstick isn’t your jar of marmalade. The rich and detailed sets provide an almost Aardman level of in-frame jokes and features which will reward repeat viewing.

Verdict: 4/5

Image credit: http://www.facebook.com/PaddingtonBear