The Beekeeper

Director: David Ayer
Starring: Jason Statham, Emmy Raver-Lampman, Josh Hutcherson, Bobby Naderi, Minnie Driver, David Witts, Michael Epp, Jemma Redgrave, Phylicia Rashad, Jeremy Irons
Running Time: 105 min.
Rating: R

★★★ (out of ★★★★) 

Those complaining we don't get nearly enough movies about beekeepers will be pleased that director David Ayer delivers an entertainingly over-the-top action thriller starring Jason Statham as its title character. An open invitation to check your brain at the door, this finds the ass kicking actor again stepping into that heroic vigilante role he's mastered throughout his career. The plot couldn't be simpler, as our quiet but deadly protagonist plows through armies of criminals, FBI agents, local law enforcement and anyone else preventing him from administering some John Wick-style justice.

The protagonist's occupational duties go a bit further than you'd expect, also working as another type of beekeeper who's tasked with "protecting the hive" that is the United States. And like 007, this isn't exactly the type of job you just retire or walk away from. Initially content to call it a career by leaving the violence and adventure behind, a ruthless scam brings him back to get even. But this time it's personal, with this enforcer dirtying his hands to do what the law can't or won't.

Adam Clay (Statham) leads a quiet life as a beekeeper, renting space in a barn owned by retired school teacher and philanthropist Eloise Parker (Phylicia Rashad), who commits suicide after falling victim to an online phishing scam that drains over $2 million from her bank account. After discovering Eloise's body, Adam is questioned by her daughter, FBI agent Verona Parker (Emmy Raver-Lampman) who tells him the bureau is attempting to track down the company that did it. Instead, Adam takes matters into his own hands by destroying a call center and using his ties with a shadow organization called the Beekeepers to locate the data company's vice president, Derek Danforth (Josh Hutcherson). 

As Adam closes in, the whiny Derek begs for help from security head and former CIA director Wallace Westwyld (Jeremy Irons). But despite his many connections and access to hired mercenaries, an extremely dangerous Adam proves unstoppable, in the process exposing a massive cover-up with far reaching implications. It's up to Verona and FBI partner Agent Wiley (Bobby Naderi) to somehow stop his rampage, even as her very personal connection to the case indicates she may not want to.

This scam itself is commonplace, but it's still gripping to watch each step of the process unfold on screen in such detail. A key strength of Kurt Wimmer's script is its focus on this vulnerable senior being taken for a ride by a slimy, obnoxious call center manager (David Witts) and his boiler room of heartless minions. An effective hook that helps audiences sympathize with the victim, it simultaneously gives Adam even greater motivation to restore what he calls a sense of "balance" to society.  

Eloise not immediately contacting her FBI agent daughter after being scammed can be chalked up to the emotional trauma of the moment, but the bureau's of little help anyway. That's the purpose of beekeepers like Adam, even as we wonder why the government doesn't just dedicate an eighth of the resources they throw at him toward cracking down on these crimes. It's an idea not lost on the film every time this commando vanquishes an obstacle standing between him and Hutchinson's spoiled nepo baby character. As Westwyld, Jeremy Irons brings some welcome gravitas, knowing the hole Derek's dug himself into and wanting no part of it. But in the end, he really has little choice.

At this point, Statham could probably play this part in his sleep, with Adam donning disguises, sneaking in and out of secured buildings and using guns, knives, bombs, martial arts to casually clobber everyone in sight. Existing on the periphery of these thrillingly staged and sometimes unintentionally hilarious action scenes is the notion Verona's chasing the man avenging her mother's death, making her job that much harder. And Raver-Lampman conveys that inner conflict subtly in a movie where restraint isn't the top priority. 

Just based on the insanely high body count and how early the beekeeper enacts revenge, you'd think this could end within the first thirty minutes. In actuality, the mission's just beginning, with Adam's quest eventually reaching the highest level of government. Those in his path will find out the hard way that it's never a good idea to kick a hornet's nest, especially one belonging to a wrecking machine dead set on exterminating the queen of the hive. Taking a straightforward, apolitical stance against agencies that leave the most helpless without recourse, The Beekeeper implies someone like Statham could come in handy. Or better yet, it reminds us that the system should never be broken enough for us to need him.     

