Review: The Hunger Games

The Hunger Games film posterI went to see The Hunger Games last night, and I’m glad I did. I probably wouldn’t have bothered if Lee hadn’t said he wanted to as a part of our wine-and-geek-movies cinema thing. The reason for that is that I’d heard a lot of mixed reports of the film (and the books) in the run up to its release. Some people really liked it, some people thought that it was a) a Battle Royale rip off, and b) an unrealistic Mary-Sue/Supergirl-athon. To be fair, I’m always suspicious of accusations of the latter; I have a lot of sympathy for Comic Book Girl’s take down of the whole concept and its use in criticising women for writing wish-fulfillment fantasies where male wish-fulfillment fantasies (Batman, Superman, etc. etc.) are considered so natural that we don’t even think to call them Marty Stus, and therefore erroneously think of Mary Sues as a somewhat childish, primarily female phenomenon. I think the concept in the abstract has a use in highlighting poorly written wish-fulfillment characters, but its application often reveals a gender bias that sees it being over-applied to perfectly decent female characters, whilst leaving male counter-parts untouched, situating them under other, more positive labels, such as ‘architypal’.

But anyway, I’ll get into why exactly both these accusations were unfair in the case of The Hunger Games once I’ve given you a feel for the plot.


Once upon a time there was a great rebellion. It was so devastating that the authorities decided that harsh measures were needed to keep the population in check. They introduced The Hunger Games. Every year each district of Panem would send two youths, a boy and a girl, between the ages of 12 and 18 to fight to the death in an arena. The winner would receive riches beyond the dreams of the twelve districts outside the Capitol. The ‘tributes’ are chosen by lottery. You can increase your chances of being chosen by taking food in exchange for entering your name a second, (third, fourth, etc.) time for the lottery, and poverty outside of the Capitol is so extreme that many are prepared to do this.

Katniss (Jennifer Lawrence) is a 16-year-old girl who has been supporting her family since her father died. Her mother effectively broke down at his death, and Katniss assumed the role of provider for her younger sister. She does this primarily through poaching – hunting birds and squirrels with her bow and selling them on the black market. She’s very good with her bow.

When her sister, who is only 12, is chosen for the games on her very first entry to the lottery, Katniss volunteers to take her place. She is thrust into the strange and opulent world of the Capitol for a brief period of training, receiving advice from a ‘mentor’ (someone who has won a previous game) and trying to create both a likeable and memorable impression on the masses. Rich ‘sponsors’ can pay for items to be parachuted into the Games for tributes that they like, and these can make the difference between life and death, so creating the right impression is vital.

Eventually, though, the games themselves must begin and Katniss enters a fight for survival that can be as much about finding water and shelter as it is about killing and avoiding being killed.


This film was much longer than I expected it to be, and that was much to its benefit. It’s true that the idea of a deadly gameshow is not original – The Running Man springs to mind for me more readily than Battle Royale, but comparisons to both are valid. That, in itself, is no sin. The Hunger Games is interesting in being written post the reality TV explosion, as opposed to those books and films that merely predicted the slippery slope of our voyeuristic tendencies. By taking the time to outline the world in detail before thrusting Katniss into the Games the film allowed itself to be much more intelligent, vibrant, and engaging than a mere copy-cat. Indeed, in the UK and US at least, fears about reality TV ending in increasingly dangerous games seem to have proved unfounded. Big Brother has closed its doors, and the most successful reality shows nowadays tend to be those that either skew more towards talent shows or ‘docutainment’. Total Wipeout is tamer than tame, and really little more than a modern day It’s a Knockout. If you think shows like The Apprentice depict some kind of survival of the fittest I think you have a rather tame idea of ‘survival’ (or ‘fittest’, for that matter). Like Battle Royale, The Hunger Games understands that excessive violence in reality TV is unlikely to arise purely for entertainment; sustainment of the sort of cruelty involved in the Games requires some sort of government mandate and enforcement. However, unlike Battle Royale, The Hunger Games is distinctly conscious that the entertainment aspect is also vital, and the lengthy portion of the film devoted to exploring life in the Capitol, amongst the wealthy and powerful who perpetuate and orchestrate the perpetuation of the games, is vital to building plausibility and character into the film.

