The Hunger Games 2012 full movie â€“ a movie adaptation of the first ofÂ Suzanne Collins’s three Hunger Games books arrives with the most definite-shot appeal of any nonsequel since “Twilight” (2008). Both target the same demographic: ages, roughly 10 to 18; gender, female; social media choice, all of them.
Unless the film disappoints them â€“ and it definitely won’t â€“ they’ll spread the good word throughÂ TwitterÂ andÂ FacebookÂ andÂ TumblrÂ andÂ PinterestÂ or whatever it is that, unbeknownst to an older demographic, may have already supplanted them.
“The Hunger Games” takes place in a postapocalyptic America. All that remains of theÂ United StatesÂ is Panem, a 12-district federation headed by cagey President Snow (Donald Sutherland). Capitol, Panem’s central city, is home to a wealthy, decadent elite, whose comforts and high-tech toys are supported by the labor of an impoverished majority. It’s a social structure with echoes of “The Time Machine,” “Metropolis,” andÂ John Boorman’s whacked-out “Zardoz.”
Having crushed a broad rebellion some 74 years ago, the government reasserts its authority over the population by holding the yearly Hunger Games, a kind of gladiatorial competition-cum-reality TV show: 24 teenagers â€“ a boy and a girl from each district â€“ are left in a wilderness where only one will be allowed to remain alive.
Among this year’s contestants is tough, resourcefulÂ Katniss EverdeenÂ (Jennifer Lawrence) from the poorest region of all: District 12, a coal-mining area that looks a whole lot like 1930sÂ Appalachia. Will Katniss survive? Will she be able to avoid murdering Peeta (played by Josh Hutcherson), the other District 12 tribute, for whom she may be developing romantic relationship? Will the sun rise tomorrow?
It’s tempting â€“ though probably foolhardy â€“ to look for cultural/political connections to explain the emergence and immense popularity of Collins’s vision. But first you’d have to trace the social and political origins behind the rise of reality TV in the ’90s â€“ which is the obvious inspiration for a number of similar films, including “The Truman Show” (1998), “Series 7” (2001), and “The Condemned” (2007). What sets Collins’s novels apart from these is the idea of the fighters being average young adults; but even that twist has already been utilized in director Kinji Fukasaku’s famous “Battle Royale” (2000), to which “Hunger Games” has many similarities.
The real mystery is how the greatgranddaddy (and possibly best) of the genre â€“ Elio Petri’s 1965 “The 10th Victim,” starringÂ Marcello Mastroianni andÂ Ursula AndressÂ â€“ somehow managed to predict and satirize reality TV as we know it 25 or 30 years before it existed.
DirectorÂ Gary RossÂ (best-known for “Pleasantville,” “Seabiscuit”) and screenwriter Billy Ray (“Shattered Glass”) â€“ who share the screenplay credit with Collins â€“ have smartly cleaved very closely to the tightly written pages. (One or two bits of exposition may be briefly confusing to those who haven’t read the book.) Ross manages to keep the pacing remarkably swift, given that the games themselves don’t start until halfway through the 144-minute running time.
Ross also got the casting dead right:Â Woody HarrelsonÂ as the alcoholic former champion who mentors Katniss and Peeta;Â Stanley TucciÂ as the broadcast’s preening host; andÂ Lenny KravitzÂ as the only city dweller Katniss might be able to trust. Casting Lawrence in the lead was a no-brainer, given the role’s similarities to her character in “Winter’s Bone,” which earned her anÂ Oscar nomination. Grade: B (Rated PG-13 for intense violent thematic material and disturbing images involving teens.)
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