Five Nights at Freddy's

Director: Emma Tammi
Starring: Josh Hutcherson, Elizabeth Lail, Piper Rubio, Matthew Lillard, Mary Stuart Masterson, Kat Conner Sterling, David Lind, Christian Stokes, Joseph Poliquin, Grant Feely, Lucas Grant, Michael P. Sullivan
Running Time: 109 min.
Rating: PG-13

★★★ (out of ★★★★)     

The most intriguing question to come out of director Emma Tammi's Five Nights at Freddy's is whether it's possible for an adaptation of a wildly popular video game franchise to take itself too seriously. By infusing a 'PG-13' rated, Goosebumps-style horror movie about killer animatronic animals with psychological trauma and abducted children, game creator Scott Cawthon's co-written script actually overdelivers in certain ways. But whether this was the route to take and how well the film manages to pull it all together makes for a more complicated conversation. 

Seemingly attempting to channel certain elements of heavier efforts like The Black Phone while leaning into childlike fears, it doesn't fully pick a side, but still proves enough of an anomaly to deliver a pretty fun time. Its biggest strengths and weaknesses rest entirely on a multi-layered backstory that might frustrate as many as it intrigues, though it's thoroughly watchable, leaving us with an experience a bit more agreeable than its detractors are giving it credit for. 

After assaulting a father he mistakes as a kidnapper, Mike Schmidt (Josh Hutcherson) gets fired as mall security and sent to career counselor Steve Raglan (Matthew Lillard), who offers him a thankless night guard job at the now abandoned Freddy Fazbear's Pizza, a Chuck E. Cheese-like family dining establishment in the 80's and 90's. Following some hesitancy, he eventually accepts the position when social services threaten to give custody of his young sister Abby (Piper Rubio) to their nasty estranged aunt Jane (Mary Stewart Masterson).   

With Mike responsible for keeping trespassers out of the dark, decrepit building, he falls asleep on the job, haunted by nightmares of the abduction of his younger brother Garrett (Lucas Grant) years ago, receiving cryptic clues from five mysterious children who witnessed the kidnapping. Meanwhile, the restaurant's animatronic mascots, Freddy Fazbear, Chica, Foxy and Bonnie seem to have minds of their own, displaying potentially violent tendencies. Clearly knowing more than she lets on about this place's history, local police officer Vanessa (Elizabeth Lail) attempts to show Mike the ropes. But as his visions draw him closer to the truth, Abby forges a bond with her new animal robot friends.

There's actually a fair amount to unpack plot-wise, as this isn't playing strictly in the horror realm, often more interested in deeply delving into its protagonist's emotional baggage. Mike's strained relationship with little sister Abby, her mysterious drawings, his custody battle and whatever Vanessa's hiding bare the hallmarks of an overstuffed screenplay, but it's focused enough to tie all these story threads together, even if reactions to the end result will vary.

While older fans will undoubtedly complain it's not gory or violent enough because of the 'PG-13' rating, the disturbing themes more than make up for it. This isn't scary so much as unnerving, with Mike's dream sequences standing out as the best directed sections, gaining in creepiness as he closes in on the truth about his brother and the run down restaurant. The production design, cinematography and overall retro aesthetic also goes a long way in creating an atmosphere that sells this grimy ex-eatery as a once fun destination decimated by the ravages of time. In a memorable moment, Mike watches a security training video that shows how Freddy's looked like in its prime, accurately recalling many similarly themed chains of the period. 

Since there's always something vaguely unsettling about even the cutest, cuddliest looking animal mascots (especially ones that sing and dance), it doesn't take much to get onboard with them as killing machines. Brought to life by Jim Henson's Creature Shop, their origin story is ridiculously detailed, with the movie holding it cards close to the vest before unloading everything in the third act, making inventive use of its grungy surroundings.  

As the disheveled, traumatized Mike, Hutcherson makes a suitable lead, but it's young Piper Rubio who steals this out from under him as Abby with a wisely precocious and engaging child performance that seems lifted from 80's Spielberg. The Vanessa character is slightly underwritten, but You's Elizabeth Lail definitely makes the best of it, hopefully inching her closer to the breakout role she's been due. In more nefarious turns, Mary Stuart Masterson hams it up as the cartoonishly evil aunt and Matthew Lillard Scream fans won't be disappointed by how much craziness he packs into his relatively brief but unhinged slice of screen time. 