What The Hunger Games gets right is the direct link in our fears around our own voyeurism to what we know to have happened in societies like ancient Rome. Gladiatorial combat was both entertainment and a political vehicle. Or so films like Gladiator have taught me. I’m not claiming to be an expert historian – I’m not. But I think there is a truth to the idea of crowd-control via spectacle and the mixture of fear and voyeurism in some of the more cruel and brutal methods of punishment in the past. The names of the characters in The Hunger Games make the connection to the Roman spectacle explicit: Caesar Flickerman (Stanley Tucci) and Claudius Templesmith (Toby Jones) are the flamboyant presenters of the games, whilst Seneca Crane (Wes Bentley) runs the Games, and President Coriolanus Snow (Donald Sutherland) quietly pulls the strings behind the scenes. It’s an intelligent analogy that shows more thought as to what it would take for games like these to not only get started but to be maintained than is evident in the earlier iconic riffs on this theme.

Effie Trinket, advertising 'Capitol Colours Nail Polish'Similarly, the opulent wealth of the Capitol is strikingly realised. I both wanted their wealth and was disgusted by its comfortable maintenance in the face of the extreme poverty of the other districts. In our time of economic crisis it’s perhaps an easy hit to highlight the Occupy movement’s mantra concerning 1% of the people possessing 99% of the wealth, but I give them credit for doing this well, and for making it entertaining. Effie Trinket (Elizabeth Banks) is never less than fabulous, coiffed to perfection and with light-touch comic timing to die for. And the sleek, high levels of technology make me want their world, even as I despise what it is founded on. And that’s what a cautionary tale should do. It fails if it doesn’t make the future it warns against seem plausible. Even more impressive, they made Games seem like something I’d actually want to watch. Would I actually? I don’t know, I hope not, but the way they build the show makes it appealing to root for some tributes and dislike others. I can see how that would take hold, and that’s disturbing. Just as it should be.

As for Katniss, anyone who thinks she’s a Mary Sue just because she knows her way around a bow and seems smart and capable is not worth listening to. Katniss is not some kind of supergirl. She has one notable skill and demonstrates some intelligence, whilst never being presented as dramatically out of the ordinary. She is not one of the best fighters in the Games – in fact, quite a few people are demonstrably better, and even at her chosen weapon she is not an unerring shot. Her advantage lies in lying low and being likeable. She’s self-sacrificing without being holier-than-thou. She’s beautiful, but never overtly sexualised. She believes that she will kill if necessary, but she doesn’t want to.

There are only a couple of flaws in the movie. One is simply that Katniss has zero chemistry with either of her love interests. Her relationship with Peeta (Josh Hutcherson) is interesting, and well-played by both. I suspect there’s no chemistry there because there’s not meant to be – for Katniss, at least, it is all an act. She believes that by feigning love for Peeta for the cameras she raises her own chance of survival. It’s an interesting plot, but only intellectually. It never really grabbed my emotions because I never really wondered if she might really be falling for him. Whereas her love back home, Gale (Liam Hemsworth), is largely uninteresting and doesn’t really get enough screen time to register as anything but slightly annoying.

The other flaw is that the Games themselves are rather predictable. I don’t want to give too much away, but the level of jeopardy never seemed very high to me once it became clear that Katniss was not to be permitted too much moral ambiguity. There’s an interesting tension set up behind the fact that survival dictates that forming alliances is initially useful, but any friends made will later have to be turned on. Katniss voices earlier in the film that she may be prepared to kill, as she will do whatever it takes to get back to her little sister, but as the Games progress it becomes clear that the plot is working to avoid putting her in that situation as much as possible.

I don’t want to complain too much. It’s a 12A, there’s only so much moral ambiguity allowed for the protagonist in a film aimed at younger teens. I still enjoyed it, and I recommend it to you. This is not a film to change the history of cinema, and it’s unlikely to blow your mind on any fundamental level, but it’s well made, thoughtful, and very entertaining. I imagine a teenager watching this and having good reason to find it thought-provoking and memorable. It’s certainly one of the better science-fiction films of recent years, and I think it will enter the science fiction canon of films-other-geeks-will-expect-you-to-have-seen – if not for my generation, then certainly for the generation who are turning 12 now.

Cinna, sporting some bitchin' eyeliner.

Cinna. You can't really see, here, but he is sporting some bitchin' eyeliner.