That Blumhouse's latest is splitting critics and audiences down the middle isn't exactly a surprise given its polarizing content and sometimes off kilter tone. This never bores or signals the coming cinematic apocalypse many have claimed, guilty mostly of just not conforming to the tropes of your typical video game adaptation. It's also hard to take your eyes off of, especially when trying to reconcile the story's bizarre intentions. But despite its flaws, or partially because of them, Five Nights at Freddy's is a weirdly entertaining trip that will have the uninitiated scratching their heads while the game's fans clamor for more.                                   

The Hunger Games: Catching Fire

Director: Francis Lawrence
Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Donald Sutherland, Elizabeth Banks, Lenny Kravitz, Stanley Tucci, Philip Seymour Hoffman, Jena Malone, Sam Caflin, Jeffrey Wright, Amanda Plummer
Running Time: 146 min.
Rating: PG-13

★★★ ½ (out of ★★★★) 
 
Having never read The Hunger Games series on which the films are based, the big question I had going into its first sequel, Catching Fire, was exactly how Hunger Games co-champions Katniss Everdeen (Jennifer Lawrence) and Peeta Malark (Josh Hutcherson) would end up competing again. I mean, they won, right? Isn't it over? This installment spends the good part of an hour explaining how that's possible, setting up the circumstances surrounding her forced return and giving much needed attention to fleshing out the dystopian society mostly ignored in the preceding installment.

After seeing the original, I remember having a conversation with someone more familiar with the franchise and asking what was up with all those ridiculous costumes. "It was in the book." "It's the future." Those answers sum up my problems with the first film in a nutshell. This one has a scene where a female tribute, sick of all the pageantry, just strips naked in an elevator. That's the difference. All I asked of the first film was that it take seriously its premise of a reality game where contestants are fighting for their lives and that it not take concessions to get a PG-13, needlessly sanitizing the material so it plays better for the masses.

While this still certainly isn't a bloodbath, it's a big improvement that actually contains some ideas. For all I know they could still be watering everything down, but at least it doesn't FEEL that way this time and those compromises aren't as noticeable on screen. There's a concerted effort to explore the moral implications and fallout from the first film to reach beyond the usual YA audience. Francis Lawrence takes over for Gary Ross as director and while he's a workmanlike filmmaker without a particularly distinctive cinematic voice or visual style (probably a plus for tackling a tentpole franchise), he nonetheless does a excellent job bringing this world to life, proving himself worthy of an encore.  

A year removed from being declared co-winners of the 74th Hunger Games, District 12 golden girl Katniss and baker's son Peeta must now embark on the victor's tour across Panem's districts, as per the orders of President Snow (Donald Sutherland), still enraged over the fact they both outsmarted him, escaping the games with their lives. But now Katniss' job is simpler: Show the world her staged romance with Peeta wasn't a televised ruse to defy the Capitol, but real relationship that will continue long after the games have ended. For him, that's clearly true. For her, it's a little more complicated, as her boyfriend Gale (Liam Hemsworth) is patiently waiting for her back home, even as both their families' lives continue to be threatened by President Snow.

With Katniss and Peeta joined again by dissheveled mentor Haymitch Abernathy (Woody Harrelson) and kabuki-like chaperone Effie Trinket (Elizabeth Banks) on their victory lap, the one thing they can't do on this tour is give the districts hope, which could rally the already disgruntled citizens into rebelling against the Capitol. Fearing that's exactly what's happening, Snow enlists newly appointed Gamemaker Plutarch Heavensbee (Philip Seymour Hoffman) to destroy Katniss. His master plan: Hold another Hunger Games.

The idea that there would be an "All-Star Edition" of the games that include previous winners from all the districts just so Katniss and Peeta could be thrown to the wolves (or in this case, killer baboons) in the arena again is inspired. Why they're being forced to compete again and how it ties into their influence as celebrities inciting a social rebellion is certainly more compelling than anything in the first film, where it seemed as if there was no danger or stakes at all. Much more than before, they're targets that Snow wants killed or at least made into examples to crush the public's spirits.

It helps that this time there's an hour of build-up getting to know this world and dealing with the fact that these two competed on a reality show where kids killed each other for entertainment. They must have opinions and feelings on that, so it was nice to finally get them. And see legitimate threatening danger in the form of Peacekeepers (basically stormtroopers with flamethrowers) led by a scary Commander Thread (Patrick St. Esprit) baring down on the districts to "keep order." We even see a public lashing. The actual Hunger Games mean nothing without context or a sense of why they're happening. In the first 60 minutes the material finally earns its popular comparisons to Shirley Jackson's "The Lottery" while strangely invoking new ones like Fahrenheit 451 in its depiction of a politically oppressive dystopia. Too much set-up? Maybe, but it's time well spent considering how little we got in the first film.

That the possibility exists that Woody Harrelson's drunken Haymitch, a former winner, could again be competing if called as tribute speaks to the unpredictability surrounding this outing. A key difference this time around is that they're not battling each other, but a government forcing them to go at it again despite promises to the contrary. Some new faces include the cocky Finnick (Sam Caflin) and District 7's outspoken, but dangerous Johanna Mason (Jena Malone). And due to the new format there are middle-aged tributes (played by Jeffrey Wright and Amanda Plummer) and even a senior citizen (Lynn Cohen) competing, all of whom have every right to be more furious than before at being there.

While the games itself was the highlight of the last film, but they're improved upon here with crisper CGI and the absence of a shaky cam that previously defined the action sequences, making many of them difficult to decipher as Ross went out of his way to avoid showing any kind of graphic violence. And considering this outing isn't helmed by a director known for visual wizardry, everything still looks much better than its predecessor, as the booby trapped tropical setting for the arena is staged well, but more importantly, feels dangerous. Katniss and Peeta have no idea who they can trust or what's lurking around the corner and that the screenplay (co-written by Slumdog Millionaire scribe Simon Beaufoy) has some thematic meat on its bones this time around only bolsters the suspense.

Now entering this installment with the "Academy Award Winner" title in front of her name, Jennifer Lawrence manages to give a performance that far surpasses her stellar work in the previous entry, only this time doing it in a really good movie. Freed from the shackles of having to carry sub-par material on her back, she now shows us what she can do with Katniss when she's written well and a meaningful story surrounds her. Unsurprisingly, the results are astounding, especially in that opening hour as she experiences a painful internal struggle about what she's done and its implications for Panem. If Lawrence is this good now and the franchise many worried would imprison her career and waste her talent has just turned the corner creatively, how much better can she get? It's almost a scary thought. Here there's much less to elevate, and yet, she still elevates it.

In the face of Lawrence's acting dominance, it's almost a backhanded compliment to say Hutcherson seems more assured as Peeta with each passing minute in the franchise, but he is. That they're taking a slow burn approach to his relationship with Katniss is a relief to those worried that narrative aspect would move to the forefront. It's even more subtle and restrained this time, carrying none of the YA baggage you'd associate with movies of a similar ilk and permanently killing all comparisons to garbage like Twilight. Liam Hemsworth still feels like the third wheel as Gale, but the cliffhanger ending hints that's soon about to change. More impressive is newcomer Caflin as Finnick, whose allegiance to Katniss and Peeta is constantly in doubt, even when his bravado isn't. Jena Malone, makes a tough, sexy Johanna, with the aforementioned elevator introduction perfectly setting the stage for a bold character whose intentions are also up in the air.

That The Hunger Games: Mockingjay-Part 2 will be the final listed screen credit of Philip Seymour Hofffman no longer feels like the travesty many have feared, as he gives a smart, subtle performance as Gamemaker Plutarch that's obviously a major upgrade from Wes Bentley's Seneca Crane from the previous installment. What's funny is how it seems like he just rolled out of bed and is put in no effort at all, until you realize it was a very deliberate choice for him to play it this calm and collected, further solidifying his ability to invisibly slide into any character. What was initially deemed a "sellout" role is instead revealed as an opportunity to appreciate whatever screen time remains of our greatest actor.