Moreover, it’s a class-act on both gender and race. A female lead who believably holds her own, carries the show, and is allowed two love interests, neither of whom render her a gibbering idiot who will be distracted from her own goals by the advent of their affection. There are also numerous non-white, non-token, non-stereotypical characters. Granted, you’d be forgiven for thinking that there were only two races in the world – black and white – but this is still a step up from virtually every film I’ve seen in the last few years. I adored, in particular, Lenny Kravitz as Cinna, Katniss’s stylist. In fact, in general I loved the gender play, in this movie. Whilst there are no explicitly gay characters (there may be many, but if so, their sexuality is not highlighted), but make-up seems to be something that it is perfectly OK for a man to sport. And whilst we’re here, let’s spread a little love for Seneca’s beard:

Seneca Crane's most stylish beard


You should take some time out of your life to see this movie. It is worth you attention, and is both pretty and entertaining besides.

Captain America: The First Avenger

Captain America: The First Avenger - poster I know I owe you guys another Read Along with Rhube, but I can’t keep it inside any longer: this film was so good. All the squee I had for X-Men: First Class, plus some more, with none of the race and gender issues. If you haven’t already seen this film in the cinema, do it now.


Somewhere in the present day Arctic circle a mysterious and oddly shaped plane is uncovered.

Somewhere in Norway, in 1942, Johann Schmidt (Hugo Weaving) and his team of Nazis invade what looks like a monastery to steal a mysterious artifact.

In lots of places around New York at the same time Steve Rogers (Chris Evans), a short, skinny man with asthma, is getting rejected from the military again and again. Steve is a nice guy who never backs away from a fight, wants to do his duty, and is mysteriously unable to get women. He’s ‘Hollywood Homely’, in other words – i.e. he’s actually not a dickhead and he’s still really good-looking, but because he’s going to become an enormous stud-muffin we have to pretend for a bit that he can’t get women.

Anyway. On a double-date with his successful military friend, Bucky Barnes (Sebastian Stan), Steve is effectively ignored by the friend of Bucky’s date he’s supposed to be with. So he goes off to try and enlist again, as you do. Bucky realises he’s missing and catches up to go ‘WTF, man, we’re on a date!’ and whilst Steve is going on about how much he wants to help the war effort, Dr. Abraham Erskine (Stanley Tucci) overhears, and decides to help Rogers enlist by getting him into his special program.

Rogers doesn’t know what Erskine has planned, but when in training test after test reveals that Steve is both smart and a nice guy, Erskine decides that this is his man. During the testing period, Steve also meets Colonel Chester Phillips (Tommy Lee Jones) and the awesome Agent Peggy Carter (Hayley Atwell). Despite his supposed dweebiness, Peggy seems to quite like Steve – probably because she’s neither blind nor an idiot, and he’s blatantly a really nice guy.

So, Steve is chosen for Erskine’s experiment and gets turned into the massive stud-muffin we all expected from the trailers. Unfortunately, a spy for Schmidt somehow got into the room, kills Erskine, and manages to destroy all the serum in the process. It seems that Schmidt was an early experiment of Erskine’s, but because Schmidt was a Bad Man, the serum only made him worse (apparently working on the same theory as ‘only bad witches are ugly’). Rather than an army of supermen, the US now has only Steve, and the program is cancelled. Steve becomes little more than a mascot, ‘Captain America’, shipped around the country with dancing-girls to promote the war effort.

Unsurprisingly, when he’s sent abroad to entertain the troops he’s rather less well received by men who have been fighting and dying in the field whilst he’s been prancing around on stage. As this was never what Steve wanted to do when he was trying to join the army, he’s pretty depressed by this. When he learns that a large number of men, including his friend Bucky, have been captured by Schmidt, Steve decides he can’t sit back and do nothing anymore. With Peggy’s help, he sets off on a one man mission to save the day… and succeeds.

After this success the army sits up and takes notice of him again, and agrees that he can head a team to launch an attack on Schmidt and his organisaton, Hydra, which has broken off from the main Nazi party. Because everyone now agrees that Captain America is properly awesome, Steve is allowed to choose his own men. Of course, he chooses Bucky, as well as a pleasingly mixed race crew of men he freed from Schmidt’s base.

The rest, I’ll leave to your imagination.

How good was it?

This film was so good it was practically erotic. I never really fancied Chris Evans before, but, umm, yeah. Forget whatever rom-com you were thinking of – if you want a date night movie, take your lady/man to see this. Adrenaline + hardbodies = win.