Elizabeth Banks still annoys as Effie, as I've come to terms with the fact that I'll just never care for this character or the actress's over-the-top approach to her, especially sticking out as a nuisance in this more serious entry. The opposite is true of Stanley Tucci's manic TV host Caesar Flickerman, who again is a highlight and a comic diversion that works because Tucci makes sure something twisted and sadistic breaks through. The script should also be credited for finding pupose for Lenny Kravitz's Cinna this time out, making his brief role count for something that reflects the themes of the story.

The first film may have been a slight misfire but it was never dull and a joy to assess because of its potential. And now that potential comes much closer to being completely fulfilled here. In an era where big money franchises don't have to creatively deliver to make bank, this one does and has ideas to go along with its action.  Movies are only getting unjustifiably longer and more bloated, so the fact this one is 146 minutes and doesn't waste any of them shouldn't be taken lightly. I'm still curious what would happen if the creative handcuffs were totally removed but they go as far as they can within the confines of a PG-13, recognizing and correcting nearly all of the previous film's problems. The only remaining concern is that movies like this tend to have a ceiling of quality and this may have hit it. Let's hope not. That it's been called The Empire Strikes Back of the series may be slightly overstating matters, but I get it. Catching Fire leaves us hanging and wanting more.
         

The Hunger Games

Director: Gary Ross
Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Lenny Kravitz, Stanley Tucci, Donald Sutherland
Running Time: 142 min.
Rating: PG-13

★★ ½ (out of ★★★★)

It's generally a rule to judge a movie for what it is rather than what it isn't, but the highly anticipated The Hunger Games, based on Suzanne Collins' bestselling young adult novel, might be the rare exception. The problems with this film are all in what it isn't. Having not read the original novel, I wouldn't even attempt to speculate how "faithful" director Gary Ross' adaptation is to the source material. Like all adaptations, that point's irrelevant unless you've read it. I have no idea how much or how little of what Collins wrote got lost in the finished product or what was cut, changed or added, but what ends up on screen doesn't quite connect for one reason: It has a premise that must be taken seriously to succeed and the filmmakers didn't do it. All its other problems stem from that. Of course, when the book was optioned producers saw dollar signs, which had to greatly diminish the chances of this story being told the way it needed to be.

Some movies can get away with cutting corners and watering everything down to pander to the masses but this clearly can't. Not a post-apocalyptic reality show battle to the death that takes place in a dystopian future. It's too high concept to be simplified and still work. But it's entertaining and features an unbelievable performance by its female lead. I just wish the movie had the guts to go as far as Jennifer Lawrence does, even as I hesitate associating the word "guts" with her choice of a project this safe. We're also dealing with a concept we've seen executed before (and occasionally much better) in similarly themed movies like Battle Royale, They Shoot Horses, Don't They?, The Running Man and The Condemned. What I can't recall is it ever being treated so sunny. It's probably one of the oddest match-ups of story and and tone you'll find in the genre and I can't say I felt that the two leads were seriously in danger at any point. And even if they are, Ross goes out of his way to make sure we don't see it. Or even feel it. Luckily, it's is able to fall back on some its dumb, over-the-top decisions by telling a story about greedy executives making dumb, over-the-top decisions for the sake of popular entertainment.

The story takes place in a future nation called Panem where boys and girls aged 12-18 are recruited to participate in "The Hunger Games," a televised annual event where the chosen two "tributes" from each of the twelve districts fight to the death until there's a single victor crowned. In a lottery (referred to as a "Reaping") selecting the participants, terrified 12 year-old Primrose Everdeen's (Willow Shields) name is called, prompting her older sister Katniss (Lawrence) to volunteer in her place as tribute. Joining her as the male tribute from District 12 is Peeta Malark (Josh Hutcherson), a baker's son with few skills who harbors a secret crush on Katniss. Together they're trained for competition by hard drinking former champion Haymitch Abernathy (Woody Harrelson) and must not only physically defeat their opponents from the other districts in the battle arena, but win over corporate sponsors and audiences that can help give them a much needed advantage in the the Games. Watching over it all is the diabolical President Snow (Donald Sutherland), whose "Gamemaker" Seneca Crane (Wes Bentley) manipulates the rules to provide maximum entertainment. Katniss and Peeta's only goal is to survive.

The film's prologue is clumsy on a number of levels, chief among them the fleshing out of this futuristic world. It's hard not to watch the Reaping ceremony sequence and not be reminded of Shirley Jackson's classic short story "The Lottery," which Collins must have taken direct inspiration from in writing the novel. But it's basic conceit of a lottery in which citizens are randomly chosen for death is where the similarities end. All the potential terror of that scene is muted by Elizabeth Banks' ridiculous appearance as District 12's escort Effie Trinket. She looks and sounds so silly it's impossible to take a word she's saying seriously, much less the announcement that these teens are essentially being sent to die with a backstory and explanation for the Games that's mostly left unclear or partially developed. The garish costuming and make-up is a constant problem and distraction throughout that's not just limited to Banks. Perhaps as an effort to remain true to the source material or hammer home the idea of the future as an overproduced spectacle, everyone's dressed for Halloween. But the real reason is because it's set in the future and in the future people must dress weirdly. At least that seems to be the extent of it, whether the choice is germane to the story or not.

As much that goes wrong in the set-up, it's made up for when Katniss and Peeta arrive at the Capitol to train and we get genuine insight into how the Games work and what's required to win. Katniss is considered a favorite early on with her hunting and archery skills, but her steely determination and no-nonsense attitude proves to be a hurdle in gaining the favoritism of corporate donors who can provide life-sustaining supplies in the arena. Aside from her sacrifice for her little sister, you could say she lacks what would be described in reality TV terms as the "likability factor." Peeta, on the other hand, is a charming schmoozer despite possessing very little physical skills that will help him excel. Initially stand-offish, their trainer Haymitch and eventually shows them some of the tricks of the trade and in one of the film's best sequences, they're both interviewed by blue-haired Hunger Games host Ceasar Flickerman (Stanley Tucci), whose hilariously broad style of questioning kind of resembles Martin Short's Jiminy Glick. Whether true or not, their narrative begins to take shape as "the star-crossed lovers" of District 12. There's no doubt Peeta would like it to be, despite Katniss' sort of boyfriend Gale (Liam Hemsworth) anxiously waiting for her back home.

There's genuine suspense in the arena when Ross realizes his movie has to stay out of its own way because Lawrence can take care of the rest. The only true distraction is when he seems to bend over backwards to preserve the PG-13 rating by cutting as fast as possible during the action scenes, making it extremely difficult to make heads or tails out of what's happening. I understand it's based on a teen novel and I'm not asking it be a bloodbath, but it's kind of  insulting how obviously any depiction of violence is avoided. If a future society's warped enough to hold such an event and televise it, something tells me it wouldn't be sanitized and censored not to offend viewers. It's only fair a movie based on that idea be held to the same standard. Nolan's Batman trilogy was rated PG-13 and no one accuses those films of wimping out, so it's not too much to ask for a happy balance that would have delivered on the story's violent premise without affecting its commercial prospects, which were always admittedly strong no matter what. Ross probably wasn't the right director to do that, though there's no telling how much pressure he got from the studio to tone it down. Judging from the end result, probably a lot.

The supposedly grueling elements in the arena don't play nearly as much of a factor as we were led to believe early on. No one appears to be in danger of starving, dehydrating, and everyone sure looks clean considering they're in a battle to the death that's been dragging on for days. I never thought Katniss or Peeta would die and not just because they have to make the rest of the installments either. We should have at least felt the possibility a little. The one brief moment where you really do involves a showdown with District 2's female tribute Clove (Orphan's Isabelle Fuhrman). It lasts only a minute or two, but it doesn't feel sanitized in the slightest. The fire and intensity this girl has in her eyes leaves no doubt she's willing to kill Katniss at any cost and will likely relish every second of it. The motivation of the attack, the editing, the girls' performances, and the ending of the sequence is unforgettable, encapsulating everything the rest of the film should have been but wasn't. The implication that many of Katniss' opponents (led by Alexander Ludwig's villainous Cato)  have been prepared at an early age to accept their destiny to participate is one of the script's strongest ideas, as is the discussion about just how entertaining this telecast should be for the public. Sutherland's President Snow wants to give them someone to root for but takes issue with having them root too much, suspecting that Wes Bentley's Gamesmaker may instead be dishing out "hope." 