Before and after of Chris Evans special effects transformation in Captain AmericaAnd let’s just give a shout-out to the special effects crew. Watching the trailers I was genuinely curious about whether they used one man or two for their weedy-dude to stud-muffin transformation. It was Chris Evans throughout. The only draw-back was that the voice was slightly off throughout the weedy-Steve scenes. I wouldn’t have thought it mattered, but you could tell it was the voice of a man with a much bigger chest, and it was distracting – not least because I was trying to figure out whether this was a dubbing or effects issue, because I didn’t know if it was the same actor or not. Hopefully I have freed some of you from this by letting you know what I did not.

Apart from the effects and the phaw, though, this was a thoroughly excellent movie throughout. If you’d told me two years ago that Captain America would be up there with my favourite superhero movies of all time I would have been extremely sceptical. This was probably the movie I was looking forward to least of all the Avengers movies. I always thought Captain America was the most ridiculous and least appealing of all superheroes. Sounds like a big, butch, ‘isn’t America wonderful and patriarchal’ vehicle. He also had the dorkiest of all superhero costumes – running around with a freakin’ flag on his chest. Of course, Captain America was originally designed as a propaganda device, so it’s really unsurprising that that’s how he was, but updating him into something plausible and entertaining for the twenty-first century was going to be a real challenge.

And they achieved it. They really did. I gather from my more comics-informed cinema-going companion, Lee Harris, that the weedy-dude underdog aspect wasn’t a part of the original story, which makes it a really smart trick for the movie. This is what saves the picture and transforms it. Instead of taking a jock and just making him more jock-like and launching him on the world to enforce American values, they gave us an everyman figure who’s just a fundamentally nice guy who wants to do his bit in any way he can. He can still go forth as an ideological symbol, but it’s a subtle shift that makes him much more palatable. I also liked the fact that he’s chosen because Erskine, who is not American, identifies with the values that Steve holds dear – not as American values, but as a universal marker of decency. He likes Steve not because he’s ‘All American’ but because he doesn’t like bullies, and because he’s prepared to fight bullies even if he knows he doesn’t have a hope in Hell. It opens the figure out for the rest of the world to make him their own, which is a really difficult thing to do for a character called Captain America.

I also adore Peggy Carter. There’s not a lot of room, in the setting, for believable strong female characters, but they pull it off in a way that X-men: First Class, which had much more room for maneuver, did not entirely succeed. Peggy doesn’t need to be super-powered to kick-ass. She just shows herself to be calm, determined, and a phenomenal shot. When Steve knocks her out of the way of the car Schmidt’s spy is driving at her it’s pretty clear that she actually would have had the bugger if Steve hadn’t got in her way. No martial arts or super-strength required for this lady to kick-ass. What’s more, there were female agents working in the war. There weren’t as many as the men, not by a long shot, but it’s entirely plausible that a character such as Peggy would exist.

I also liked the racial diversity of Captain America’s team. Up until that point in the film my one big reservation was how white it was. I still think the general crowd scenes and the recruitment offices could have been a bit more mixed, but it was awesome to see that Steve selected an African-American and an Asian-American amongst those for his elite team. I gather that this actually reflects the comics, too, which is rockin’, but I also enjoy the treatment of them in the film. Granted, it probably glosses over the racial tensions such a decision probably would have aroused, but this is a long film with a lot going on – it wouldn’t have been possible to cover this in any depth anyway. Plus, there’s an extent to which it’s nice to have non-white people join a group of heroes and have it not be made a fuss of. They’re just the dudes Steve recognised as being awesome. They’re not exceptional for being black or asian, they’re exceptional as people. After what happened to the black and latina characters in X-men: First Class, it was something of a relief.

Overall, this is a truly well-constructed, fast-paced, and engaging action movie that not only treats its source material with respect, but updates it for the tastes of the modern audience. The love story is nice, but under-stated. Steve Rogers is a thoroughly likeable character. I like what it does for race and gender. I’m slightly annoyed with the ‘being bad makes you ugly’ angle (and the implication that only beautiful people are good), but I’m not sure there was a great deal they could do about that without ditching the Red Skull/Schmidt character completely. This film has an absolutely fantastic cast, and they are all bringing it to the table with both wit and poignancy. The special effects are great, and so is the cinematography.

I can’t wait for the Avengers movie – I want more Captain America now.

(P.S. you definitely need to stay after the credits. It’s AWESOME.)