All the controversy surrounding Jennifer Lawrence not looking right for the part is pretty ridiculous. No, she doesn't look like she's starving (in other words she's a pretty, normal sized 22 year-old girl) but who really cares? When you have the opportunity to cast the best actress available for the part, you do it. No questions asked. Forget about her being the least of the film's problems, the conviction and gravitas she brings to Katniss is the sole reason this even comes close to working. There are many times when the story strains to be taken seriously and seems too juvenile but Lawrence refuses to go there. She takes this dead seriously and imbues the picture with more passion than it frequently deserves. Initially confused as to why an Oscar nominee would even take on a project like this, she answers my question by turning her into a character that feels stronger and smarter than it must have originally been conceived as. That said, I'm still kind of disappointed she took the part, if only because she's so clearly too talented for this. The last thing we need is this franchise to swallow her career whole much like Twilight did to the formerly promising Kristen Stewart, who's now basically just a human ATM machine. Just the mere mention of Stewart's name in relation to any kind of serious acting invokes uncontrollable laughter because of her association with that series. The best news coming out of this is that Lawrence gives you hope she can overcome that stigma.

Josh Hutcherson more than holds his own as the vulnerable Peeta, even if everyone in the picture seems to take a backseat to Lawrence and her command over the screen. Hemsworth's hardly in the movie at all, though I have the awful feeling his role will increase  in unwelcome ways over the course of the next film or two. Pointless Victorian costuming aside, Harrelson and Tucci are superb in their roles, especially Tucci who brings an undercurrent of phoniness and menace to his TV host that seems absent in the rest of the script. Lenny Kravitiz is gold in his relatively brief scenes as stylist Cinna, knowing the injustice of what's happening but cleverly playing the system for his tributes' benefit. Bentley has his juiciest supporting role in just about forever, making the most of his limited screen time as Seneca. Any of Elizabeth Banks' efforts are undone by the fact she's essentially playing a party clown.

Possibly the best subplot overall, involves 12-year-old District 11 tribute Rue, well played by Amandla Stenberg. In a relatively short amount time this character makes a big impact and her makeshift alliance with Katniss is one of the few elements of the film that really clicks emotionally. I'm tempted to say Ross could have shown more scenes of how viewers reacted to the competition, but given how lazily this future was depicted it was probably a wiser move not to. After a strong middle section, the movie really flies off its rails in the last act as the constant changing of the Games' rules is presented sloppily enough that at best it feels like plot manipulation, and at worst, deux ex machina. The Truman Show this ain't and the idea that these Games are "controlled" only rears its head at the most inopportune times, complete with some really bad CGI animals that could give Twilight a run for its money.

Through all this, we do care about these two characters, even if the ending has me seriously worried the entire story will soon be going the sappy tween romance route. They got away with it this time by incorporating it as a plot point in the Games themselves but now it seems inevitable that angle of the story will take center stage. I'd feel more comfortable recommending this installment if there seemed to be more potential moving forward, but that's a real long shot considering how this went. But at least the movie doesn't misrepresent itself. It's exactly what it says it's going to be from the beginning. It's better than expected and  not exactly another Twilight, despite the studio and media doing whatever it can to play it up as such. The ideas are there, even if they're merely implied rather than explored. It's a near-miss, albeit a fascinating one worth talking about. This is what happens when commercial concerns impede on the creative process.  Forget about a sequel. They should just go ahead and remake this one right now. Get a different director, slap on an R rating and just go to town. Like the Games depicted in it, The Hunger Games is all about overproduced entertainment at the expense of emotions, perhaps coming much closer to its story origins than was even intended.       

The Kids Are All Right

Director: Lisa Cholodenko
Starring: Annette Bening, Julianne Moore, Mark Ruffalo, Mia Wasakowska, Josh Hutcherson
Running Time: 104 min.
Rating: R

★★ ½ (out of ★★★★)

Liberal Hollywood is at it again, this time taking the time out to kindly remind us that yes, same-sex marriage unions do exist and sometimes those involved in them even struggle with life problems every once in a while. But I doubt the problems they struggle with bare much resemblance to the sitcom-level farce that plays out in Lisa Cholodenko's The Kids Are All Right. Interestingly enough, the song "The Kids Are Alright" never once makes an appearance on the soundtrack which I guess isn't too surprising given the noticeable spelling change in the title to avoid a potential Pete Townshend lawsuit. That my thoughts frequently turned to music copyrighting issues while watching can't be a good sign (for me or the film), but sadly, it just might be the most interesting topic worth discussing. That title is unintentionally revealing as everything in the movie concerning the kids and their attempts to connect with their biological father is most definitely all right. It's the relationship between their cartoonish parents that's not. But don't feel too sorry for Annette Bening and Julianne Moore who, as talented as they are, sometimes seem entirely too comfortable lowering themselves with this material. It's easy to see why the film's been receiving a lot of praise but much of it has to do with its topic rather than what's actually on screen.

Jules (Moore) and Nic (Bening) are a lesbian couple living in California who may or may not be legally married (it's never made explicitly clear) and are raising their two teenage kids, Joni (Mia Wasikowska) and Laser (Josh Hutcherson). Each mother has given birth to one of the children by the same anonymous sperm donor, who Laser suddenly has the urge to track down and meet. Not yet 18, he has to rely on Jonie to make the call to this stranger who's their dad. The father turns out to be Paul (Mark Ruffalo), a likable, laid-back restaurateur who seems content in his freewheeling bachelor existence, having never known or cared to know about the responsibility that comes with being a parent. After an awkward first meeting over lunch he quickly bonds with the kids and becomes a part of their life, as well as the "moms," who have mixed feelings on Paul being suddenly inserted into the picture. Those mixed feelings become even more complicated when seemingly out of left field the friendship between he and Jules takes a romantic turn, threatening to rip this previously well-adjusted family apart.

I knew we were in for it when the film started with a scene of Jules and Nic in bed watching gay-male porn. Worse yet, it's followed up later with a scene of them explaining why to their kid and that human sexuality is a complicated thing blah blah blah. What are screenwriters thinking sometimes? If the film really wants to be about them being gay then by all means it should be, but if it doesn't, and wants to show how they're just like any normal couple with everyday problems, then do that. But you can't have it both ways by including a ludicrous scene meant to earn cheap laughs at the expense of their homosexuality. Maybe the scene's true to life. I have no idea. But that doesn't make it work any better within the context of the story being told on screen. That tonal clash runs throughout the picture so it's through little fault of Moore and Bening's that I never for a second believed they were a lesbian couple, especially when they're given such stereotypical characters to play. Nearly one word descriptions suffice. Jules is a new age hippie while Nic is a perfectionist control freak. The actresses do the best they can with the roles (Bening is a especially good in a memorable dinner table scene) but it's a lost cause when both are continually undermined by the sitcom machinations of what sometimes feels like a rejected Three's Company script.  The preposterous affair that occurs between Jules and Paul feels completely arbitrary and manufactured for drama, and even despite the performers' best efforts, it just isn't believable in the slightest.

The sub-plots involving the kids and their adolescent struggles are much more realistic and Wasikowska and Hutcherson are both fantastic at conveying the confusion of whether to let this guy in and trust him, as well as their own uncertainty of who they are. Wasikowska (the Alice in Alice in Wonderland) is especially effective and I'd rather nominate either of them for acting awards than Moore or Bening, who never have a chance to take off with these silly characters. Luckily, that's not necessary because we have Mark Ruffalo who nearly saves this film with his performance as a man tentatively embracing a massive change in his lifestyle. He goes from being kind of open to the idea, to going with it and then to just totally freaking out when he realizes what it would mean, and sells it all believably. He also creates the kind of personality for Paul where you'd understand why the kids would find him cool and the moms would have major problems with it. Everything involving him and the kids works on every level and he find a way to elevate every scene in, appearing to do so effortlessly. Because of him, HALF this film is a success.

If the writers removed the gimmick at its center the movie would be more likely to be seen for the middling effort it is, and while it would turn out no better or worse, at least it would be slightly less patronizing. When you put all the pieces together, it's just a near-miss in terms of actual quality and I'm not trying to dismiss Bening's strong performance, but this is just the latest example of a cinematic public service announcement being rolled out for awards attention. Whether it's war, rape, discrimination, teen pregnancy, or any other timely social issue, we see this happen every year, but that doesn't mean it has to be so transparent or it can't be done well. The big question to ask coming out of The Kids Are All Right is if you replaced the lesbian couple with a straight one whether it would make any difference at all, and if it did, whether anyone would still care.